Now I completely understand that in effect, the capture process will match an EQ source. However, it is a standalone feature that does not allow you to match a current signal to a reference signal, but rather seeks to recreate a sound from scratch.
EQ matching is incredibly useful for many purposes - not the least of which is adding a final level of perfection to a capture (the Kemper uses “refine” for this, and the Axe FX has it’s tone match), or allowing you to match a reference sound either from a mono isolated track you like or in many other useful scenarios.
Can I do this by EQ matching in my DAW, shooting an IR, and loading it into the QC or by capturing the EQ match through my interface? Yes, but it’s a lossy and bulky workaround that will never quite get you the results you want. On top of that, the ability to readily adjust the % match and smoothing of matched curves is extremely useful and also not something easily translated between DAW and QC.
Like the sound of one preset but prefer yours overall? Easy - EQ match against it and dial the % back until you get the blend you want - I do this all the time in the DAW. Love an artists tone, or have a need to reproduce a sound from one of your old albums? Boom - EQ match to the rescue. Really love the feel / gain of one capture, but the overall tone of another? Boom - EQ match solves your problem. There are SO MANY good uses for this process, and very few people are familiar with it in general.
Not only would it enhance the ability of getting perfect matches on capture, but it would also enable so much additional workflow.
To be clear - I’m suggesting this as an additional block type - NOT as an incorporated feature of the capture process. Currently, only Fractal offers this.
Pic for reference (Ozone match)
