Mastering Chain Order Explained: What Goes First and Why
The order of plugins in your mastering chain affects the result as much as the settings themselves. Here's the correct signal order and the reasoning behind it.
Mastering Chain Order Explained: What Goes First and Why
Plugin order matters — dramatically. The same EQ and compressor with identical settings produce different results depending on their position in the signal chain.
The Standard Mastering Chain Order
- Spectrum analysis / metering (see the signal before processing)
- EQ (corrective — remove problems)
- Compression (dynamics control)
- EQ (additive — shape tone after compression)
- Saturation / harmonic enhancement (optional)
- Stereo width / mid-side processing (optional)
- Limiting (always last)
- Output metering (verify loudness and peaks)
Why EQ Comes Before Compression
If you compress before EQing, the compressor reacts to frequencies you're about to remove. A 300 Hz mud buildup causes the compressor to reduce gain in response to that low-mid energy — then when you EQ it out, the compressor behavior changes unpredictably.
By EQing first, the compressor responds to the musical content you actually want it to process.
Why Compression Comes Before Additive EQ
Compression changes spectral balance — attenuating loud peaks attenuates those frequencies relative to flatter ranges. The post-compression EQ responds to what the compressed signal actually sounds like, not the pre-compressed signal.
Why Saturation Comes After Compression
Saturation adds harmonics that change frequency content. If you saturate before compression, the compressor reacts to those added harmonics. Post-compression saturation adds warmth to an already dynamically-controlled signal with more predictable results.
Why Limiting Is Always Last
Everything before the limiter must be set so the signal reaching it is appropriate. Mid-chain limiting creates a false ceiling — subsequent processing adds peaks that exceed it.
A Simple Hip Hop Mastering Chain
- High-pass filter (30–40 Hz)
- Corrective EQ (cut mud, fix resonances)
- Compressor (glue, 2–3 dB GR)
- Additive EQ (air, presence, warmth boosts)
- Tape saturation (optional, low drive)
- Limiter (-0.8 dBTP, -14 LUFS target)
Six plugins. This is often more than enough for a well-mixed beat.
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