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	<title>Music Production Tips - The Stereo Bus Blog &#187; advanced</title>
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	<link>http://thestereobus.com</link>
	<description>Music production, pro audio and engineering tips &#38; secrets.</description>
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		<title>Visual Analogy to High Definition Sample Rate Conversion</title>
		<link>http://thestereobus.com/2010/01/02/visual-analogy-to-high-definition-sample-rate-conversion/</link>
		<comments>http://thestereobus.com/2010/01/02/visual-analogy-to-high-definition-sample-rate-conversion/#comments</comments>
		<pubDate>Sun, 03 Jan 2010 04:07:38 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[sample rates]]></category>
		<category><![CDATA[88.2khz]]></category>
		<category><![CDATA[96khz]]></category>
		<category><![CDATA[conversion]]></category>
		<category><![CDATA[dithering]]></category>
		<category><![CDATA[high-definition]]></category>
		<category><![CDATA[mastering]]></category>
		<category><![CDATA[sample rate]]></category>

		<guid isPermaLink="false">http://thestereobus.com/?p=208</guid>
		<description><![CDATA[I've been working pretty much exclusively at 24-bit/44.1khz but now DAWs are fast enough and hard drives are cheap enough that there's no good reason not to step it up.  192khz is simply overkill.  Most DACs simply upsample to achieve that rate and response can actually be poorer as a result.  This leaves the choice between 96khz and 88.2khz.]]></description>
		<wfw:commentRss>http://thestereobus.com/2010/01/02/visual-analogy-to-high-definition-sample-rate-conversion/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>Mono Sources in a Stereo World &#8211; Michael Franti @ RNC</title>
		<link>http://thestereobus.com/2009/07/14/mono-sources-in-a-stereo-world-michael-franti-rnc/</link>
		<comments>http://thestereobus.com/2009/07/14/mono-sources-in-a-stereo-world-michael-franti-rnc/#comments</comments>
		<pubDate>Tue, 14 Jul 2009 22:04:21 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[stereo image placement]]></category>
		<category><![CDATA[compression]]></category>
		<category><![CDATA[deesser]]></category>
		<category><![CDATA[fairchild]]></category>
		<category><![CDATA[IR-1]]></category>
		<category><![CDATA[massive passive]]></category>
		<category><![CDATA[michael franti]]></category>
		<category><![CDATA[mono]]></category>
		<category><![CDATA[reverb]]></category>
		<category><![CDATA[rnc]]></category>
		<category><![CDATA[stereo]]></category>
		<category><![CDATA[waves]]></category>

		<guid isPermaLink="false">http://thestereobus.com/?p=203</guid>
		<description><![CDATA[Recently I was hired to finesse a rather rough live recording of Michael Franti&#8216;s performance at the protest concert outside the Republican National Convention in 2008.  The recording was done with a pair of shotgun mics placed fairly close to each other. In fact, the recording was essentially mono &#8211; probably because of the mic [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2009/07/14/mono-sources-in-a-stereo-world-michael-franti-rnc/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Review: Ohm Force Symptohm Synth Plugin</title>
		<link>http://thestereobus.com/2009/04/10/review-ohm-force-symptohm-synth-plugin/</link>
		<comments>http://thestereobus.com/2009/04/10/review-ohm-force-symptohm-synth-plugin/#comments</comments>
		<pubDate>Sat, 11 Apr 2009 03:50:29 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[music producer]]></category>
		<category><![CDATA[review]]></category>
		<category><![CDATA[synthesis]]></category>
		<category><![CDATA[boards of canada]]></category>
		<category><![CDATA[native instruments]]></category>
		<category><![CDATA[ohm force]]></category>
		<category><![CDATA[parameters]]></category>
		<category><![CDATA[plugin]]></category>
		<category><![CDATA[tweaking]]></category>
		<category><![CDATA[virtual instrument]]></category>

		<guid isPermaLink="false">http://thestereobus.com/?p=164</guid>
		<description><![CDATA[The guys over at Ohm Force, an indie plugin development group out of Paris, asked me if I wanted to do a review of some of their plugins.  I was happy to do so, as long as I could give an honest appraisal.  So in this post I&#8217;ll be reviewing one of the four plugs [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2009/04/10/review-ohm-force-symptohm-synth-plugin/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>How Do I Get My Songs to Play at the Same Volume?</title>
		<link>http://thestereobus.com/2009/02/11/how-do-i-get-my-songs-to-play-at-the-same-volume/</link>
		<comments>http://thestereobus.com/2009/02/11/how-do-i-get-my-songs-to-play-at-the-same-volume/#comments</comments>
		<pubDate>Wed, 11 Feb 2009 13:00:03 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[gain]]></category>
		<category><![CDATA[replaygain]]></category>
		<category><![CDATA[samples]]></category>
		<category><![CDATA[foobar 2000]]></category>
		<category><![CDATA[ipods]]></category>
