Match EQ takes a fair amount of processing power and also introduces a little processing delay, so you may wish to use the track Freeze button once you have got the sound you want. However, you can tweak the final sound further by creating EQ curves by dragging up or down in the Match EQ window, and if this doesn't work out, you can restore the original curve by following the prompt at the bottom of the plug-in window. In my test, the general sound of the guitar after processing via Match EQ was very much closer to that of my referenced miked recording, even though the unprocessed sounds were hugely different. If you feel unsure of these controls, simply stick with the defaults, as they usually do a pretty good job. A further button provides a choice of linear or minimum phase EQ and again the sound is slightly different so you need to listen and choose the nicest-sounding one. There's a fader that allows you to apply more or less of the correction curve, even going beyond 100 percent, and there's also a slider to smooth the EQ curve being applied - something best judged by ear. Note that you may not hear the audio play back while a file is being analysed but you'll see the frequency curve build up in the plug-in window. This stores a second curve, then when you hit the Match button a correction curve is computed to make the Current sound spectrally similar to the Template. Pressing the Analyse Template button on Match EQ while the reference section was playing back stored an EQ curve, after which I moved the cursor to the DI'd guitar part, resumed playback and pressed the Analyse Current button. Match EQ showing the DI'd signal combined with the reference EQ.įor the main part of the guitar track, I set the EQ on my acoustic guitar pickup system to flat and recorded a couple of minutes of playing. Match EQ is simply dropped into an insert point, and in this example, I found it convenient to record my section of reference guitar on the rhythm guitar track before the actual start of the song. In Logic parlance, this reference audio is referred to as the template material. It could also be an excerpt of solo acoustic guitar imported from CD if you have something you like the sound of. Match EQ uses a very large number of EQ bands and starts by analysing a reference sound (the sound you wish to emulate), which in my experiment was a short section of the acoustic guitar recorded using a microphone. This brings me back to Match EQ, which provides a more or less automatic way to EQ one sound to make it sound more like another. However, if DI'ing is your only practical option, then what can Logic do to help you get somewhere close? Matching EQs Systems that combine pickups and mics, such as the Fishman Rare Earth system, fare rather better, but if you want to capture the real acoustic sound of a great instrument, there's no better option than to mic it using a decent capacitor microphone. Life is easier from a technical standpoint if you DI the guitar via an inbuilt pickup system insomuch as you don't have to worry too much about noise pickup from the computer or from other instruments, but in my experience, the output of a piezo bridge pickup takes a lot of processing to get it to sound anywhere near right. Guitars will in-built preamps can be DI'd directly via a line input of your audio interface. Don't forget that if you have one of those rare passive piezo pickup systems, you need to DI it using an active DI box or other device with a very high input impedance. There's also a new plug-in in Logic Pro 7 called Match EQ, and, as I'll show later, this may sometimes be effective in improving the sound of those guitars fitted with piezo electric bridge pickups. Recording the acoustic guitar is much the same regardless of the recording hardware or software being used, but Logic has a number of plug-ins that are well suited to creating both contemporary and more traditional acoustic guitar sounds at the mixing stage. We look at how you can mock up a live acoustic guitar sound from a DI'd recording, using Logic's built-in plug-ins.
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