Audio Effects Chain: Correct Order for Mixing and Mastering
The order of audio effects in the signal chain dramatically affects the final result. Placing compression before EQ produces different results than EQ before compression. Understanding the correct sequence prevents common mixing mistakes.
Key Takeaways
- Each effect in the chain processes the output of the previous effect.
- Remove low-frequency rumble and noise before any other processing.
- For mastering (processing the final stereo mix):
- Reverb/Delay (Last) Time-based effects are always last in the chain.
- Limiter The limiter is always the final processor, catching peaks and enforcing the loudness ceiling.
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Why Order Matters
Each effect in the chain processes the output of the previous effect. A compressor placed after an EQ boost will react to the boosted frequencies more aggressively than the unboosted ones. Reversing the order produces a fundamentally different sound. There is no single 'correct' order, but there is a standard sequence that works as a starting point.
Recommended Channel Strip Order
1. High-Pass Filter (First)
Remove low-frequency rumble and noise before any other processing. Set the cutoff at 80-100 Hz for vocals, 30-60 Hz for instruments. This prevents subsonic energy from triggering the compressor and consuming headroom.
2. Subtractive EQ (Second)
Cut problematic frequencies — nasal resonance (800 Hz-1 kHz), muddiness (200-400 Hz), harshness (2-4 kHz). Always cut before boosting. Subtractive EQ cleans the signal before compression, so the compressor works on a cleaner input.
3. Compression (Third)
Even out the dynamic range. With problematic frequencies already removed by EQ, the compressor responds more predictably. Typical voice settings: 3:1 ratio, fast attack (5-10 ms), medium release (100-200 ms).
4. Additive EQ (Fourth)
Boost desirable frequencies — vocal presence (3-5 kHz), air (10-12 kHz), warmth (200-300 Hz). Boosting after compression means the compressor does not squash the boosted frequencies.
5. De-Esser (Fifth)
Tame sibilance (harsh 's' and 'sh' sounds) in the 5-10 kHz range. Placed after additive EQ because presence boosts can increase sibilance.
6. Saturation/Harmonic Enhancer (Sixth)
Subtle harmonic saturation adds warmth and analog character. Apply after all corrective processing so it enhances the finished sound.
7. Reverb/Delay (Last)
Time-based effects are always last in the chain. They process the final, polished signal and create the sense of space. Compressing after reverb would destroy the reverb's natural decay.
Mastering Chain
For mastering (processing the final stereo mix):
- EQ → 2. Multiband compression → 3. Stereo enhancement → 4. Limiter
The limiter is always the final processor, catching peaks and enforcing the loudness ceiling.