		<category><![CDATA[itunes]]></category>
		<category><![CDATA[soundcheck]]></category>
		<category><![CDATA[tags]]></category>
		<category><![CDATA[volume]]></category>

		<guid isPermaLink="false">http://thestereobus.com/?p=147</guid>
		<description><![CDATA[This article isn&#8217;t about mastering a CD so that the songs are all at the same perceived volume, it&#8217;s about getting your music collection to play back at reasonable volumes relative to each other.  It&#8217;s also about providing this feature to your digital distribution customers. I&#8217;m sure you&#8217;ve at some point put your music collection [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2009/02/11/how-do-i-get-my-songs-to-play-at-the-same-volume/feed/</wfw:commentRss>
		<slash:comments>6</slash:comments>
		</item>
		<item>
		<title>Mastering Experiment: &#8220;But They Do&#8221; with the Focusrite Liquid Mix</title>
		<link>http://thestereobus.com/2008/03/08/mastering-experiment-but-they-do-with-the-focusrite-liquid-mix/</link>
		<comments>http://thestereobus.com/2008/03/08/mastering-experiment-but-they-do-with-the-focusrite-liquid-mix/#comments</comments>
		<pubDate>Sun, 09 Mar 2008 05:30:38 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[mastering]]></category>
		<category><![CDATA[challenge]]></category>
		<category><![CDATA[clipping]]></category>
		<category><![CDATA[compression]]></category>
		<category><![CDATA[Cubase]]></category>
		<category><![CDATA[drums]]></category>
		<category><![CDATA[experiment]]></category>
		<category><![CDATA[focusrite]]></category>
		<category><![CDATA[izotope]]></category>
		<category><![CDATA[lca-2b]]></category>
		<category><![CDATA[levels]]></category>
		<category><![CDATA[limiting]]></category>
		<category><![CDATA[liquid]]></category>
		<category><![CDATA[ludwig]]></category>
		<category><![CDATA[manley]]></category>
		<category><![CDATA[mix]]></category>
		<category><![CDATA[mu]]></category>
		<category><![CDATA[ozone 3]]></category>
		<category><![CDATA[ratio]]></category>
		<category><![CDATA[strings]]></category>
		<category><![CDATA[tech]]></category>
		<category><![CDATA[tube]]></category>
		<category><![CDATA[variable]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/03/08/mastering-experiment-but-they-do-with-the-focusrite-liquid-mix/</guid>
		<description><![CDATA[This post focuses on an experiment with my new Focusrite Liquid Mix, with which I mixed and mastered a song of mine that was in need of polishing. First of all, I will be out of town until the 19th&#8230; meaning that I won&#8217;t be making any posts here at TSB until then.  But, I [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/03/08/mastering-experiment-but-they-do-with-the-focusrite-liquid-mix/feed/</wfw:commentRss>
		<slash:comments>10</slash:comments>
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		</item>
		<item>
		<title>How to Use Visual Audio Analyzers and Scopes</title>
		<link>http://thestereobus.com/2008/03/04/how-to-use-visual-audio-analyzers-and-scopes/</link>
		<comments>http://thestereobus.com/2008/03/04/how-to-use-visual-audio-analyzers-and-scopes/#comments</comments>
		<pubDate>Tue, 04 Mar 2008 19:01:17 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[visual analyzers]]></category>
		<category><![CDATA[analyzers]]></category>
		<category><![CDATA[curve]]></category>
		<category><![CDATA[frequency]]></category>
		<category><![CDATA[phase]]></category>
		<category><![CDATA[range]]></category>
		<category><![CDATA[response]]></category>
		<category><![CDATA[visual]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/03/04/how-to-use-visual-audio-analyzers-and-scopes/</guid>
		<description><![CDATA[This post focuses on ways to use visual audio scopes to gain more understanding about what&#8217;s going on in your audio. It&#8217;s important to state right off the bat that working with audio should primarily be an auditory experience.  In general people won&#8217;t be looking at visual representations of audio as much as they will [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/03/04/how-to-use-visual-audio-analyzers-and-scopes/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>How to Use Analog Tape as an Effect</title>
		<link>http://thestereobus.com/2008/03/03/analog-tape-as-an-effect/</link>
		<comments>http://thestereobus.com/2008/03/03/analog-tape-as-an-effect/#comments</comments>
		<pubDate>Mon, 03 Mar 2008 13:30:39 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[analog tape]]></category>
		<category><![CDATA[analog]]></category>
		<category><![CDATA[bouncing]]></category>
		<category><![CDATA[compression]]></category>
		<category><![CDATA[daw]]></category>
		<category><![CDATA[drums]]></category>
		<category><![CDATA[insert]]></category>
		<category><![CDATA[magnetic]]></category>
		<category><![CDATA[punch]]></category>
		<category><![CDATA[studer]]></category>
		<category><![CDATA[tape]]></category>
		<category><![CDATA[tracking]]></category>
		<category><![CDATA[warmth]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/03/03/analog-tape-as-an-effect/</guid>
