Studio Stuff

Studio Stuff Podcast #43 The Da Vinci Problem: Knowing When to Let Go of Your Mix You've been in the mix for hours. It sounds pretty good. You think it sounds pretty good. But you keep going back in, tweaking, adjusting, making that one last pass. Sound familiar? In this episode, we dig into the question MCC member Frank Robinson sent our way: how do you know when to stop? And is anyone ever actually happy with their final mix? We also get into a comment from our friend KP, who wants to know whether mixing in Cubase versus Pro Tools actually makes a sonic difference. Spoiler: it's mostly about who's driving. You'll Learn: Why the last five percent of a mix can take longer than the first eighty percent What "pushing food around the plate" actually means as a creative signal How the sleep test, the scrolling listen, and the AirPods check each serve a different purpose Why time-constraining your mix sessions might be the most practical habit you can build Whether your DAW choice genuinely affects your sound, and what actually does Topics and Stories: The Da Vinci problem: why art is never finished, only abandoned Chris's graveyard of mixes he refuses to listen to anymore Moving furniture in a prison cell as the perfect metaphor for overmixing Steve's logic-to-Pro Tools workflow and why he uses two different tools for two different jobs The rich guy with thirty cars: which one do you take to church, the track, and the road trip? Why Chris drives a Volvo and Steve has a Ferrari, a Bugatti, and several Hondas Listener Q&A: Big shoutout to Frank Robinson from the MCC! His question: how do you decide when to stop tinkering and call the mix done? And is anyone really fully happy with their final mix? We spend a good chunk of the episode on this one because it deserves it. We also dig into a comment from KP, who floated the idea of a Cubase vs. Pro Tools mix-off. We address the DAW question seriously, and then immediately give KP a hard time about the competition idea.   👉 Got a question for us?📩 Submit it here: Form LinkWe pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Studio Stuff Podcast #42 | Mixing, Mastering, and the Mindset That Separates Them You finish the mix, you're happy with it, you slap Ozone on the master bus... and now what? Do you keep tweaking? Do you bounce and walk away? Do you send it somewhere? One listener question about Tonal Balance Control opened up a conversation we've been circling around for a while, and this episode is where we finally went there. We're talking about the mixing vs. mastering mindset, whether tools like Ozone belong on the mix bus, how AI mastering services fit into a real workflow, and why your answer to all of this probably depends more on your personality than your plugins. You'll Learn: Why Tonal Balance Control works great as a monitoring tool, not a mix bus effect What separates a "mix-mastering" workflow from a proper two-stage process When it makes sense to leave Ozone committed and keep tweaking the mix around it Why Chris and Steve approach this completely differently, and why both approaches hold up What AI mastering tools are actually good for, and where they fall short Why mastering your own music is one of the best kept secrets for getting better at mixing Topics and Stories: Edward Stashko's listener question about Tonal Balance and Ozone on the mix bus The Cubase control room advantage and why Steve is smug about it Chris's recent shift toward mix-mastering and why he's owning it Sending mixes out: Nashville, Montreal, Winnipeg, and Sterling Sound in New York What happened when three mastering engineers got the same single Steve officially becoming a grandpa in the Denny's parking lot Listener Q&A: Big shoutout to Edward Stashko for this week's question. He asked whether running a mix through Tonal Balance Control before using Ozone as an automated mastering tool produces a better result, and whether tweaking after the mastering stage creates problems that could have been caught earlier. Edward, you cracked this one wide open. Great question.   👉 Got a question for us?📩 Submit it here: Form LinkWe pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Studio Stuff Podcast #41 | NS10 Translation in 2026: Emotion, Mixing, and What Actually Works What does emotion in music actually mean? And does your mix have to make someone cry to count as art? We got a comment on our Angine de Poitrine episode that sent us down a rabbit hole, and we're not mad about it. In this episode, we're responding to a listener comment that challenged whether technical genius can actually be a form of emotional expression. Then we pivot into something every home studio mixer has wondered about: is the old NS10 translation theory still valid in 2026? Two very different conversations. One throughline: what does it mean for something to actually work? You'll Learn: Why awe and admiration are legitimate emotional responses to music How the NS10 theory made perfect sense in its era and why it needs more context today What mix translation actually means with AirPods, Bluetooth speakers, and modern monitoring in the picture Why "sounds good on bad speakers, sounds good anywhere" now comes with a few asterisks Topics and Stories: The Dirk Campbell comment calling Angine de Poitrine's playing "musical parkour" and why we pushed back Why cathedrals, the Olympics, and a guy spilling wine while distracted by a YouTube clip all ended up in the same conversation Chris's confession about borrowed NS10s appearing in his old YouTube videos Why the speakers in your car and living room all basically sounded the same thirty years ago, and how that changed everything Listener Q&A: Shoutout to Mastermind on YouTube for the NS10 question. We get into the full translation theory, why it made sense in its day, and how monitoring has evolved enough that it's now more of a checkpoint than a rule.   👉 Got a question for us?📩 Submit it here: Form LinkWe pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Studio Stuff Podcast #40 | The Omelet Crisis and How Many Reverbs You Actually Need Alright, the steak omelets are gone and the vibes are… fragile. But despite the breakfast tragedy, we’re digging into a topic that separates the bedroom demos from the pro records: Reverb. Specifically, are you using it to make things "wet," or are you using it to create a 3D space? In this episode, we answer Cornelius’s question about how many reverbs are too many. We talk about why we’ve moved away from the "one size fits all" reverb buss and how we use EQ and compression on the reverb itself to keep things clean. Plus, we address a listener who thinks Steve is crazy for needing to "acclimate" to his mixing headphones. (Spoiler: Steve might be crazy, but he's right about the headphones). You’ll Learn: Why reverb is actually a dimension tool, not just an effect The "Feel vs. Hear" rule for modern vocal processing How to EQ your reverb returns to stop them from eating your mix Why "Critical Listening" requires a different brain state than the gym or the car The reason professional reference headphones feel like "learning a new language" Topics & Stories: The tragic loss of the Denny’s steak omelet (and Chris’s resulting mood) Steve’s philosophy on "sub-spaces" for snares vs. toms Why high-passing your reverb is the fastest way to a pro sound The difference between AirPods and reference-grade monitors Why Steve thinks you need to "re-learn" your ears every time you switch gear Listener Q&A: A massive shoutout to Cornelius for the reverb deep dive and to Rome 81 for calling Steve out on his headphone habits! We break down the technical difference between "casual listening" and "data-driven mixing."   👉 Got a question for us?📩 Submit it here: Form LinkWe pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Studio Stuff Podcast #39 | The Band That Broke the Internet (And What It Means for You) We lost the Denny's steak omelet. But we found hope for music. There's a band from Quebec called Angine de Poitrine, that stopped us mid-conversation and made us ask a question we hadn't thought to ask in a while: what does it actually sound like when human creativity has no ceiling? That's where this episode starts. And honestly, it's one of the more hopeful conversations we've had on this show." You'll Learn: Why micro-tonal, math rock music is so disorienting at first listen, and why that's exactly the point What makes this Quebec duo different from just "weird for weird's sake" How real, raw talent is the most durable weapon against AI-generated music Why the next generational band might already be building an audience right now How Steve trained his ears to trust the low end on reference headphones after years on speakers The EQ-boost technique that bridges the gap while your brain catches up Topics and Stories: The band from deep Quebec with more frets than you've ever seen on a guitar Why loop stations, quarter tones, and impossible time signatures somehow groove What Genesis, Rush, and 2112 have to do with a sold-out show in San Francisco Chris's daughter Kayla and son-in-law now casually listening to micro-tonal math rock in the car How Denny's became the emotional villain of this episode Listener Q&A: Huge shoutout to Ryan, who asked a great question about mixing on headphones after years of doing live sound. When you're used to feeling the PA in your chest, reference headphones can feel like mixing in a vacuum. Steve breaks down exactly how he made that mental shift, including the boosted EQ phase, why he gradually pulled it back, and the moment he realized he actually trusted his ears again.   👉 Got a question for us?📩 Submit it here: Form LinkWe pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Studio Stuff Podcast #38 | Mixing With Your Eyes: Visual Tools, Meters, and the Mix Bus Limiter Debate Can you actually mix with your eyes? Should you? We're diving into one of those conversations that sounds like it has an obvious answer, until you really start pulling it apart. This week, we're talking about the visual tools we actually use in our mixes: spectrum analyzers, tonal balance plugins, phase correlation meters, LUFS readouts, and more. We get into when they help, when they hurt, and how to keep them in their lane so they're working for you instead of turning your mix into a connect-the-dots exercise. We also celebrate a big milestone, one year on YouTube. If you've been watching and listening, this one's partly for you. You'll Learn: Why tonal balance tools like iZotope's Tonal Balance Control are about finding the ballpark — not the bullseye How freezing Pro-Q's spectrum display changed the way Chris hears his mixes Why the low end is where visual metering earns its keep (especially in untreated rooms) When to close the analyzer and just trust your ears and your instincts How phase correlation meters caught a real problem on a live MCC stream Why gain staging with your speakers off is not only okay, it's smart Topics & Stories: Steve's algorithm keeps serving him Chris's face, even at home, in his off time AJ calls in mid-recording via the "ring even on silent" feature, it works, everybody We talk about our favourite spectrum analyzer plugins (Tonal Balance Control, Ozone overlay, the Pro-Q freeze trick) Chris's journey through three different rooms and why metering became a survival skill We accidentally prove we've now been doing this long enough to repeat ourselves (we already did an episode on mixing full albums, we forgot) How ear fatigue makes your meters more trustworthy than your ears after hour two Listener Q&A: Big shoutout to Stefan Jorissen for this week's question: "Do you put a limiter on your two bus from the beginning of the mix? What are the settings, and do you adjust them during the mix or adjust the tracks to keep within the desired range?" We break down the different schools of thought, mixing into a limiter, using one as a bypass reference check, and why Chris eventually stopped mixing with one running the whole time (hint: his mastering engineer's limiter sounded a lot better than his).   👉 Got a question for us?📩 Submit it here: Form LinkWe pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Studio Stuff Podcast #37 | Third-Party Plugins vs Tim Tams: Which Actually Improves Your Mix? Do you really need third-party plugins to make a professional mix… or are stock plugins already doing more than enough? In this episode, we dig into one of the biggest mindset traps in modern mixing: believing the next plugin will magically improve your sound. We talk about where third-party plugins can genuinely help, where stock plugins are often underrated, and why better tools do not automatically mean better mixes. Along the way, we get into workflow, inspiration, tone, specialty processing, CPU efficiency, and how to think more clearly about what you actually need in your setup. And yes… Tim Tams make an unexpected appearance too. What We Dig Into: Why stock plugins are often more capable than people think Why buying more plugins does not automatically make you a better mixer How third-party plugins can help with workflow, speed, tone, and inspiration The difference between a plugin that is useful and one that is just tempting Why specialized tools can sometimes solve problems faster than stock options How learning your stock plugins first can make you a stronger mixer Why some plugins become part of a mixer’s signature sound Topics & Stories: Chris introduces Steve to the Tim Tam coffee trick The plugin rabbit hole and why so many mixers fall into it Why great mixers still sound like themselves, even with unfamiliar tools The real value of analog-style channel strips and plugin color Why stock plugins often have an advantage when it comes to CPU efficiency The difference between tools that improve workflow and tools that create distraction Listener Q&A: Shoutout to Oh Sushi Studio for the question: What non-musical item is essential for a proper recording studio in 2026? Chris and Steve share their picks, including a mug warmer, comfortable studio clothes, and the little everyday things that make a studio feel like a place you actually want to spend time in. 👉 Got a question for us?📩 Submit it here: Form LinkWe pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Studio Stuff Podcast #36 | Headphones vs Speakers: What We Trust for Better Mix Decisions Is mixing on headphones actually reliable? Are speakers still the gold standard? In this episode, we get into the real-world pros and cons of both after spending more time going back and forth between the two. We talk about what headphones reveal instantly, what speakers still do better, why stereo width and low end can trick you, and how learning your listening system matters way more than chasing the “perfect” setup. This one also turns into a bigger conversation about trust, translation, and how to make better mix decisions no matter what you’re working on. What We Dig Into: Why headphones can reveal reverb, delay tails, clicks, edits, and vocal issues so clearly Why speakers still feel more natural for judging bass, punch, and overall balance How stereo width and panning can mislead you on headphones Why room acoustics can completely change what your speakers tell you The importance of acclimating before making decisions on either system Why neither headphones nor speakers “wins” on its own Topics & Stories: A shoutout to the MCC mix feedback sessions and hearing members improve over time How original music from the community makes feedback sessions so much more fun Steve’s headphone mixing journey after finally committing to it Why open-back headphones can annoy everyone else in the room The “heated bathroom floor” analogy for getting used to monitoring changes Why switching too fast between monitors and headphones can make you hate your mix Listener Q&A: We answer a question about the kick and snare relationship in a mix, including how we think about their level balance, how context changes the answer, and what we do when the snare or kick lacks body. We also talk about why kick and snare are two elements we’ll often shape in solo before fine-tuning them in the full mix.   👉 Got a question for us?📩 Submit it here: Form LinkWe pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Vintage gear is everywhere again… except most of it isn’t gear anymore. It’s emulations. It’s GUIs. It’s “1176” written on a screen with knobs that make our brains feel safe. In this episode, we dig into why producers in 2026 still chase the vintage sound, whether it’s actually about audio… or about psychology, comfort, and familiarity. Then we jump into a listener question that everyone has dealt with at least once: the “diva” vocalist who refuses to do a second take because they believe they already nailed it. We share how we handle that situation in the real world, without turning the session into a fight. What We Dig Into Why vintage emulations still sell like crazy (even when digital is “good enough”) The psychology of “seeing” tape reels or classic knobs and believing it sounds better Comfort-food mixing: why familiar tones feel like “home” Why a little chaos (harmonic distortion, saturation) can feel more musical Limitation vs endless options: fewer knobs, faster decisions, better focus How we handle clients who won’t do more takes (without killing the vibe) Topics & Stories Calgary winters, Chinooks, and why it gives you a “will to live” The “tape machine reels spinning” illusion (and why it totally works) Early digital recordings and that ultra-clean “DDD” era sound The truth about emulations: different plugins aiming at different hardware units “You be the producer, I’ll be the tech” — the respectful way out Listener Q&A Question from Sweden Studios: “What’s your take on clients who see themselves as divas or lead singers that are too good to do a second or third take?” We talk about how we: screen clients early (and why a vibe check matters) offer honest feedback only if they want it protect the session energy and your own sanity draw the line when you’re hired as a producer vs just running the session     👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows.And if you like the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.  

