Logic 9 Match Eq

• Logic 9 Match Equation
• Logic 9 Match Eq Leveling
• Logic 9 Match Eq Match

Mockito Argument Matcher – eq When we use argument matchers, then all the arguments should use matchers. If we want to use a specific value for an argument, then we can use eq method. Apr 28, 2012 In this tutorial, I go through one way that you can use the match EQ plug-in. Part 2 will follow. For more Free tutorials check out www.eddtheshed.co.uk! Match EQ The Match EQ allows you to store the average frequency spectrum of an audio file as a template and apply the template to another audio signal so that it matches the spectrum of the original file. This is also known as a fingerprint EQ, where one sonic fingerprint is applied to another signal. I did have to invert the logic to make the flag logic work correctly. Each evaluation is an individual if statement. The advantage of this is that when you're debugging, you can tell exactly what the logic is doing. I was able to add much better verbosity at the same time. The obvious downside is that it's so much more code to write. Match EQ (07:47) Video Description: Logic's Match EQ is a specialty EQ, used for matching the tonal balance of one piece of audio to another. Learn about Match EQ and the concepts behind it in this video.

When it comes to mastering in Logic Pro Audio, there is a handy reference tool at your fingertips. Although I do not actually use this tool to 'match eq' by implementing the complete procedure, I use this plugin as a reference to then adjust my channel eq to suit the curves.
Analyse Target Audio
The recently mastered album 'New War' by Stuka Squadron is what we will use as an example. Listening to Iron Maiden, Motorhead and Dio, we settled on a Dio track as a suitable target. (shown in template pic).
To analyse the chosen file, first boot up, on your stereo out channel, the Logic Match eq plugin. Move Logic to the side, showing your desktop. Find the audio file (which you have converted to the sample rate you are working at in your mastering session). When you have the file in a window and Logic in another. Click back on Logic, then literally drag the file onto the red Template icon on the bottom of the Match eq Plugin. You should now see the eq curves from that file. Save this as a template setting.

Bearing in mind that this finished track has already been mastered, it is important that the match eq is preceded by an ad-limiter such as the one in Logic or we use Waves L2. If you were going to hear and or use the Match eq as intended to process your audio you would use it before the Limiter. We want to see it working over the limited audio, this is why the Match Eq comes last in the chain. While running your track and listening, create up to 3db of limiting, add makeup gain until it feels right but is not crushing all the dynamics. Go to the Match eq with the template showing, and 'view' on template, click the Analyzer button, now you can see how your track is shaping up. Add an eq to your un-mastered track channel and adjust this to try and give your track similar eq curves.
When you think you're getting close, and you've A-B'd what you're getting with the original track (just go to the open window where it is and hit your spacebar), this is where your ears are judging too!.
They sound pretty similar? then completely remove the Match Eq plugin from the Stereo out channel. Now bounce your track. Next, select any free channel (this is just for reference again) and open a Match Eq, then select your template. As before we are going to get your bounced track from it's location on your machine and click on Logic then swoop it onto the 'Current Learn' icon at the bottom of the Match eq. You need to kind of swoop these files onto the Match eq icons, clicking them or just dragging them in will probably create a new track, which we don't want!
Sierra cache cleaner 11 0 0. At this stage both red and green icons in the plugin are lit indicating that they have files ready. Next press Material = Match. This shows the difference between the template file and the new bounced file.
So you could either start the process again with your eq, or add another channel eq below the last one on your un-measured track channel, drawing in the difference you can see in the Match eq.

Again back to using your ears… A-B with the chosen audio master, getting closer?. Ideally, you want to use as little eq and plugins as possible, unless you are modelling something very particular. So if the track's been mixed by you and handy to get to, then why not save your eq modifications as something or take a screen shot of them. Go back to your original mix and see what can be done to the offending instruments to make less of an eq (which is over the entire mix) modification when it comes to mastering. Also you may wish to consider compressing or adjusting levels on certain instruments, vocals and elements. Whatever makes the mastering go smoother with less processing.
When mixing a track don't add anything to the stereo buss such as compression or eq and make sure there is plenty of headroom. Your main content could be at -8 dB with flicking peaks at -3 dB, this gives the mastering engineer an ideal file to work with.
At Metech, when mastering we use outboard analogue eq and slight analogue compression, running software monitoring to allow us to to run 'live' through the match eq. Generally we go out and back in at 24bit 96kHz. Having used these methods for some time it's a lot easier now to find a great curve to suit most music, using the analogue gear, with some minor tweaks in a final channel eq before hitting the L2 and 16bit dithering for the final file. Now, that's a general rule where we have recorded the material or the mixes sent to us are of a decent standard. If a poor mix has been supplied or there is obvious 'bass issues' or other problems we may resort to various plugins to clean things up.

