How to Use Spectrum Matching EQ with Reference Mixes in iZotope Ozone 6

Hey, what’s up guys? David Glenn for,, and my new site, Stoked about that, but today we’re talking
about Ozone 6 and the EQ section, and even more specifically, we’re going to do some
EQ matching. In Ozone 5, it was a huge feature that I used
all the time, and they’ve simplified it moving into Ozone 6. We’re going to take a quick
look at that and I’m going to put myself on the spot and show a mix that I’m working on.
My personal disclaimer, this is tracked completely differently than the reference that I’m using,
and all kinds of arguments that I could make about that, but ultimately, my job is to do
my best for the client, and we’ll argue that in the comments. Anyways, the reference track that I’m using
is going to be over here to the right at marker 14. It’s an Israel Houghton, man, I always
butcher his name… We’ll call it an Israel track. Then I’ve got a song I’m working on
here, so let’s here mine first. [Israel song plays] Then we’ll hear the reference. [reference track plays] Okay. So, aside from me having some work to
do on my mix, let’s go ahead and pull open the Ozone 6 EQ, and let’s see if we can get
a little bit of help from doing some EQ matching. So, I’m not even going to pay attention to
anything up here for now. I’m just going to come down here. You see there’s two buttons.
You can click thee power button, which will instantiate matching, or you can click onto
the side, and that’ll actually pull open the menu here for capturing and matching your
audio. So, the first thing we’re going to do, I’m
going to go to my reference, and that’s here. Reference audio, that’s my track out to the
right. I’m going to hit capture, and I’m going to hit play. [reference track plays] Very cool. I’m going to stop it, and those
of you guys who are big Pensado’s Place fans too know that Israel was one of the guest
performers at the Pensado Awards. Pretty sweet performance that he had acoustically there
with Matt Mauer***. It’s one of his studio records. Moving on from that capture, we’re going to
come up back over here to mine, I’m going to capture my target audio, my mix. [Israel track plays] Okay, cool. Now, if you’ve got a song where
you’ve got multiple sections, then you may want to let it play longer. It’ll take an
average over that duration of whatever you’re playing. For this tutorial’s sake, we’re going to go
ahead and cut it at that, and see kind of a quick look at the chart there for the frequency
pattern. It looks pretty similar, not too bad. But we’re going to go ahead and turn
on matching, and we’re going to look at this match curve here, so this how much smoothing
goes onto the curve. You can make it to where you can see all that good stuff in there,
or you can smooth that out a little bit so that it sweetens the gentleness of it. Alright, and then the amount is simply how
much of that matching that you want to be working on your track. So you can see, if
I boost it all the way, we’ve got a pretty decent sub spike, we’ve got a drop in the
60-100, a little bit of mid boost, a little bit of cut around 1k, some stuff going on
with this. A little boost at the top, and then a little bit of a reduction at the max
15k or so. So anyways, you get the point. Depending on
your track, what you’ve got on yours versus what your reference is doing, you’re going
to see different things, and that’s the whole point of this EQ match is to kind of get a
ball park of – now, these tracks are different instruments, so to speak. There are some similarities,
like the drums hopefully are comparable, but the guitars aren’t driving and going crazy
in my song. There’s not this swell of brick wall of sounds with synths and guitars on
mine, but they’re somewhat comparable and I felt like this would be a good sonic reference
to aim for, not necessarily perfect. That’s usually going to be the case, it’s not always
going to be you have the same sounds as another song and you’re just trying to nail it perfectly.
It’s just to kind of help us out a little bit and I think it’s a great tool, so I’m
using it all the time. I think that in this case, we’re going to
use more of a gentle approach. Just have a little bit of bump there, and you can see
it’s kind of a kiddy roller coaster now as opposed to a full on Busch Gardens Adventure
there. So we used a gentle slope. Let’s take a listen. I’m going to move this back up here,
and you’re going to notice in my – excuse me, my voice is going. You’ll notice that
in my setup, I use a sub-master that’s my stereo buss, and then that goes to the main
outs. I put my fades and everything here, but when I do the matching, I’m recording
the audio from the reference track, which is out to the right, and I send that directly
to the main outs. We see that here at the top of my session with a track called “refs,”
and that’s going to the main outs. Everything else goes to these pre-stereo buss busses,
and then from there to the 2buss, and then out to the master outs. This was a post limiter match for me, and
then it also allowed me to capture the reference track without any of my 2buss processing.
Of course, that’s important to note, so moving on. Let’s hear what it did to the track before
and after now that we’ve got this third instantiation, this EQ matching here. Alright, let’s take a listen. [Israel song plays, bypassing and enabling
Ozone 6] Okay, so there’s a little bit of help coming
from that. I think it’s pretty cool. I’ve already done a couple instances of matching
EQ, so this one’s pretty gentle, it’s more just for demonstration purposes, but something
to note is when you do the matching EQ, if you’re mixing into a limiter like I do, you’ll
need to adjust that according to what the matching EQ did to your track. If it’s boosting
instead of cutting, then you’re going to see a gain boost here. You can either adjust that
there, you can pull down your output a little bit, or you can adjust how it’s going into
the limiter by handling that with your limiter’s threshold. Couple things to take a look at, I hope you
guys enjoy that. Ozone 6 is about to replace 5 in my template across the board, but it’s
going to be a slow process so I can A/B them and make sure that it’s exactly what I’m used
to and that I like or better, and all that good stuff. So check out Doing all
these tutorials, my voice is going. I’m going to go get some water, and continue rocking
on recording these for you guys. Check out,
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29 thoughts on “How to Use Spectrum Matching EQ with Reference Mixes in iZotope Ozone 6