Home studios have never been more powerful. Cheap gear is better than ever, plugins are ridiculous, and you can make real records on a laptop. But commercial studios still have something you can’t always fake: space, acoustics, and the kind of “big room” recording that makes drums feel like drums. In this episode, we go back and forth on the real advantages (and the real traps) of recording at home in 2026, why the answer depends on what you’re tracking, and why most people end up in a hybrid workflow anyway. Then we tackle a super practical listener question about recording vocals in an untreated room without the room taking over once compression gets involved. What We Dig Into Why the cost-to-quality of home studio gear is insane in 2026 The hidden downside of home studios: unlimited time can make you slower When a commercial studio is actually worth it (especially for drums) Why acoustics and room size matter more than most people admit The real “secret weapon” in both worlds: the person running the session Why mixing doesn’t need a commercial studio (most of the time) The hybrid approach that makes the most sense for a lot of artists Topics & Stories The return of “the glasses” and Chris’s evolving brain Vancouver “devolving” trips and studio philosophy whiplash The Audeze headphone rabbit hole (and how fast it escalates) The legendary computer handle design that should’ve never existed “Vintage 1967 Cajon through a Neve console” (because… of course) Listener Q&A Cornelius asks: How do you record vocals in a normal untreated bedroom/living room so the room doesn’t get exaggerated, especially once you start compressing or doing parallel compression, when the closet trick isn’t available? Our answer (the practical version): Use moving blankets and build a quick “dead corner” setup Try a corner setup with layers (blankets + mattress if you can) Experiment with facing the treatment vs facing the room Focus on stopping early reflections before they hit the mic Make it ugly if you have to. Clean vocals first, aesthetics later. Final Takeaway There isn’t a single winner in 2026. The “best studio” is the one that fits the recording you’re doing, your workflow, and your personality. For big, loud sources like drums, space matters. For creativity and consistency, home often wins. And for mixing, the engineer usually matters more than the room. 👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows.And if you like the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