• DAWs >Logic

Here you can see a good all-purpose mastering configuration within Logic, made up of Multipressor, Channel EQ (or Linear Phase Equaliser), and Adaptive Limiter plug-ins in series.Photo: Apple

More tips on mastering your tracks this month, specifically for those musicians who find themselves limited to using Logic 's own bundled plug-ins.

Last month, I had a look at how I approach mastering tasks in Logic. However, I used a number of third-party plug-ins which musicians on a budget may not have access to, so this month I wanted to pass on some advice for those trying to master their own tracks using Logic alone.

Mastering Using Logic 's Bundled Plug-ins

If I had to do a mastering job using only Logic 's own plug-ins, I'd set up a three-band Multipressor to handle the overall compression, and team this with Logic 's Channel EQ, though I'd also try the Linear Phase Equaliser to see which gives the best results on a specific mix. Normally I'll set my Multipressor crossover frequencies to around 120Hz and 5kHz so that the vital mid-band isn't split. Adobe photoshop cs 2019. By balancing the levels of the three bands, you can also control the bass and treble regions of the mix quite effectively. As with all mastering jobs, I tend to start out with very low compression ratios (1.2:1 or thereabouts) and then use a low threshold (which typically ends up between around -30dBFS and -40dBFS) to get just a little gain reduction happening. Any more than a few decibels (3-6dB maximum) in mastering is usually excessive, though some styles of music can accept more squashing than others.

Logic 's Adaptive Limiter makes a useful end-of-line limiter, and it can also be used to bring the signal peaks up to maximum without you needing to add gain elsewhere in the chain. One process that I haven't been able to replicate in Logic is the multi-band tube-distortion emulation included in my Drawmer DC2476 mastering processor. This is really handy if you have track where the bass end just doesn't seem dense or warm enough, for example. You can add 2-5dB of tube drive to really pump it up without messing up the mid-range or the high end. Similarly, if you have a track where the high end is weak, you can add tube drive just to the top band to spice up the harmonics and add density. You can also increase the compression ratio of the high band slightly. I rarely need to add tube drive to the mid-band, but there are occasions where it works.

Getting back to Logic and its plug-ins, Match EQ can be useful for fine-tuning one mix to make it sound more like another, but even if you decide not to use it, the 'difference' curve that it calculates based on the source and destination material can give you useful clues as to where you may need to apply EQ. In my experience, Match EQ is seldom entirely successful if you just apply 100 percent of what it comes up with, but if you adjust the curve manually, change the smoothing settings, and adjust the amount of correction applied, it can be extremely useful. As with any mastering task, your ears must be allowed to have the final say — don't let flashy graphics and frequency curves convince you that something must be right if it still doesn't sound right to you.

For final limiting, though, I find the Powercore Brickwall plug-in particularly good, though I've also used the Waves L1 and L2 plug-ins on numerous occasions and always found them extremely effective. Whatever limiter I use, I try to set it so that it only limits the loudest signal peaks by a few decibels — if your final audio file looks like a freshly mown lawn side-on, you've probably overdone it, though some commercial mixes have gone out in this state. Limiting comes at the end of the track processing chain, but you still need to mix your final work to 24-bit files rather than 16-bit, as there may be further small gain adjustments to be made at the playlist stage, and dithering down to 16-bit resolution has to be undertaken as the very last process before burning your master disc. Photoshop gratis mac.

