Lars Lentz Audio™

Each individual approaches the art of mastering music in their own unique way, influenced by their personal experiences, preferences, and the genres they are passionate about. I thought it might be beneficial to share my process in hopes of inspiring some ideas for others who are on a similar journey. This post serves as a personal reminder of the reasons behind my choices, ensuring I don’t regress in my mastering journey. It’s a way to anchor my methodology in memory, allowing me to reflect on my progress and the lessons I’ve learned along the way. I often find myself revisiting certain techniques and strategies that have proven effective, which helps me stay focused and motivated. However, feel free to take a glimpse into my world if you’re curious about my approach. Just a note—I’m not a seasoned expert and am still on my learning path, so please interpret my insights with a grain of salt. I’m genuinely thrilled to assist and share what I can, and I encourage others to share their experiences as well, as we can all learn from one another. The beauty of music lies in its diversity, and I believe that every perspective adds value to the conversation.

Last updated: 1-October-2025

My Master Chain(s)

My master chain has a basic structure:

Gain Staging–>Multi-band Compression–>Harshness Removal–>Optical Compression–>EQ–>VCA Compression–> Low-End EQ–>Shaping EQ–>Harmonic Exciter–>Limiter.

Below are each element of my master chains explained in detail.

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VUMT meter – VU meter, but I often switch back and forth between VU and RMS/Peak because my goal here is to not have peaks above -6dB coming into my master chain. If they’re higher, I turn them down here so they’re just hitting -6dB. Often I don’t need to make any adjustments here.

In the image below, the lower left value (-19.1 in this case) is the RMS level coming in, and the lower right value (-9.4 at this time of the capture) is the peak level. The light in the upper right of the meter which is off right now will alight when peaks breach the -6 dB level – alerting me to when I have peaks of about -6 dB and I turn the trim knob CCW to turn down the incoming level until I have peaks just below -6 dB. I do the same for incoming levels lower than -6 dB, turning the trim knob CW to increase the incoming level.

I choose to have 6dB of headroom (no peaks above -6dB) because of a recommendation from Deadmau5 in his Masterclass. This is where I learned a lot about music production when I was just starting out in about 2017 or 2018.

You can certainly use any type of meter here, but I chose the VUMT because it is so versatile and cheap (but excellent). It works well as a VU meter on my instruments for leveling before going into my mix bus so I can keep the same meter but choose different displays.

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ProAudioDSP DSM – prismatic (multi-band) compressor set to a threshold of -6dB level with ratio of 2:1 and make-up gain of 6dB. Inputs should be hitting -6dB at the maximum. I set the curve by recording it during the loudest or “right” portion of a track as I play it back. I adjust the LF and HF usually quite high, but this is a creative decision. I like the output to be hitting -6dB peaks at the maximum so I adjust the make-up gain if needed.

This plugin highlights the signal if it goes over -6dB on input or output, so that is where I try to stay both going into it and out of it.

This multi-band compressor goes toward the top of my chain because it serves to level out all of the bands and tighten up the sound of the track before I process it further. It targets and corrects problematic frequency regions while preserving the overall sound character. This is what I want early in my chain.

It is easy to set up this compressor, and proper set-up makes all the difference because this one is very important in my chain:

1. I select a threshold of -6 dB and a ratio of 2. 2 is a low ratio which is what I want on my master as I am not looking to drastically compress or change the sound in any way. I just want to tighten up and gel together the sound.
2. I set the threshold at -6 dB, and the gain initially at 6 dB. -6 dB on the threshold gives me enough compression to be just noticeable. Setting the gain at 6 dB allows make up of that -6 dB threshold so my output level mirrors my input.
3. I set the attack at 100 ms and release at 100 ms.
4. The knee I set at 3 dB.
5. I let the track play and check the input meter on the left. It should be hitting -6 dB on the peaks. If it is too low, I adjust the VUMT meter that is ahead of it, so the level is corrected to be hitting -6 dB.
6. While the best part of the song is playing (sometimes that is the loudest part), I hit the capture button – sometimes holding it down.
7. I adjust the LF and HF timing and may need to recapture.
8. If the output meter is not hitting -6 dB with the peaks, I adjust the dynamics gain until it is.
9. Master controls I leave at 100% and 0 dB.

