I seriously started doubting my eyes, how come I've never seen Match EQ in Logic? Lol. I thought it was an additional plugin to buy. Thanks Juno, you are the best! So eye opening!
Wow. Thank you for (unknowingly) riding my wave, yet again. Today I was working with two takes (same mic, but maybe the angle or distance had unintentionally shifted), and briefly wondered if Logic had a match EQ function. I was manually adjusting the EQ, but wondered if such a function could manage it with more alacrity. I then thought were I to group some of my pieces on an album, if such a function would help bring cohesion (post mastering or pre?). In other news, I am so in love, Jono Buchanan, with that lo-fi track. It's very much my vibe, but pushed my envelope and helped me to grasp how chaos and the unexpected (for lack of better terms) can compliment elegance and groove. A very cool yin/yang, masculine/feminine appeal.
Thanks Jennifer. Great that we're in sync once again! To answer your question - Match EQ is certainly capable of providing cohesion to whole tracks before the mastering stage (I wouldn't dive back in after mastering, as part of the mastering engineer's job will be to balance tone across the tracks in your collection) but I would tread carefully, or print multiple versions with different 'strengths' of Match EQ applied, to take to the mastering session. Applying one track's tonal footprint to another is amazing, but quite a radical 'late move' in the process. So it can definitely be a valuable tool but it's easy to be seduced by the potential when your ears are already well used to your original mix. Glad you like the track - it's based on one of the Live Loops sessions, so do go and have a play with those sounds!
I discovered that Logic had Match EQ just yesterday, so this video is extremely useful and very timely, so thanks!. In a video I watched yesterday one producer matched a vocal bus against an instrument bus and then dragged the Apply slider right down to -100%. This had the effect of notching out the instruments to allow the vocals to sit nicely on top. A great application of this tool, I thought. I'm sure there are other creative uses.
Thank you very much, Jono! I already had some experience in using the Match EQ, but you present some very important details which I had not discovered until now.
Superb! I didn’t know you could drag a file into the plugin as a time-saver, and this video (again) provides so much more detail that I was previously unaware of.. Thank you 👍
Hi Brandon. Thanks… and welcome! There are new episodes on the channel every Wednesday, Shorts on Saturdays and plenty of new things planned for 2024 too. We’re delighted to have you with us.
Great session - going to explore some uses on individual sounds like hats, kick and bass - my weakness is tweaking EQs so this might be at the least educational to what’s happening on sounds I like - thanks
Have fun! Do remember that Match EQ's job is to apply the tonal footprint one one sound to another, and it's not so influenced by dynamic level. So you might find that use on individual sounds is less spectacular. Even though Kicks (or Snares or Hats) can sound radically different to our ears, the frequency footprint of different Kicks (or Snares or Hats) might not be 'too' different. Absolutely do try it and let me know how you get on. But you might get even more luck using Match EQ across an entire drum mix, using another Drum Loop or mix as the reference.
Blimey! Used that tool, once, many years ago. The UI update makes things so much clearer and intuitive. Interesting results, also - Even if we wanted to do such extreme EQ'ing, the channel EQ can't give anywhere near that many bands. I wonder if, once everything has been matched, it would make sense to EQ various of the separate tracks INTO the Match EQ e.g if everything is perfect but it's just lacking some oomph in the subs, Or will this have some negative effect on the entire matched profile? Cheers :)
Good question. I certainly think that there's scope to use Match EQ 'only' as a reference, to see how a mix sounds with it on and then to remove it and to apply the elements of the tonal shifts you like to just some of the individual parts or stems of your mix using 'regular' EQ. Or, if you like the energy or fizz you're getting from Match EQ on the drums or the pads but you find that same fizz distracting on the vocals, you could move the Match EQ plug-in to the track (or Track Stack) containing those parts, rather than leaving it on at the output stage, where it will be affecting everything.
Hi Jono. Another great one. I use Match EQ all the time but to remove clashing frequencies between tracks of the same project by choosing the track of most musical interest as the reference to affect the "current" track which is getting in the way. I pull the resulting curve into reverse to make the space. A request. Not sure whether you've already done this but I'd love to see exactly what the differences are between the Limiter and Adaptive Limiter and how to combine them. Many thanks in advance.
