Where does the multiband compressor go in the mastering chain?

After the primary compression stage. The chain is typically: initial EQ, compressors for colour and glue, multiband compressor as dynamic EQ, final EQ for any adjustments, then limiter.

Should I use multiband compression on every mastering session?

Not necessarily. Use it when there's a specific dynamic frequency problem to address. Many well-balanced mixes don't need it at all. When you do use it, treat it like a dynamic EQ with only the relevant bands engaged.

What is the mastering chain order?

A typical professional mastering chain: broad EQ first for tonal balance, then compressors for colour and saturation, then multiband as dynamic EQ, then a final EQ for air or small adjustments, then the limiter.

How is multiband compression different from dynamic EQ?

In practice at the mastering stage they overlap significantly. Multiband compression divides the signal into frequency bands and compresses each independently. Dynamic EQ applies gain changes based on level at specific frequencies. Both can address the same problems and the distinction is less important than using them with restraint.

Mar 28, 2026

Mastering Chain Order: Where Does the Multiband Compressor Go?

One of the most common questions in mastering is where the multiband compressor should sit in the signal chain. The answer is after your primary compression, not before it. Understanding the reasoning behind that position, and how to use multiband as a dynamic EQ rather than heavy compression, is one of the things that separates a functional mastering chain from one that actually sounds good.

How a Professional Mastering Chain Is Structured

A typical mastering chain starts with an EQ. Not a heavy one, but something like a broad shelf to rebalance the overall frequency response before anything else happens. This might be hardware like a Maselec or a plugin equivalent, set to catch obvious tonal imbalances in the mix before you start adding anything else.

After the initial EQ comes the compression stage. This is where you run the audio through compressors for colour and glue, tubes, and units that add character. These aren't necessarily doing heavy gain reduction, they're adding the flavour and weight that comes from the circuit. The audio passes through them for what they do to the sound, not just for their gain reduction characteristics.

The multiband compressor follows the primary compression. At this stage you're using it more like a dynamic EQ than a traditional compressor. You're manipulating the frequency balance dynamically, tightening the low end when it becomes excessive, using it as a de-esser on a specific frequency range, or addressing something in the mids that a static EQ can't handle cleanly. Having it after the primary compression means you're working with a more stable signal, and the multiband's decisions are based on what the compressed audio actually sounds like.

Using Multiband as a Dynamic EQ

The key mindset shift with multiband compression in mastering is treating each band as a frequency-specific dynamic processor rather than a multi-band loudness tool. You might only activate one or two bands. Maybe the low end needs tightening when the kick and bass get dense, but the mids and top end are fine. Having only the low band active means the rest of the mix isn't affected at all by the multiband processing.

After the multiband, it's sometimes useful to have another EQ pass. This lets you add back any top end air that the compression may have reduced, or make small final adjustments to the tonal balance before the limiter stage. A small shelf lift in the 8-10kHz range can open things back up without affecting the low and mid work you've already done.

On Near-Field Monitor Choice

A separate question worth addressing is whether to use near-field monitors or large full-range monitors for mastering. Many professional mastering engineers work primarily on large full-range monitors rather than near-fields. The argument is that a single trusted full-range reference gives you more consistent information than switching between multiple small speakers. In practice, having a second pair of near-fields as a reference check has value, particularly for checking how mixes translate on smaller systems. The NS10 became a standard partly because it represents consumer playback accurately.

FAQ

Where does multiband go in the mastering chain?

After primary compression. Chain order: initial EQ, colour compressors, multiband as dynamic EQ, final EQ pass, limiter.

Should I use it on every session?

Only when there's a specific dynamic frequency problem. Many good mixes don't need it. Use it sparingly with only the relevant bands active.

What is mastering chain order?

Broad EQ first, compressors for colour, multiband, final EQ, limiter. The exact order varies but this is a solid starting framework.

Multiband vs dynamic EQ in mastering?

They overlap significantly at the mastering stage. Both can address dynamic frequency problems. Restraint matters more than which one you choose.

Learn the complete mastering chain from start to finish with the Complete Mastering System or fast-track it with the Mastering Accelerator at streaky.com.

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