I received the advice for these settings from Ian Shepherd.

Attack Time: 70-100 ms (as suggested by Ian Shepherd). I use 100 ms as my starting point because I don’t want the compressor reacting to the material as much and I want to let the transients through.

Release Time: 100 ms (a common starting point, also mentioned by Ian Shepherd)
Depending on the specific track and desired sound, these settings can serve as a foundation for further adjustments. For example, if you want to squash or limit the sound, use shorter release times (50-10 ms). If you want to maintain a natural sound, use longer release times (200+ ms).

In the SOS video about multi-band compression, Ian shows his multi-band compressor with starting values of 100 ms for attack and release and ratio of 2 in each band (see image below). This is at about 12:46 in the video (below the image below).

You can make a complete mess of your music if you get this multi-band compression wrong, so I spend a lot of time with this one. It is fairly easy though using the ProAudioDSP product.

This is a unique multi-band compressor and reading the manual (below) can give a lot of insight into its usefulness.

While it doesn’t impart a lot of harmonics to the signal, there are some odd-order harmonics (transformer) being added.

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DeEdger – this dynamics controller and harshness remover is set to the ever-problematic-for-harshness-area of 3.2 kHz. I increase the depth if needed during listening. Sometimes, I need to change the frequency, Q, or depth depending on the track. It is all done by ear, and I find this plugin’s setting “Masterbus” to be a “set it and forget it” type of setting.

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Millennia TCL-2 – this optical compressor is set to have a reduction of only 1-2 dB. I adjust the attack and release as needed but leave the ratio at the lowest setting of 2:1. I use the JFET mode (TT buttons illuminated). I adjust the threshold to the right to just get 1-2 dB of reduction on the meters (meter button illuminated). I rarely use M/S.

I keep the stereo link on (illuminated) while adjusting, but when I am done, I turn it off (stereo link button not illuminated) because this unlinks the left and right compressors and creates a wider stereo image. This is a good trick for getting wider sound. Often, I will then adjust independently the attack and release for each channel to give them a different sound. It can really help widen the sound if that is what I am going after.

I like the TCL-2 opto compressor to come before others because of the opto compresor’s gentle compressing while still achieving a tight and controlled sound.

I keep the ratio at 2:1 or 3:1 with an attack of about 20-50 ms and a release of around 0.1 s. For the processing topology, I like the JFET version.

The best way of setting the right amount of compression with this compressor is as follows:

1. Illuminate the stereo link LED so changes to one side affect both sides. This way you can concentrate on only one set of controls.
2. Choose a ratio. I like to stay in the 2:1 or 3:1 range for mastering.
3. Crank the threshold clockwise until getting a high amount of gain reduction on the meters (5-10 dB is about right).
4. Adjust the attack until the sound becomes musical and pleasing.
5. Adjust the release until the sound is pleasing.
6. Back off the threshold by turning it counterclockwise until about 1-2 dB of gain reduction is happening via the meters. Sometimes, I use even less – allowing the meters to just barely move. It depends on the track and how much compression of this type (opto/glue) I want or need.
7. Switch topology to get the right sound for your material (by ear).
8. Adjust the output by watching the meters (hit the meter switch to change to output) until getting about 0 on the needles. Switch in and out with the on/off switch until the makeup gain on the output level is about the same with the compressor engaged and when it is not.
9. Be sure to extinguish the stereo link LED so you are in dual mono mode.
10. Switch on and off with the power button to hear the effect of the compression.

