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Old March 1st, 2012, 07:49 AM   #301 (permalink)
Clark Kent
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Originally Posted by reneisgod View Post
If i capture a guitar in ozone 5 and then match it to the exact same guitar track the eq is flat, this is proof that ozone 5 doesnt add extra low or high end no? proof to me anyways.

or

if i match my own guitar to a reference in ozone 5 and then import it to harball the eq spectrum is perfectly matched, confused to why so many people are getting incorrect results in ozone 5, works spot on for me.

or as an alternative to harball run the matched ozone 5 track through voxengo curve eq, again for me the eq is virtually flat.
Yeah I guess that's proof that it's flat. I just simply match EQ'd the same takes with 4 and 5 and the 5 version had more low end and 4 was closer to the original. Dunno why... but I'm confident that both 4 and 5 are extremely accurate.
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Old March 1st, 2012, 08:04 AM   #302 (permalink)
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yeah ozone is accurate as hell, i chucked voxengo eq out the window after i tried ozone.
Mind you Harball is extremely accurate too, i often find myself double checking and fine tweaking curves in Harball. Most of the time its not needed but its re assuring to know the curve is spot on.
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Old March 1st, 2012, 12:06 PM   #303 (permalink)
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Question

Quote:
Originally Posted by reneisgod View Post
If i capture a guitar in ozone 5 and then match it to the exact same guitar track the eq is flat, this is proof that ozone 5 doesnt add extra low or high end no? proof to me anyways.

or

if i match my own guitar to a reference in ozone 5 and then import it to harball the eq spectrum is perfectly matched, confused to why so many people are getting incorrect results in ozone 5, works spot on for me.

or as an alternative to harball run the matched ozone 5 track through voxengo curve eq, again for me the eq is virtually flat.
The eq will be identical but like Clark said it doesn't make up for dynamics which is EXTREMELY important.

Ozone takes and average of the eq curve in the "infinite" mode. Therefore if the track you are matching has alot of pumping and peaks ozone may over compensate for this inaccurately. This is a problem when you are using amp sims because there's no air movement.

Something's that will help is using a multiband compressor before and after ozone. This can help tame it without losing those frequencies. It takes some trial and error. It helps to put a stereo enhancer/delay on the mono tracks when trying to get the comp set right it will help you hear the difference between your tone and the original. Another thing I have done that helps is after I get the tone close I will try and match it to the mix. This is important because with bus compression and a various number of dynamic effects placed on each channel when placed in the mix things will not act the same when the track you are emulating has all instruments playing rather than isolated guitar. I'm gonna try and explain what I mean.

Typically the mid portion of a track is where your bass/kick/vocals sit. The side portion is where the guitars and cymbals sit. Obviously it's not exactly separated but you get the point. So I recently did this with the EoH by KSE. I double tracked myself playing through the already aquired close tone match. I panned the guitars hard L/R. I then put an instance of ozone over them and solo'd the side portion. Then I played the KSE actual track in sync routed to a separate bus. I put another instance of ozone on the KSE track but solo the mid portion. So now I have my guitars side track and the original mid track playing at the same time. I route them to the same bus and take a snapshot in ozone. Then I solo the ot in stereo mode and snapshot that. Then I match them. After that I do something similar but different. I will also match a combinations of my guitars mid track combined with the original mid track to the original mid track. I know this is confusing. Basically...

(my close guitar tone side+OT mid) matched to (OT stereo)

Then...

(my close guitar tone mid +OT mid) matched to (OT mid)

So now I have two separate matches one for mid and one for side. To combine them to one...

(my guitars mid matched+my guitars side matched) matched to (my guitars original stereo).

You might need to adjust the smoothing down to avoid phazing This is only useful when matching to the non guitar isolated portions. If you do this with the isolated guitar track you will just get the same thing as the original method. I know this probably sounds retarded but I swear it helps. I might do a video tutorial on this.
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Old March 1st, 2012, 01:18 PM   #304 (permalink)
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+1 on deffpony.

Personally I like to keep the match EQ process simple and compress/multibandcompress the track in post processing to fit the mix that I'm working on if it's even needed.

