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	<title>Music Production Tips - The Stereo Bus Blog &#187; presence</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>Mastering Session at Rare Form Mastering</title>
		<link>http://thestereobus.com/2008/11/03/mastering-session-at-rare-form-mastering/</link>
		<comments>http://thestereobus.com/2008/11/03/mastering-session-at-rare-form-mastering/#comments</comments>
		<pubDate>Tue, 04 Nov 2008 04:41:46 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[Intermediate]]></category>
		<category><![CDATA[mastering]]></category>
		<category><![CDATA[compression]]></category>
		<category><![CDATA[greg reierson]]></category>
		<category><![CDATA[limiting]]></category>
		<category><![CDATA[love & affection]]></category>
		<category><![CDATA[presence]]></category>
		<category><![CDATA[rare form mastering]]></category>
		<category><![CDATA[requisite audio]]></category>
		<category><![CDATA[tube]]></category>
		<category><![CDATA[waves]]></category>
		<category><![CDATA[z-systems]]></category>

		<guid isPermaLink="false">http://thestereobus.com/?p=129</guid>
		<description><![CDATA[This post is about the mastering process for my latest EP.  The session was booked at Minneapolis&#8217; Rare Form Mastering.  Greg Reierson took the helm and did a really solid job overall. First of all, I&#8217;m not the sort of producer who does mastering the same way for each album.  For my own material, I [...]]]></description>
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		<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>
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		<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>
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		<category><![CDATA[waves]]></category>

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		<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>
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		<title>Ugly and Pretty: Exceptional Use of Diversity in Sound</title>
		<link>http://thestereobus.com/2007/12/15/ugly-and-pretty-exceptional-use-of-diversity-in-sound/</link>
		<comments>http://thestereobus.com/2007/12/15/ugly-and-pretty-exceptional-use-of-diversity-in-sound/#comments</comments>
		<pubDate>Sun, 16 Dec 2007 01:03:11 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[beginner]]></category>
		<category><![CDATA[pretty and ugly]]></category>
		<category><![CDATA[api]]></category>
		<category><![CDATA[avalon]]></category>
		<category><![CDATA[bad]]></category>
		<category><![CDATA[big muff]]></category>
		<category><![CDATA[chorus]]></category>
		<category><![CDATA[condensors]]></category>
		<category><![CDATA[contrast]]></category>
		<category><![CDATA[delay]]></category>
		<category><![CDATA[distortion]]></category>
		<category><![CDATA[earthworks]]></category>
		<category><![CDATA[fletcher munson]]></category>
		<category><![CDATA[hifi]]></category>
		<category><![CDATA[lofi]]></category>
		<category><![CDATA[midrange]]></category>
		<category><![CDATA[nine inch nails]]></category>
		<category><![CDATA[overdrive]]></category>
		<category><![CDATA[presence]]></category>
		<category><![CDATA[pretty]]></category>
		<category><![CDATA[pristine]]></category>
		<category><![CDATA[ribbons]]></category>
		<category><![CDATA[small diaphragm]]></category>
		<category><![CDATA[ssl]]></category>
		<category><![CDATA[trent reznor]]></category>
		<category><![CDATA[ugly]]></category>
		<category><![CDATA[waves]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2007/12/15/ugly-and-pretty-exceptional-use-of-diversity-in-sound/</guid>
		<description><![CDATA[This post focuses on creating engaging sound for music production by combining pretty sounds and ugly sounds for contrast. Something that the most successful producers understand is the importance of both pristine, pretty sounds and awful ugly, sounds. There have been countless examples of moments where engineers, producers, and artists have strived for creating something [...]]]></description>
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