@@andyk5495 Look at the gain slider on the right. Instead of adding, pull it the other way to subtract. You can reduce the smoothing for more precise control. The free Tokyo Dawn Labs TDR Nova dynamic EQ is also fabulous ducking annoying frequencies.
Good video. Thank you. So you can't drag the first track into the 'Current' pane, and have the track immediately analysed, the same way you dragged the second track into the reference pane?
Hi. You can do this but only if your ‘Current’ track exists as a drag and droppable WAV file. Often, you’ll be using Match EQ on an open project rather than with a rendered audio file, which is why it will need scanning in real time as you play the track back. If you have your mix file bounced to audio, you can absolutely drag and drop it onto the ‘Current’ pane.
I always thought this can be a great learning tool for beginners, particularly because you can hear but also see the changes needed for some audio part to sound in a certain way. Maybe I'm being captain Obivous 😀
Hi Donnie. Not at all - you're absolutely right. But I do think its usefulness goes further than matching its graphical EQ capabilities to the sound it can produce. In fact, I think it's probably 'not' the EQ to use if you just want to change the tone of a sound within your mix. Its ability to import another sound source and apply that frequency footprint to another marks it out as a pretty bespoke tool.
Hi. Yes, I'm sure it was primarily designed for people to match the tonal footprint of their tracks to their favourite tracks in similar genres, but some really interesting things can happen if you cross genres between Reference and Source tracks, as I hope the video demonstrates!
@@jonobuchananmusic ah yes new sonics can be found..This video was excellent...I didn't even know the plugin was in logic..I got caught up on 3rd party plugins..
You can certainly try. Match EQ isn’t a magic bullet for perfect tone matching and it’s certainly not an amp modeller. But it will do its best to figure out a tonal footprint to give you the chance to apply this to other sounds, for sure.
I was just trying to find its release date and will have to dig a little deeper to do so. But it has certainly been a Logic feature for 10 years, at least.
Seems the same as Izotope AutoLens to extract a model from 1 song - say a cover - then apply the tonal target in Ozone. Ozone is a master tool, but it also be used as a tool on any track. 😮
You’re good for my marriage 😅 b/c… … you save me a fortune 💸 … so long as I remember to check your channel whenever I get the itch to buy a plug-in. No need. Jono says, “Use this stock Logic one.”
IMO, things like match EQ can be useful learning tools, but not really that useful mixing tools. And the reference track should be super similar in every way as well, simply because different tracks require different mixing, even inside a fairly limited genre. Your choice of using an EDM track as the reference for a lofi hip hop instrumental, is a bit strange to me, because those genres have such different aesthetics. I personally make mostly house music, but even there you gotta be really careful about the references simply because even the professional tracks can sound (from a frequency balance POV) wildly different, yet all good. And also, even if the mix is balanced in the terms of frequencies, it doesn't necessarily make it sound good. When using reference tracks, their frequency balance might be a good ballpark to aim at, but at least for me it's more of a subjective comparison, ie. "does my mix FEEL as good as the professional's" and could it be played in the same DJ set, without it sounding awkwardly unprofessional. The point being, the ballpark is good to aim at, but different pieces of music require different mixes.
Hi. I couldn't agree more. Mixing should always be done with the ears and whichever tools allow you to achieve the results you want are the 'right' tools. On this Channel, I offer a range of content, some of which is designed to be a 'best practice' guide (for want of a better phrase) and some of which is made to explain the parameter sets of specific plug-ins, to provide some insight into how they work. Often, a deliberate mis-match of musical genres helps to shine a light on the sonic differences between mixes, which is what I aimed to showcase here; whereas the differences, timbrally, between two EDM records might be very slight, these musical examples allowed us to hear a dramatic change in tone by applying one kind set of EQ choices to another genre of track. You're right; in 99.9% of cases, this might not be the ideal way to apply Match EQ if you were working in either of these musical fields and looking for an output channel EQ solution to achieve a 'better' tonal structure. But in rare circumstances, either across entire mixes or on individual sounds, this approach can be highly creative, perhaps introducing a tonal flavour which widens the gene pool of sounds within a specific genre. And your last point is absolutely right too; every track each of us makes needs independent consideration from a tonal and dynamics perspective, rather than a 'this worked last time, so I'll do it again' approach. Thanks for your thoughtful comment and for sharing your experiences.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
just wanted to say, I really appreciate the pace, nuance and patience in the way you explain things. thanks a lot!
