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A reasonable starting point when mastering is equalization. While most people understand 
how equalizers work and what they can do, it’s not always easy to balance a mix with one. 

 

 

When we’re trying to get our mixes to sound good, what we’re shooting for is a “tonal 

balance”. Any instrument specific equalization has hopefully been done during arranging and 
mixdown, so we’re just trying to shape the overall sound into something that sounds natural. 

Sometimes that’s easier said than done, but there are some general techniques you can use to 

get a decent tonal balance. 
 

 
Here’s a basic review of the principles of equalizers before jumping into the process. 

 

There are many different types of equalizers, but they are all meant to boost or cut specific 
frequencies or ranges of frequencies. Our focus here is on parametric equalizers, which 

provide the greatest level of control for each band. 

 
Parametric EQs are typically made up of several bands. A band of EQ is a single filter. You can 

use each band to boost or cut frequencies within the range of the band. By combining bands, 

you can create a practically infinite number of equalization shapes. 

 
The picture below shows the equalizer screen in Ozone, but the principles are the same for 

most parametric EQs. There are 8 sets of arrows, which represent 8 bands of equalization. 

One band is selected, and has been dragged down to cut the frequencies in the range of 3753 
Hz by –3.5 dB. 

 

The bright red curve shows the composite or overall effect of all the bands combined. The 
darker red curve shows the effect of the single band that’s selected.

 

 

 

 

 

Ozone™ Mastering Guide 

Page 14 of 66 

©2003 iZotope, Inc.