Above, I said how I put this into the dual mono mode for a wider stereo image, and here’s why:

• Independent Processing: By processing the left and right channels separately, you can apply different compression settings or tonal adjustments to each side. This can enhance the stereo width and create a more dynamic listening experience.
• Enhanced Spatial Effects: The ability to manipulate each channel independently allows for introducing spatial effects that can make the mix feel larger and more enveloping, which is particularly beneficial in ambient and electronic music.
• Improved Clarity: Dual mono processing can help maintain clarity in the mix by preventing the potential muddiness that can occur when both channels are processed together. This clarity is essential for the intricate soundscapes typical of ambient music.

Many artists and recording houses have used Millennia products like this one. These products excel at the “clean” representation of music that is primarily acoustic or classical – but not always so. You really get the essence of the music with these products, and for me, they give me the output of what I originally heard when composing. The Millennia TCL-2 has a very pure and neutral character.

There are not many harmonics, according to the analysis by Plugin Doctor (below):

I get three main benefits from using this particular compressor:

1. Smooth optical compression. The optical compression of the TCL-2 does not react quickly so it smooths out the incoming sounds while preserving the transients. This has a tightening effect on the sound which I love.
2. The output topology of the JFET mode, gives me a compressor that is clean and very FET-like in the sound. Essentially I get the smoothness of an optical compressor with the sound of a FET compressor. FET compressors are fast-reacting and not suitable for most mastering. They’re usually used on drums and other instruments with fast transients. But in this case I can get that sound while having the reaction of an optical compressor.
3. Cleanliness. The TCL-2 is known for being a pristine-sounding compressor and does not color the output much at all in the JFET mode. What goes in comes out unscathed by coloration and this is what I want in mastering.

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Millennia NSEQ-2 – this equalizer comes next after the TCL-2 to make tonal adjustments prior to the VCA compressor (that comes next) to give the track something naturally and tonally flat and nicely balanced before it hits the VCA compressor. Again, I use the JFET option 99% of the time and unlink the channels when done adjusting. I rarely use M/S. Adjustments here are by ear. I find that this equalizer is excellent at getting just the “right” sound for me, and I have less difficulty with this one than many of the others I’ve tried.

It has a very clean feeling to it and produces well-balanced mixes. This is probably due to the low amount of harmonics that it imparts.

I adjust this equalizer by ear as this is a finishing touch to the whole track and I try to get a good sound that I like before moving on. I don’t want to make major adjustments here as that should be done earlier and in the instrument channels (using Claro or something similar).

I can see some even harmonics of a very low level in this EQ when I have it on JFET mode (see below). Odd harmonics are even lower.

It is tempting to switch off the 10 dB lights and get 20 dB of adjustment out of this equalizer, but that has never worked out for me on the master bus. On an instrument, yes. But on the master, it makes too much of an adjustment and I lose the original intent of the track.

Both the Millennia TCL-2 and NSEQ-2 plugins provide powerful tools for producers of ambient and electronic music. Their versatility, sonic qualities, and advanced features enable artists to craft intricate soundscapes and dynamic mixes that resonate with listeners. Whether it’s through transparent compression or flexible EQ options, these plugins can significantly enhance the creative process in music production.

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Vertigo Sound VSC-3 – this VCA compressor is another key element.

I adjust the threshold until the meters are diving down to their mid-points or less (it depends on the track).

The ratio I usually have at 2:1 but sometimes have used 4:1 or the soft function.

Attack is usually starting at about 0.3 ms but I adjust as needed.

Release I leave 99% of the time at A Fast (automatic fast).

I always have this compressor in Dual (dual mono) mode. This is again the trick of allowing each left and right channel to be compressed separately and it widens the stereo image a lot.

Makeup gain I like to have in the area of 3dB but adjust up or downward usually after making downstream adjustments later. I start around 3dB though.

