@@TreyMixes And i thought iwas clever when i was mixing with pink noise in mono lol.. This is next level i suppose? I Always wonder if there was a way to use pink noise for EQ, not only gain staging the volume.. I wonder how this would be sounding on the Gullfoss EQ or Izotope Neutron... ;)
This technique is really good for getting started. I am pretty new to mixing and mastering so I am not entirely sure what to look for. Not having the best headphones makes this even harder. I just installed YSFX and the free spectrum matcher and applied this to an orchestral track I made. Even for my ears I could instantly tell that it made a huge differens and cleared up alot of the mud, especially during times where the entire orchestra is playing. It felt like a great quality improvement. especially when consindering the little amount of time it took.
I usually apply a bunch of effects to my vocals first, and then use this after to see what may have ruined the clarity of my recorded vocals for a track, after applying however much match eq percentage I see fit, I may or may not do additional channel EQing afterwards, but only minor adjustments if it’s for stylistic purposes. Also good in the overall mastering phase as well
And you'll also find that this technique will cause tracks to sound great in a lot of systems. A lot of newer car systems are tuned to either a pink noise curve or a 6db curve, which is very similar. You can use the above technique in mixing as an "umbrella" over your 2bus, and you can then make decisions about treatments of instrument tracks with that equalization in place. I agree with Trey here - from lots of experience, I've found that about 30% is the most you'll ever want to go. Of course, that would vary from track to track. If your track is off more than that, you have bigger problems.
not sure if you're gonna read this, but the "fade extremes" button on the top lets you cut the lows and the highs so those frequencies won't muddy up the song
Brilliantly thought out. Congratulations! At last, the correct application of pink noise and the key 'Eureka' knowledge that all other RUclips posts on this subject are missing! Your final freq profile is now in the realm of the typical 'smile' graph so often used in mastering. Its important to understand that pink noise is used in speaker design and manufacture as well as in professional mastering. That is why its entirely relevant and should be part of our workflow, otherwise our mixes won't translate to other playback systems. Your video is greatly appreciated, thank you! Subscribed.
I never used pink noise in any way, but I'm sort of thinking now maybe this technique would be decent to use as a reference. Or even to compare with your own choices and draw some information. I personally wouldn't use this technique in the final mix or master. But I would consider using it as a reference to make choices. The problem is that the spectrum will detect your most common notes and overtones and turn them down, then take all the rare notes and overtones and turn them up. You could end up with a weird disbalance over time. Therefore I'd look at the general pattern, like "it's getting rid of a lot of mud here, it's boosting some presence here" and then go ahead and apply that myself using a traditional EQ. No mixing or mastering engineer in their right mind would introduce such complex EQ adjustments to a whole mix, you're literally kinda ignoring all your previous decisions that you made based on feel.
Hi Trey - good video. I don't use Logic so maybe I am wrong? ... Your mixed track has low end rolloff - spectrum analyzer shows this - so yes, the Match EQ is going to bump up low end to compensate. Can't see the high end spectrum but upward compensation indicates the high end was rolled off too. That said, isn't this the kind of scenario where you use the 'Fade Extremes' check box, so Match EQ can compensate w/o such an obvious over-the-top mistmatch?
Hey just use SPAN and have all frequencies at the same level with the appropriate amount of slope (usually 4.5; pink noise has slope of 3, which is very bright. Techno is usually mixed at about 6).
Fen Garden open SPAN and in the settings menu there is the Slope knob, which by default is at 4.5; Slope is a visual correction on the analyzer which allows for equal "height" of the graph for all frequencies. Basically slope is compensating for the fact that low frequencies must be louder to be heard at equal loudness levels of the high frequencies. If you draw an imaginary horizontal line then all frequencies should be within this line -- yes, it's not a rule but a guide. I have explained more on here www.liveracks.com/reference-mixing-with-voxengo-span/
I have used this method while mastering when I don't trust my ears. You can have it ignore the highs and lows. I have used the Izotope Match EQ to do this as well.
