I also applied high‑ and low‑pass filters to tidy up the extreme ends of the frequency range. In this case, comparing the frequency curves encouraged me to experiment with small boosts centred at 60Hz, 2kHz and 7kHz, while also applying small cuts at 125Hz, 1kHz and above 10kHz. I did not actually use CurveEQ to apply any EQ changes - Instead, I made my EQ moves manually using Frequency 2 - but it is a useful visual guide if you wish to nudge your own track in the direction of a reference. CurveEQ can also calculate an EQ curve that makes the signal (in this case, my track) match the EQ spectrum of a reference track. Inserted on any track, this plug‑in can capture an EQ spectrum of the audio that’s passing through this spectrum can then be loaded into another instance of the plug‑in, allowing direct comparison between two (or more) signals. I then used CurveEQ to compare the overall spectral balance of my as‑yet unprocessed mix and a reference track I’d chosen. Compare The EQĪs in the April 2021 column, my first step was to use my VU meter and SuperVision’s Loudness module to adjust the channel gain in the Channel Settings dialogue, aiming to get the level of my raw mix to average/peak levels around 2‑3 dB below Ian’s suggested final targets (‑11dB on my VU meter and ‑10 LUFS for short‑term loudness). SuperVision provided loudness metering alongside Klanghelm’s VU Meter (my favourite third‑party option). For comparing the spectral content of my master with my reference, I used Voxengo’s CurveEQ, which is bundled with Cubase Pro.
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I also placed an instance of Brickwall Limiter at the end of the chain, just to catch any stray peaks, and used freebie VU and loudness meters to monitor the final level of my in‑progress master.įor my multiband signal chain, I substituted StudioEQ for Frequency 2 and Compressor for Multiband Compressor, added instances of Imager (for stereo image adjustments) and Quadrafuzz 2 (for saturation), and kept Limiter and Brickwall Limiter in place. In my previous article, I followed Ian’s keep‑it‑simple approach and used a signal chain comprising Cubase’s StudioEQ, Compressor and Limiter plug‑ins. To accompany the article, I’ve prepared a number of audio examples, which you’ll find in the ' Audio Examples' box.
CUBASE TUTORIALS PRO
As mentioned in that article, though, Cubase Pro also boasts an impressive collection of multiband processors - so in this article, I’ll consider the pros and cons of using these powerful tools for our DIY mastering signal chain.
![cubase tutorials cubase tutorials](https://i.ytimg.com/vi/kg5_HiSr3oc/maxresdefault.jpg)
CUBASE TUTORIALS SERIES
The approach followed the principles outlined by Ian Shepherd in his SOS Mastering Essentials video series ( ), and used stock plug‑ins that are available to all users of Cubase 11 Pro, Artist and Elements, as well as a couple of third‑party freebie metering plug‑ins. In April 2021, I described a simple, single‑band signal chain for DIY mastering in Cubase.
![cubase tutorials cubase tutorials](https://www.soundandrecording.de/wp-content/uploads/2019/12/Farbwerkzeug.jpg)
We explore how Cubase’s multiband tools can help you master your own mixes. Voxengo’s CurveEQ plug‑in, bundled with Cubase Pro, allows you to compare the EQ spectrum of your mix with that of a reference track.