You know that moment where your mix feels great… until you look at the master bus and it’s basically a nuclear explosion? Yeah. This episode is all about avoiding that trap while you’re mixing—so mastering doesn’t turn into “how hard can I slam this limiter before it breaks?” We answer three listener questions that hit real workflow stuff: dynamic range and headroom, pitch vs timing when editing vocals, and how to align audio to the grid without going cross-eyed staring at waveforms.   What We Dig Into How we watch dynamic range during the mix so mastering stays easy Why gain staging is still the boring answer that fixes everything The mix-bus sweet spot (and why not clipping is the real rule) How buses / subgroups become the fastest way to control level as the mix grows Vocal editing order: timing first vs pitch first, and the “annoyance rule” Why performance cleanup beats obsessing over tiny artifacts Aligning audio to the grid: transient vs peak and how “Tab to Transient” saves your life The 3-step check: grid → click → drums/groove   Topics & Stories The “I’m too stupid to be alive” glasses story (Amazon hooks vs the obvious fix) Becoming YouTube professionals: the smoothest “like & subscribe” pivot we’ve ever done Morning wine on a flight… because statistically, you probably won’t have to land the plane   Listener Q&A Stefan (MCC): How do you manage dynamic range in the mix so mastering doesn’t require slamming the limiter? Joe (Rochester): When editing vocals, do you time-correct first or pitch-correct first? Charles (Montreal): When manually quantizing audio, what part of the waveform should you align to the grid?   Final Takeaway If you keep your gain staging sane, control levels through buses, and make editing decisions based on what you actually hear (not what the waveform “looks like”), you’ll end up with mixes that are easier to master—and feel more “finished” without fighting your tools.   👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Studio Stuff Podcast | Back Then vs Now: Did We Lose “Pro” Recordings? Everyone loves the idea that “back in the day” recordings were more professional. Big studios, serious engineers, real consoles, musicians who rehearsed, and fewer tools to hide behind. But is that actually why those records feel so good… or are we mixing up “professional,” “better,” and “more human”? In this episode, we unpack a listener comment that turns into a bigger conversation about source material, limitations, modern workflows, and why some top engineers are actually using fewer plugins than ever. What We Dig Into: What “professional recording” really means (and how the definition changes over time) Why the sonic bar is higher in 2026 than it’s ever been The hidden downside of unlimited plugins and endless options Why older records often feel more “human” (performance, commitment, interaction) The “fix it later” mindset and how it changes how people record Why limitations can lead to faster decisions and stronger mixes How channel strips can force better listening (and better choices) The cumulative effect: one channel strip vs 24 across a session A real-world challenge: mix with only a channel strip (and compare results)     👉 Got a question for us?📩 Submit it here: Form LinkWe pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

We started this episode the way all professional audio conversations begin… by accidentally starting a mini civil war at breakfast over hash browns. Then we pivot into two really solid listener questions: one about whether a mixer still matters in 2026 (and what it can actually do for you in a home studio), and another about amp sims, effects order, and proper gain staging when recording DI guitars.   What We Dig Into Why a mixer can still be super useful today, even if you mix “in the box” The best modern use cases: tracking, monitoring, more inputs, zero-latency headphone mixes When it makes sense to use the mixer as your main interface Console reality check: does summing actually help, or is it just “try it and see”? Amp sim workflow 1: commit the sound while recording (like a real amp) Amp sim workflow 2: record clean DI first, then dial tones later (commitment-free) Gain staging basics for amp sims: hit the input sweet spot, then control output so you’re not cooking the channel   Topics & Stories Chunky vs shredded hash browns: the debate nobody asked for, but everybody needed Pineapple on pizza: friendships were tested The “mint condition SSL” running joke (first owner, minimal kilometers, maybe some tears) Waffle House wisdom: “I used to could.” (Legendary.)   Listener Q&A Richard (Barrie, Ontario): “Why is there never talk about the actual mixer? Is it just a conduit for ins and outs, or can it help during mixing? I just bought a Mackie… what can I take advantage of?” Callen: “I record DI guitar and use Amplitube / VST Amp Rack. Where should the amp sim go in the chain, and how do you reconcile that with gain staging?”   Final Takeaway A mixer isn’t automatically “better” or “worse” than mixing in the DAW. It’s a tool. If it helps you track faster, monitor with zero latency, commit better sounds earlier, or simply makes the process feel better, it’s doing its job. Same with amp sims: hit the right level into the sim, keep your output sane, and choose whether you’re committing now or later.   👉 Got a question for us?📩 Submit it here: Form Link We pull topics directly from your questions and YouTube comments. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

AI is no longer a “someday” conversation. It’s already baked into tools we use, workflows we rely on, and decisions we’re making in the home studio, whether we call it AI or not. In this episode, we break the whole thing down like producers, not philosophers. Where does AI actually help? Where does it get in the way? And what parts of the process still need a human with taste, intention, and a point of view?   What We Dig Into The moment AI went from “cool trick” to “daily reality” Songwriting vs demoing: where AI can speed things up fast Why AI drums still don’t feel like a real drummer (even after editing) Production mindset shift: “I can fix that later” as a creative unlock Mixing with AI-assisted plugins: when it’s just a better starting point Mastering with Ozone: why “perfect” doesn’t always sound right The difference between tools, presets, and true AI (and why it’s confusing)   Topics & Stories The “Canadian sorry” story that completely broke a comedian’s set The “Cindy/Sandy Winters” AI song moment and the emotional reaction The reality check: the audience might not care, but you might “Everything is AI now” marketing and how to filter the noise   Listener Q&A No listener Q&A this one, but we want your questions for the next episodes.   Final Takeaway AI can make you faster. It can even make you better. But it still can’t replace the one thing that makes your music yours: taste, intent, and human perspective. Use it like a tool, not like a replacement.   👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