It's a neat way to use match EQ. I had tried that too but it was mostly useless for me. The reasons are: One, in the time it took you to do that, I already knew what EQ changes had to be made to get it more balanced towards pink slope. It's IMO much faster just to memorize the slope you want and watch the spectrum analyzer in real time, making general adjustments accordingly. Second, that huge spike the match EQ gave you at the top and bottom of the spectrum is worse than useless. If you could bypass just the high and low shelf or adjust them separately, what you'd have left might be somewhat useful. Third, it's always better to adjust individual instruments to balance sound than to EQ the mains. I would have gone straight to the violin with some EQ (probably active) down round 4k, then looked to how to boost the treble of the mix in general. IMO, EQ on the mains should be a last resort and for VERY minor changes. As for mixing to the pink slope. In general I've been leveling with a slope similar to what you showed and getting very predictably acceptable balance in sound. Granted I don't do it by ear. I do it by eye on the graph because it's much more predictable. It's not the be all end all though. Because of how the ear perceived loudness depending on spectrum saturation and harmonics, blindly mixing to the slope isn't a good idea. Similar to what you said though, it seems to be a good starting reference point for leveling. I find I usually have to make moderate exceptions most places. So for me the slope is a guide to stay roughly around but not a hard rule.
I've never tried it, but I've wondered if Match EQ could be used for separation by applying it negatively. That is: you copy the curve from track A to track B and then set it to minus-whatever-percent, and that should in theory make B have a complementary curve to A.
Absolutely. I’ve used it for that with L and R side guitars before, but only with about 5% deviation. Won’t work in all cases, but worth attempting! Let me know if you find it successful.
Thanks helpful bro,you know other music producers take it for granted,but for the case of mixing and mastering engineers especially those who are at the early stages of their game,is very intuitive to try to use this pink noise Technics,is very helpful,my self I discovered this Technics after three years of my coming up,but all in all it helps me a lot to identify weak spots on my mixes,thank bro,greetings from East Africa Tanzania🇹🇿
Thank you, Trey! The first time I saw the video and saw this idea, couldn't wait to test it with the tracks I've been working on and have to send to another producer because I don't know how to mix very well yet. Game changer!!! Just a question, does it also works if I apply to each individual track of my mix or only when applied to the master?
Martin hey there. The goal of using pink noise as a reference isn’t to balance each track. You can certainly attempt, and there aren’t any rules about you making things sound good, or experimenting. But I would use match EQ more with other examples of similar instruments, like if you have an acoustic sound that you like and want to use match EQ to get closer to that sound for your own acoustic recording. But be aware it can be a pretty drastic transformation and not always as effective as getting the sound right at the source. But have fun and try all kinds of stuff, that’s part of learning! I think I have another video on using match eq to get L and R complementary EQ curves, so that’s another way to try to use it.
@@TreyMixes Thanks, Trey! After trying this on a lot of tracks, I have to say that it mostly makes them more thin.It's probably an awesome tool for the master track, though! Thank you!
Except most music is oriented on target noise with a slope of -4.5db per octave, pink noise has one of -3db... Also the variation of those targets are highly genre dependent. A very big help for mixing to targets is ayaics ceilings of sound Equalizer. I recommend everyone who is interested in this topic to try it out, it's a little confusing at first, but a time-saver once you realize how it works.
That's an interesting approach. Pink noise is used by speaker manufacturers & in the final analysis by mastering engineers. Of course, there is a corresponding reason. It follows then that there are many reasons for paying attention to the importance of p/n in mixing to get a balanced profile. What you don't want is a carbon copy of the standard p/n profile! The method being shown in amateur RUclips 'miss down' videos is wrong. You do not apply p/n by bringing up each track then tucking it under the p/n. This has the effect of killing all the dynamics like a brick wall 'tilt' limiter on steroids. The correct way is to bring the tracks above the profile so that the dynamics are not limited to the p/n ceiling. By doing the opposite the track will sound weak, lifeless, unnatural & choked out. The objective is to find the general profile trend (!) - not a sonic haircut like a pot on somone's head & cutting around it! Lol! Your approach works similarly as described because its aliowing the p/n trend without pinning the frequencies down in a sonic stranglehold. You can insert a VU meter & set a 3 dB peak value to keep an eye on exessive peaks, or add a mastering compressor/limiter & subtly adjust to taste.
