Match EQ

Hi
The issue : in FCP 7 there are two adjacent dialog clips from different takes. There is a noticeable change in voice tone from one to the other ... mic placement I suspect. I want to match them, so time to give the Match EQ in STP 3 a go.
The intuitive solution ...to me anyway: Send clip 1 to STP Audio File Project , send clip 2 to STP AFP. Open clip 1 (which sounds the best) select the dialog and do a Process / EQ Matching / Set EQ Print. Then switch to clip 2 and apply Process / EQ Matching / Apply EQ Print. Done?
Oh, no ..... seems I can't apply a print from one file to another in the Audio File editor. What? well, after experimenting for a bit it seems on some occasions it works. But rarely. The Manual says
"Set Equalization Print
The Set Equalization Print command lets you select part of an audio file and create an equalization print from it. The equalization print provides an equalization signature that you can apply to other parts *+of the same file+*. To match parts of a different file, use the Multitrack Editor."
Why would I ever have to match EQ from parts of the same recording?? This isn't my question though.
So now I have to export a small part of the FCP timeline as a Multitrack Project ... then use the Lift and Stamp Tools Pallette to do the job... not even the Match EQ tool! Then export a mini mix ... add it to the FCP timeline. Ridiculous.
I thought for a moment that perhaps I could apply the Match EQ Plug In effect to clip 2 in the Audio file editor. Right click on the "Learn Button" and choose "Generate Spectrum Template From Audio File..." . Then choose the Clip 1.stap file sent from FCP. But no way ... STP cant see the audio file in the .stap file!! I'd have to export the Audio from Clip 1 as a .aiff from FCP first.
Aghhh......
So what am I missing? Or are we to assume that audio tweaks in FCP aren't really workable. A full multitrack export is expected in the workflow?
Sigh...
Best
Lee

Lee Faulkner1 wrote:
Ridiculous.
Indeed. It might be easier to do with your ears.
Apply Effects > Audio Filters > Apple > AUGraphicEQ.
If you've never worked with a graphic EQ before,
spend some time playing with it, learning how the different
frequencies sound. Note, for example, that anything
below 80 or above 8K aren't important for voice,
that frequencies around 3150 are important for articulation,
and frequencies around 200 help with fullness.
Set up a situation where you can go back and forth quickly
between the two clips while you play with the controls.
Start by making sure the two clips are equally loud.
Try working on the main differences first, then narrow
your fine tuning. Double check your work by listening
on a couple of different speakers/headphones.
It's quite possible you can do a better job than the EQ matching process!
Regardless of which technique you use, EQ alone may not be
enough to match a different mic placement. There's also the
issue of room acoustics. About the only way to match that
is to add a little short reverb to whichever clip is the driest.

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