Thanks very much - kind words!
Already using Match EQ but you've refined my understanding of the flexibility of application of the curve once you've got it. Thanks Jono!
Thanks Paul. You're welcome!
Years using Logic & I still find you showing me things I never understood... Bang on Sir!
Thanks so much! And believe me, I’m always finding new things too, even after all of this time.
I seriously started doubting my eyes, how come I've never seen Match EQ in Logic? Lol. I thought it was an additional plugin to buy. Thanks Juno, you are the best! So eye opening!
Thank you - glad it was helpful. I'm loving the typo too. I'd seriously consider changing my name to match that of a Roland classic... ;)
@@jonobuchananmusic oops, maybe it was autocorrect to favor 80s :D
Thanks! Very well explained. this Weill help my Mastering. I am primarily self taught. for years. always learning!!!
Thanks Andrew. Absolutely, we're all always learning!
Ok, wow.
Only thing you didn’t explain is how on earth I had no idea this plug-in existed in logic already.
Massive thanks.
Hi Andrew, thanks so much as always. I WAS going to bring that up, but it felt rude to single you out… 😉 Hope all’s good with you.
It was very useful, thank you for bringing up such topics.
You're welcome!
Wow. Thank you for (unknowingly) riding my wave, yet again. Today I was working with two takes (same mic, but maybe the angle or distance had unintentionally shifted), and briefly wondered if Logic had a match EQ function. I was manually adjusting the EQ, but wondered if such a function could manage it with more alacrity. I then thought were I to group some of my pieces on an album, if such a function would help bring cohesion (post mastering or pre?).
In other news, I am so in love, Jono Buchanan, with that lo-fi track. It's very much my vibe, but pushed my envelope and helped me to grasp how chaos and the unexpected (for lack of better terms) can compliment elegance and groove. A very cool yin/yang, masculine/feminine appeal.
Thanks Jennifer. Great that we're in sync once again!
To answer your question - Match EQ is certainly capable of providing cohesion to whole tracks before the mastering stage (I wouldn't dive back in after mastering, as part of the mastering engineer's job will be to balance tone across the tracks in your collection) but I would tread carefully, or print multiple versions with different 'strengths' of Match EQ applied, to take to the mastering session. Applying one track's tonal footprint to another is amazing, but quite a radical 'late move' in the process. So it can definitely be a valuable tool but it's easy to be seduced by the potential when your ears are already well used to your original mix.
Glad you like the track - it's based on one of the Live Loops sessions, so do go and have a play with those sounds!
@@jonobuchananmusic Thank you, Jono, for the feedback! Yes, the track very much reminds me of my current project - uncannily so.
I discovered that Logic had Match EQ just yesterday, so this video is extremely useful and very timely, so thanks!. In a video I watched yesterday one producer matched a vocal bus against an instrument bus and then dragged the Apply slider right down to -100%. This had the effect of notching out the instruments to allow the vocals to sit nicely on top. A great application of this tool, I thought. I'm sure there are other creative uses.
Same here, I was not sure my version of Logic had it, but it’s there omg
Hi Garry. Thanks for sharing this - as you say, a great and intuitive use of this impressive tool.
Thank you very much, Jono! I already had some experience in using the Match EQ, but you present some very important details which I had not discovered until now.
BF! Thanks so much and glad there was some additional information for you here.
Thanks for shedding light on yet another corner of Logic!
You're welcome as always, Gary. Many thanks.
Superb! I didn’t know you could drag a file into the plugin as a time-saver, and this video (again) provides so much more detail that I was previously unaware of.. Thank you 👍
Hi Peter. Great, I'm so glad it provided a shortcut and some additional info. Thanks as always.
High quality content, definitely deserves more than a thumb up, thanks.
Thanks so much.
Very good content There's so much Logic Pro content thats only about the person hi-lighting themselves.
Thanks Michael. Teaching has been a big part of my life for 25 years and it's very important to me. I'm glad you're enjoying the videos.