Great tutorial Trey! Question for you: I've just upgraded (finally) to Fabfilter Pro Q 3 and it has an EQ matching feature. I've not been able to figure out how to do it in the same way as you have with your EQ but what I have done is to insert a pink noise loop as a track, whack an EQ on that and analyse and then store the learnt spectrum as a reference. I've then added an EQ at the end of my master bus and loaded up the saved reference to EQ match. I can see and hear that it appears to be doing something along the lines of what you've got here but if I apply any more than 5% of the reference EQ parameters it starts to sound bad. This got me thinking that the db level of the pink noise (which is set to zero on the track) could be affecting the result. Do you have any tips on what level I should set the pink noise to before I save the reference, or am I over thinking it and, given the proportionate signal content of pink noise, even if I've captured the reference running fairly hot (but not clipping), it would just be a case of applying a smaller % of the EQ match on the master? Thanks in advance man!
@@TreyMixes wlcm.. Bro...... This technique is available on fl studio..... Bcz.... Fl studio... Don't have eq like this..........tell me how i apply this method on fl studio or tell me the external eq similar with logic pro eq
Ali's Entertainment there are some plugins out there that also do EQ matching. You just may have to purchase them. I’m not sure if any free one’s exist. But here are some options: FabFilter Pro-Q Equivocate iZotope’s Ozone EQ module will also do it.
CADILLAKTRACKZ hey. Good question. I do think (as often as possible) that level matching input and output is the right thing to do for any processing. Loudness can be achieved elsewhere in the process, and loudness can fool you into thinking something is better when it really isn't, because science and stuff. So yes, level match and compare so you know if you actually like the changes made.
Armash Ansari hey! Thanks for watching! That's a good question. I don't use FL studio, but I cannot find where FL has a stock match EQ. So if that's true, my favorite option for you would be to buy EQuivocate. It's an awesome EQ that does matching and a ton of other cool features. I also looked for another free one and couldn't find one.
Hey man! Thanks for the effort put into these series! You make great videos on advise and headsup for all soundguys. But stop fooling young dudes into believin music is easy and cost nothing to master. This is an art that cant be shortcuted, the learning curve is steep and long for ALL. Ive been gigglin pots until defining my own sound, my own characteristic sound. This cant be done with pink snake oil and lotions from india, its an art and i strongly suggest you and all masters stop givin dumb advise for clickbait views. Thanks again for the effort and please, remember there once where people in white coats with BIG glasses handling tape for orchestral arangements. Kinda mad, but with spirit. (Would like to see a video about mastering dynamics and metadata) salute bro
Yeah. Thanks so much for the comment. No snake oil intended. No quick roads to success or to gold. Doing your own thing takes time. And I’m pretty clear about just letting people know to work hard and take the time to figure out what works for them. Making music for independent artists often starts as a hobby and done with much love. Those independent artists are definitely looking for ways to improve their stuff. Everyone wants to sound better. Obviously, nothing I have done is too click bait-y. You can see that with the low view and subscriber count. No deception intended. But the majority of people will not be in a fancy studio with expensive equipment and would like any extra way to just make it easier, if they don’t want to spend all day twisting knobs. Hopefully, any of my videos may have helped young and in-home artists get something a little better sounding. I hope so, but maybe not. People are always welcome to not listen to me. I don’t really know anything, only what’s worked for me and what I like to share.
@@yawpaw9796 sure. You can find me doing covers on Spotify. open.spotify.com/artist/6PBU6O1pLbVvgUixCHTqQ0?si=XTFiitDqT2mlTiWS6mmHjg And I’m on a bunch of other stuff, like this is one of my bands. open.spotify.com/artist/2Ui7IiKtNwvpTa18NbuMoJ?si=EHmw0p3mRAO6IWU50g34kg I appreciate the interest. Have a great day. Be safe.
Maybe so? I’ve never tried the Gulfoss plugins but I’ve seen them, and they definitely work on the demos I’ve watched. I recommend Soothe for general harshness application, for similar dynamic EQ control on things like cymbals, just FYI
I think it does have some elements of that but it's definitely doing some other stuff as well it's not that simple. I own it and love it for what it does though.
