MMatcher Match-EQ - Consistency & Safety in your Mixes

[00:00:00] This is the best EQ measure that you can get at the moment, M measure by Melda.
[00:00:06] And I haven't made a video about this yet, but someone asked me under the last
[00:00:10] video if I can do some kind of deep dive into this plugin and show you how I
[00:00:16] use it, why I use it and how it works.
[00:00:19] And the first reason why I like this plugin is that you have on the left side
[00:00:23] here a big browser where you can select your reference curve.
[00:00:28] And you already get here a lot of presets, some factory presets with the
[00:00:32] plugin, guitar preamps, headphones, correction curves, and master target
[00:00:38] curves for all kinds of genres and music pieces.
[00:00:42] And to be honest, I don't use any of these.
[00:00:45] I use my own target curves or reference curves.
[00:00:48] And I also want to show you how I create these kind of curves here.
[00:00:53] Later on the video, of course.
[00:00:56] So the second reason why I like this plug in is that you EQ not only the mid
[00:01:02] channel, you also EQ and match the side channel or the side information, right?
[00:01:08] And it's really important for me because you can control your stereo
[00:01:15] field with this pretty nicely.
[00:01:17] So the big question is now, why do I use a measure plug in in the first place?
[00:01:23] Why not just manually EQ your master?
[00:01:27] And that's exactly what I did for many, many years.
[00:01:30] But the problem is not that I'm lazy or anything like this.
[00:01:35] It's more like consistency.
[00:01:37] I like consistency.
[00:01:39] So if you have multiple tracks, release stuff on Bandcamp or you have
[00:01:43] an album or an EP or whatever, and you want to keep the same frequency
[00:01:50] distribution across all tracks, the same kind of loudness, dynamics, stereo
[00:01:55] field and so on, it sounds really weird.
[00:01:58] If you have you come, you listen to one track and then you listen to the other
[00:02:02] track and it sounds completely different, the completely different stereo
[00:02:06] field, a completely different frequency distribution, right?
[00:02:09] So this is why I use this.
[00:02:11] I want to have consistencies or consistency between my music pieces in general.
[00:02:18] I really like to have this and that's why I use it.
[00:02:22] And the second reason why I use matching EQs is that it allows me
[00:02:26] to see big mistakes, big errors, pretty fast if you apply something
[00:02:31] like this here on the master and you analyze your input and then it tries
[00:02:37] to apply some kind of correction curve.
[00:02:39] You can see a big bump in the middle or down here or here, right?
[00:02:43] You know instantly, oh, something is wrong.
[00:02:46] Maybe the bass is actually high-passed or the drums are not cutting through
[00:02:51] or something like this, right?
[00:02:52] Or the pads are too quiet or, you know, some big mistake.
[00:02:56] You can see it instantaneously here on this graph when it tries
[00:03:00] to compensate in certain frequencies area and certain frequency areas.
[00:03:04] So this is why I use it consistency and just safety and allowing me
[00:03:10] to have some kind of information about what's going on on my master.
[00:03:17] What's going on in my music?
[00:03:18] What's going on?
[00:03:19] That's the big question I have.
[00:03:21] So let's put it to use in the background here.
[00:03:24] You can see a track already.
[00:03:26] And on the master I have here this MMatcher plug-in instance.
[00:03:30] Nothing is happening.
[00:03:31] I just selected here some kind of reference curve.
[00:03:34] And I want to go here for German bass, deep roll on our average preset.
[00:03:40] That's my own preset here, compiled from multiple tracks.
[00:03:44] It's not just one single track.
[00:03:48] Usually, back in the days, I just use one track, but it's actually
[00:03:51] not really helping because you have this one track and this one track
[00:03:55] is in a certain key and the bass is on a certain key like F or G.
[00:04:00] And your track is like in D-sharp, of course.
[00:04:02] And you have a different bump here, right?
[00:04:05] So F is probably here and D-sharp is down here or something like this, right?
[00:04:10] And it tries to push the wrong frequencies for your track
[00:04:13] because you are on a different scale.
[00:04:15] So what I do usually is I use a lot of smoothness here.
[00:04:19] So I smooth out the EQ curve, right?
[00:04:23] So you have a rough guidance for the right direction.
[00:04:27] So it's not really trying to push one note at a time in the bass, for instance.
