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.
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.