Match EQ isn't 100% but it's close enough to get the tone to use it in another situation or mix.
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Old March 1st, 2012, 01:32 PM   #305 (permalink)
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I never eq match a riff that involves palm muting, i always aim for something thats open chords. Ill chuck in a multiband compressor
afterwards if need be but i generally never palm mute in my playing so its alot more simple for me i guess.
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Old March 1st, 2012, 08:17 PM   #306 (permalink)
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This is my attempt at matching the guitar tones in Protest the Hero's Bloodmeat using the master tracks. It turned out quite close when comparing the isolated guitar tracks. This was a nightmare to record and edit on my laptop though so I couldn't do any of the lead guitar octave effects/EQing or mastering because I kept getting "System Overload!" every 5 seconds.

I'm eager to see how the Axe-FXs Tone Matching will work and sound. I think you've started off quite a trend Clark.
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Old March 2nd, 2012, 02:26 AM   #307 (permalink)
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Yeah... I was already wondering if I influenced Cliff in this whole Axe-Fx tone matching technology. But I didn't create this technique so I can't take all the credit. I think Cliff is simply afraid to lose customers to Kemper so he made this tone matching to avoid that.

About your Protest the Hero tone, you could have a lot more gain and it would be easier to play. What modeler is that?
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Old March 2nd, 2012, 05:50 AM   #308 (permalink)
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Haha thought you guys might enjoy this but I used the riff from world ablaze to get a tone and after listening to it a few times I noticed you can hear the metronome bleeding through the pickups on the original track.
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Old March 2nd, 2012, 05:44 PM   #309 (permalink)
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Could someone make an match EQ IR for TSE-X50 from this Megadeth tone? I am willing to pay cash!!

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Old March 2nd, 2012, 07:31 PM   #310 (permalink)
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Could someone make an match EQ IR for TSE-X50 from this Megadeth tone? I am willing to pay cash!!

http://www.youtube.com/watch?v=ePSR7gFt7s4
I would do it. Send me a clip of your reamped track and if possible also a clip of the song the exact same length this way its just plug and play. No need to pay me.
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Old March 2nd, 2012, 08:36 PM   #311 (permalink)
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Quote:
Originally Posted by Clark Kent View Post
Yeah... I was already wondering if I influenced Cliff in this whole Axe-Fx tone matching technology. But I didn't create this technique so I can't take all the credit. I think Cliff is simply afraid to lose customers to Kemper so he made this tone matching to avoid that.
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Old March 2nd, 2012, 08:51 PM   #312 (permalink)
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I would do it. Send me a clip of your reamped track and if possible also a clip of the song the exact same length this way its just plug and play. No need to pay me.
Cool, I really appreciate it! Give me some time to gather everything.
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Old March 3rd, 2012, 01:07 AM   #313 (permalink)
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Clark kent can you share some of your ampsim chain and settings combined with your impulses
For example what is your chain on your petrucci ir, or on your lamb of god, etc?

Last edited by parisowar : March 3rd, 2012 at 01:09 AM.
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Old March 3rd, 2012, 02:51 AM   #314 (permalink)
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Clark kent can you share some of your ampsim chain and settings combined with your impulses
For example what is your chain on your petrucci ir, or on your lamb of god, etc?
If you pay attention in the video its mostly just a od pedal in front of TH2's version of a rectifier. Here and there he used a compressor i believe. But the settings are in the video if you look closely. He said before that he keeps the amp knobs all at 12. This works but something I noticed is that somefreqs will sound better if Ozone has to reduce them rather then boost them depending on the tone. Heres my suggestion...

Load a close setting on your amp with any cab u like. Get the gain dialed in as close to the original tone as possible. Once the distortion sounds like its the same amount remove the cab and go through trial and error with each tone knob in diff positions. Depending on what sounds better adjust accordingly. For example.

