The usual order
| # | Stage | What it is for | Typical starting point | Common mistake |
|---|---|---|---|---|
| 1 | Corrective EQ | remove what should not be there (rumble, a resonance) | small, broad cuts; a high-pass only below the music | narrow cuts that fix one instrument and dull the rest |
| 2 | Compression (optional) | glue: make the track move as one | ratio about 1.5:1–2.5:1, 1–3 dB of gain reduction, attack slow enough to keep transients | using it to control a single loud part of the mix |
| 3 | Tonal EQ or saturation (optional) | character: weight, warmth, air | moves of a few dB at most | brightening until it sounds better only because it is louder |
| 4 | Stereo adjustments (optional) | width and balance | small changes, low end kept centred | widening that collapses in mono |
| 5 | Limiter | set the final level and the peak ceiling | true-peak ceiling, e.g. -1 dBTP for streaming | pushing into it for loudness that normalization takes away |
| 6 | Dither (only if reducing bit depth) | turn rounding distortion into noise | only when going to 16-bit | dithering twice, or before the limiter |
The starting points are common practice, not rules. Many masters need fewer stages: a well-balanced mix can be finished with a small EQ move and the limiter.
Why the order matters
Each stage reacts to what it receives. A compressor placed before corrective EQ reacts to the resonance you were about to remove, so it pumps on the wrong thing. Cut first, then control.
The limiter goes last because it sets the ceiling. Any boost after the limiter, an EQ, saturation or a gain change, can push peaks back over it. If you change something earlier in the chain, check the limiter's output again.
Dither is after everything, because any processing after it would bring back the distortion it was there to remove, and it is only needed when the bit depth is reduced.
Each stage in more detail
Corrective EQ. On a master every move affects every instrument in that range, so moves are broad and small. If one instrument is wrong, the fix belongs in the mix. See why mixes sound muddy.
Compression. On a master it is about cohesion, not control. Low ratios and a slow enough attack keep the drums' attack intact. If you see more than a few dB of gain reduction, the mix probably needs attention instead. The difference from a limiter is explained in compressor vs limiter.
Tonal EQ and saturation. This is where character is added. Saturation adds harmonics and makes a sound feel denser; because it also raises peaks and loudness, keep it before the limiter and compare at matched level.
Stereo. Check in mono after any width change: phone speakers and many venues play in mono. Keeping the low end centred also matters for vinyl (see mastering for vinyl).
Limiter. A limiter catches peaks above a ceiling. A true-peak limiter also controls the peaks between samples that a sample-peak meter misses, which is why streaming ceilings are given in dBTP.
Meter the chain, and compare at the same loudness
Measure integrated loudness and true peak at the end of the chain, to ITU-R BS.1770. Then compare the master with the unprocessed mix and with a reference track at matched loudness: the louder of two versions tends to sound better, whether or not it is.
On streaming, extra loudness is taken away: Spotify turns a master louder than -14 LUFS down on its default setting. Push the limiter only as far as the music needs. See how many LUFS a master should be.
The chain in Quantara
The studio runs the chain in your browser: you hear each change as you make it, and the master preview reports integrated loudness, true peak and loudness range before you export. A free account includes one free export per account (MP3 320, with a watermark), no card required. Open the studio.
Frequently asked questions
Corrective EQ, optional compression, optional tonal EQ or saturation, optional stereo adjustments, then a true-peak limiter, with dither last only when the bit depth is reduced.
As little as the track needs. Many good mixes need only a small EQ move and a limiter. Add compression, saturation or width only when you can hear what they fix at matched loudness.
Before the limiter. Saturation raises peaks and loudness, so the limiter has to come after it to keep the final ceiling under control.
Yes, apart from dither. The limiter sets the final peak level; anything after it that adds gain can push peaks over the ceiling.
Sources
Loudness normalization on Spotify — Spotify for Artists
ITU-R BS.1770-5: Algorithms to measure audio programme loudness and true-peak audio level (2023) — International Telecommunication Union
Apple Digital Masters (April 2021) — Apple
Q. Is there more to a limiter than a compressor with an infinite ratio? (Hugh Robjohns, March 2026) — Sound On Sound