The SC filter I often have up as high as 90 Hz for heavily percussive or drum-intensive tracks. Mix is at 100%. I oversample on this at as high as my machine allows but not more than 8x as I see waning benefits above.

With this compressor, I spend most of my time getting the compression just right to achieve a lot of the levels I want in my track.

Gain reduction of up to 5 dB or more in some cases is perfectly okay and the compressor is so transparent that it is hard to notice it except for overall level reduction which I make up with the make up controls.

I like to have a ratio of 2:1 with an attack of 0.3 ms and a fast (automatic) release. I usually put in a sidechain filter at 90 Hz so below this frequency, there is a reduced amount of compression (but still some compression).

This compressor has a very low noise profile in the harmonics it imparts to the signal. This is in contrast to most other plugins of this type which seem to have noise in the harmonics. I believe this Vertigo Sound plugin’s low amount of harmonic noise is partially responsible for its great sound.

Setting up this compressor on my master is fairly easy:

1. I want to be in peak and dual modes so I switch these switches accordingly.
2. I only want to work with one set of controls, but change both channels, so I set the dual setting under the Vertigo logo to on.
3. I pick a ratio of 2. But I can adjust this later as needed.
4. I turn the threshold counterclockwise until I get around 10dB of gain reduction showing on the meters.
5. I set the attack where I hear good definition and clarity with the transients coming through enough but not overpowering the track.
6. I do the same with the release and often settle on the automatic fast setting.
7. I adjust the SC filter up to about 90 Hz to see if I like the sound better there or not, then set it where it sounds good in the bass without a lot of pumping (unless that is what I want there).
8. Then I back off the threshold until I am getting maybe 2-3 dB of compression or whatever sounds good. Sometimes this is more and sometimes less (or hardly any). I spend a lot of time on this step.
9. While switching the power switch on and off, I adjust the make up gain until I do not hear a level difference. This is usually at a dB level that corresponds to the amount of gain reduction on the meters.
10. Once set, I switch the compressor on and off to hear the effect of the compression.

One of the clear winning items and maybe the one that makes this compressor sound so good is the fact that it does not alter the phase because it processes both channels separately. This may not be obvious at all, but is a product of the design. Also, you can switch in FIR filters instead of IIR filters (standard) to not have phase changes at the top end. This is useful if you are mixing in the compressor at something less than 100%. I usually do not do parallel compression so I don’t use the FIR option often but it is good to know it is there and sometimes it makes a difference in the sound so I’ll switch it on.

The manual for the hardware is a good place to get information about how to adjust this compressor and its capabilities (see below). Definitely check out the plugin manual too (not included here) but everything you need should be in the hardware manual below.

This compressor gives a nice harmonic sound to the processed signal and as you can see below, it is a specialized curve based on the input and control settings with odd harmonics peaking around 700 Hz and the even harmonics at a lower level and dropping slightly from that point.

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Why Use Three Compressors on the Master?

The Pro Audio DSP DSM multi-band prismatic compressor comes first, leveling the audio across multiple frequency bands by compressing more where needed and less where not.

Then the TCL-2 optical compressor compresses the whole spectrum, which tightens and gels together everything. The optical compression is warm and musical with a 1 to 2 dB of gain reduction.

Then, the VSC-3 VCA compressor just tames the transients a bit to further tighten up and sculpt the sound. It adds punch to the signal by not hitting the peaks too hard, but compressing the slopes of the peaks. Because it reacts quickly, higher gain reductions sound transparent so 5 dB or so of gain reduction is perfectly okay.

None of these compressors is working very hard and that is the key. If you make any one of them compress too much, then things will get unbalanced quickly. By only allowing them to work gently, they each give their unique contribution and flavor to the sound.

In the video below, I showcase the use of two compressors in series on my master: the Millennia TCL-2 and the Vertigo Sound VSC-3. Pay close attention to how the Millennia TCL-2 responds to the piano, while the Vertigo Sound VSC-3 reacts to both the piano and the drums. As an opto compressor, the Millennia TCL-2 doesn’t heavily affect the drum transients, allowing them to pass through, while the VSC-3 captures them effectively. This setup demonstrates the unique capabilities of these compressors and their ability to enhance the overall sound.