Burning Your Master CD

I like burning CDs from Roxio Jam, because it can dither for you, so you just assemble a playlist comprising 24-bit, 44.1kHz files and it does the rest. Within Jam I audition the transitions between songs and look for a subjective similarity in loudness. Don't trust the meters or assume that all normalised tracks will sound the same volume, because they won't. My technique is to pretend that I'm listening to a band on stage and then to adjust the relative levels where necessary so that the performers don't seem to get closer or further away between tracks. Although Jam can turn levels up as well as down, you'll almost certainly have processed your individual tracks to peak very close to 0dB, so it's best not to increase the gain for risk of going into clipping. Track gaps or crossfades have to be created by trial and error, as the subjectively correct gap length depends on how different the songs are, how quickly or slowly the last track fades to silence and whether the new track creeps in or comes in with a bang.

Logic News

Logic 9 Match Equation

Logic 9 Match Eq Leveling

Reports have been trickling in from the few lucky Logic users who have purchased Apple's new Quad G5 Power Macs. Everything seems to be working smoothly — unless of course you have a PCI-based audio card, in which case you'll be kicking yourself because the new Macs come with PCI Express slots, which are totally incompatible with PCI. One area of concern is that several users aren't getting the Logic performance they may have expected from a computer which is, effectively, a four-processor Macintosh. Several people have reported that Logic is throwing up Out Of CPU Power error messages when the Mac OS X Activity Monitor is showing plenty of CPU overhead. Using the old 'stop then start Logic ' trick, which spreads CPU load evenly over the two processors in dual-processor Macs, seems to work with the quads as well.

Logic News

Logic 9 Match Equation

Logic 9 Match Eq Leveling

Reports have been trickling in from the few lucky Logic users who have purchased Apple's new Quad G5 Power Macs. Everything seems to be working smoothly — unless of course you have a PCI-based audio card, in which case you'll be kicking yourself because the new Macs come with PCI Express slots, which are totally incompatible with PCI. One area of concern is that several users aren't getting the Logic performance they may have expected from a computer which is, effectively, a four-processor Macintosh. Several people have reported that Logic is throwing up Out Of CPU Power error messages when the Mac OS X Activity Monitor is showing plenty of CPU overhead. Using the old 'stop then start Logic ' trick, which spreads CPU load evenly over the two processors in dual-processor Macs, seems to work with the quads as well.

Logic 9 Match Eq Match

This problem is all the fault of Logic 's primitive CPU monitor. Mac OS X itself spreads the processing load evenly for all programs, but Logic 's CPU monitor seems to live in a world of it's own. M photoshop com. Once one of the CPU monitor bars hits the red Logic complains that it has run out of processing power, instead of off-loading the extra processes onto the next CPU. This behaviour is a left-over from dual-processor G4's running Mac OS 9, when Logic itself controlled processor load by using one CPU for audio and the other for everything else, and it really needs to be updated very soon. The fact that Logic 's CPU monitor only shows two CPU usage bars on a quad-processor Power Mac doesn't inspire confidence that Logic is aware of the extra processing power available on the new computers. I assume Apple are working hard on a new version of Logic that can take better advantage of the new Mac's power.

Logic also has some memory-usage limitations, so loading your new G5 Quad with 16GB RAM may not provide the performance boost you were hoping for. Logic itself can apparently use up to 4GB of RAM — but that includes some RAM for sample libraries as well as for the plug-ins and core software. This figure has been disputed — some people will tell you that Logic can only use 2GB Ram, but I've been able to get the software to use over 3GB on my G5. Hopefully this will change in the future if and when Logic becomes a true 64-bit application. Of course, extra RAM will allow you to run all those extra programs alongside Logic without impacting on the sequencer's performance, so it's still a good idea to get as much RAM as you can afford.

Finally, there have been some reported problems with Logic and the latest Mac OS v10.4.3 update. These include MIDI and audio not working anymore and Logic crashing on booting, although I've not had any problems personally. Each OS update is a shot in the dark for Logic users and I'd advise caution whenever a new update is announced. It's always a good idea to have the latest OS revisions and Security updates, but these can have subtle and unpredictable effects on complex combinations of hardware and software. My advice is to back up your whole hard drive before updating and keep an eye on the various Logic forums before jumping in with any OS updates. Stephen Bennett