[00:04:32] And I use multiple tracks for reference, not just one track.
[00:04:39] And in an ideal world, you use maybe different tracks
[00:04:45] with different scales, different bass notes and so on.
[00:04:49] And then you get better and better results.
[00:04:51] OK, so let's put this here to use.
[00:04:54] I have a track and background.
[00:04:55] Nothing is going on at the moment.
[00:04:56] No processing is applied, so it play.
[00:04:59] Let's analyze this here.
[00:05:03] And you can see it collects a lot of information here
[00:05:08] from the side channel and also from the mid channel.
[00:05:11] Very important.
[00:05:12] And you can do this here for the whole track if you want to.
[00:05:23] But most of the times it's just OK to go to a certain area in your track
[00:05:30] where you have like the bass, the drums and the pad sounds playing
[00:05:32] and then just record this and call it a day.
[00:05:36] When you are done, you just hit the Analyze button again.
[00:05:39] And then it already applies here in Correction Curve
[00:05:43] because we selected here this reference curve,
[00:05:46] the drum bass deep roller preset and we analyze the input.
[00:05:49] So now it applies here Correction Curve.
[00:05:52] You can see it tries to push the frequencies on the side channel
[00:05:56] around 30 hertz a lot.
[00:05:58] And on the mid channel, nothing, not so much is going on.
[00:06:03] Maybe around 200 hertz, there's a push, 1K, there's a small push
[00:06:07] and also a 20K to bring out the high end a bit more.
[00:06:12] So that's what this EQ tries to do.
[00:06:15] We can also open up here the Advanced Settings.
[00:06:20] And you can see there is a button called Keep Level.
[00:06:22] If we use this, it kind of compensates here for the loudness.
[00:06:29] When you apply an EQ and you push a lot of frequencies,
[00:06:31] of course, the output is much higher than the input.
[00:06:35] And here you can compensate for this with this.
[00:06:38] We have a much better kind of, yeah, inside of what's going on with EQ.
[00:06:45] So we can use the Dry/Wet knob, which is actually not a Dry/Wet knob.
[00:06:49] It's actually an Amount knob because it scales the Correction Curve here
[00:06:55] from zero, so no processing to 100 percent.
[00:06:59] So let's listen to this.
[00:07:01] [Music]
[00:07:21] OK, so you can see it wants to, you know,
[00:07:24] EQ a lot of stuff out here around 700 hertz.
[00:07:28] It pushes a lot of frequencies here around what's the 40 hertz?
[00:07:34] 43 hertz F1.
[00:07:38] It's probably the bass frequency.
[00:07:41] So yeah, you can see what's going on and then maybe go to the different channels
[00:07:45] and boost certain frequencies with the manual EQ for yourself.
[00:07:50] So let's say you have here a boost around 200 hertz
[00:07:53] and you listen to your tune and you think, oh, well,
[00:07:56] actually, the bass is actually not warm enough or it's not, you know,
[00:08:00] not prominent enough in the mix.
[00:08:03] So you have options here.
[00:08:04] You can say, oh, I actually have some room here.
[00:08:07] Maybe let's boost only on the bass 200 hertz instead of on the master,
[00:08:12] where you push 200 hertz then on every sound on the drums,
[00:08:18] on the bass, on the pads, sounds equally.
[00:08:21] So you can go here then to the bass bus and just boost something
[00:08:25] around 200 hertz, and then you analyze your master again.
[00:08:30] And then maybe it's not boosting that much anymore here around this area.
[00:08:34] So you can use this more like an analyzer for your mix down
[00:08:39] or for your bus tracks, right?
[00:08:42] So we can act then on the bus track instead of applying a big,
[00:08:47] heavy EQ, a Q correction curve on the master itself.
[00:08:53] So yeah, so this is how I use it.
[00:08:55] We can also now here apply different other curves.
[00:08:58] But most of the times you the drum bass deep roller is my
[00:09:01] that's how I like to have my mix down, right?
[00:09:04] And most of the times I also don't dial in 100 percent.
[00:09:09] I also only go for 50 percent, maybe here on the dry, wet knob
[00:09:14] or on the amount knob.
[00:09:16] Then we have your smoothness.
[00:09:18] It's also important.
[00:09:20] I showed you this earlier.
[00:09:21] It just goes from very individual frequencies.
[00:09:25] That's that's maybe more interesting or smoothness.