Isn´t there an inherent musical problem with this though? The song is in a key... wouldn´t you be boosting frequencies (essentially note fundamentals) that aren´t in your key? I´m not sure how useful the "traditional" pink noise mixing really is, but there you are not "artificially" boosting frequencies, rather just controlling the individual levels of tracks. This method is more like "pink noise mastering"? This method creates the same problem as EQ matching to a reference song. There are just so many factors that can lead to "artificial" sounding results. We´ve even done REALLY close cover versions of tracks and tried EQ matching with the original (just as a final layer in the master) and it´s produced really weird effects. We´ll have to give it a try and see the results. Cubase doesn´t have EQ match by de-facto, but I think IK, Izotope and FabFilter do.
This makes me suspicious. Probably some of those „intelligent“ new AI EQs just work this way. I mean if you analyze „million of songs“ and layer them you will might get something like this.
Most of it is spectral compression.. I ran pink noise through gullfloss and I think its spectral compression + pink noise as a "weighting" curve on the amount of compression across the spectrum.
This is neat, from a geek perspective, but it makes zero sense to add anything below 40hz or above 16khz if your program material never had it in the first place - just so you can feel extra geeky about doing something engineery (which is all this really is). Your original mix was fine, light years ahead of what the Rolling Stones or Led Zeppelin or The Beatles had when they sent any of their mixes off to be mastered. This constant procrastination thing that uses technical gimmickry in order to avoid being productive is kinda driving me mad lately. It's worse than the loudness war, it's a kind of self hatred, it is masochism.
You are absolutely right. BUT sometimes, early in our production or mixing years, we often doubt ourselves (not often, all the time). These techniques (or gimmicks) allowed me to just clear my head and continue my shit without hesitating at every single eq move. Eventually you won't need those because you'll be used to see and hear problems in productions. Few years ago, doing the pink noise trick really opened my eyes (ears) to the world of difference between subjective mixing and being objective. Of course the pink noise mix was way better. Then you learn and continue your path.
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
Very interesting and clever! I've never done it this way before.Thank You so much!
Marcio Coutinho my pleasure! Glad it was valuable info. Let me know if it makes a big difference for you.
@@TreyMixes And i thought iwas clever when i was mixing with pink noise in mono lol.. This is next level i suppose? I Always wonder if there was a way to use pink noise for EQ, not only gain staging the volume.. I wonder how this would be sounding on the Gullfoss EQ or Izotope Neutron... ;)
This technique is really good for getting started. I am pretty new to mixing and mastering so I am not entirely sure what to look for.
Not having the best headphones makes this even harder.
I just installed YSFX and the free spectrum matcher and applied this to an orchestral track I made. Even for my ears I could instantly tell that it made a huge differens and cleared up alot of the mud, especially during times where the entire orchestra is playing. It felt like a great quality improvement. especially when consindering the little amount of time it took.
I usually apply a bunch of effects to my vocals first, and then use this after to see what may have ruined the clarity of my recorded vocals for a track, after applying however much match eq percentage I see fit, I may or may not do additional channel EQing afterwards, but only minor adjustments if it’s for stylistic purposes. Also good in the overall mastering phase as well
And you'll also find that this technique will cause tracks to sound great in a lot of systems. A lot of newer car systems are tuned to either a pink noise curve or a 6db curve, which is very similar. You can use the above technique in mixing as an "umbrella" over your 2bus, and you can then make decisions about treatments of instrument tracks with that equalization in place. I agree with Trey here - from lots of experience, I've found that about 30% is the most you'll ever want to go. Of course, that would vary from track to track. If your track is off more than that, you have bigger problems.
Agree. It definitely does help with translation on many systems. When I do this, I seem to have more people say, "This sounds really good!"
Izotope’s eq match allows you to ignore applying EQ at the high and low end - which is where the problem areas tend to be when matching to pink noise.
not sure if you're gonna read this, but the "fade extremes" button on the top lets you cut the lows and the highs so those frequencies won't muddy up the song
Yeah I used that technique for years now. Just avoid the lows and highs and apply 20 to 30% with 50% smoothing.
