Thanks so much.

Thanks Andrew. Absolutely, we're all always learning!

You're very welcome. I'm so glad to hear it was helpful.

Thanks so much! And believe me, I’m always finding new things too, even after all of this time.

You're welcome as always, Gary. Many thanks.

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

BF! Thanks so much and glad there was some additional information for you here.

You're welcome!

It sure is! You're welcome.

My pleasure. Glad it was helpful.

Thanks so much. Hope the experiments go well!

Very kind words! Thanks so much and all best wishes for the New Year.

Thanks so much. Glad it was helpful.

Great! You're right, it's extremely useful.

Hi Peter. Great, I'm so glad it provided a shortcut and some additional info. Thanks as always.

Avec plaisir!

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.

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.

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.

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.

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.

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.

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.

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.

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 👍🏼

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.

Hi Jeffy. Yes, it’s a similar approach, capable of useful things on mixes, Track Stacks and individual tracks alike.

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..

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.

Great! You're welcome.

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.

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 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.