The Mastering Chain, Explained
Updated June 2026 · by Loopin
The mastering chain is the ordered sequence of processing a track passes through to go from finished mix to polished master. Here's each stage, what it does, and why the order matters.
What a mastering chain is
A mastering chain is simply the series of processors a stereo mix runs through, in order, to become a master. A typical chain is corrective EQ, then compression, then tonal EQ, then a limiter, with metering watching the whole time. Each stage does one job and hands off to the next.
Order matters because each stage acts on the output of the one before it. Get the sequence wrong and you fight yourself — limiting before you’ve balanced the tone, say, locks in problems you then can’t fix. You don’t have to build this by hand, though: Loopin’s free mastering applies a sensible chain for you in minutes.
EQ: balancing the tone
EQ is usually first. Corrective EQ tames specific problems — a harsh resonance, a boomy buildup, an overly bright top — with narrow, surgical cuts. Then gentle tonal EQ shapes the overall character: a touch of air up top, a little weight in the low end, so the track sits alongside commercial references rather than sounding dull or shrill.
The key word is gentle. Mastering EQ moves are small — often a decibel or less — because you’re polishing a finished mix, not remixing it. Big EQ moves at the master stage usually mean a problem that should have been fixed in the mix, which is the line mixing vs mastering draws.
Compression: glue and control
Next comes compression — but mastering compression is light. Its job isn’t to squash; it’s to glue the mix, gently evening out loud and quiet sections so the track feels cohesive and controlled. A slow attack and low ratio keep transients intact while subtly tightening the dynamics.
Overdo it here and the master loses life — the punch of the drums goes flat. Done right, you barely notice the compression is on; the track just feels a little more solid and consistent. It sets up the loudness stage that follows by handing it a steadier signal.
Limiting and metering: loudness and safety
The limiter is the last processor. It raises the overall level to a competitive loudness while a true-peak ceiling — usually around −1 dBTP — stops anything from clipping, including the inter-sample peaks a normal meter misses. This is where the track reaches its final loudness without distorting. Aim for around −14 LUFS integrated; how loud a master should be explains why.
Metering runs throughout, watching LUFS and true peak so you hit the targets instead of guessing. The free mastering tool measures all of this and lets you A/B against the original, loudness-matched, so you judge tone honestly. That’s the whole chain — balance, glue, loudness, safety — and a finished master at the end.
Frequently asked questions
What is a mastering chain?
It's the ordered sequence of processing a finished mix passes through to become a master — typically corrective EQ, compression, tonal EQ and a limiter, with metering throughout. Each stage does one job before handing off to the next.
What order should mastering processors go in?
A common order is corrective EQ, then light compression, then tonal EQ, then a limiter, with metering watching the whole time. Order matters because each stage acts on the output of the previous one — limiting comes last.
Do I need to build a mastering chain myself?
No. Loopin's free online mastering applies a sensible chain — tonal balance, gentle dynamics, loudness and true-peak limiting — automatically, and lets you A/B against the original loudness-matched, with no plugins or account.