Alright… let’s talk about the question we hear constantly: “How many plugins do you use on a vocal chain?” Because the real answer isn’t a number. It’s a mindset. In this episode, we zoom out and talk about the categories of vocal processing that actually matter: fixing what’s broken, controlling dynamics, shaping tone, then adding space and vibe. We walk through how we think about order of operations (clip gain ➝ corrective EQ ➝ compression ➝ enhancement ➝ effects), why multiple “small” moves often beat one aggressive plugin, and how to stop chasing a “radio vocal” by stacking random inserts. Also, we may or may not compare vocals to… turds. (You’ll understand.)   You’ll Learn: Why plugin count is misleading (and what to focus on instead) The “Fix ➝ Control ➝ Enhance ➝ Effects” framework for vocals Why corrective EQ before compression often makes mixing easier How we think about two-stage compression (peaks vs leveling) When a second de-esser makes sense (and why it’s not “wrong”) How EQ placement changes everything once a vocal is controlled   Topics & Stories: WhatsApp vs Signal vs Marco Polo… and “your everyday podcast friend” The “make all your turds a similar size” clip gain philosophy Steve’s Pro Tools insert situation (in the year of our Lord 2026) “Salt is awesome… until it’s too much” (aka over-processing)   Final Takeaway: Stop asking, “How many plugins do I need?” Start asking, “What am I trying to achieve right now?” Fix what’s distracting, control what’s unstable, enhance what’s worth highlighting, then add space that serves the song.   👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

We started this episode sipping tea and joking around… and somehow ended up in a full-on therapy session about plugins. A listener comment kicked it off: “Sometimes it feels like I spend more time buying and setting up plugins than making music.” Yep. Been there. So we unpack where that urge comes from, why the “next plugin” feels like it’ll fix everything, and how we personally draw the line between useful tools and dopamine shopping. And to make it extra practical, we answer a listener question about oversampling: what it is, when it matters, why it can reduce aliasing, and why enabling it everywhere can absolutely destroy your CPU.Special thanks to our sponsor, Audient. https://audient.com/ What We Dig Into: The biggest reasons we keep buying “one more plugin” How to tell if a plugin is actually helping your mixes (or just your mood) Why we still reach for the same familiar tools most of the time A simple rule to decide when a new plugin is worth it What oversampling is (and what aliasing actually means) When oversampling matters most (and when it’s overkill) Topics & Stories: “How do they make decaf coffee?” becomes a philosophy debate The “collection” trap: buy 2 more, save more, own everything Seeing a plugin you forgot you already bought (painful… and real) The “24 tracks” question: how many different EQs and compressors are you actually using? Why “good-looking plugins” can weirdly influence creativity AI plugins as the next “take my money” wave Listener Q&A: Oversampling in plugins: Where to use it, why it can reduce aliasing in non-linear processing (saturation/limiters), and why it’s usually not a make-or-break factor for your mixes. Final Takeaway: Plugins aren’t going to save you. If you buy one, buy it on purpose: save time, solve a real problem, or unlock a sound you truly can’t get otherwise. And for oversampling… understand it, use it selectively, and don’t let it become the new rabbit hole. 👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows. And if you’re digging the show, hit follow/subscribe and leave a quick review.It really helps more home studio folks find Studio Stuff.

What happens when 17 mixers take the exact same piano-and-vocal song… and all make different reverb choices? In this episode, we break down a recent Mixdown Coaching Community mix challenge where one vocal reverb decision, or a tiny change to piano tone, completely shifted the emotion of the whole track. We talk about why elements like vocal reverb, piano EQ, kick and snare act like “tone anchors” for your mix, why great recordings almost feel like they “mix themselves,” and how your personal taste (EDM, orchestral, analog head, etc.) shows up in every decision you make. Plus, we tackle a listener question on pre vs post-fader sends and automation—and why we’re almost always in the post-fader camp.Special thanks to our sponsor, Audient.   You’ll Learn: Why vocal reverb can tilt the entire emotional center of a mix How piano EQ and ambience instantly change the tone of a song What happens when 17 mixers tackle the same stems with different tastes Why great performances and recordings “mix faster” and need less fixing The difference between mixing the song vs. mixing the plugin chain How to think about pre vs post-fader sends when automating reverbs and effects Topics & Stories: The MCC mix challenge: 17 versions of the same Malina track The one “roomy vocal” mix that made the whole track feel warmer and closer Bright vs warm piano choices on Steve’s heavily-modded Yamaha C7 The EDM-style timed delay on piano that changed the groove completely The vintage, mid-focused vocal mix vs the more hi-fi, digital-leaning takes Why we’re seeing MCC members’ mixes get closer and more “mature” over time Good song + good performance + good recording = the mix almost does itself The danger of “barbecue sauce on everything” vs respecting the tracks you’re given   Listener Q&A: Question: “Can you go deeper into pre vs post-fader when automating sends to reverb and delay? When does pre-fader actually make sense?” We talk about: Why we almost always use post-fader sends on lead vocals and key elements How post-fader keeps your EQ, compression, and tone decisions feeding the reverb Rare cases where pre-fader could make sense (parallel/VCA-style setups) Why it’s better to think musically than to obsess over “purist” routing choices   Final Takeaway: Reverb isn’t just “space.” It’s emotion. On a vocal-driven song, your reverb choice can quietly decide whether the whole mix feels intimate, epic, cold, warm, vintage, or modern. The more you respect the song, the performance, and the stems you’re handed, the more your mixes start to sound mature—not because you used the fanciest plugin chain, but because every decision serves the story.   👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows. And if you’re digging the show, hit follow/subscribe and leave a quick review. It really helps more home studio folks find Studio Stuff.

We get asked this a lot: “Why put stuff on the mix bus?” Today we unpack the why and the how—from gentle bus compression that makes tracks move together, to tasteful EQ and tape for mojo, to mixing into a limiter for vibe without boxing in the master. Then we tackle Demo Syndrome—when clients fall in love with the rough—and share how we reset ears, separate taste from problems, and keep momentum. Special thanks to our sponsor, Audient.   You’ll Learn: Why mixing into a bus chain changes your decisions (in a good way) The compression settings we start with for real “glue” and movement When bus EQ solves tone—and when it just points you to the real problem How and where we use tape on the bus for character without mush Why a limiter can help while mixing but should be bypassed before mastering Practical steps to beat Demo Syndrome and get client buy-in   Topics & Stories: “Set it early, watch the meters”: not painting yourself into a corner Dual-mono vs. linked compression and when extra movement helps The “air & earth” cheats we reach for (and when to leave it for mastering) Using AI mastering chains as ideas rather than a one-click finish Chris’s grand-dad naming crisis (“Dude” didn’t age well) Audient love: iD line + ASP preamps, and hardware-hosted room correction   Listener Q&A: A simple but killer question: “Why do I need anything on my mix bus?” We break down the musical reasons (glue, tone, movement) and the workflow wins, plus how we avoid stepping on the mastering stage.   Final Takeaway: Start with intention. Put your bus tools on early, mix into them lightly, and let them guide better track-level moves. And when Demo Syndrome hits, buy time, test both versions, and keep what truly serves the song.   👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows.