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TDR Infrasonic – This infrasonic booster helps move the low frequencies that cannot be heard out of the low end by compensating for them by bumping up the harmonics at higher frequencies. This is a nice trick to getting great bass in a track. I find it keeps the bass by simulating frequencies that speakers can reproduce rather than the low ones they can’t. Consequently, the track will sound great in a car or on cheaper speaker systems, which will get your music played and enjoyed in more places. I use the settings shown but opt for Mxd instead of Min on the slope control. The Sub Harmonic button is depressed also, giving those low frequencies some notice.

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TDR SlickEQ M—This mastering parallel equalizer is another pivotal part of my mastering. I use the Smart Ops feature and balance to 10-20% with the built-in pink noise.

As it is a parallel equalizer, changes in one band affect all of the others, so I carefully tweak it after getting the initial recommendation from it in Smart Ops.

Sometimes, it is tempting to go back to the eq prior to this one and make a more severe adjustment, but this usually loses the original intent of the track.

Below is an excerpt from Bob Katz’s book explaining the issues possible with equalization and intent.

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Sonnox Oxford Inflator – this enhancer is like no other and is also a key ingredient in my sound. I usually have the curve around 17 but can go lower to 0 sometimes (and even lower), depending on how much saturation/loudness I want out of this plugin. I have the effect at 100%, and the limit and band split buttons are engaged. The band split button, in particular, is a secret item for me that really enhances my music. I watch that the output is not going over and adjust the input downward if it is. I adjust the curve up or down from my initial 17 setting depending on how much apparent loudness I want. Up gives more loudness and a fuller sound while below 0 is less full. Sometimes 0 on the curve is perfect.

If I have too high of integrated and short-term loudness, I change the curve setting to something lower. If I need more loudness, I up the curve number.

This is a harmonic-generating machine and gives those odd harmonics a boost using my settings shown here – see below.

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Sonnox Oxford Limiter – my limiter is this one because of many features that others simply do not have. Where to begin? This limiter sounds more like analog equipment than any others that I have tried. I never use the enhance function and this is mainly because I am using the inflator which does something similar (but not the same) as the enhance function. I set the threshold at -0.1 dB and the thing has an internal headroom so that I don’t get distortion even if I am hitting the limit really hard. I have it do my dithering at a 70% depth of type-1 24-bit dither that I have found is just about right and simulates the Goodhertz Good Dither really well so I don’t need that plugin to achieve what I am after as far as dithering goes. Going back to the attack and release, I set the attack somewhat slow and the release moderately fast and this (settings shown below) give me a very musical feel while not having any pumping. If my track has sufficient dynamics but is just too loud overall,

I like to bring the soft knee up to something higher than the 1.5 dB I have it set at usually. What this does is allow a more gradual onset of limiting and brings the overall level down a bit while preserving the dynamics. I can control my maximum short-term loudness this way. I always use auto comp which does a true peak limiting job on the signal.

If, however, I have good integrated loudness and short-term loudness, but my threshold is not being reached at the input, I take the soft knee down to 0 and this allows the peaks to hit the limiter’s threshold. This gives me higher PLR and more dynamics.

No real harmonics are imparted to the music with this limiter using the settings I have here – see below.

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Final Track Output Levels

I have a post written about what I currently do for streaming and what levels I try to achieve (click here to see it).

Below I have a video where you can see my limiter and my metering for the levels I want to achieve.

The final outcome is right where I want it (image below):

• True Peak -0.09
• Short-Term Loudness -10.8 LUFS
• PLR 13.2
• PSR is spiky and mostly above the 10 guardrails
• Integrated Loudness -13.3 LUFS