Multiband Mastering
Splitting the spectrum so only the problem band is controlled, while the rest of the master keeps its tone and impact.
Related
Multiband processing splits the spectrum and controls each range. Its value is keeping one problem band from dragging down the whole master.
The problem
With full-band compression, one kick pulls the whole level down and the highs pump. The midrange where the vocal lives is already crowded, and single-band compression flattens it further.
Goals and standards
Fix only the band that needs it and leave the rest alone. A common approach uses two or three bands with crossovers near 100 to 200 Hz and 1 to 3 kHz. The low band can be steadier, the mid keeps outlines, and the top is only gently softened.
Practice
Ask whether the problem really comes from one band; if EQ solves it, skip multiband. Start with two bands and add complexity slowly. Use slower attack on the low band, light mid compression and very little on top. Compare bypass and check phase.
What to listen for
Hear whether the low end ducks when the kick lands, whether the vocal thins, and whether cymbals brighten.
Common misunderstandings
Multiband is not automatically better than single-band, and finer splits damage phase more easily. It cannot fix a single track either; that belongs in the mix. Nor is it a loudness tool.
Listen in the library
All tracks from midicn-lib — inline badge is the license tier (C1 commercial / C2 non-commercial / C3 study only).
Sources
- 多段压缩的分频、斜率与相位取舍，依动态处理与母带教材通识核查，未抄文本
- 多段处理只修正问题频段的原则，依母带工程通识核查，未抄文本
Used for fact-checking only; all prose is original.