We all say it: “It’s muddy.” “Needs glue.” “Give it more space.” But what does that actually mean in practice? In this episode, we translate the most common mixer speak into specific moves you can make today, then answer a listener question on adding space without using reverb. You’ll Learn: Where “mud” actually lives (150–200 Hz for many sources, 250–500 Hz for mix buildup) What “glue” really is (bus compression, shared ambience, subtle EQ) How to create space without reverb: panning, subtractive EQ, smart delays The difference between stems and multitracks (and when to send which) Why “musical EQ” and “vibe & character” are real, even if you can’t meter them Topics & Stories: Muddy vs boomy vs woolly (and why tiny cuts move mountains) The smiley-face EQ era: why it sounded great… until it didn’t Depth, width, and density: front/back/left/right as arrangement tools “Crush the drums”: parallel, ceiling/floor, and when distortion equals energy Filtering the send into a delay for cleaner “felt, not heard” space Stems vs multitracks: live tracks, post, and keeping the “makeup” on The “depth” pronunciation debate, dad jokes, and a drum “skin head” moment 🤦‍♂️  Huge thanks to Audient Audio for supporting the show 👉 https://audient.com Listener Q&A: How do I add space without reverb? Our go-tos: Panning first, then subtractive EQ (150–200 Hz and 2–8 kHz real estate) Slapback or short stereo delays you feel more than hear High-pass/low-pass the send feeding the delay for natural results Final Takeaway: Great mixes aren’t just louder or brighter, they’re organized. Give each element its own frequency lane and its own spot in the panorama, then use tiny bus moves to make the whole song breathe together.  👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows.

Ever finish an album and realize every song sounds… just a little different? Yeah... we’ve all been there. In this episode, we dig into how to keep a full record sounding cohesive without killing the vibe or getting lost in “template land.” We share our real-world album mixing workflow: how we craft a strong “first-song” mix, build a flexible mix template, what actually carries over between songs (and what definitely doesn’t), and how to reference yourself as you go so your record feels like one connected piece of art. Then we switch gears into room correction, do you really need it if you’ve already “learned” your room? We talk about what works, what doesn’t, and why acoustic treatment still beats software (but both can play nice together). Huge thanks to Audient Audio for supporting the show 👉 https://audient.com You’ll Learn: Why the first song sets the tone for the entire album How to mix faster using a smart, flexible album template What to copy between songs (drums, bass, lead vox) and what to rebuild How to prevent “album drift” and keep your sound consistent The truth about room correction vs. room treatment How calibration tools can actually help dense rock or punk mixes   Topics & Stories: The joy of “Select All → Delete” to build a new mix template Why we still reference earlier songs while mixing Ballads vs. rockers: when reverb and ambience should change Different studios, different drummers—how we tie it all together The Denny’s breakfast redemption arc (we went back!) Chris’s clouds are almost on the ceiling—progress! Audient iD44 goes on a Euro trip: high-quality preamps in carry-on form   Listener Q&A: Shoutout to Arthur from MCC for the album consistency question, and to Tomas from Norway for asking about room correction and calibration tools.   Final Takeaway: Make your first mix the North Star for your album. Use smart templates, reference often, treat your room first, and let every song serve the record. Consistency doesn’t mean boring—it means connected.   👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows.

Ever record with delays, reverbs, and panning to “get the vibe,” then wonder if you should wipe the slate clean before the final mix? In this episode we unpack where the mix actually begins—during tracking or at mixdown—and how we decide what to keep, what to reset, and why. Then we answer a great listener question about routing: should your FX sends (like drum reverbs) return to the drum bus or go straight to the mix bus? Huge thanks to Audient Audio for supporting the show 👉 https://audient.com   You’ll Learn: The benefits (and risks) of “mixing as you go” while recording When we hit RESET at mix—and the few things we keep from the rough How to build a recording template that sounds good with low latency Why cue-mix psychology matters: give performers what helps them sing/play better FX routing 101: returning sends to the instrument bus vs straight to the 2-bus A simple VCA workaround if your FX aren’t following bus automation   Topics & Stories: Chris finally mounts the studio panels (they’re straight, which means… outside help 😅) Tracking with performance-defining delays (hello, The Edge) Steve’s take: compression/reverb in the cans can mess with feel (for some artists) Jazz vs pop/rock: when we skip the drum bus—and when we go tight/together Templates that won’t choke your session during tracking, but scale for mixing Sponsor shout: Audient’s ORIA Mini gets a mention   Listener Q&A: Shoutout to Neil Higgins! His question: “Should my FX sends return to the instrument bus (e.g., drums) or straight to the mix bus?” Short answer: Both can work. If FX return to the drum bus, they’ll ride and pump with drum-bus processing and automation—tighter, more cohesive. If they go to the mix bus, they’ll bypass drum-bus processing—often more open and independent. Choose by ear; a VCA pair (drum bus + drum FX) can keep automation in lockstep when split.   Final Takeaway: There’s no single “correct” starting line for a mix. Be intentional: track with enough vibe to inspire, then decide whether to reset or build on it. For FX routing, pick the path that best serves how your buses are processing—and how you want elements to move.   👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows.

We’ve all felt it: you see the fancy meter, the iconic logo, the higher price tag—and suddenly it “sounds” better. This week we unpack placebo in the studio: how visuals and expectations shape our judgment, why blind tests change everything, and why different versions of the “same” unit can legitimately sound different. We also share practical A/B methods you can try today and a slick Cubase Control Room trick to solo just your reverb return.   Special thanks to our sponsor, Audient.   You’ll Learn: Why expectation bias and visuals can trick your ears How to set up blind A/B tests that actually help you decide Why an “original” vs a “clone” isn’t a morality tale—it’s a tool choice How two of the same analog units can diverge over time A fast Cubase Pro method to hear only your reverb return   Topics & Stories: Coffee, wine… and why blind tastings map perfectly to audio Watching meters vs. trusting first impressions A/Being hardware vs. plugins without knowing what’s playing The “nowhere bus” vs. Control Room Listen (L) in Cubase Why arguing online about $129 plugins is a waste of studio joy Big thanks to Audient Audio (iD interfaces + ASP preamps) for powering real-world sessions   Listener Q&A: “In Cubase, how do I solo the FX reverb return without hearing the dry source?” Cubase Pro Control Room method: Use Listen (L) on the FX channel and set Dim to 0 in Control Room so only the FX return is heard. Alternate approach: Advanced routing (e.g., a “nowhere”/mute bus workflow) to isolate returns without breaking send balances.   Final Takeaway: There’s no universal “best”—only what serves the track. Blind test more, stare at the meters less, and let your choices be intentional.   👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows.

Do You Really Need Audio Theory to Mix Great? Some of us love the graphs. Some of us love the vibe. In this episode, we (Chris & Steve) talk about the sweet spot between technical knowledge and practical decision-making. How much theory do you actually need? When does ear training beat book learning? And how do you keep your mixes translating on cars, phones, earbuds, and studio monitors without chasing your tail? We also answer a listener question about mixes that sound muddy or tinny on different systems, and lay out a quick, repeatable translation check using references you already love.   Special thanks to our sponsor, Audient. We’ve been leaning on the iD-series interfaces lately: clean when you want it, pushable when you need it.   You’ll Learn: The real value of technical knowledge, and where it stops helping Ear training that actually speeds up your mix decisions A 10-minute translation test you can repeat every mix How to use references on each system before judging your own mix Why “enjoy the journey” is more than a motivational poster in the studio   Topics & Stories: Andrew Scheps vs. “feel-first” mixers - two valid paths to great results Harman curves, compression “definitions,” and the limits of theory Plugin Doctor curiosity vs. productivity The car test (done right): know the system before you judge the mix Gearspace nostalgia and why we avoid unproductive debates   Listener Q&A: “My mixes don’t translate. They’re muddy on one system and thin on another.” Our take: start with references on each system, then compare yours. Know your playback rigs (car, living room, headphones) by listening to pro mixes first, then A/B to gauge if you’re truly off, or just unfamiliar with the system.   Final Takeaway: Learn enough to move faster, train your ears relentlessly, and keep asking, “Does this serve the song?” Translation comes from knowing your systems and using references, not buying a new pair of speakers.   👉 Got a question for us?📩 Submit it here: Form Link We’ll answer as many as we can in upcoming shows.

