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	<title>Music Production Tips - The Stereo Bus Blog &#187; eq</title>
	<atom:link href="http://thestereobus.com/tag/eq/feed/" rel="self" type="application/rss+xml" />
	<link>http://thestereobus.com</link>
	<description>Music production, pro audio and engineering tips &#38; secrets.</description>
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		<title>How to Group Tracks to Save DAW CPU</title>
		<link>http://thestereobus.com/2008/03/08/how-to-group-tracks-to-save-daw-cpu/</link>
		<comments>http://thestereobus.com/2008/03/08/how-to-group-tracks-to-save-daw-cpu/#comments</comments>
		<pubDate>Sat, 08 Mar 2008 13:30:56 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[beginner]]></category>
		<category><![CDATA[grouping tracks]]></category>
		<category><![CDATA[blend]]></category>
		<category><![CDATA[compression]]></category>
		<category><![CDATA[CPU]]></category>
		<category><![CDATA[daw]]></category>
		<category><![CDATA[dsp]]></category>
		<category><![CDATA[eq]]></category>
		<category><![CDATA[glue]]></category>
		<category><![CDATA[group]]></category>
		<category><![CDATA[Pro Tools]]></category>
		<category><![CDATA[processor]]></category>
		<category><![CDATA[tracks]]></category>
		<category><![CDATA[vocal]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/03/08/how-to-group-tracks-to-save-daw-cpu/</guid>
		<description><![CDATA[This post focuses on how to group tracks to save CPU or DSP processing. When I first started mixing using a computer, I would throw up inserts on everything.  Everything was processed independently.  As you might imagine, my mixes were insanely CPU intensive and hard to manage.  Soon I realized that many of the tracks [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/03/08/how-to-group-tracks-to-save-daw-cpu/feed/</wfw:commentRss>
		<slash:comments>1</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>
		</item>
		<item>
		<title>Tracking a Band in a Single Room&#8230;</title>
		<link>http://thestereobus.com/2008/02/16/tracking-a-band-in-a-single-room/</link>
		<comments>http://thestereobus.com/2008/02/16/tracking-a-band-in-a-single-room/#comments</comments>
		<pubDate>Sun, 17 Feb 2008 05:46:12 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[Intermediate]]></category>
		<category><![CDATA[single room tracking]]></category>
		<category><![CDATA[57]]></category>
		<category><![CDATA[58]]></category>
		<category><![CDATA[baffling]]></category>
		<category><![CDATA[bass]]></category>
		<category><![CDATA[bleed]]></category>
		<category><![CDATA[blend]]></category>
		<category><![CDATA[compression]]></category>
		<category><![CDATA[DI]]></category>
		<category><![CDATA[drums]]></category>
		<category><![CDATA[dynamic]]></category>
		<category><![CDATA[eq]]></category>
		<category><![CDATA[guitars]]></category>
		<category><![CDATA[hypercardiod]]></category>
		<category><![CDATA[isocabs]]></category>
		<category><![CDATA[isolation]]></category>
		<category><![CDATA[mics]]></category>
		<category><![CDATA[moving blankets]]></category>
		<category><![CDATA[overheads]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/02/16/tracking-a-band-in-a-single-room/</guid>
		<description><![CDATA[This post focuses on the classic challenge of how to record a band in a single room and not have it sound completely awful. Lots of us have small production studios and tons of bands have single room practice spaces.  Inevitably the question arises: &#8220;How can I record the band live in a single room [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/02/16/tracking-a-band-in-a-single-room/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>EQ Crash Course</title>
		<link>http://thestereobus.com/2008/02/05/eq-crash-course/</link>
		<comments>http://thestereobus.com/2008/02/05/eq-crash-course/#comments</comments>
		<pubDate>Wed, 06 Feb 2008 05:21:38 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[beginner]]></category>
		<category><![CDATA[equalization]]></category>
		<category><![CDATA[1064]]></category>
		<category><![CDATA[550b]]></category>
		<category><![CDATA[560]]></category>
		<category><![CDATA[air]]></category>
		<category><![CDATA[api]]></category>
		<category><![CDATA[boost]]></category>
		<category><![CDATA[cut]]></category>
		<category><![CDATA[eq]]></category>
		<category><![CDATA[equalizer]]></category>
		<category><![CDATA[fizz]]></category>
		<category><![CDATA[frequency]]></category>
		<category><![CDATA[graphic]]></category>
		<category><![CDATA[honky]]></category>
		<category><![CDATA[linear phase eq]]></category>
		<category><![CDATA[mastering]]></category>
		<category><![CDATA[neve]]></category>
		<category><![CDATA[parametric]]></category>
		<category><![CDATA[phase]]></category>
		<category><![CDATA[presence]]></category>
		<category><![CDATA[Q]]></category>
		<category><![CDATA[renaissance eq]]></category>
		<category><![CDATA[sparkle]]></category>
		<category><![CDATA[ssl]]></category>
		<category><![CDATA[waves]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/02/05/eq-crash-course/</guid>
		<description><![CDATA[This post focuses on the basics of equalization. Equalization is something that most people are probably pretty familiar with on a basic level, having some EQ capacity in their car stereos and portable players.  Essentially, EQ is cutting or boosting of frequencies or frequency ranges. There are fundamentally two kinds of equalization: graphic and parametric.  [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/02/05/eq-crash-course/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Convolution: Untangling the Qualities of Sound</title>
		<link>http://thestereobus.com/2008/01/28/convolution-untangling-the-qualities-of-sound/</link>
		<comments>http://thestereobus.com/2008/01/28/convolution-untangling-the-qualities-of-sound/#comments</comments>
		<pubDate>Tue, 29 Jan 2008 03:01:36 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[convolution (effects)]]></category>
		<category><![CDATA[Altiverb]]></category>
		<category><![CDATA[ambience]]></category>
		<category><![CDATA[compressor]]></category>
