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	<title>Music Production Tips - The Stereo Bus Blog &#187; ssl</title>
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	<description>Music production, pro audio and engineering tips &#38; secrets.</description>
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		<title>Increasing Attack with Gates</title>
		<link>http://thestereobus.com/2008/02/06/increasing-attack-with-gates/</link>
		<comments>http://thestereobus.com/2008/02/06/increasing-attack-with-gates/#comments</comments>
		<pubDate>Thu, 07 Feb 2008 05:41:23 +0000</pubDate>
		<dc:creator>Dan Connor</dc:creator>
				<category><![CDATA[advanced]]></category>
		<category><![CDATA[increase attack with gates]]></category>
		<category><![CDATA[attack]]></category>
		<category><![CDATA[blend]]></category>
		<category><![CDATA[gates]]></category>
		<category><![CDATA[release]]></category>
		<category><![CDATA[rhythm]]></category>
		<category><![CDATA[ssl]]></category>
		<category><![CDATA[transient]]></category>

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		<description><![CDATA[This post focuses on the trick of increasing the attack of sounds using gates. Most people reach for EQ or compression when they want to add punch to their sounds.  But I&#8217;ve found another way to accomplish a very specific kind of attack transient using gates.  I sometimes use this trick to add attack kick [...]]]></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>
		<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>

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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>

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		<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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