Electronic Music in Cubase Pro, Part 7: Mastering

Applying Effects to the Master Channel

Applying effects to the master channel is an important task because it affects the sound of the entire song.
Let's look at the effects and settings used here.

Frequency (EQ)

Use an equalizer to adjust the overall frequency balance and tonal color.

Boost the highs to add clarity and brightness.

Cut unnecessary low frequencies.
Here, we cut frequencies below 33 Hz.

One feature of Frequency is its M/S mode, which lets you apply EQ to just the side component of the stereo signal.
Low-frequency content is often concentrated in the center (mid), so we set the side-channel low cut higher, at 97 Hz.
This reduces muddiness and helps produce a clearer sound.

VintageCompressor

Next, apply master-bus compression to control the song's overall level.

Here, we use VintageCompressor, which models a legendary hardware compressor.
It is an excellent compressor that makes it easy to add analog character.

Because this is master-bus compression, the key is to keep the processing natural.

Set RATIO relatively low, to 2, to avoid excessive compression.
Raising INPUT makes the compressor work harder, but aim for a meter reading of about 1–2 for a natural sound.

For the same reason, set ATTACK to 22 ms to retain a clear sense of attack.
Set RELEASE to 322 ms for a natural decay.

MultibandCompressor

A multiband compressor controls level peaks in individual frequency bands to make the whole song sound more consistent.

MultibandCompressor lets you control four frequency bands.
Set the upper boundary of the low band to around 160 Hz, where the kick and bass can be heard clearly on their own.

The low band is the loudest part of the song and contains the most energy.
Compressing and stabilizing it reduces the song's overall level peaks and tightens the groove.

To preserve the mix balance and avoid changing the song's character too much, set THRESHOLD so that gain reduction (RED) stays at 6 dB or less in each band.

Similarly, keep RATIO at 3:1 or below to avoid an obvious compressed sound.

There are a few points to consider when setting ATTACK and RELEASE.
The original article describes high frequencies as traveling quickly and low frequencies as traveling slowly. Translator's clarification: audible frequencies travel at approximately the same speed in air; low frequencies have longer waveform cycles. The practical point here concerns compressor timing, not the speed of sound.
If the low band's ATTACK is too fast, the low end can lose its fullness.

Selecting A for the release time enables automatic mode, which adjusts the value automatically.

The low band's RELEASE setting has a particularly strong effect on the groove.
Set it so that the gain reduction rises and falls, rather than leaving the compressor engaged continuously.

Next, adjust the high band.
Isolate the range where there is no clear sense of pitch—around 8 kHz and above in this example.

When cymbals enter, the level in this band rises and can sometimes sound harsh.
We want to raise this band's level to add air and sparkle, so set THRESHOLD to control the points where the level becomes excessive.
After compression, the key is to raise the gain above its original level to add a brighter, more sparkling quality.

Next, set up the high-midrange band.
Vocals, lead synths, snares, and many other tracks share this range, making it crowded.
Uneven levels here can make the whole song difficult to listen to, so use compression to keep them under control.

Adjust THRESHOLD until the main parts, such as the vocals, sound consistent.
Keep gain reduction to a maximum of 6 dB. Remember to restore the level with GAIN.

Finally, adjust the low-midrange band.
This range contains elements such as the lead synth's fundamental and the bass's harmonics.
Heavy compression can upset the song's balance, so use only a little processing to control the peaks.

Low-midrange content affects the separation between the kick and bass.
In rhythm-driven genres such as electronic music, leaving slightly less content in this range can make the mix sound cleaner. For this reason, we do not restore the gain after compression here, leaving the perceived level lower than before.

DeEsser

Apply DeEsser to reduce noisy high-frequency content that can be unpleasant to the ear.

Use FILTER to specify the frequency range the de-esser should process.
Here, set it to 4,500–15,000 Hz, then adjust REDUCT so that the red meter reads 2–3 dB.

This smooths the sound's edges and makes it easier to listen to.
Too much reduction can reduce clarity and degrade the sound.
The key is to use it as a subtle finishing touch.

Brickwall Limiter

Now we will adjust the song's volume and perceived loudness.
We will use Maximizer to increase loudness later, but first use Brickwall Limiter to control level peaks.

With dynamics processors such as compressors and limiters, gradually compressing with several effects tends to sound more natural than applying heavy compression with a single effect.

Listen carefully while adjusting Threshold to the point just before the compression becomes noticeably audible.
This helps reduce the distortion that can occur when using Maximizer.

Maximizer

Use Maximizer to optimize the level and increase perceived loudness.

Maximizer offers Classic and Modern modes.
For rhythm-driven tracks such as club music, Modern mode can make the rhythm sound tighter.

RELEASE also controls the rhythmic feel.
Too long a release can make the whole song sound flat, so find a setting that gives the rhythm definition and contrast.

With these settings in place, raise OPTIMIZE to increase loudness.
Raising loudness can also introduce distortion, so listen carefully and stop at the highest amount you find acceptable.

As a reference for this song, set the RMS level to fall between −9 dB and −8 dB in the loudest section.
Find the right value while taking care to avoid distortion.

Frequently Asked Questions

Q1. Which effect should I insert first when mastering?

A common approach is to shape the frequency balance with EQ before controlling levels with a compressor. We recommend starting with Frequency (EQ) to adjust the tonal color, then using VintageCompressor to control the overall level.

Q2. What matters most when setting up master-bus compression?

Keep the result natural. Use a low RATIO, adjust INPUT for a meter reading of around 1–2, and use ATTACK of about 22 ms and RELEASE of about 322 ms as starting points.

Q3. Why use different settings for the low and high bands in a multiband compressor?

The original answer describes lows as traveling slowly and highs as traveling quickly. Translator's clarification: audible frequencies travel at approximately the same speed in air; their waveform periods differ. Adjusting ATTACK and RELEASE to suit each band's frequency content can help produce a more natural, tighter sound.

Q4. How can I avoid distortion when increasing loudness?

Use Brickwall Limiter to control peaks beforehand. Gradual compression with several dynamics processors tends to sound more natural than heavy compression with just one effect.