Everyone talks about “flat” headphones for mixing… but what does flat actually mean? In this episode, we sit down with Rok Gulič of OLLO Audio to unpack the myths and realities behind flat response, low end, calibration, and translation when mixing on headphones. We dive into why “flat” isn’t one curve, how calibration really works, and how psychoacoustics shape what we think we’re hearing, especially in the low end. Plus, Rok explains the differences between driver types, the role of crossfeed and room emulations, and whether Atmos mixing on headphones is truly possible.   You’ll Learn What “flat” response really means (and why there’s no single standard) Why calibration matters for translation between pairs Dynamic vs planar drivers—and how they affect distortion and bass How referencing trumps tools when mixing on headphones Why our body experience changes how we hear low end Whether crossfeed and room emulation plugins are worth committing to How Atmos mixing on headphones is already happening   Topics & Stories From foam Walkman pads to pro studio cans The rise of headphone mixing in home studios “Flat according to what?”—the scientific tolerance range Unit-by-unit calibration explained (and why OLLO does it) Crossfeed as a way to “move out of the sweet spot” Bass perception, body memory, and translation struggles The future: Atmos on headphones and beyond   Listener Q&A Q: Should I commit to crossfeed/room emulation plugins? A: Use them like virtual “movement checks.” They’re not essential, but if they help you build trust in your balances, they’re worth trying.   Final Takeaway “Flat” is not a single curve. It’s a range. The key is choosing trustworthy tools, referencing a lot, and learning what your headphones are telling you, so your mixes translate everywhere.   👉 Got a question for us? 📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #19 |The Most Powerful Tool in Your DAW Automation: it’s more than fader rides, it’s storytelling. In this episode, we’re unpacking how automation evolved from a handful of engineers riding faders on an analog desk to today’s unlimited possibilities inside the DAW. And more importantly, how we use it every day to make music feel alive.    You’ll Learn: Why automation is the most powerful creative tool in your DAW How clip gain changes the entire mix before you even hit a compressor When to automate faders, plugins, EQ, panning, and when not to Why subtle automation moves create emotion listeners can’t even explain How presets and “happy accidents” can spark inspiration   Topics & Stories: The wild days of four people mixing on the same console at once Our favorite creative uses of delay throws, panning tricks, and EQ rides When automation makes a part feel like a hook Over-automation: what it sounds like and how to avoid it The steak and salt analogy (why sometimes less is more) Plugin presets that sparked whole new creative directions   Listener Q&A: Shoutout to Ken from YouTube for sparking our talk about plugin presets and experimenting as a way to stay creative in the studio.   Final Takeaway: Automation isn’t about showing off, it’s about serving the song. When used with intention, it’s one of the most powerful tools we have to make music emotional, dynamic, and unforgettable.   👉 Got a question for us? 📩 Submit it here: Form Link We’ll answer as many as we can in upcoming shows.  

