![]() If you’re struggling to get this balance just right, let Match EQ help you out by limiting the action region to above roughly 6k–8k Hz. Small changes in the high frequencies can have a big sonic impact due to the sensitivity of the ear in this range. If you’re having trouble getting the midrange to be present and solid enough, without being harsh or muddy, try limiting the action area to between about 250–2k Hz for low-mids, or about 2k–8k Hz for high-mids. It’s been said many a time that music lives in the midrange and once you get that right, everything else can fall into place. If you love what you’ve got going on in the mid and high frequencies, but are unsure of your low end, put Match EQ to work by scanning one of your favorite references with a great low end and limiting the action area to below 250 Hz or so. Truly accurate low-frequency monitoring is one of the hardest things to get right in small home studios. This has many powerful implications, but here are a few key ways this could be used: Getting the low end dialed in ![]() You can now tailor the frequency range in which Match EQ is working. ![]() Ultimately, having Match EQ as its own module or plug-in means a more flexible and customizable workflow to help you reach your sonic goals faster. This could be useful for reducing CPU usage, using Match EQ on multiple tracks in a mix, using multiple instances on one master with different references, or smoothing and amount settings for different frequency ranges. User, you can load Match EQ as a standalone component plug-in.
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