Definitely helped here. Thanks, never thought of using it this way
K1nkyD1sco thanks! Glad to be helpful! Let me know if there are any topics you would like to see videos on!
Brilliantly thought out. Congratulations! At last, the correct application of pink noise and the key 'Eureka' knowledge that all other RUclips posts on this subject are missing! Your final freq profile is now in the realm of the typical 'smile' graph so often used in mastering. Its important to understand that pink noise is used in speaker design and manufacture as well as in professional mastering. That is why its entirely relevant and should be part of our workflow, otherwise our mixes won't translate to other playback systems. Your video is greatly appreciated, thank you! Subscribed.
This makes a LOT of sense. Thank you!
I never used pink noise in any way, but I'm sort of thinking now maybe this technique would be decent to use as a reference. Or even to compare with your own choices and draw some information.
I personally wouldn't use this technique in the final mix or master. But I would consider using it as a reference to make choices. The problem is that the spectrum will detect your most common notes and overtones and turn them down, then take all the rare notes and overtones and turn them up. You could end up with a weird disbalance over time. Therefore I'd look at the general pattern, like "it's getting rid of a lot of mud here, it's boosting some presence here" and then go ahead and apply that myself using a traditional EQ. No mixing or mastering engineer in their right mind would introduce such complex EQ adjustments to a whole mix, you're literally kinda ignoring all your previous decisions that you made based on feel.
great explanation and also thats precisely a preset in ozone match eq 🙌🏻
Hi Trey - good video. I don't use Logic so maybe I am wrong? ...
Your mixed track has low end rolloff - spectrum analyzer shows this - so yes, the Match EQ is going to bump up low end to compensate. Can't see the high end spectrum but upward compensation indicates the high end was rolled off too. That said, isn't this the kind of scenario where you use the 'Fade Extremes' check box, so Match EQ can compensate w/o such an obvious over-the-top mistmatch?
Hey just use SPAN and have all frequencies at the same level with the appropriate amount of slope (usually 4.5; pink noise has slope of 3, which is very bright. Techno is usually mixed at about 6).
Rubik, sounds like another good option, will have to try this out.
Could you explain to me how this is done?
Fen Garden open SPAN and in the settings menu there is the Slope knob, which by default is at 4.5; Slope is a visual correction on the analyzer which allows for equal "height" of the graph for all frequencies. Basically slope is compensating for the fact that low frequencies must be louder to be heard at equal loudness levels of the high frequencies. If you draw an imaginary horizontal line then all frequencies should be within this line -- yes, it's not a rule but a guide. I have explained more on here www.liveracks.com/reference-mixing-with-voxengo-span/
THX! At it right now! Trying ... mixing Dub Techno
SPAN is a great tool and use it in every mix.
Killer move. Nice work, good sir!
I made a pink noise curve for Baby Audio Smooth Op. Works pretty good.
I have used this method while mastering when I don't trust my ears. You can have it ignore the highs and lows. I have used the Izotope Match EQ to do this as well.
It's a neat way to use match EQ. I had tried that too but it was mostly useless for me.
The reasons are: One, in the time it took you to do that, I already knew what EQ changes had to be made to get it more balanced towards pink slope. It's IMO much faster just to memorize the slope you want and watch the spectrum analyzer in real time, making general adjustments accordingly. Second, that huge spike the match EQ gave you at the top and bottom of the spectrum is worse than useless. If you could bypass just the high and low shelf or adjust them separately, what you'd have left might be somewhat useful. Third, it's always better to adjust individual instruments to balance sound than to EQ the mains. I would have gone straight to the violin with some EQ (probably active) down round 4k, then looked to how to boost the treble of the mix in general. IMO, EQ on the mains should be a last resort and for VERY minor changes.
