<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Music Production Tips - The Stereo Bus Blog &#187; delay</title>
	<atom:link href="http://thestereobus.com/tag/delay/feed/" rel="self" type="application/rss+xml" />
	<link>http://thestereobus.com</link>
	<description>Music production, pro audio and engineering tips &#38; secrets.</description>
	<lastBuildDate>Tue, 26 Jan 2010 19:41:53 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.0</generator>
		<item>
		<title>How to Create Depth in a Mix</title>
		<link>http://thestereobus.com/2008/03/06/how-to-create-depth-in-a-mix/</link>
		<comments>http://thestereobus.com/2008/03/06/how-to-create-depth-in-a-mix/#comments</comments>
		<pubDate>Thu, 06 Mar 2008 20:20:11 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[beginner]]></category>
		<category><![CDATA[creating depth]]></category>
		<category><![CDATA[bright]]></category>
		<category><![CDATA[cathedral]]></category>
		<category><![CDATA[dark]]></category>
		<category><![CDATA[delay]]></category>
		<category><![CDATA[depth]]></category>
		<category><![CDATA[dry]]></category>
		<category><![CDATA[equalization]]></category>
		<category><![CDATA[feedback]]></category>
		<category><![CDATA[hall]]></category>
		<category><![CDATA[resonance]]></category>
		<category><![CDATA[reverb]]></category>
		<category><![CDATA[reverberation]]></category>
		<category><![CDATA[Room]]></category>
		<category><![CDATA[special]]></category>
		<category><![CDATA[stereo]]></category>
		<category><![CDATA[wet]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/03/06/how-to-create-depth-in-a-mix/</guid>
		<description><![CDATA[This post focuses on the topic of creating a sense of depth in mixes. It&#8217;s not too hard to make things sound big.  It&#8217;s not too hard to make things sound wide.  But it is very hard to do both while also creating a sense of depth.  There are a myriad of tools available to [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/03/06/how-to-create-depth-in-a-mix/feed/</wfw:commentRss>
		<slash:comments>8</slash:comments>
		</item>
		<item>
		<title>Predelay: Improve Clarity of &#8216;Verb</title>
		<link>http://thestereobus.com/2008/02/17/predelay-improve-clarity-of-verb/</link>
		<comments>http://thestereobus.com/2008/02/17/predelay-improve-clarity-of-verb/#comments</comments>
		<pubDate>Mon, 18 Feb 2008 05:01:40 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[Intermediate]]></category>
		<category><![CDATA[reverb]]></category>
		<category><![CDATA[80s]]></category>
		<category><![CDATA[90s]]></category>
		<category><![CDATA[delay]]></category>
		<category><![CDATA[drums]]></category>
		<category><![CDATA[milliseconds]]></category>
		<category><![CDATA[predelay]]></category>
		<category><![CDATA[tail]]></category>
		<category><![CDATA[vocals]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/02/17/predelay-improve-clarity-of-verb/</guid>
		<description><![CDATA[This post focuses on the use of predelay to allow reverb to be added to a sound without muddying it up too much. A lot of producers are really reverb shy these days.  It&#8217;s true that reverb can really date material&#8230; it was used so much in the 80s and 90s that a lot of [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/02/17/predelay-improve-clarity-of-verb/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>Subtly Using Delays to Add Energy</title>
		<link>http://thestereobus.com/2008/02/03/subtly-using-delays-to-add-energy/</link>
		<comments>http://thestereobus.com/2008/02/03/subtly-using-delays-to-add-energy/#comments</comments>
		<pubDate>Mon, 04 Feb 2008 02:21:30 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[beginner]]></category>
		<category><![CDATA[using delays]]></category>
		<category><![CDATA[delay]]></category>
		<category><![CDATA[dotted quarter note]]></category>
		<category><![CDATA[drums]]></category>
		<category><![CDATA[energy]]></category>
		<category><![CDATA[feel]]></category>
		<category><![CDATA[ips]]></category>
		<category><![CDATA[loop]]></category>
		<category><![CDATA[measure]]></category>
		<category><![CDATA[musicians bundle II]]></category>
		<category><![CDATA[tape]]></category>
		<category><![CDATA[waves]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/02/03/subtly-using-delays-to-add-energy/</guid>