[00:09:28] Zero percent is more interesting for if you want to clone, let's say,
[00:09:32] amplifiers where you have like really specific small little frequencies
[00:09:37] you want to correct or you want to apply.
[00:09:39] But for the master, you want to go at least for 10 percent, maybe more
[00:09:44] just to have a rough estimation of where you want to correct stuff.
[00:09:50] And then there's this knob here called average versus max.
[00:09:53] So when you analyze the reference curve and also the
[00:09:56] your track for the analyze part here for the input part,
[00:10:01] you measure the average.
[00:10:05] So it's a time window, maybe 300 milliseconds where you measure the loudness there.
[00:10:10] So you don't get every peak of frequency in the calculation
[00:10:16] versus max, which is the maximum, probably the maximum value,
[00:10:22] the maximum level of a certain frequency.
[00:10:25] So you can balance this out between the two.
[00:10:27] And you probably more want to go to average than to max.
[00:10:31] Maybe Max is interesting for club tunes.
[00:10:35] Well, I want to really peak with the frequencies at a certain level.
[00:10:39] So yeah, you can balance this out.
[00:10:42] And by the way, there's also a really nice help menu here
[00:10:45] that you can use.
[00:10:47] Wait a minute.
[00:10:49] So can't resize this.
[00:10:51] OK, so here in there, there's a lot of stuff you can read how this actually work.
[00:10:57] And I really recommend to do this here.
[00:11:00] Average versus max controls the ratio between two analyzed spectrums,
[00:11:05] infinite average and maximum from temporal average.
[00:11:09] They respond differently when the audio material is changing the spectral properties.
[00:11:15] So you have to figure out what's right for your music
[00:11:19] and then settle down to a certain not pure dead or certain not position
[00:11:24] that you want to apply then to all your tracks.
[00:11:27] It's not like you want to have this changing on all tracks
[00:11:32] because then you throw basically the consistency out of the window, I would say.
[00:11:36] Yeah, I have this on all my tracks on the same position.
[00:11:42] Smoothness is 10 percent.
[00:11:44] I think this is by default.
[00:11:46] This is the default value.
[00:11:47] Average versus max is 50 percent.
[00:11:50] Output is zero dry red is most of the time 50 percent.
[00:11:53] Then we have advanced settings.
[00:11:55] Key level. I showed you this.
[00:11:58] It just matches the output signal to the input signal.
[00:12:01] There's also here on the toolbar, there's an automatic gain control that you can set
[00:12:06] when you hit your set.
[00:12:07] It analyzes the input signal and then matches the output to the input.
[00:12:11] Also really helpful.
[00:12:13] We can switch off your midside.
[00:12:15] We also can use key level.
[00:12:17] We can switch your minimum face to linear face, probably.
[00:12:21] As we can see, the measure at the moment changes the face, which is not the big problem.
[00:12:28] It's not the problem at all.
[00:12:29] A lot of people make videos about it, why it's a problem.
[00:12:32] But for me, it's a non problem.
[00:12:34] You can see here on the left side in Bitwig, the processing latency is zero.
[00:12:41] But when we switch this here to this different mode, you can see now we have
[00:12:46] here a processing of 170 milliseconds of latency just for the mMatcher alone.
[00:12:54] Here, the benefit is that you don't touch the face if it's really important for you.
[00:13:01] But I would say you don't need it at all.
[00:13:04] Then you can change here if you want to
[00:13:09] use individual channels for reference, like the side channel and the mid channel separately.
[00:13:15] That's what I explained to you earlier.
[00:13:18] I really like this because no other matching EQ dust is so far as far I know.
[00:13:24] And also your input.
[00:13:27] Then we have here some range knobs so you can say or you want to cut out certain frequencies.
[00:13:33] So you match basically the whole spectrum, the whole frequency spectrum from 20 to 20 k.
[00:13:39] And you can say or just keep the base out, right?
[00:13:41] So make an high pass here by at 140 Hertz, for instance, and also keep the top end out, right?
[00:13:49] So you can only EQ stuff between between 146 Hertz and 2,580 Hertz.
[00:13:57] So you can remove certain frequencies from the equation.
[00:14:02] Really nice quality sliders on four most of the times.
[00:14:05] And yeah, you can also change it to smoothing.
[00:14:09] I don't know why they have so many options in these plugins.