As for mixing to the pink slope. In general I've been leveling with a slope similar to what you showed and getting very predictably acceptable balance in sound. Granted I don't do it by ear. I do it by eye on the graph because it's much more predictable. It's not the be all end all though. Because of how the ear perceived loudness depending on spectrum saturation and harmonics, blindly mixing to the slope isn't a good idea. Similar to what you said though, it seems to be a good starting reference point for leveling. I find I usually have to make moderate exceptions most places. So for me the slope is a guide to stay roughly around but not a hard rule.
thx for this tip, very helpful ! support from Malaysia
I've never tried it, but I've wondered if Match EQ could be used for separation by applying it negatively. That is: you copy the curve from track A to track B and then set it to minus-whatever-percent, and that should in theory make B have a complementary curve to A.
Absolutely. I’ve used it for that with L and R side guitars before, but only with about 5% deviation. Won’t work in all cases, but worth attempting! Let me know if you find it successful.
Thanks helpful bro,you know other music producers take it for granted,but for the case of mixing and mastering engineers especially those who are at the early stages of their game,is very intuitive to try to use this pink noise Technics,is very helpful,my self I discovered this Technics after three years of my coming up,but all in all it helps me a lot to identify weak spots on my mixes,thank bro,greetings from East Africa Tanzania🇹🇿
Thank you, Trey! The first time I saw the video and saw this idea, couldn't wait to test it with the tracks I've been working on and have to send to another producer because I don't know how to mix very well yet. Game changer!!! Just a question, does it also works if I apply to each individual track of my mix or only when applied to the master?
Martin hey there. The goal of using pink noise as a reference isn’t to balance each track. You can certainly attempt, and there aren’t any rules about you making things sound good, or experimenting. But I would use match EQ more with other examples of similar instruments, like if you have an acoustic sound that you like and want to use match EQ to get closer to that sound for your own acoustic recording. But be aware it can be a pretty drastic transformation and not always as effective as getting the sound right at the source.
But have fun and try all kinds of stuff, that’s part of learning! I think I have another video on using match eq to get L and R complementary EQ curves, so that’s another way to try to use it.
@@TreyMixes Thanks, Trey! After trying this on a lot of tracks, I have to say that it mostly makes them more thin.It's probably an awesome tool for the master track, though! Thank you!
ayeee my name is Trey too!
ey its very interesting... did u know whatplugin can do that the eq match? for free or at least for low price casue i have ozone elements x_x
Yeah, but you still have to mix the track before
Do you not use the "Fade Extremes" option?
All depends, try it on and try it off. See what you like. Sometimes it’s too much, just gotta see what works best for you.
Except most music is oriented on target noise with a slope of -4.5db per octave, pink noise has one of -3db... Also the variation of those targets are highly genre dependent. A very big help for mixing to targets is ayaics ceilings of sound Equalizer. I recommend everyone who is interested in this topic to try it out, it's a little confusing at first, but a time-saver once you realize how it works.
Made differences in sound. Thanks a lot !
Very glad!
That's an interesting approach. Pink noise is used by speaker manufacturers & in the final analysis by mastering engineers. Of course, there is a corresponding reason. It follows then that there are many reasons for paying attention to the importance of p/n in mixing to get a balanced profile. What you don't want is a carbon copy of the standard p/n profile! The method being shown in amateur RUclips 'miss down' videos is wrong. You do not apply p/n by bringing up each track then tucking it under the p/n. This has the effect of killing all the dynamics like a brick wall 'tilt' limiter on steroids. The correct way is to bring the tracks above the profile so that the dynamics are not limited to the p/n ceiling. By doing the opposite the track will sound weak, lifeless, unnatural & choked out. The objective is to find the general profile trend (!) - not a sonic haircut like a pot on somone's head & cutting around it! Lol! Your approach works similarly as described because its aliowing the p/n trend without pinning the frequencies down in a sonic stranglehold. You can insert a VU meter & set a 3 dB peak value to keep an eye on exessive peaks, or add a mastering compressor/limiter & subtly adjust to taste.
I've been doing this with Izotope, I thought I was the only one,lol. I can turn off matching eq on just my low end band also.
CADILLAKTRACKZ yeah! I shared it because I hadn't really seen anyone else say anything about it! And Izotope makes such awesome stuff.
Great video!
Brilliant Idea mate
So well described
Made me wanna subscribe 😆
💯
Thanks so much!
