How to Master a Song: Step-by-Step
For Artists
To master a song, import your final stereo mix into a new DAW session, then process it through EQ, compression, and a limiter in sequence. Target -14 LUFS for streaming platforms. The goal is not to change the song. It is to optimize it for every playback system while bringing the loudness to a competitive level.
Mastering is simpler than mixing. Fewer tools, fewer decisions, smaller moves. The difficulty is restraint. Every adjustment affects the entire frequency spectrum, so a heavy-handed EQ boost that makes the vocal brighter also makes the cymbals harsh. The best mastering sessions involve subtle changes that add up to a noticeably better result.
This is the practical walkthrough. If you want the broader context of what mastering is and when to hire a professional, see Music Production Basics for the overview, or Working with Mastering Engineers if you would rather hand it off.
Before You Start: Mix Preparation
Mastering cannot fix a bad mix. If the vocal is buried, the bass is muddy, or the drums have no punch, go back to the mix. These are mixing problems, not mastering problems.
Export your mix as a stereo WAV at your session's sample rate and bit depth (usually 24-bit/48kHz). Do not normalize the file. Do not put a limiter on the master bus when you export. Peaks should sit around -3 to -6 dBFS to leave headroom for mastering processing.
Open a new session. Master in a fresh DAW project, not the same session as your mix. This separates the two processes mentally and technically.
The Step-by-Step Mastering Chain
Step 1: Import and Reference
Import your mix into the new session. Then import a reference track: a commercially released song in a similar genre that sounds the way you want yours to sound. Level-match the reference to your mix (turn the reference down so it is at a similar perceived volume). You will A/B between them throughout the process.
Step 2: Corrective EQ
Listen to your mix on multiple systems (headphones, speakers, phone) before touching anything. Identify problems, not preferences.
Common corrections:
- High-pass filter below 30Hz to remove sub-bass rumble that wastes headroom
- Cut 200-400Hz by 0.5-1.5 dB if the low-mids feel muddy
- Cut 2-4kHz by 0.5-1 dB if the upper mids feel harsh
- Boost 10-16kHz by 0.5-1 dB if the mix lacks air
Use a linear-phase EQ for mastering. It processes without introducing phase shifts. Moves should be 1-2 dB maximum. If you need more than that, the mix needs revision.
Step 3: Compression (Optional)
Not every master needs compression. If the mix already feels cohesive and dynamically controlled, skip this step.
If the mix feels disjointed, with sections that jump in volume or a vocal that pokes out inconsistently, a gentle bus compressor can help.
Parameter | Starting Point |
|---|---|
Ratio | 1.5:1 to 2:1 |
Attack | 20-30ms (slow, to preserve transients) |
Release | Auto or 100-250ms |
Threshold | Set for 1-3 dB of gain reduction on the loudest sections |
You should barely hear the compressor working. If the compression is obvious, you have gone too far.
Step 4: Stereo Processing (Optional)
If the mix feels narrow, a mid-side EQ can widen it without touching the center. Boost high frequencies (8kHz+) on the sides by 1-2 dB. This adds width and air without affecting the vocal or bass.
If the low end feels unfocused in stereo, narrow the bass below 150Hz to mono. This tightens the bottom on every playback system.
Step 5: Limiting
The limiter is the final processor. It sets the loudness ceiling and brings the track to a competitive level.
Parameter | Setting |
|---|---|
Ceiling | -1.0 dBTP (true peak) |
Target loudness | -14 LUFS (Spotify) or -16 LUFS (Apple Music) |
Gain | Increase until you hit the target LUFS |
Push the limiter's input gain up until your LUFS meter reads the target. Listen for distortion, pumping, or loss of transient punch. If the kick and snare lose their snap, back off the gain. Loudness is not worth sacrificing dynamics.
For platform-specific loudness targets and format requirements, see Mastering for Streaming.
Step 6: A/B and Quality Check
Compare your master to the unmastered mix. The master should sound clearer, louder, and more polished without changing the character of the song. If it sounds dramatically different, something went wrong.
Compare to your reference track. Your master does not need to sound identical, but it should live in the same ballpark of loudness, tonal balance, and width.
Check the master on earbuds, a phone speaker, and a car system if possible. A good master translates everywhere.
Step 7: Export
Export the master as: - 16-bit/44.1kHz WAV for digital distribution (this is what your distributor needs) - 24-bit/48kHz WAV as an archive master
If downsampling from a higher sample rate, apply dither (your DAW or limiter plugin likely has a dither option). Dither prevents quantization distortion when reducing bit depth.
Common Mistakes
Over-EQing. If your mastering EQ curve looks like a mountain range, you are mixing, not mastering. Mastering EQ moves are broad and gentle.
Crushing the limiter. Pushing past -10 LUFS for streaming releases wastes dynamics. Spotify will normalize it to -14 LUFS anyway, and your track will sound worse than if you had mastered to -14 LUFS directly.
Skipping the reference track. Without a reference, you are calibrating against your fatigued ears and your room's acoustic quirks. The reference keeps you honest.
Mastering in the same session as the mix. Your ears are adapted to the mix. You will not hear problems. Use a new session and ideally wait 24 hours.
If you are releasing your own music, the difference between a competent DIY master and no mastering at all is significant. Even basic processing with careful limiting makes a noticeable improvement in how your tracks sit next to other songs on a playlist.
Frequently Asked Questions
How long does it take to master a song?
A single track takes 30 minutes to an hour once you know the process. The first few times will take longer as you learn the tools.
Can I master with stock DAW plugins?
Yes. A stock EQ, a stock compressor, and a stock limiter are enough. Dedicated mastering plugins add convenience, not quality you cannot achieve with basics.
Should I master my own music or hire someone?
If your budget allows, a professional mastering engineer will almost always outperform a DIY master. If budget is tight, DIY mastering with a 24-hour break between mixing and mastering produces decent results.
Read Next:
Your Master Is Ready. Now What?
Distribution, release timing, and promotion planning are next. Orphiq connects the production phase to the release phase so your finished master does not sit in a folder while you figure out the next step.