[00:14:12] I have no idea.
[00:14:12] Most of the times you don't need it.
[00:14:14] But if you want to dive into this, you can change everything.
[00:14:18] It's really nice to have.
[00:14:20] So the MMatcher plugin is here on the master at the moment, on this master.
[00:14:25] And that's OK.
[00:14:28] But you can also use this on buses, on the drums bus or on the bass bus.
[00:14:32] So let's remove this here from the master for a moment and only go to the base or to the drums here.
[00:14:38] That sounds like this.
[00:14:40] And we can here just apply an MMatcher plug in.
[00:14:46] We can do the same things to the drums.
[00:14:48] We just analyze the drums a little bit.
[00:14:52] But there's not much happening here with the drums, so we can just stop it.
[00:14:57] And you can see here, it's already trying to apply a curve for a track.
[00:15:02] And for the track, it's not going to work because with the track, we have pad sounds
[00:15:07] and we have bass sounds, right?
[00:15:09] So it applies here a curve that's not helping at all.
[00:15:15] But we have here some reference curves for drums that I made myself, right?
[00:15:22] So here, drum based drums, GS median.
[00:15:25] Here, I analyzed a lot of drums from some sample libraries I like
[00:15:30] just to have the same kind of consistency.
[00:15:34] OK, I've also here, let's say, a pink noise curve.
[00:15:38] Stereo, 70 Hertz cut.
[00:15:42] So there's a low cut at 70 Hertz.
[00:15:44] It's mostly where most of my drums cut anyway.
[00:15:47] So there's nothing below 70 Hertz for me, most drums.
[00:15:51] So I can EQ the drum bus here to a pink noise curve.
[00:15:57] And again, I don't want to use 100 percent.
[00:16:09] I don't want to have pink noise, a real pink noise curve for my drums.
[00:16:13] I just want to go roughly in this direction.
[00:16:16] OK, that's the idea.
[00:16:18] And most of the times when I do this mixing, I did the mixing
[00:16:21] tutorial a few years ago about pink noise and a lot of people are so,
[00:16:27] you know, you don't need to use pink noise and pink noise is not ideal.
[00:16:31] And, you know, it's not the best curve to use.
[00:16:35] It's just it's just a reference.
[00:16:38] You want to go slightly or roughly in this direction.
[00:16:41] You don't want to go there 100 percent.
[00:16:43] It's not, you know, so you don't take it too seriously, what I say.
[00:16:50] OK, so here you can use pink noise as a reference.
[00:16:53] But most of the times I just use my drums here.
[00:16:57] And again, it's not like that I could not eq this by myself.
[00:17:00] It's more like for consistency.
[00:17:02] So I have roughly the same kind of sound or frequency distribution for the drums.
[00:17:08] Also, I have this here for the bass.
[00:17:10] It doesn't work in this case here, but yeah.
[00:17:12] And I show you then in a minute here how I do these kind of things,
[00:17:17] because it's also very interesting how this tool approaches this.
[00:17:20] So this is basically here the drum bus.
[00:17:23] Yeah, it takes stuff out and you can combine this then with the master, right?
[00:17:35] So if you have, for instance, a track that you like,
[00:17:39] what you can do then is use a stem separation tool with AI.
[00:17:44] So you separate the drums from the bass from the pad sounds.
[00:17:47] And then you have three different stems for each different track.
[00:17:51] And then you can analyze each stem, each track on the master.
[00:17:55] And then you combine everything.
[00:17:57] So you have like a master target and also the target for the buses,
[00:18:05] for the bass bus and for the drums pass and for the pads bus.
[00:18:09] And then you can combine everything here on the on the on these individual buses.
[00:18:14] And then on the master, you are already set more or less
[00:18:17] because this is everything of this is contained in this already.
[00:18:21] So you don't need to make a science out of this.
[00:18:25] I try basically everything I can just to see what's coming out.
[00:18:31] So I'm exploring this kind of idea, how far can I push this?
[00:18:35] If this is this is actually helpful, but you don't need to do this.
[00:18:40] If you just use a match on the master and you use a preset target, you're good.
[00:18:46] OK, this is just my kind of finish to go into this and try all kinds
[00:18:52] of possible ways and try out some weird ideas.
[00:18:57] So you don't need to do this.