Great tutorial Trey! Question for you: I've just upgraded (finally) to Fabfilter Pro Q 3 and it has an EQ matching feature. I've not been able to figure out how to do it in the same way as you have with your EQ but what I have done is to insert a pink noise loop as a track, whack an EQ on that and analyse and then store the learnt spectrum as a reference. I've then added an EQ at the end of my master bus and loaded up the saved reference to EQ match. I can see and hear that it appears to be doing something along the lines of what you've got here but if I apply any more than 5% of the reference EQ parameters it starts to sound bad. This got me thinking that the db level of the pink noise (which is set to zero on the track) could be affecting the result. Do you have any tips on what level I should set the pink noise to before I save the reference, or am I over thinking it and, given the proportionate signal content of pink noise, even if I've captured the reference running fairly hot (but not clipping), it would just be a case of applying a smaller % of the EQ match on the master? Thanks in advance man!
Great work bro... By the way
What is the daw name.... In video....?
Ali's Entertainment thanks! I use Logic Pro X
@@TreyMixes wlcm.. Bro...... This technique is available on fl studio..... Bcz.... Fl studio... Don't have eq like this..........tell me how i apply this method on fl studio or tell me the external eq similar with logic pro eq
Ali's Entertainment there are some plugins out there that also do EQ matching. You just may have to purchase them. I’m not sure if any free one’s exist. But here are some options:
FabFilter Pro-Q
Equivocate
iZotope’s Ozone EQ module will also do it.
@@TreyMixes o wow.... Thanks a lot bro.....
Really nice technique 😍
This is absolutely genius!
Hey do you think we should Volume match ( lower) the Output of the EQ Match to the input level?
CADILLAKTRACKZ hey. Good question. I do think (as often as possible) that level matching input and output is the right thing to do for any processing. Loudness can be achieved elsewhere in the process, and loudness can fool you into thinking something is better when it really isn't, because science and stuff.
So yes, level match and compare so you know if you actually like the changes made.
super nice tip, thanks
Dope stuff my man!
Codybap thanks for saying so! Hope it was helpful!
I use it as my start point
thanks for the vid! good stuff!
Thanks! Glad to be helpful!
Thanks for this interesting information.
Thanks so much! Glad it was helpful!
Nice. I like your approach, but got terribly lost during the demonstration. You should create some subs that say "off/on".
Interesting will have to try this 👍🏾🔥
Perfection
Hey I can’t find the match EQ plug-in.....where can I find that?
Hey brotha open up an audio track then go to EQ. You should see Match EQ right there.
l' mont ok thanks
Were can à get pink noise?
Video & Photo20 Good question. You can just Google search "pink noise clip" and there should be plenty of results you can download.
@@TreyMixes oooohhhhgggg 😁 thanks for your help you are the best 🙏🏻
@@TreyMixes youre too nice dude i would have told him to fuck off
@@MNRMNmixes lmao
🔥
1:10 he started rapping
Which vst to use in FL Stusio????
Armash Ansari hey! Thanks for watching! That's a good question. I don't use FL studio, but I cannot find where FL has a stock match EQ. So if that's true, my favorite option for you would be to buy EQuivocate. It's an awesome EQ that does matching and a ton of other cool features. I also looked for another free one and couldn't find one.
@@TreyMixes thanx 👍🏻
@@aemashmusic Bro, Use Izotope Ozone EQ As A VST In FL Studio & It Should Pick Up 🙂
@@MusaDays808 thanks man 😊🙏🏻
@@aemashmusic No Doubt, Mate 👊
That's great. THX :-)
Thank you!
Absolutely! Glad to be helpful!
wow
zzzzi tought i was the only one to do this :(
Hey man! Thanks for the effort put into these series! You make great videos on advise and headsup for all soundguys.
But stop fooling young dudes into believin music is easy and cost nothing to master. This is an art that cant be shortcuted, the learning curve is steep and long for ALL.
Ive been gigglin pots until defining my own sound, my own characteristic sound. This cant be done with pink snake oil and lotions from india, its an art and i strongly suggest you and all masters stop givin dumb advise for clickbait views.
