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	<title>Music Production Tips - The Stereo Bus Blog &#187; microphones</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>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>

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		<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>
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		<title>Adding Real Ambience After-the-Fact</title>
		<link>http://thestereobus.com/2008/02/07/adding-real-ambience-after-the-fact/</link>
		<comments>http://thestereobus.com/2008/02/07/adding-real-ambience-after-the-fact/#comments</comments>
		<pubDate>Fri, 08 Feb 2008 04:45:07 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[adding real ambience]]></category>
		<category><![CDATA[advanced]]></category>
		<category><![CDATA[ambience]]></category>
		<category><![CDATA[chamber]]></category>
		<category><![CDATA[daw]]></category>
		<category><![CDATA[microphones]]></category>
		<category><![CDATA[oboe]]></category>
		<category><![CDATA[pa system]]></category>
		<category><![CDATA[predelay]]></category>
		<category><![CDATA[reverb]]></category>
		<category><![CDATA[reverberation]]></category>
		<category><![CDATA[spl]]></category>
		<category><![CDATA[studio monitor]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/02/08/adding-real-ambience-after-the-fact/</guid>
		<description><![CDATA[This post focuses on capturing ambience by playing back and re-recording sounds in acoustic spaces. The idea of piping sounds into a space and retracking it isn&#8217;t new by any stretch of the imagination.  Before the advent of reverb processors it was common practice to route audio to speakers in reverb chambers to achieve ambient [...]]]></description>
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		<title>Using &#8216;Color&#8217; Microphones Instead of EQ</title>
		<link>http://thestereobus.com/2007/12/20/using-color-microphones-instead-of-eq/</link>
		<comments>http://thestereobus.com/2007/12/20/using-color-microphones-instead-of-eq/#comments</comments>
		<pubDate>Thu, 20 Dec 2007 21:57:16 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[using color mics]]></category>
		<category><![CDATA[audio purity]]></category>
		<category><![CDATA[color]]></category>
		<category><![CDATA[eq-less production]]></category>
		<category><![CDATA[fattening]]></category>
		<category><![CDATA[lapel mic]]></category>
		<category><![CDATA[microphones]]></category>
		<category><![CDATA[signal chain]]></category>
		<category><![CDATA[the good rule]]></category>
		<category><![CDATA[thinning]]></category>
		<category><![CDATA[trash-in trash-out]]></category>
		<category><![CDATA[trashy]]></category>

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		<description><![CDATA[This post is going to focus on how to achieve a variety of tones by setting up specifically chosen &#8216;color&#8217; microphones in your studio. The key to quality audio is sometimes given the unimaginative name of &#8216;the good rule&#8217;. This essentially amounts to: good instruments &#62; good microphones and preamps &#62; good recording hardware = [...]]]></description>
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