Hi there! I’m looking for a way to replicate the Fletcher-Munson curve. I know that TDR does something similar, but it has a limited dB range and I find it too delicate. Are there any other plugins that use this method, or have you ever come up with solutions to "simulate" this curve? Thanks!

https://www.pluginboutique.com/prod...3FcQZNAhJ61eRI-vd7nArKFcw2N4wyFRriG8U2lWhXs-x

 

This is a nice article on EQ matching: https://larslentzaudio.wordpress.com/2022/02/14/using-eq-matching-to-create-great-sounding-tracks/

You have so many additional options available to you aside from TDR.

 

In this article from iZotope the company suggests using their plugin Tonal Balance Control to achieve something close to the curve in your mastering stage.

https://www.izotope.com/en/learn/wh...44eJVzJGQHiw0zjsgOuUgySkWDoz74B0DZg6CXzumPTnp

 

dont have much experience in eq matching but a couple of times used IK Multimedia Master match and I remember I was suprised. It has been also update lately

https://www.ikmultimedia.com/products/trmastermatchx/

 

you can stack tdr eq to do more gain boost/reduction and with help of bertom eq curve analyzer make eq curve like it with your daw eq... and with mix/amount knob of your eq, you can dial it how much as you want...

or you can use premade Fletcher-Munson curve presets... i know there is one for pro-q in internet. idk where, but if you search it you will find it.

 

Thanks for the replies! Unfortunately I can't find anywhere a curve to match with my matcheq plugin, that seems a good way to go

 

How do you mean, you can't find a curve?




Put a white noise generator on your track.
Put an EQ next, recreate the curve from above (the values are in dB/Hz) appropriate to your expected listening loudness.
Put your EQ matching plugin next, train the EQ matcher on the EQ'd noise.
Save the EQ match profile and reuse the profile on real projects.

Or get DSEQ, Spectral Comp, or some other spectral compressor and set your equal loudness emphasis curve directly in those.

 

Equal Loudness curve is relative and not absolute. A perfect Equal Loudness Curve is irrelevant as it changes with Sound Pressure Level all the time unless your song has perfect constant dynamic range through out the entire 100% mono song in a room with perfect equal reflection and absorption for all walls... which is impossible. What TDR has done is practical approximation and thought through all the way that it could act as a quick reference tool to help someone to mix at his preferred monitoring level and make better decision than not using it at all. Use ELC as rough guide, something to be aware of to set up your monitoring, not a target, nor a filter on the stereo bus (and mix through it all the time) which is a terrible idea IMO.

 

Instead of treating the ELC as a strict rule or always using it as a filter on the stereo bus, it’s better to use it to set up your monitoring and stay aware of how loudness affects your mix. Relying too much on it can lead to mixing mistakes.