First match attempt:
Bass-min/ Mid-center/ Treb-center/ Pres-center

Second match attempt:
Bass-max/ Mid-center/ Treb-center/ Pres-center

Third match attempt:
Bass center/ Mid-center/ Treb-center/ Pres-center

Lets say the match sounded better with the bass knob at min. I would leave it there or slightly adjust it. Then I would do the same thing with the mid knob but keeping bass at min. And then the same with the treb knob but with the bass and mid knobs at there best pos. This works great if you have NO IDEA how to get a similar tone with your amp head. If you can get your amp to sound similar without this process then you obviously dont need to do all this. The closer the amp sounds to the original amp the easier the matching will be. One other thing to try is if the tone you are matching has alot of gain, it helps after you find the right amount of gain on your amp to increase it a bit more. Then match eq and dial the gain back to the original optimal position. This will help tighten things up because when you reduce the gain after the eq curve is already created you will tame some of the lows and fuzz without losing your punch and grit.

Hope that helps some
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Old March 3rd, 2012, 08:09 AM   #315 (permalink)
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Originally Posted by anti-mother View Post
...
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Old March 3rd, 2012, 08:11 AM   #316 (permalink)
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Most of my matched patches are simply: noisegate -> amp (recto modern) -> matched IR. Some patches have a tubescreamer in front if extra gain is needed. Amp settings are always the same. Gain on 7 and everything else on 5. Tubescreamer settings: gain 0, tone 5 and level 7. That's basically it.
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Old March 3rd, 2012, 08:14 AM   #317 (permalink)
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Lamb of god settings are also the same?
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Old March 3rd, 2012, 01:27 PM   #318 (permalink)
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Something kinda cool. I used this technique to create a bass sim for my guitar

http://soundcloud.com/deffpony/bass-tone
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Old March 3rd, 2012, 05:51 PM   #319 (permalink)
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Lamb of god settings are also the same?
For some strange reason that particular patch has presence on 0 and bass + middle on 4. Other than that it's the same.
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Old March 4th, 2012, 06:47 AM   #320 (permalink)
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I wonder if EQ matching could be used for bass guitar as well? Maybe with the Ampeg SVX software?

You can bypass the cabinet in that software then add a cab vst into your chain like voxengo boogex?

I don't think you can load impulses into the Ampeg software, or can you?

Last edited by RichS : March 4th, 2012 at 06:49 AM.
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Old March 5th, 2012, 02:44 AM   #321 (permalink)
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You can use match EQ for overdriven bass but for cleanish stuff it won't work. Just like match EQing clean guitars will not work. It's just like match EQing a guitar to sound like a violin... spectrum isn't as essential in those tones but the dynamic content in clean tones is a lot different between different types of basses.
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Old March 5th, 2012, 02:52 AM   #322 (permalink)
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Originally Posted by reneisgod View Post
I never eq match a riff that involves palm muting, i always aim for something thats open chords. Ill chuck in a multiband compressor
afterwards if need be but i generally never palm mute in my playing so its alot more simple for me i guess.
Where is the MATCH EQ CONTEST?
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Old March 5th, 2012, 10:41 AM   #323 (permalink)
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Originally Posted by Clark Kent View Post
You can use match EQ for overdriven bass but for cleanish stuff it won't work. Just like match EQing clean guitars will not work. It's just like match EQing a guitar to sound like a violin... spectrum isn't as essential in those tones but the dynamic content in clean tones is a lot different between different types of basses.
I see, thank for the explanation Clark!

It does work with kicks and snares though? I thought I seen a post where you used match EQ on some.
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Old March 7th, 2012, 02:09 AM   #324 (permalink)
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Ive set up a match eq competition thread, check it out!

http://www.ultimatemetal.com/forum/r...l#post10202214
The link is dead. Why?
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Old March 8th, 2012, 04:02 AM   #325 (permalink)
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I see, thank for the explanation Clark!

It does work with kicks and snares though? I thought I seen a post where you used match EQ on some.
Match EQing drums is a bit on the complicated side also. People rarely realize that drums have pitch also. So in orded to match EQ drums they have to be in the same pitch. This can easily be fixed with Superior Drummer f.ex. but other than that I don't recommend doing it. Kicks however are easier to match EQ. Snare has so many different characters like ringy snares f.ex. that can't be achieved by EQ.
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