Love the deep dives such as this one! Great job, and thank you J.B.!!
You're very welcome. I'm so glad to hear it was helpful.
Jono, great stuff as always mate
Thanks so much. Glad it was helpful.
Wow this is really well explained and demonstrated. Just found your channel. Great work.
Hi Brandon. Thanks… and welcome! There are new episodes on the channel every Wednesday, Shorts on Saturdays and plenty of new things planned for 2024 too. We’re delighted to have you with us.
Great session - going to explore some uses on individual sounds like hats, kick and bass - my weakness is tweaking EQs so this might be at the least educational to what’s happening on sounds I like - thanks
Have fun! Do remember that Match EQ's job is to apply the tonal footprint one one sound to another, and it's not so influenced by dynamic level. So you might find that use on individual sounds is less spectacular. Even though Kicks (or Snares or Hats) can sound radically different to our ears, the frequency footprint of different Kicks (or Snares or Hats) might not be 'too' different. Absolutely do try it and let me know how you get on. But you might get even more luck using Match EQ across an entire drum mix, using another Drum Loop or mix as the reference.
I absolutely love this plugin, I’m using Logic Pro for iPad.
Great! You're right, it's extremely useful.
Wow, great tutorial! Thanks again.!
My pleasure. Glad it was helpful.
Great tutorial, as always. I can't wait to experiment in Logic.
Thanks so much. Hope the experiments go well!
Great plug-in. Thanks Jono. 👍🇦🇺
It sure is! You're welcome.
Blimey! Used that tool, once, many years ago. The UI update makes things so much clearer and intuitive. Interesting results, also - Even if we wanted to do such extreme EQ'ing, the channel EQ can't give anywhere near that many bands.
I wonder if, once everything has been matched, it would make sense to EQ various of the separate tracks INTO the Match EQ e.g if everything is perfect but it's just lacking some oomph in the subs, Or will this have some negative effect on the entire matched profile?
Cheers :)
Good question. I certainly think that there's scope to use Match EQ 'only' as a reference, to see how a mix sounds with it on and then to remove it and to apply the elements of the tonal shifts you like to just some of the individual parts or stems of your mix using 'regular' EQ.
Or, if you like the energy or fizz you're getting from Match EQ on the drums or the pads but you find that same fizz distracting on the vocals, you could move the Match EQ plug-in to the track (or Track Stack) containing those parts, rather than leaving it on at the output stage, where it will be affecting everything.
@@jonobuchananmusic Thanks! Will have to do some experimenting with it 👍🏼
Très intéressant. Merci encore Jono ! 😉
Avec plaisir!
Hi Jono. Another great one. I use Match EQ all the time but to remove clashing frequencies between tracks of the same project by choosing the track of most musical interest as the reference to affect the "current" track which is getting in the way. I pull the resulting curve into reverse to make the space.
A request. Not sure whether you've already done this but I'd love to see exactly what the differences are between the Limiter and Adaptive Limiter and how to combine them. Many thanks in advance.
An excellent use of Match EQ! And absolutely, I’m happy to add a Limiter(s) deep dive to the list - on it!
@@jonobuchananmusicLooking forward to it!
Cool I was thinking the same thing. How do you pull the resulting curve in reverse?
@@andyk5495 Look at the gain slider on the right. Instead of adding, pull it the other way to subtract. You can reduce the smoothing for more precise control. The free Tokyo Dawn Labs TDR Nova dynamic EQ is also fabulous ducking annoying frequencies.
Good video. Thank you. So you can't drag the first track into the 'Current' pane, and have the track immediately analysed, the same way you dragged the second track into the reference pane?
Hi. You can do this but only if your ‘Current’ track exists as a drag and droppable WAV file. Often, you’ll be using Match EQ on an open project rather than with a rendered audio file, which is why it will need scanning in real time as you play the track back. If you have your mix file bounced to audio, you can absolutely drag and drop it onto the ‘Current’ pane.