		<category><![CDATA[convolutiom]]></category>
		<category><![CDATA[deconvolution]]></category>
		<category><![CDATA[distortion]]></category>
		<category><![CDATA[echoes]]></category>
		<category><![CDATA[eq]]></category>
		<category><![CDATA[frequency response]]></category>
		<category><![CDATA[impulse responses]]></category>
		<category><![CDATA[IR-1]]></category>
		<category><![CDATA[Logic Pro]]></category>
		<category><![CDATA[pristine space]]></category>
		<category><![CDATA[reverb]]></category>
		<category><![CDATA[Room]]></category>
		<category><![CDATA[sir]]></category>
		<category><![CDATA[tone]]></category>
		<category><![CDATA[waves]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/01/28/convolution-untangling-the-qualities-of-sound/</guid>
		<description><![CDATA[This post focuses on convolution as it applies to audio &#8211; the capturing and reapplication of the qualities of sound. A few years ago some new-fangled audio processing engines started to leak out of the lab and into the market involving a process called convolution. The name convolution comes from the type of math involved, [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/01/28/convolution-untangling-the-qualities-of-sound/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>How to Record a Snare Drum</title>
		<link>http://thestereobus.com/2008/01/27/recording-snare-drum/</link>
		<comments>http://thestereobus.com/2008/01/27/recording-snare-drum/#comments</comments>
		<pubDate>Mon, 28 Jan 2008 03:49:55 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[Intermediate]]></category>
		<category><![CDATA[beginner]]></category>
		<category><![CDATA[snare drum (recording)]]></category>
		<category><![CDATA[bleed]]></category>
		<category><![CDATA[condenser]]></category>
		<category><![CDATA[crunch]]></category>
		<category><![CDATA[dpa]]></category>
		<category><![CDATA[drum]]></category>
		<category><![CDATA[eq]]></category>
		<category><![CDATA[preamp]]></category>
		<category><![CDATA[sm57]]></category>
		<category><![CDATA[snare]]></category>
		<category><![CDATA[snares]]></category>
		<category><![CDATA[thwump]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/01/27/recording-snare-drum/</guid>
		<description><![CDATA[This post focuses on tracking the snare drum, both on its own and as part of a kit. I&#8217;m going to do a series on recording various instruments, from drums to woodwinds, and I&#8217;ve decided to do the snare first. Drums are a tricky bunch of instruments. They&#8217;re loud, bleed like hell, and generally don&#8217;t [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/01/27/recording-snare-drum/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Noise Reduction: Less is More</title>
		<link>http://thestereobus.com/2008/01/21/noise-reduction-less-is-more/</link>
		<comments>http://thestereobus.com/2008/01/21/noise-reduction-less-is-more/#comments</comments>
		<pubDate>Tue, 22 Jan 2008 00:40:10 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[Intermediate]]></category>
		<category><![CDATA[noise reduction]]></category>
		<category><![CDATA[adaptive]]></category>
		<category><![CDATA[artifacts]]></category>
		<category><![CDATA[attack]]></category>
		<category><![CDATA[audacity]]></category>
		<category><![CDATA[eq]]></category>
		<category><![CDATA[foss]]></category>
		<category><![CDATA[gate]]></category>
		<category><![CDATA[mike gravel]]></category>
		<category><![CDATA[noise removal]]></category>
		<category><![CDATA[notch]]></category>
		<category><![CDATA[NR]]></category>
		<category><![CDATA[open source]]></category>
		<category><![CDATA[smoothing]]></category>
		<category><![CDATA[threshold]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/01/21/noise-reduction-less-is-more/</guid>
		<description><![CDATA[This post focuses on the process of removing noise that has made its way into your content using digital processing. While it&#8217;s always best to avoid noise in ther first place by recording in a quiet environment, using well grounded equipment, and using balanced cables, it&#8217;s sometimes unavoidable that some noise will have crept its [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/01/21/noise-reduction-less-is-more/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		</item>
		<item>
		<title>Thump and Bump: Balancing the Kick and the Bass</title>
		<link>http://thestereobus.com/2008/01/09/thump-and-bump-balancing-the-kick-and-the-bass/</link>
		<comments>http://thestereobus.com/2008/01/09/thump-and-bump-balancing-the-kick-and-the-bass/#comments</comments>
		<pubDate>Wed, 09 Jan 2008 16:38:18 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[Intermediate]]></category>
		<category><![CDATA[balancing kick and bass]]></category>
		<category><![CDATA[bass]]></category>
		<category><![CDATA[bass traps]]></category>
		<category><![CDATA[BT]]></category>
		<category><![CDATA[compression]]></category>
		<category><![CDATA[eq]]></category>
		<category><![CDATA[high-pass]]></category>
		<category><![CDATA[hip-hop]]></category>
		<category><![CDATA[jazz]]></category>
		<category><![CDATA[kick drum]]></category>
		<category><![CDATA[mackie hr824]]></category>
		<category><![CDATA[monitors]]></category>
		<category><![CDATA[notch]]></category>
		<category><![CDATA[RnB]]></category>
		<category><![CDATA[sidechaining]]></category>
		<category><![CDATA[tube traps]]></category>
		<category><![CDATA[upright bass]]></category>
		<category><![CDATA[yamaha ns10]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/01/09/thump-and-bump-balancing-the-kick-and-the-bass/</guid>
		<description><![CDATA[This post is going to focus on getting a solid balance between the two main sources of bass in pop music: the bass and the kick drum. Few things are better than mix that gets the low end right. It can be really tricky to accomplish (or downright impossible if the environment isn&#8217;t right). But, [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/01/09/thump-and-bump-balancing-the-kick-and-the-bass/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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