Bob Ludwig, Radiohead, and the Art of Elegant Problem-Solving in Mastering
“Complex problems don’t always need complex solutions.”
Every mastering engineer wants to know what Bob Ludwig did to your favorite record.
We can't ask. He probably wouldn't tell us anyway. All we have is the finished master and our best guesses.
But sometimes you get a gift.
In 2007, Radiohead released stems for "Reckoner." Summing the stems to recreate the mix, I can match Ludwig's master and reverse-engineer every move he made.
With all tracks I work with that derive from stems, it's impossible to know what the mix engineer contributed versus what the mastering engineer did. That's especially true when heavy processing is involved. But based on other tracks I've analysed from Ludwig, and what he said in this interview, it's likely that Ludwig would have dug in on this master.
There are many interesting things happening with this master. Heavy compression and EQ were required for me to match the official master. But I want to focus on one thing today: the high frequency EQ approach.
The master has a big high shelf boost—about 3.5dB—that helps open up the track. It brings out the vocals and gives the track more energy and presence. But there's a very prominent (and cool) tambourine part on this track. Bringing up the top end this much overemphasises the tambourine. It takes an interesting element of this mix and makes it harsh and irritating.
So what to do?
This is where some engineers might reach for a multiband compressor or dynamic EQ. That can work sometimes. But overuse dynamic processing and it becomes noticeable. Generally speaking, the best mastering engineers want to make their contributions seem as transparent as possible. The goal is to put the focus on the music, not the mastering.
Instead of dynamic processing, Ludwig seems to have applied a basic static EQ dip—about -1dB at 8kHz. The combination of that with the high shelf boost works perfectly. You get the nice open presence from the increased top end, without the harshness. The tambourine becomes perfectly balanced within the track.
This is a great technique for your toolbox. Often, I'll want to open up a track's top end, like on "Reckoner." But doing so can bring out the sibilance in the vocals. A de-esser can help, of course. But sometimes, a basic, targeted EQ cut will work better.
You can also use the same technique for the bottom end. For instance, with tracks that feature upright bass, there will often be resonances left over from the recording process. I'll find the resonances that might be sticking out and EQ them down. Then I'll use a wide shelf to bring up the overall bottom end. This allows me to give the bass more presence and body, without the track getting too boomy.
The lesson
Complex problems don't always need complex solutions.
Ludwig could have used sophisticated dynamic processing to tame that tambourine. Instead, he chose the approach that served the music best: a simple cut combined with his shelf boost.
The goal isn't to show off your processing skills. It's to make the track sound like the best possible version of itself.
Sometimes that means reaching for the simplest tool in your kit.