Thanks again for the effort and please, remember there once where people in white coats with BIG glasses handling tape for orchestral arangements.
Kinda mad, but with spirit.
(Would like to see a video about mastering dynamics and metadata) salute bro
Yeah. Thanks so much for the comment. No snake oil intended. No quick roads to success or to gold. Doing your own thing takes time. And I’m pretty clear about just letting people know to work hard and take the time to figure out what works for them. Making music for independent artists often starts as a hobby and done with much love. Those independent artists are definitely looking for ways to improve their stuff. Everyone wants to sound better.
Obviously, nothing I have done is too click bait-y. You can see that with the low view and subscriber count. No deception intended. But the majority of people will not be in a fancy studio with expensive equipment and would like any extra way to just make it easier, if they don’t want to spend all day twisting knobs.
Hopefully, any of my videos may have helped young and in-home artists get something a little better sounding. I hope so, but maybe not. People are always welcome to not listen to me. I don’t really know anything, only what’s worked for me and what I like to share.
@@TreyMixes honest man will always endure. I value that :)
Wanna share some music? I bet you have intresting stuff!
@@yawpaw9796 sure. You can find me doing covers on Spotify. open.spotify.com/artist/6PBU6O1pLbVvgUixCHTqQ0?si=XTFiitDqT2mlTiWS6mmHjg
And I’m on a bunch of other stuff, like this is one of my bands. open.spotify.com/artist/2Ui7IiKtNwvpTa18NbuMoJ?si=EHmw0p3mRAO6IWU50g34kg
I appreciate the interest. Have a great day. Be safe.
maybe this its what glussfos does
Maybe so? I’ve never tried the Gulfoss plugins but I’ve seen them, and they definitely work on the demos I’ve watched.
I recommend Soothe for general harshness application, for similar dynamic EQ control on things like cymbals, just FYI
I think it does have some elements of that but it's definitely doing some other stuff as well it's not that simple. I own it and love it for what it does though.
Isn´t there an inherent musical problem with this though? The song is in a key... wouldn´t you be boosting frequencies (essentially note fundamentals) that aren´t in your key?
I´m not sure how useful the "traditional" pink noise mixing really is, but there you are not "artificially" boosting frequencies, rather just controlling the individual levels of tracks. This method is more like "pink noise mastering"? This method creates the same problem as EQ matching to a reference song. There are just so many factors that can lead to "artificial" sounding results. We´ve even done REALLY close cover versions of tracks and tried EQ matching with the original (just as a final layer in the master) and it´s produced really weird effects.
We´ll have to give it a try and see the results. Cubase doesn´t have EQ match by de-facto, but I think IK, Izotope and FabFilter do.
😂🤣😂😂
This makes me suspicious. Probably some of those „intelligent“ new AI EQs just work this way. I mean if you analyze „million of songs“ and layer them you will might get something like this.
Most of it is spectral compression.. I ran pink noise through gullfloss and I think its spectral compression + pink noise as a "weighting" curve on the amount of compression across the spectrum.
CONVERSIAL? PEOPLE USE THIS TECHNIQUE FOR DECADES BEFORE DIGITAL MIXING
This is neat, from a geek perspective, but it makes zero sense to add anything below 40hz or above 16khz if your program material never had it in the first place - just so you can feel extra geeky about doing something engineery (which is all this really is). Your original mix was fine, light years ahead of what the Rolling Stones or Led Zeppelin or The Beatles had when they sent any of their mixes off to be mastered. This constant procrastination thing that uses technical gimmickry in order to avoid being productive is kinda driving me mad lately. It's worse than the loudness war, it's a kind of self hatred, it is masochism.
You are absolutely right. BUT sometimes, early in our production or mixing years, we often doubt ourselves (not often, all the time). These techniques (or gimmicks) allowed me to just clear my head and continue my shit without hesitating at every single eq move. Eventually you won't need those because you'll be used to see and hear problems in productions.
Few years ago, doing the pink noise trick really opened my eyes (ears) to the world of difference between subjective mixing and being objective. Of course the pink noise mix was way better. Then you learn and continue your path.
pink nose has too much high end
You are not mixing anything here. You're just EQing your rendered master.