Setting the limiter before EQ in mastering lets all subsequent decisions account for its tonal contribution

A limiter changes the perceived tone of a track: it typically reduces the prominence of the lowest bass transients (which tend to be the highest-amplitude content and hit the limiter first) and can make the top end seem slightly brighter. If EQ is applied first and then the limiter is enabled, the tonal balance the engineer was working toward shifts — requiring re-evaluation of all EQ decisions. Setting the limiter first and working ‘to it’ means the EQ is calibrated with the limiter’s tonal contribution already baked in, yielding a more stable chain. This is especially relevant when the limiter is doing significant work (multiple dB of gain reduction).

Examples

1. Instantiate limiter. 2. Pull threshold to approximate target loudness. 3. Enable bypass with gain match to hear the limiter’s tonal effect. 4. Now apply EQ knowing what the limiter is doing to the spectrum. 5. A/B the full chain (EQ+limiter) against the flat signal.

Assessment

You apply EQ first (cut 2 kHz, shelf-boost top end), then add a limiter. You notice the result sounds dull. What likely happened and how would re-ordering the chain prevent this problem?