		<description><![CDATA[This post focuses on using delays to subtly add or change the energy of a sound. I&#8217;m a big fan of delays. They add a lot of the depth and texture that people usually grab reverbs to achieve without taking up as much of the space. This distinction helps avoid sandboxing your mixes in the [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/02/03/subtly-using-delays-to-add-energy/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
<enclosure url="http://thestereobus.com/wp-content/uploads/2008/02/loop-drywav.mp3" length="191289" type="audio/mpeg" />
<enclosure url="http://thestereobus.com/wp-content/uploads/2008/02/loop-with-one-measure-delay-light-feedbackwav.mp3" length="197462" type="audio/mpeg" />
<enclosure url="http://thestereobus.com/wp-content/uploads/2008/02/just-delay-one-measure-light-feedbackwav.mp3" length="112300" type="audio/mpeg" />
<enclosure url="http://thestereobus.com/wp-content/uploads/2008/02/loop-with-dotted-quarter-delay-light-feedbackwav.mp3" length="191916" type="audio/mpeg" />
<enclosure url="http://thestereobus.com/wp-content/uploads/2008/02/just-quarter-delay-no-feedbackwav.mp3" length="114223" type="audio/mpeg" />
		</item>
		<item>
		<title>Stereo Microphone Techniques &amp; Placement</title>
		<link>http://thestereobus.com/2008/01/18/stereo-microphone-techniques-placement/</link>
		<comments>http://thestereobus.com/2008/01/18/stereo-microphone-techniques-placement/#comments</comments>
		<pubDate>Fri, 18 Jan 2008 23:42:34 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[beginner]]></category>
		<category><![CDATA[stereo mic placement]]></category>
		<category><![CDATA[4003]]></category>
		<category><![CDATA[AB]]></category>
		<category><![CDATA[decca tree]]></category>
		<category><![CDATA[delay]]></category>
		<category><![CDATA[dpa]]></category>
		<category><![CDATA[m-50]]></category>
		<category><![CDATA[m/s]]></category>
		<category><![CDATA[mike placement]]></category>
		<category><![CDATA[neumann]]></category>
		<category><![CDATA[ortf]]></category>
		<category><![CDATA[phase]]></category>
		<category><![CDATA[spaced pair]]></category>
		<category><![CDATA[stereo]]></category>
		<category><![CDATA[stereo image]]></category>
		<category><![CDATA[stereo miking]]></category>
		<category><![CDATA[x/y]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2008/01/18/stereo-microphone-techniques-placement/</guid>
		<description><![CDATA[This post focuses on the various &#8216;standard&#8217; ways to get a stereo image with microphones. A class-A stereo image is one of the holy grails of audio engineering. It&#8217;s easy to get a decent image, but to achieve a stereo image that condenses down to mono, sounds rich, and evenly captures the entire performance is [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2008/01/18/stereo-microphone-techniques-placement/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Automation: Enhancing, Creating Motion, Adding Flavor</title>
		<link>http://thestereobus.com/2007/12/23/automation-enhancing-creating-motion-adding-flavor/</link>
		<comments>http://thestereobus.com/2007/12/23/automation-enhancing-creating-motion-adding-flavor/#comments</comments>
		<pubDate>Mon, 24 Dec 2007 03:44:28 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[Intermediate]]></category>
		<category><![CDATA[automation]]></category>
		<category><![CDATA[aux]]></category>
		<category><![CDATA[delay]]></category>
		<category><![CDATA[dub]]></category>
		<category><![CDATA[effects]]></category>
		<category><![CDATA[enhancing performances]]></category>
		<category><![CDATA[feedback]]></category>
		<category><![CDATA[motion]]></category>
		<category><![CDATA[return]]></category>
		<category><![CDATA[reverb]]></category>
		<category><![CDATA[send]]></category>
		<category><![CDATA[trance]]></category>
		<category><![CDATA[vocal performance]]></category>

		<guid isPermaLink="false">http://thestereobus.com/2007/12/23/automation-enhancing-creating-motion-adding-flavor/</guid>
		<description><![CDATA[This post focuses on making your tracks sound more dynamic with automation. Automation has been with us for a long time. Before there were computers, it wasn&#8217;t too uncommon to see engineers, producers, and assistants all at the board to move faders and push buttons in real-time as the mix ran its way through the [...]]]></description>
		<wfw:commentRss>http://thestereobus.com/2007/12/23/automation-enhancing-creating-motion-adding-flavor/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<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>
		<wfw:commentRss>http://thestereobus.com/2007/12/15/ugly-and-pretty-exceptional-use-of-diversity-in-sound/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>