		<description><![CDATA[This post focuses on the use of analog tape&#8217;s warm, unique compression as an effect. When engineers and producers started to make the switch from analog to digital, they found that digital was not only cleaner sound, but it was also somewhat unforgiving.  Most producers were quite fond of &#8216;driving&#8217; the tape a bit by [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/03/03/analog-tape-as-an-effect/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Syncronization of DAWs with MTC &amp; MMC</title>
		<link>http://thestereobus.com/2008/03/02/syncronization-of-daws-with-mtc-mmc/</link>
		<comments>http://thestereobus.com/2008/03/02/syncronization-of-daws-with-mtc-mmc/#comments</comments>
		<pubDate>Sun, 02 Mar 2008 23:28:29 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[synchronization]]></category>
		<category><![CDATA[control]]></category>
		<category><![CDATA[external]]></category>
		<category><![CDATA[internal]]></category>
		<category><![CDATA[machine]]></category>
		<category><![CDATA[master]]></category>
		<category><![CDATA[MIDI]]></category>
		<category><![CDATA[mmc]]></category>
		<category><![CDATA[mtc]]></category>
		<category><![CDATA[slave]]></category>
		<category><![CDATA[sync]]></category>
		<category><![CDATA[timeclode]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/03/02/syncronization-of-daws-with-mtc-mmc/</guid>
		<description><![CDATA[This post focuses on the use of MIDI Time Code (MTC) and MIDI Machine Control (MMC) to synchronize multiple DAWs together. SMPTE timecode was create for the purpose of synchronizing audio systems together, such as tape machines, computers, and other time sensitive audio devices.  MIDI timecode is an extension of SMPTE timecode into the MIDI [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/03/02/syncronization-of-daws-with-mtc-mmc/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Vocals: Finding the Golden Signal Path</title>
		<link>http://thestereobus.com/2008/03/01/vocals-finding-the-golden-signal-path/</link>
		<comments>http://thestereobus.com/2008/03/01/vocals-finding-the-golden-signal-path/#comments</comments>
		<pubDate>Sun, 02 Mar 2008 02:09:14 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[vocal signal chain]]></category>
		<category><![CDATA[blind test]]></category>
		<category><![CDATA[compression]]></category>
		<category><![CDATA[eq]]></category>
		<category><![CDATA[gain]]></category>
		<category><![CDATA[microphones]]></category>
		<category><![CDATA[mics]]></category>
		<category><![CDATA[preamps]]></category>
		<category><![CDATA[sm58]]></category>
		<category><![CDATA[solid state]]></category>
		<category><![CDATA[transformerless]]></category>
		<category><![CDATA[tube]]></category>
		<category><![CDATA[vocals]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/03/01/vocals-finding-the-golden-signal-path/</guid>
		<description><![CDATA[This post focuses on the process of getting the vocal chain right for the given performer. The signal chain for vocals is probably one of the most important production choices in pop music.  Of course, it helps to have a healthy selection of devices to choose from.  Every voice has unique qualities, some of which [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/03/01/vocals-finding-the-golden-signal-path/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Blending in DI for Clarity</title>
		<link>http://thestereobus.com/2008/02/29/blending-in-di-for-clarity/</link>
		<comments>http://thestereobus.com/2008/02/29/blending-in-di-for-clarity/#comments</comments>
		<pubDate>Sat, 01 Mar 2008 05:26:48 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[blending DI]]></category>
		<category><![CDATA[60s]]></category>
		<category><![CDATA[70s]]></category>
		<category><![CDATA[amp]]></category>
		<category><![CDATA[blend]]></category>
		<category><![CDATA[brittle]]></category>
		<category><![CDATA[compression]]></category>
		<category><![CDATA[DI]]></category>
		<category><![CDATA[direct]]></category>
		<category><![CDATA[eq]]></category>
		<category><![CDATA[farty]]></category>
		<category><![CDATA[high]]></category>
		<category><![CDATA[injection]]></category>
		<category><![CDATA[low]]></category>
		<category><![CDATA[pass]]></category>
		<category><![CDATA[pickup]]></category>
		<category><![CDATA[rubbery]]></category>
		<category><![CDATA[seventies]]></category>
		<category><![CDATA[sixties]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/02/29/blending-in-di-for-clarity/</guid>
		<description><![CDATA[This post focuses on the topic of using direct injection/input to bring clarity to traditionally recorded tracks. When you were first starting out in the world of audio, you probably tried something along the lines of plugging a guitar or bass directly into your audio interface or mixer.   I know I did this and [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/02/29/blending-in-di-for-clarity/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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