Hi and welcome back to the second EQ-match
tutorial which will look at some
more adventurous application
I’ll start with white noise or I’m
using twin – in this case, and I’ve
looped a MIDI note for the duration of
the song to keep it running and then
I’ll add a noise gate with the sidechain
fed from the snare drum so the gate
opens for every snare is mixing this in
with the drum – can help to add a
livelier character into the snare but I
don’t need to add very much before it
starts to sound unnatural actually I can
improve this a lot
simply by painting the highest octave of
the noise with a low-pass filter but I’m
going to try a more sophisticated
approach using the match EQ function in
pro-q 2 this instance is running on the
noise Channel but I’ve once again routed
the snare mics to the sidechain
so I can use this signal as a reference
before I actually apply the match EQ I’m
going to make sure the auto gain setting
is turned on to avoid any nasty shocks
from certain volume jumps and this is
probably a good idea whenever you are
experimenting with more creative EQ
matching application so the result
blends a lot better with the drum mark
so I can get away with using more of it
and this gives me some interesting snare
shaping options I could lengthen the
release time for the gate to add a
longer tail for example
or I could die let’s run back and just
add a sharp snappy attack
I can also tweak the EQ setting adding a
kilt filter somewhere in the mid-range
gives me an easy way to make the noise
brighter or darker and of course I can
add further processing like this
transient enhancing acceptor and setup
I’m going to finish off this example by
duplicating the gate to create a second
instance on the same truck again driven
by the snare feeding the sidechain but
this time I’m going to set a ratio of 2
to 1 to create a gentler downward
expansion setting and increase the
threshold so that only the very loudest
is approaching and this forces the noise
track to follow the dynamics of the
snare drum and avoid overemphasizing
quiet of ghost note
okay this time I’ve loaded an EQ on one
of the guitar channels which are called
guitar one and I’ve routed guitar two to
the size Jane had looped a section of
the song with both guitars playing
caught for the purposes of visit
when I apply this to get a complex
innkeeper attempting to move guitar want
closest a guitar to in turn which is
actually kind of the opposite of what I
wanted so I’m going to grab all EQ bangs
and invert the game and so that cuts the
combusts and boosts the kumkum and I’m
going to be pretty subtle let’s switch
the display scale so you can see the
resulting curve more clearly
let me now having EQ settings which is
gently transparently helping to separate
the guitar want from guitar to in
so why not do the same in Reverse for
guitar too well I could repeat the
process but running the same analysis
with the two signals what’s around is
theoretically just going to give them
the equal and opposite result so it’s
quicker to copy my guitar one EQ to the
guitar Tube channel and invert all the
gains once more against being pretty
if I toggle by parts for both entities
you can hopefully hear how much extra
separation for clarity this creates
within MIT
so let’s try taking this concept but
this time I have an instance of pro-q 2
running on the drums subgroup with a
reference spectrum that I saved from
another subgroup consisting of bass
guitar keys and both electric guitars
the white corrective curve is pretty
extreme in this case as you would expect
to when matching such drastically
different signal and I’m definitely
going to make sure autogain is enabled
before I hit match on this one as you
might expect the result sounds pretty
awful when I apply it but of course I
once again going to grab all the bands
and invert the games to carve out space
in the drums where the guitars and keys
are most prominent I might make a couple
of tweaks however, I need to clean up the
Blues at a low and high extremes and
restrict my shading to the critical
mid-range region
of course any major changes to the
underlying drum orbit armature is likely
to throw this off so probably better to
save this trick to the final stages
okay that’s all for now hopefully we’ll
find some of these tips useful for being
five use a little lateral thinking and
come up with your own unusual beeps in
that application
won’t pass the days are never perfectly
can’t pass the day’s I won’t pass the
big fire never pass the day long you
In this tutorial, Dan Worrall takes you through some creative EQ matching applications using Pro-Q 2, like fattening a drum snare with EQ-matched white noise, separting guitars in a mix or shaping drum bus sounds.

The Creative EQ Matching video was embedded from Youtube channel “”. Video source

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Add audio files on both the main track and the side chain track. You can simply drag audio files from a Finder/Explorer window onto a track. Select the main track and add ProC 2 in the first Insert effect slot. Open FabFilter ProC 2’s interface, enable Side chain expert mode and set Side Chain to Ext.

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