Mastering Equalization: Mid/Side EQ in Mastering
Each master is unique, so does the whole process of equalization in mastering. However, we'll be taking a look into one of our mastering session - precisely at our EQ and how we applied it. Our goal is to explain what were our thoughts during making these judgements and how we came up with the values we'll be explaining now.
In this session, we'll be focusing on using FabFilter Pro Q3, but in Mid/Side mode only, so this is basically a Mid/Side equalization. Don't worry, we'll make more blog post explaining a different mastering equalizers and how to use them.
Please avoid copying any strict values you see in this blog post because every single master is different and will require different treatment.
1. Choose the right processing mode first
Advice: Try both Natural & Linear Phase mode to see which one suits your master better
The very first thing we're doing when we're about to use an EQ in mastering is to determine the processing mode. Mainly, it's between Natural Phase and Linear Phase mode. Natural Phase mode sounds great since it basically emulated analog equalizers and their phase response. Each boost or cut you make will affect the phase, but in a more musical way, like you're working with an analog equalizer.
Linear Phase mode is totally a different story. This mode will enable you to still make boost or cuts, but those adjustments won't affect the phase of your signal at all, and that's why it's mostly used when mastering. Every change in phase you make during mastering won't affect one instrument, but all of them, so that's why this processing mode has a privilege in mastering. However, the only bad thing about this mode is "Pre-ringing" effect that it causes. We covered more about this in our EQ Masterclass which you can check out.
2. Narrowing the stereo field of lower frequencies
Using a high pass filter in side mode
The first filter we used in this mastering session is our high pass filter in side mode to narrow the stereo field of our low frequencies. We're doing this to make our low frequencies more mono and so they don't create clashing. Shelf filter also works great in this case, but it depends from track to track.
Our advice is to absolutely try both filter and hear which one works better for your session. The goal here is to be gentle and to carefully listen. Make judgements depending on what you hear, not what you see.
Our advice is to absolutely try both filter and hear which one works better for your session. The goal here is to be gentle and to carefully listen. Make judgements depending on what you hear, not what you see.
3. Amplifying low harmonics
Using bell filter in side mode
Using our bell filter in side mode, we enhanced some low harmonics that we found sounding nice in this session. Again, this is all optional, so please avoid copying any values from here. This is all up to listening and how it sounds. Certainly, it worked very well for this track we mastered. When boosting, we usually aim for wider boosts since they sound more natural and that boost actually spreads much better across the track.
4. Making space for high frequencies to shine
Using bell filter in mid mode
We're actually attenuating gently around 200-250Hz using our bell filter in mid mode, so we can gain clarity to our high frequencies. Notice how we're working within the range of 0-1dB in terms of boosts and cuts. The goal is to be very subtle and to make slight adjustments. Big adjustments won't benefit your master. If the master needs big adjustments, the best possible decision you can make is to send the mix back to the mix engineer for fixing.
5. Achieving punch
Using bell filter in mid mode
While listening to the track we're mastering, we liked how the kick sounded, but also missed some power there. To add more punch, we enhanced the frequency range where our kick is located using bell filter in mid mode with a bit harder slope for more drastic and focused boost. It sounded good to us around 75-80Hz (where the fundamental & key of our kick is located).
6. More focus on vocals
Using the combination of our bell filter in mid mode and our bell filter in side mode
Since the song we're working on is a rap song, we wanted to bring our vocals slightly upfront. For that purpose, we used a combination of bell filter in mid mode to gently amplify them and our bell filter in side mode to attenuate the exact same frequency range with slightly different bandwidth (Q). Again, this is all up to listening, so we won't specify any strict values.
With this step done, we added more focus to our vocals and presence while also narrowing this range so it's more focused and "in your face".
With this step done, we added more focus to our vocals and presence while also narrowing this range so it's more focused and "in your face".
7. Widening the top end
Using our shelf filter in side mode
Finally, we used our shelf filter in side mode to widen the top end and make the mix feel a bit wider than before. Trust us, this make a lot of difference! You don't have to boost 3dB or more to achieve this effect. If the mix is good, only 1dB of boost will give some decent results. However, don't do this without a purpose or just because someone told you.
Conclusion:
Mastering is art, and the way you should work is to carefully listen and take your time to make good judgements. Try different settings on each processor you use and decide which one suits your master the best.If you want to add a recommendation for the future blog post and get featured on, feel free to reach to our DM on Instagram or use our e-mail address: marko@md3sign.com
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