Studio Stuff Podcast #18 | Live Sound vs Studio Mixing: What We’ve Learned From Both Worlds Some of us are at home in a controlled studio, tweaking every detail until the mix is just right. Others thrive under the pressure of a live show, mixing on the fly in front of thousands. We’ve done both — and in this episode, we’re unpacking the lessons each world has taught us. From corporate gigs to church productions to mixing album release shows, we share the wins, fails, and “MacGyver” moments that shaped our approach to mixing. You’ll hear why live sound engineers make faster decisions, how studio habits can make live shows more emotional, and why the best mixers often straddle both worlds.   You'll Learn: How to stay calm under pressure when gear fails mid-show Why quick thinking is a survival skill for live sound Studio automation tricks that bring life to live mixes How in-ear monitoring and click tracks changed the live game Why “perfection” means something different on stage than in the studio   Topics & Stories: Chris’ church gig blackout disaster Steve’s take on managing band trust in fast-turnaround soundchecks Riding faders live like an instrument Bringing studio plugins to live shows (yes, really) Why wedges were the old enemy — and how in-ears saved the day   Final Takeaway: Live sound and studio mixing aren’t rivals — they’re complementary skills. The best engineers borrow from both worlds to create mixes that connect emotionally and translate in any environment.   👉 Got a question for us? 📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #17 | Good Lazy, Bad Lazy: What We Skip in the Studio (And Why) We all have those things we should do in the studio… but don’t. In this episode, we’re getting real about the habits we tend to skip—not because we don’t know better, but because sometimes it’s just easier (or smarter?) not to. We’re talking about “studio laziness” in all its forms—from forgetting to print stems to dodging analog gear setup. The question is: when does it cross from saving time to causing problems later?   You'll Learn: Why we often skip printing stems… and how it bites us later The old plugin problem: why we keep them and when we finally let go Why setting up analog gear feels like going to the gym The truth about plugin presets (and whether we tweak them or not) Why finishing that song might not be laziness—it might be something deeper Topics & Stories: Armenian basturma and garlic tailpipes 🤢 Dom Sigalas in yellow (if you know, you know) Our folder and file organization quirks How Cubase folders and macros help (or don’t) VCA groups vs Busses: a follow-up listener Q&A Listener Q&A: Shoutout to “Popular Beat Combo” for the great question about VCA routing and keeping relative levels intact. We break down how it compares to using busses and why it still matters.   Final Takeaway: Sometimes “lazy” is just being efficient. But other times… it might be procrastination in disguise. The key? Know when you’re avoiding something that really matters—and fix it before it fixes your mix.   👉 Got a question for us? 📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #16 | Stop Chasing the 'Perfect Mix' - Start Doing THIS Instead  Mixing is a bit like golf. You never really win—you just keep playing, keep tweaking, and (hopefully) keep getting better. In this episode, we’re diving into that idea: the journey of mixing as a constant evolution rather than a race to perfection. We talk about our ever-changing templates, plugin chains that never stay put, and how our listening habits—and even what we listen to for fun—shape our mixing approach over time. You’ll Learn: Why your template will always be “almost right” How plugin choices evolve (and why your old favorites might not come back) The emotional side of mixing—and how to chase “feel” over “flawlessness” Why the best mixes sometimes come by accident What it means to truly enjoy the journey in your studio work Topics & Stories: The Denny’s breakfast that saved our morning (again) How Steve broke up with his UAD rig for a portable template Chris’s revelation that his bass is always pink Golf metaphors, left-handed rental clubs, and the weird mix of failure and joy Version 2 mixes vs. Version 53… and why the earlier one often wins Listener Q&A: How loud should you crank a guitar cab when miking it up? We break down how to find the amp’s sweet spot, why volume isn’t everything, and how to get the tone you actually want—before the mic even hears it. Final Takeaway: You may never “arrive” as a mixer—and that’s okay. The real win is in evolving, enjoying the process, and learning to love the funny little moments that make your mixes feel alive. 👉 Got a question for us? 📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #15 | Fake Band, Real Streams: Is AI Stealing the Spotlight? What happens when a band doesn’t exist… but they chart on Spotify anyway? In this episode, we dive into The Velvet Sundown—a band that’s racking up serious stream counts, releasing album after album, and might not even be real. Yup, it’s our first deep-dive into AI-generated music as a product, not just a tool. We break down what makes AI music sound a little too perfect, how platforms like Spotify are involved, and why human imperfection might just be the thing that saves us. Oh—and we share some old-school gear we still can’t let go of. You’ll Learn: 🎧 Why The Velvet Sundown might be the first full AI band 📉 What makes AI-generated music sound “off” emotionally 💡 How copyright law is trying (and struggling) to catch up 🤖 The difference between using AI as a tool vs as the artist 📻 Why human imperfections still matter in music Topics & Stories: Kyle's breakfast theory on French-sounding plugin names Chris’s 2003 Drummer 1960 preamp (and how he found it on eBay) Steve’s emotional duffle bag of old gear Why AI music might become its own Spotify genre someday The Kiss avatar concert tour (yep… that’s a thing) Catching a falling mic mid-recording like Spider-Man Listener Q&A: Shoutout to Jewel (aka Steinway Goat) from MCC! She asked what gear we’re still emotionally attached to—and that kicked off a trip down memory lane with cassette 4-tracks, floppy disk sequencers, and first CD players. Final Takeaway: AI music is here—and it’s not going anywhere. But what makes human music valuable might just become its own genre too: one that’s imperfect, emotional, and real.  👉 Got a question for us? 📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #14 | What We'd Tell Our Younger Selves About Mixing, Gear & Music Theory If you could go back in time and give advice to the younger version of yourself—the one just starting out in music production—what would you say? In this episode, we get honest about the lessons we learned the hard way. From arrangement mistakes to gear addiction, from music theory regrets to what “pro” really means, we’re unpacking the biggest takeaways we’d love to hand off to the past versions of ourselves. Plus, a few laughs about beard sniffing, beef tallow, and the strange but beautiful journey of the modern home studio musician. You’ll Learn: 🎯 Why a good arrangement is the real secret to a great mix 🎯 What music theory knowledge we wish we’d learned earlier 🎯 The misunderstood role of gear—and when it actually matters 🎯 How we define being a “professional” in audio (spoiler: it’s not about the Grammys) 🎯 Why mixing is just volume control (seriously) Topics & Stories: 🔥 The beard-sniffing church guy and the magical beef tallow 🔥 Why both of us feel imposter syndrome as musicians and engineers 🔥 How renting gear helped shape our early careers 🔥 The myth of “the pro”—and why it's time to ignore it 🔥 What makes a mix “mix itself” and how arrangement drives every decision Listener Q&A: We tackle a comment from YouTube: “I love when a non-pro tells people what the pros do…” and unpack what it actually means to be a professional in the music industry.   Final Takeaway: A great song, a smart arrangement, and a confident mix approach beat expensive gear and elusive titles any day. If it moves someone? You’re doing it right.   👉 Got a question for us? 📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #13 | Buses, Sends & Mix Flow: Inside Our Routing Workflow If you’ve ever looked at your DAW session and thought, “Where is everything going?”—you’re not alone. In this episode, we’re untangling the spaghetti of buses, groups, sends, and routing strategies that make up our mix sessions. We’re walking through how we use group channels, why we (sometimes) skip the drum bus entirely, and when it’s worth creating multiple subgroups for just one instrument family. Plus, we revisit the pitch correction debate with a question from the audience that hits close to home: should you ever slap Auto-Tune on a vocal before even listening? You’ll Learn: 🎛 Why buses and subgroups are more than just "volume groups" 🎧 How to simplify complex mix templates with nested routing 🥁 Why Chris uses two drum buses—and what that unlocks 🎚 The difference between group channels, FX channels, and VCAs 🎤 When Auto-Tune is a helpful tool… and when it’s a crutch Topics & Stories: The breakfast place that finally shut down (we kinda saw it coming) Why Steve stopped using VCAs completely Chris’s stereo-only bus rule—and why it makes sense How parallel effects routing keeps your mix flexible The truth about vocal tuning and why every singer says “fix that” Listener Q&A: Shoutout to Rome! We dig into their comment about pitch correction, Billie Eilish, and the art of leaving vocals raw. It sparked a great convo on how (and when) we approach to tuning. Final Takeaway: Routing isn’t just about organizing your session—it’s about unlocking creative decisions. Whether you're a minimalist or a template wizard, the key is to make your workflow serve the music. 👉 Got a question for us? 📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #12 | Parallel Compression, Slapback & Secret Sends: Our Vocal FX Setup   We’ve talked recording, comping, editing… and now we’re wrapping up our vocal series with the good stuff—parallel compression, slap delays, long reverbs, throw delays, saturation, and all the FX that give your vocals that final polish. In this episode, we break down how we set up our vocal FX chains—what plugins and routing we use, how we layer effects without cluttering the mix, and why sometimes less is more. Whether it’s slap mono or ping pong stereo, background vocal throws or a subtle vocal plate—this is the sauce that brings the whole thing to life. We also dig into how we treat doubles, how we automate delay times, and the FX we put on a bus that nobody talks about… but should. 🎧 Plus, we answer a great listener question about how to stay objective when you’re mixing your own music—especially when the project drags on.   You’ll Learn: How we use parallel compression and saturation without overcooking it Our go-to delay chain: slap, long, ping-pong, and throws Reverb choices that don’t get in the way (plate vs room vs ambient) Where background vocals live in our mix—and why they get their own world Smart delay automation tricks that bring life to a vocal phrase Why we route vocals and instruments separately before the final mix bus Topics & Stories: The “parallel wine” joke Chris couldn’t resist Steve’s go-to EchoBoy presets (and how he automates delay time) The magic of combining plate and ambient reverb Using lesser takes as doubles—and why it works How we process background vocals with width, air, and even chorus The mystery of the smiley-face EQ on the final vocal bus   Listener Q&A: Huge thanks to S. Conway for the thoughtful question on mixing your own music. We share our personal struggles with staying objective—and what finally helped us get over the mental roadblocks of “over-listening.”   Final Takeaway: Vocal FX are about feel. Use templates, sure—but know when to break the rules. Let the vocal lead, and let the FX serve the story.   👉 Got a question for us? 📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #11 | The Vocal Chain Deep Dive: From Raw Takes to Radio-Ready     We also dig into how we treat doubles, how we automate delay times, and the FX we put on a bus that nobody talks about… but should. 🎧 Plus, we answer a great listener question about how to stay objective when you’re mixing your own music—especially when the project drags on.   You’ll Learn: How we use parallel compression and saturation without overcooking it Our go-to delay chain: slap, long, ping-pong, and throws Reverb choices that don’t get in the way (plate vs room vs ambient) Where background vocals live in our mix—and why they get their own world Smart delay automation tricks that bring life to a vocal phrase Why we route vocals and instruments separately before the final mix bus Topics & Stories: Our favorite channel strip tools and vocal compressors Chris’s take-your-pill alarm goes off mid-recording Why Steve buckled a CL1B into the passenger seat of his car The truth about "nonsense plugins" and when we finally let them go Mixing vocals with your speakers turned way down Listener Q&A: Shoutout to Jim Kelly from Kilkenny, Ireland! We tackle his question about routing and processing MIDI drums—and how we decide whether to use the plugin processing or start from scratch.   Final Takeaway: Vocal FX are about feel. Use templates, sure—but know when to break the rules. Let the vocal lead, and let the FX serve the story.   👉 Got a question for us? 📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #10 | The Art (and Chaos) of Recording Yourself at Home This week, we’re turning the mic around—literally. Chris and Steve explore what it’s really like to record vocals on your own, in a home studio setup where you’re the singer, engineer, and producer… all at once. From gear choices and room noise to workflow hacks and accidental plumbing victories, this episode is both practical and painfully relatable. If you’ve ever chased the perfect take while dodging noisy kids, furnace hums, or the neighbor’s lawnmower—this one’s for you. Self-recording is equal parts freedom and frustration, but with the right mindset (and a bit of creativity), it can also be incredibly rewarding. You'll Learn: How to choose the right mic when recording yourself Why committing effects while tracking can actually be freeing Tips for building a self-recording workflow that won’t kill your vibe How to control tone with mic distance and positioning Ways to deal with room noise, family noise, and fan noise Why using two different mics for lead and background vocals can help your mix How to stay creative (and sane) while recording solo Topics & Stories: The reality of tracking vocals in a non-soundproofed house What to do when your perfect take is ruined by kitchen chaos Using mic position and off-axis techniques to tame harshness The joy of experimenting when no one’s watching How Chris’s plumbing failure turned into a vocal tracking lesson Workflow hacks: wireless control, DAW shortcuts, and phone/tablet remotes Using different mics—or even different mic angles—for variety in background vocals Why your forehead might actually sound great (don’t ask) Embracing late-night sessions and finding the quietest window to record Dealing with the curveballs of self-engineering: distractions, delays, and duct-taped mic tricks Listener Q&A: Lyndon Aguilar from Manila asks: “Can you mix with closed-back headphones without using any of the AI sound-reference tools?” Chris and Steve unpack the pros and cons, when they’d use them, and why headphone EQ (with or without emulation) makes a big difference—especially outside of the studio. Final Takeaway: Recording yourself is a creative playground—messy, unpredictable, but full of freedom. Set up a workflow that inspires you, control what you can, and embrace the rest. Some of your best takes will come from the most unexpected moments.   🎧 Ready to capture pro-quality tracks—without upgrading your gear? Pro Home Recording with Cubase shows you how to get clean, polished recordings using the tools you already have. From setting up Cubase properly to recording vocals, drums, guitars, and more—this course gives you a clear, step-by-step workflow that saves you hours of frustration and makes your tracks easier to mix. ➡️ Start recording like a pro with the tools you already own. Check out PRO HOME RECORDING WITH CUBASE   📢 What’s your biggest struggle when recording yourself? Let us know in the comments or tag us on socials—we’d love to hear from you! 🎙 Submit Your Question:  Got a question for a future episode?📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #09 I Recording Vocals is More Than Just Hitting Record   This week, we (Chris and Steve) are diving into one of the most emotional and surprisingly complicated parts of making music—recording vocals. It all started with a delayed omelet and a questionable bathroom comment, but somehow we ended up exploring everything from mic choice to the psychology of singers. If you’ve ever hit record and wondered why something felt off, this episode’s for you. It’s not just about capturing a voice—it’s about creating the right vibe, building trust, and knowing when to step back or push forward. You'll Learn: Why vocal performances are more emotional than technical The importance of preamp vs. microphone selection Tips for managing compression and monitoring while tracking vocals The real reason some singers soar while others sink Why your talkback mic can make or break a performance How to manage singer "maintenance" and build trust When and how to comp and pitch-correct vocals Topics & Stories: Chris and Steve’s breakfast saga and the birth of the phrase "You go boy" The magic of choosing the right mic (and why it’s often not the most expensive) Monitoring secrets: how much vocal in the cue mix is too much? Why compression (recorded or not) can boost singer confidence Real talk about tracking reverb for singers Singer psychology: understanding pitch problems, fear, and vocal fatigue Why first lines matter most—and why they’re often recorded last Manual pitch correction workflows and the value of comping immediately Studio pranks, honesty, and the art of talkback diplomacy Listener Q&A:  Andy Tullus asks: "When using drum samples, should you try to find ones that are tuned to the original drums? Does it matter?" Chris and Steve unpack their philosophy, focusing less on pitch and more on character, vibe, and the "woof woof" vs "ping ping" factor. Final Takeaway:  Vocal recording is about building trust, emotional safety, and giving the singer an environment that brings out their best. The gear matters—but how you guide and respond to the performance matters more. 🎧 Want to take your vocal recordings even further?  If you're ready to craft pro-level vocal mixes using only the tools in Cubase, check out my course: The Ultimate CUBASE MIXING Masterclass This course was made to help home studio folks like you take the guesswork out of mixing vocals and finally feel confident hitting export. 📢 Join the conversation!  What’s your biggest challenge when recording vocals? Drop your thoughts below or tag us on socials! 🎙 Submit Your Question:  Got a question for a future episode? 📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