[00:18:59] It's not something you need to do. OK, anyway, so these are the drums.
[00:19:03] You can also do this here on the bass bus.
[00:19:05] Let's listen to the bus to the bass bus here.
[00:19:10] Let's call matcher. Analyze it.
[00:19:15] And it also depends, of course, what kind of bass you have as a reference, right?
[00:19:27] So if you have a sub bass and you reference some kind of mid range
[00:19:32] in your funk bass, it's also not going to work.
[00:19:35] But you can walk around this.
[00:19:38] OK, so we have this.
[00:19:42] We compare this here to our bass preset.
[00:19:45] You can see there's a lot of stuff going on here.
[00:19:48] So it wants to push a lot of top end, which is not what I want to do
[00:19:54] because it's a very muffled bass. It's just a sub bass.
[00:19:58] So we can go into the advanced settings and just, you know,
[00:20:01] remove this here from the equation again and just call it a day.
[00:20:07] Keep level. You can see there's nothing left here.
[00:20:12] Actually, it wants to accuse some stuff around 50 Hertz,
[00:20:15] but it's probably because of the input material.
[00:20:19] Maybe use a bit of smoothing here.
[00:20:22] Just have some ref crafts in here.
[00:20:24] I tried to cue out stuff for the mids or the low mids of the kick drum, probably.
[00:20:30] So you can see what's happening.
[00:20:32] So it's also interesting for learning, for learn
[00:20:35] how to accuse certain things if you analyze a lot of different music, right?
[00:20:41] So, yeah, so this is now here, jumps in the base.
[00:20:44] And then you go back to the master and put another and measure on that.
[00:20:50] And then you analyze here again.
[00:20:53] The whole thing.
[00:20:57] So this is what you can do with this.
[00:21:00] And I show you in a minute how I actually created these reference
[00:21:05] curves because it's very easy. You can do this in multiple ways.
[00:21:09] Let's apply here the correction curve for a moment.
[00:21:13] That sounds a bit more defined.
[00:21:29] OK, so the reference curves.
[00:21:37] So I have some presets here already,
[00:21:39] but you can just hit the analyze part.
[00:21:41] So you put this maybe on a different track.
[00:21:45] So you import maybe a track you like on a different channel here.
[00:21:48] And then you hit analyze, and it does the same thing as before.
[00:21:52] But now it uses here this as a reference curve, as a target curve.
[00:21:57] Here, it doesn't really work because analyze the reference is the same as the input.
[00:22:03] So it doesn't make any sense.
[00:22:06] But you can just hit this button and analyze whatever comes into this plug in.
[00:22:10] And as I said before, you just import the track you really like.
[00:22:13] And then you have a new reference curve.
[00:22:16] But in my opinion, it's it's OK to do this.
[00:22:20] It's maybe more helpful for cloning amplifiers
[00:22:25] or single sound sources or stuff like this.
[00:22:28] What I do most of the time is I use this drop down menu here.
[00:22:34] I can see there is here analyze folder or average analyze
[00:22:39] loads or analyzes in selected folder and produces an average, right?
[00:22:44] So what you can do is you can just use here on folder.
[00:22:47] And you can see I have a lot of different folders with reference A, B compare stuff.
[00:22:52] So for instance, here I have 20, 25 drum base drums, right?
[00:22:59] So I have this folder and there's a lot of different sounds in there.
[00:23:03] Maybe you can look into this here, looks like this.
[00:23:07] So it's actually just drum loops from a sample pack
[00:23:11] or for multiple sample tracks I really like.
[00:23:13] So we just analyze this here and we get some kind of curve from this.
[00:23:20] Wait a minute here, it's actually.
[00:23:24] Analyze folder, drum base drums, OK.
[00:23:27] And then we can say output folder for the analyzes stuff, right?
[00:23:32] So you just make some kind of folder.
[00:23:36] I don't know, maybe do something here.
[00:23:39] Tutorial. Tutorial.
[00:23:42] It's OK.
[00:23:45] And we choose this hit OK.
[00:23:49] And then just brings in all the different samples or drum loops, as you can see here.
[00:23:55] And it creates individual curves from that only for the drums.
[00:24:01] And you can do this with every kind of song or stems or whatever you want to use for that.
[00:24:11] It takes a while.
[00:24:12] So now that we have this, we have now individual curves for each of these drum
[00:24:24] loops, which is OK, but we want to have all of them combined.