  1. New tutorial from @David Glenn Kulp on how to use spectrum matching EQ with reference mixes in @iZotope, Inc. Ozone 6.

  2. this is one of the tips I picked up from you that's been really, really great…I do it about 3/4 of the way into mixing…I use pro-q…not that it really matters

    it's funny…even a subtle change can make a huge difference in the way the track comes across…2 things I've noticed for guys who are just starting out with this…make sure both levels are as close as possible and make sure you take different song sections into account…try and match the point in the reference material that most closely resembles your mix, instrumentally and if there's a breakdown in either song, make sure you check it out

  3. I appreciate the demo. I have only worked in stand alone to this point. Who is singing in your demo? If it's someone you have a good working relationship with you should urge her to lay back on the runs and simplify. She is reaching way beyond her talents and it could be so much better if she didn't try to over sing.

  4. bro in what channel do u have to put the ozone? in the one you are recording ? or the one you are matching?

  5. This seems ideal for orchestral mixing – specifically VST orchestra users. Get the EQ reference of a live orchestra performance that one wishes to emulate as much as possible with VST. Perfect for orchestra because it has a standard instrument layout more so than rock, pop, genres with synth and electronics. Very exciting. There are many live orchestra recordings that I'd love to get as close to as possible with VST's. For example, capture that wet, rich mix of Howard Shore's Rings trilogy.

  6. Thanks for the tutorial David. I've been using EQ matching in a gentle way, but have always saved it for the mastering stage to get the songs in a sonic ballpark with each other. What benefits do you get from doing this process more than once and how does that vary from increasing the degree of the matching on a single instance of a match eq? Also, what is the reason for doing this post limiter… Just to closely match the final product of yours to the final of the reference? Nice tutorial and thanks for all you do. Been using ozone 5 match and seem to like it better than pro q2

  7. How do you save a matching preset? You used to be able to do that in Ozone 5 but now since I upgraded to 7 i have no idea how to

  8. It would have been so much more useful to hear (and not just see the effect on the wave form) how powerful the amount slider is at 100% vs the 25% you decided on.

  9. Thanks for a great tutorial. I'm not sure I got the part about your submixes. Do you mean you did the EQing after limiting? Is that a common mastering technique?

  10. baby, the whole trick for someone to get help IS the actual routing and last action ie how to finalize it. You only refer to these issues in passing, which renders your video pretty useless.

  11. What is reference audio and what is source audio? Which of them is my mix and which is what I want to sound like?

  12. So I matched an EQ I liked …BUT HOW THE FUCK DO I SAVE IT AS A PRESET???? WTF!!!? in O5 you could save and now in O7 you cannot???!!?? WTF! IZOTOPE YOU FUCKING CLOWNS TAKING GREAT FEATURES AWAY

  13. Can anyone suggest software which allows the user to match the eq in realtime rather than capturing short snapshots like here? I'm looking for a way of exactly matching a reference track's many treble/mid/bass changes as they happen? Any advice would be great thanks 🙂

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