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	<title>Comments on: Mastering Terror</title>
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	<link>http://www.vuzhmusic.com/blog/2009/01/12/mastering-terror/</link>
	<description>News and info about Vuzh Music artists and friends, written by C. Reider</description>
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		<title>By: CP McDill</title>
		<link>http://www.vuzhmusic.com/blog/2009/01/12/mastering-terror/comment-page-1/#comment-12</link>
		<dc:creator>CP McDill</dc:creator>
		<pubDate>Tue, 13 Jan 2009 06:18:42 +0000</pubDate>
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		<description>I have found some of the presets on mastering software to be pretty handy shortcuts. 

I&#039;ve had opportunities to hear demos and un-mastered early takes of a few of what are considered the all-time classics of pop music (Beatles, Beach Boys, Doors, that sort of thing) and most of that stuff sounded like total, awkward crap until the producers and sound engineers work their magic. 

What perplexes me is how this came to be. I listen to a lot of music from the 20s &amp; 30s and they didn&#039;t have the tech yet for all that fine-tuning of recordings, but the music sounded great despite that.</description>
		<content:encoded><![CDATA[<p>I have found some of the presets on mastering software to be pretty handy shortcuts. </p>
<p>I&#8217;ve had opportunities to hear demos and un-mastered early takes of a few of what are considered the all-time classics of pop music (Beatles, Beach Boys, Doors, that sort of thing) and most of that stuff sounded like total, awkward crap until the producers and sound engineers work their magic. </p>
<p>What perplexes me is how this came to be. I listen to a lot of music from the 20s &amp; 30s and they didn&#8217;t have the tech yet for all that fine-tuning of recordings, but the music sounded great despite that.</p>
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