[00:24:28] We want to have an average from all of these samples.
[00:24:31] So what we can do now is we can go here to the drop down from the reference and say
[00:24:37] average analysis loads or analysis in selected folder and produces an average.
[00:24:43] This is OK, but there's another one here called average median.
[00:24:49] And the only difference you want to know for this for these two is that you want to use
[00:24:55] this average here for when you have below 10 tracks or 10 sound sources.
[00:25:02] You want to compare and you want to use average analysis median.
[00:25:06] You want to use when you have a lot of different tracks or stems.
[00:25:11] You want to compare.
[00:25:12] In our case here, we have a lot of different stems, at least 20 and median
[00:25:17] just calculates the average in a different way.
[00:25:21] I don't want to go deeper into this math because I don't understand it really,
[00:25:25] but it takes kind of a different approach.
[00:25:28] And when you use the normal average value, it's just taking all the values.
[00:25:33] Let's say you have 20 values and then it just adds all these values together.
[00:25:38] And then it divides it by the quantity, let's say 20, and then you get a value out of this.
[00:25:45] The problem with this is when you have like one source in there that has
[00:25:50] that's kind of have a big difference in there or has some weird frequency shapes in there.
[00:25:59] It kind of influences the whole average a lot.
[00:26:05] And with this year, it's not the case.
[00:26:07] It just takes every time the middle value.
[00:26:10] So each individual sound source doesn't have that much influence over the whole outcome.
[00:26:18] OK, I don't want to go deeper into this, but just use this
[00:26:21] if you have multiple or a lot of sources above 10 and use this if you have below 10 sources.
[00:26:28] So here we use median.
[00:26:29] I really like this.
[00:26:31] And it takes all of these things together, right?
[00:26:35] And it uses this to calculate the curve that we have here now at the moment.
[00:26:41] And then we can save this as a preset.
[00:26:46] Save, current thing, tutorial.
[00:26:50] And.
[00:26:54] Want to rewrite all the files.
[00:27:02] I don't know.
[00:27:04] Oh, I selected here something.
[00:27:06] OK, that's that's a problem.
[00:27:08] To Toriel.
[00:27:10] Yeah.
[00:27:11] OK, so now we have a preset here that basically combines all
[00:27:16] the drums from this folder as an average.
[00:27:20] So it's not like one single source.
[00:27:22] You have multiple sources.
[00:27:23] It's much better.
[00:27:24] And you can do this not only with drums.
[00:27:26] You can do this with complete songs.
[00:27:28] That's what you usually do.
[00:27:29] But I do it also for drums.
[00:27:31] And sometimes you can also do this for bass sounds.
[00:27:35] OK, and if you don't have bass sources,
[00:27:42] you can do something like this here.
[00:27:45] This is more or less an EP from an artist, right?
[00:27:49] Multiple tracks as wave files.
[00:27:51] I bought this from Bandcamp.
[00:27:53] And then I use a tool like Ultimate Vocal Remover.
[00:27:58] I show you this here.
[00:28:00] So this is more like a stem separation tool.
[00:28:04] I think it's open source.
[00:28:05] It's completely free.
[00:28:06] But the big benefit of this tool is that it has a lot, a lot of models
[00:28:12] you can use for separate certain stems.
[00:28:16] It's not just one big model for everything.
[00:28:19] You can use different methods here to separate stuff.
[00:28:23] And you select basically an input folder here, which is here.
[00:28:28] My EP I downloaded from Bandcamp.
[00:28:31] And then I select an output folder, which is then bass or drums.
[00:28:35] And you select all the stems you want.
[00:28:38] And what I use sometimes or most of the times is using this here.
[00:28:41] Sample mode, 30 seconds.
[00:28:44] So it's not processing the whole track, stem separating the whole track.
[00:28:48] It's just separating 30 seconds.
[00:28:51] But the big part is it's not using the beginning of the track.
[00:28:55] It's using the middle part where the meat is.
[00:28:58] So it's kind of intelligent in a way.
[00:29:01] So it's separating the meat of the track instead of the beginning.
[00:29:05] So you get like drums and bass from your music that we bought from Bandcamp, right?
[00:29:12] And you have some bass sounds here, maybe I hit play.
[00:29:16] So it's not really correct.
