How to Master in Bitwig Studio (Stock Devices)

Updated August 2026 · by Loopin

You can master entirely with Bitwig Studio’s stock devices on the master track: EQ+ for corrective EQ, Multiband FX or Compressor+ for glue and multiband control, an optional Saturator for character, the Tool device to set gain and mono the low end, then the Peak Limiter with the ceiling at −1 dB. Add a metering device for LUFS so you can land near −14 LUFS before you export WAV. Prefer to skip the chain-building? Loopin’s browser mastering does it automatically.

Why Bitwig is a strong mastering host

Bitwig Studio ships with a deep set of stock devices, so you can build a complete master chain on the master track without any third-party plugins. The modular routing and the Tool device make gain staging and stereo shaping easy to control.

Add a metering device for LUFS and you can hit a streaming target with confidence instead of guessing. Everything you need — EQ, multiband, saturation, width control and limiting — is already in the box.

Stock devices cover the whole chain — EQ, multiband, limiting
Tool device handles gain and stereo width
Metering device gives you LUFS for the streaming target
Build the chain on the master track, not on individual tracks

Select the master track and open its device chain — all mastering goes here.
Drop a metering device on the master so you can watch integrated LUFS.
Confirm your mix feeds the master with headroom — no clipping on the way in.
Build the chain in order: EQ+ ’ Multiband FX ’ Saturator ’ Tool ’ Peak Limiter.

Step 1 — EQ+ (corrective)

Insert EQ+ first for corrective moves. This is about cleaning up the mix, not reinventing it — a high-pass to trim useless sub, and gentle wide cuts where the balance is boxy or harsh.

Keep boosts small. Broad, subtle changes translate far better on a master than narrow surgical ones.

High-pass the rumble below the useful low end
Cut mud or harshness with wide, gentle bands
Small boosts only — a touch of air can help
Aim for a cleaner version of the mix, not a new tone

Step 2 — Multiband FX / Compressor+ (glue and multiband)

Next add Multiband FX or Compressor+ for glue and multiband control. Splitting the spectrum into bands lets you control the low end independently from the mids and highs, so bass movement doesn’t duck the whole track.

At the master stage go gently — a small amount of gain reduction for glue and control, not obvious squashing.

Independent bands keep bass from pumping the whole mix
Gentle reduction — glue, not crush
Tame any band that jumps out (often the low mids)
Listen for cohesion, not audible pumping

Step 3 — Saturator (optional character)

For a bit of character, insert the Saturator after the multiband stage. A hint of saturation adds harmonics and perceived warmth or loudness without leaning on the limiter.

This step is optional and should stay subtle — drive it until it flatters the track, then back off before it sounds obviously distorted.

Adds harmonics and perceived warmth
Keep it subtle — flavour, not distortion
Sits after multiband, before width and limiting
Skip it if the track already sounds full

Step 4 — Tool for width, then Peak Limiter at −1 dB

Insert the Tool device to set output gain and manage stereo width. A common mastering move is to keep the low end mono — narrowing the bass so it stays centered and translates on club systems, vinyl and phones. Use Tool to trim the overall level heading into the limiter, and to tuck the width slightly if the sides are overcooked.

End the chain with the Peak Limiter. Set the ceiling to −1 dB so nothing exceeds that level on output — the headroom protects against clipping when a platform re-encodes to a lossy format. Use it as the brickwall safety net: push into it only as much as needed to reach your loudness target, because heavy limiting here means something earlier in the chain is too hot.

Mono the low end with Tool so bass stays tight and centered
Set gain with Tool heading into the Peak Limiter
Set the Peak Limiter ceiling to −1 dB — it’s the last device
Use it to brickwall peaks, not to force loudness

Hitting about −14 LUFS and exporting

With the chain in place, use the metering device to aim for about −14 LUFS integrated across the whole song — the level the major streaming platforms normalize toward. Nudge the Tool gain and limiter input a touch until the integrated reading settles there.

Then export with the limiter still in the chain so your final file matches what you heard:

Play the full track and read integrated LUFS on the metering device — nudge levels toward about −14 LUFS.
Open the export dialog and set the format to WAV.
Export the mixdown with the Peak Limiter in place — don’t bypass it.
Re-check the exported file’s LUFS and true peak to confirm about −14 LUFS and −1 dB.
Want it done for you? Drop the raw mix into Loopin’s free mastering tool and it targets −14 LUFS and −1 dBTP automatically.

Common mistakes in Bitwig mastering

Processing tracks instead of the master — the chain belongs on the master track.
Exporting without measuring loudness — use a metering device so you confirm about −14 LUFS.
Leaving the low end wide — mono the bass with Tool so it translates everywhere.
Over-driving the multiband — it’s for glue and control, not squashing.
Setting the Peak Limiter above −1 dB — the −1 dB ceiling leaves headroom for lossy encoding.
Chasing loudness past −14 LUFS — streaming turns hot masters down and keeps the artifacts.

The faster free alternative

Stock Bitwig devices give you total control, but wiring EQ+, Multiband FX, Saturator, Tool and the Peak Limiter and dialing each one takes time and a good ear. Loopin’s online mastering runs the same sequence — corrective EQ, multiband compression with an independent low end, saturation, M/S stereo shaping with the low end mono, two-pass loudness targeting to about −14 LUFS and a true-peak limiter at −1 dBTP — automatically in your browser.

It’s free, needs no signup, uploads nothing, and adds no watermark. A/B it against your mix and export a 16-bit WAV in minutes, then take it back into Bitwig if you want to fine-tune.

Frequently asked questions

Can you master in Bitwig with only stock devices?

Yes. Bitwig’s stock devices cover a full master chain on the master track: EQ+ for corrective EQ, Multiband FX or Compressor+ for glue and multiband, an optional Saturator, the Tool device for gain and width, then the Peak Limiter with a −1 dB ceiling. Export to WAV with the limiter in place.

What LUFS should I target when mastering in Bitwig?

About −14 LUFS integrated, which matches the level major streaming platforms normalize toward. Add a metering device so you can confirm you’ve landed there before exporting WAV.

How do I mono the low end in Bitwig?

Use the Tool device on the master to narrow the stereo width of the low end so the bass stays centered. Keeping the low end mono helps the track translate on club systems, vinyl and phone speakers.

What ceiling should the Bitwig Peak Limiter use?

Set the Peak Limiter’s ceiling to −1 dB. It keeps peaks below that level, leaving headroom so lossy encoders don’t clip on playback. Export with it in place.

Is there a faster free alternative to building a Bitwig chain?

Yes. Loopin’s browser mastering runs corrective EQ, multiband compression, saturation, stereo shaping with the low end mono, loudness to about −14 LUFS and a −1 dBTP limiter automatically. It’s free, uploads nothing, and exports a 16-bit WAV.