I always thought this can be a great learning tool for beginners, particularly because you can hear but also see the changes needed for some audio part to sound in a certain way. Maybe I'm being captain Obivous 😀
Hi Donnie. Not at all - you're absolutely right. But I do think its usefulness goes further than matching its graphical EQ capabilities to the sound it can produce. In fact, I think it's probably 'not' the EQ to use if you just want to change the tone of a sound within your mix. Its ability to import another sound source and apply that frequency footprint to another marks it out as a pretty bespoke tool.
Super dope! That track is fresh too 💪🏽🔊🔊🔊
Thanks! It's made from one of the Live Loops sessions, so do go hunting for it and those same sounds and parts can be yours!
Thank you. Never heard or knew about “Live Loops sessions ” i’ll def look into it. Thanks again.
Thank you SO MUCH ❤
You're very welcome!
I guess this works nicely if you match same music styles..unless you want a particular sound from another genre to be applied to your music.
Hi. Yes, I'm sure it was primarily designed for people to match the tonal footprint of their tracks to their favourite tracks in similar genres, but some really interesting things can happen if you cross genres between Reference and Source tracks, as I hope the video demonstrates!
@@jonobuchananmusic ah yes new sonics can be found..This video was excellent...I didn't even know the plugin was in logic..I got caught up on 3rd party plugins..
Can you use an isolated guitar song from say Journey and use tone match to copy that tone so I can use with my line 6 Helix?
You can certainly try. Match EQ isn’t a magic bullet for perfect tone matching and it’s certainly not an amp modeller. But it will do its best to figure out a tonal footprint to give you the chance to apply this to other sounds, for sure.
what version of logic has this ?
I was just trying to find its release date and will have to dig a little deeper to do so. But it has certainly been a Logic feature for 10 years, at least.
Seems the same as Izotope AutoLens to extract a model from 1 song - say a cover - then apply the tonal target in Ozone. Ozone is a master tool, but it also be used as a tool on any track. 😮
Hi Jeffy. Yes, it’s a similar approach, capable of useful things on mixes, Track Stacks and individual tracks alike.
You’re good for my marriage 😅 b/c…
… you save me a fortune 💸 … so long as I remember to check your channel whenever I get the itch to buy a plug-in. No need. Jono says, “Use this stock Logic one.”
Happy to help! 🤣
thanks very very help me the👍👍👍 thanks
Great! You're welcome.
IMO, things like match EQ can be useful learning tools, but not really that useful mixing tools. And the reference track should be super similar in every way as well, simply because different tracks require different mixing, even inside a fairly limited genre. Your choice of using an EDM track as the reference for a lofi hip hop instrumental, is a bit strange to me, because those genres have such different aesthetics. I personally make mostly house music, but even there you gotta be really careful about the references simply because even the professional tracks can sound (from a frequency balance POV) wildly different, yet all good. And also, even if the mix is balanced in the terms of frequencies, it doesn't necessarily make it sound good. When using reference tracks, their frequency balance might be a good ballpark to aim at, but at least for me it's more of a subjective comparison, ie. "does my mix FEEL as good as the professional's" and could it be played in the same DJ set, without it sounding awkwardly unprofessional. The point being, the ballpark is good to aim at, but different pieces of music require different mixes.
Hi. I couldn't agree more. Mixing should always be done with the ears and whichever tools allow you to achieve the results you want are the 'right' tools. On this Channel, I offer a range of content, some of which is designed to be a 'best practice' guide (for want of a better phrase) and some of which is made to explain the parameter sets of specific plug-ins, to provide some insight into how they work. Often, a deliberate mis-match of musical genres helps to shine a light on the sonic differences between mixes, which is what I aimed to showcase here; whereas the differences, timbrally, between two EDM records might be very slight, these musical examples allowed us to hear a dramatic change in tone by applying one kind set of EQ choices to another genre of track. You're right; in 99.9% of cases, this might not be the ideal way to apply Match EQ if you were working in either of these musical fields and looking for an output channel EQ solution to achieve a 'better' tonal structure. But in rare circumstances, either across entire mixes or on individual sounds, this approach can be highly creative, perhaps introducing a tonal flavour which widens the gene pool of sounds within a specific genre. And your last point is absolutely right too; every track each of us makes needs independent consideration from a tonal and dynamics perspective, rather than a 'this worked last time, so I'll do it again' approach. Thanks for your thoughtful comment and for sharing your experiences.