[00:29:22] There's also some some top end sounds in there, the drums sound like this.
[00:29:31] Also a problem here, sometimes the kick drum is not really recognized.
[00:29:36] It's combined with the sub sometimes.
[00:29:39] But you get a kind of feel for where all these sounds need to be on the buses.
[00:29:46] And how loud they need to be and what kind of frequency distributions they have.
[00:29:50] So you can analyze everything with these stem separation tools
[00:29:55] and then see where your stuff is, right?
[00:29:58] Where your drum bus is, what's happening on your bass bus?
[00:30:01] What's happening on the master?
[00:30:03] And then you combine everything and you can use this then
[00:30:06] in a metro plug in and just analyze and compare, learn, maybe apply the curve.
[00:30:17] Sometimes you just want to see what's going on.
[00:30:19] Where's the difference and then apply a manual EQ on the on the bus
[00:30:24] in a certain place on snares.
[00:30:26] You also can compare single sounds like snare sounds.
[00:30:29] Where is the snare sound hitting for this track?
[00:30:31] I really like what's going on there.
[00:30:33] Just analyze it, compare it to your snare sound and then you can see where it's lacking.
[00:30:39] One thing, one big piece is missing with these EQ matching plug ins all the time.
[00:30:46] And I don't know why it's not solved yet on the plug in market and that's dynamics.
[00:30:51] If you have a snare sound and the snare sound is completely dynamic,
[00:30:54] it was a big dynamic range.
[00:30:57] You can apply as many EQ curves you want.
[00:31:00] It will never sound like the original snare sound that is clipped out of your mind.
[00:31:08] You know, it's clipped to the max.
[00:31:11] So you need to keep in mind that the dynamic range is a big part of all of that.
[00:31:17] If you want to match tracks, if you want to match drum buses or buses or single sounds,
[00:31:24] the dynamic range, the situation plays a big part in this.
[00:31:29] So yeah, this is how I use a matcher here.
[00:31:32] I use it for the for the master.
[00:31:33] I use it for the buses.
[00:31:35] I use it for sounds.
[00:31:36] I use it for applying resonator curves or, you know, amplifier curves or cloning sounds,
[00:31:46] characteristics, stuff like this.
[00:31:48] Sometimes you can also apply the inverse thing, right?
[00:31:54] If you want to subtract something, you can also do this here.
[00:31:57] I can, I think there's something like reset, where is it?
[00:32:06] There's some kind of feature here where you can exchange basically the reference for
[00:32:11] the input and then the input is the reference.
[00:32:14] But I can't find it.
[00:32:16] Invert.
[00:32:17] Yeah, it's invert, inverse analysis.
[00:32:19] So it's doing the exact opposite.
[00:32:22] This is really helpful just to subtract something from something else.
[00:32:27] So let's say you analyze the drums and then you analyze the bass and then you can subtract
[00:32:32] basically the drums from the bass and then you EQ everything on the bass out that's
[00:32:36] happening in the drums or vice versa, instead of using something like Soothe or Spectral
[00:32:42] Compressor, which is also cool, but it doesn't live.
[00:32:46] So you have like always this dynamic place.
[00:32:49] And sometimes you won't have a static EQing stuff out.
[00:32:52] You can also do this here.
[00:32:54] But most of the times I do this not with Matcha, I use Spectrum Thief, which I also still use.
[00:33:03] This one here is completely free.
[00:33:05] And I think it's also open source if I'm not wrong.
[00:33:08] So you can do the same thing, but it lacks basically here the side or the mid processing
[00:33:15] and the separate side processing part besides that is also a cool thing.
[00:33:20] And also the presets are missing.
[00:33:22] So this is why I don't use this all the time.
[00:33:25] But sometimes or most of the times I want to have a static EQ stuff like Soothe or what's
[00:33:30] the name, Gullfoss or this EQ applies all this stuff live with a dynamic response, which
[00:33:40] I don't really want.
[00:33:44] Sometimes it's okay, but not all the time.
[00:33:47] Anyway, enough talk.
[00:33:49] Thanks for watching.
[00:33:50] I hope you get some nice information out of this video.
[00:33:53] Leave a like.
[00:33:54] If you like the video, subscribe to the channel, let me know what you think and I see you in
[00:33:57] the next video.
[00:33:58] Thanks for watching.
[00:33:59] Bye.
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