Studio Stuff Podcast #08 What If Analog Gear Isn’t About the Sound at All? Chris and Steve kick off this episode with some laughs and lighthearted banter about Fahrenheit vs. Celsius and the quirks of 24-hour time—but things quickly take a turn into one of the most honest and overlooked conversations about analog gear: what if it’s not just about the sound? This episode dives into the emotional and tactile side of using analog hardware, exploring whether the real appeal is how it feels rather than how it sounds. Plus, for the first time ever, they bring a listener (and friend!) on live to join the discussion. You’ll Learn: ✅ Why analog gear still brings joy—even when digital sounds just as good✅ The "psychology of the knob" and how physical gear can change your workflow✅ Why "pleasure" might be a more important reason to use analog than we admit✅ Chris and Steve’s favorite toys (not just tools!) in their studios✅ Simple, real-world practices to get better at mixing every day Topics & Stories: Fahrenheit vs. Celsius, 24-hour clocks, and the struggle is real Sebastian's question: Is analog about sound or pleasure? Why touching a knob just feels different (and why that matters) Steve’s years with an SSL console—and why it’s now in storage Chris’s controller setup and the joy of not rolling around on a carpet What would you do if your mom gave you money for a big studio day? Listener Kyle calls in from his car (or maybe his new home?) The most fun pieces of gear we own—and why we love them Favorite mixing routines and how to actually practice mixing like a musician Why reverse-engineering a snare can make you want dinner and cry  Final Takeaway:  Analog gear isn’t always about the audio quality. Sometimes, it’s about joy, inspiration, and the feeling of being connected to the process. And maybe—just maybe—that’s enough. 📢 Join the conversation!  What’s your take on analog gear—do you use it for the sound, the feel, or both? Drop your thoughts below or tag us on socials! We'd love to know what gear brings you the most joy in the studio. 🎧 Got a question you want answered on the podcast? We’d love to hear from you!📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.  

Do You Trust your Studio Monitors or AirPods? Studio Stuff Podcast | Q&A Episode 7 When do you call a mix finished? In this Q&A episode, we answer a question from Marshall in Dallas: “Do you trust your monitors, or test it on other systems before sending it off?” We get into our own habits—like why the car isn't always the gold standard, how AirPods became the new "real world" reference, and why taking a break (and turning off your screen!) might be the most powerful mix move of all.

Mixing Drums, Time-Align Debate & Poor Hi-Hats | Studio Stuff Podcast #07 Drums are the heartbeat of a track—but getting them to feel right in the mix? That’s a whole other story. In this episode, we (Chris and Steve) pick up where we left off in Part 1 and dive deep into the art of mixing drums. From building the sound around overheads to layering samples, managing reverb, debating time alignment, and even feeling bad for the neglected hi-hat mic—we cover it all. If you've ever wondered how two mixers with totally different workflows approach drum mixing (and still somehow get great results), this one's for you. You'll Learn: ✅ Why we both start mixes with overheads—and how it changed our drum sound. ✅ How to decide if your overheads are for cymbals or the whole kit. ✅ When drum samples are essential—and when they just get in the way. ✅ Our personal routing setups (and why they might be overkill). ✅ How we handle phase, time alignment, and why we don’t always agree. ✅ Tricks for taming hi-hats and bright cymbals without killing your tone. Topics & Stories: 📌 The overhead-first approach: why it works and what to watch for. 📌 Our favorite sample stacking techniques (and why we name them like pizza toppings). 📌 Drum bus setup, parallel compression, and how not to overdo it. 📌 Why clipping might be your drum mix’s best friend. 📌 Room samples vs. reverb plugins: what we reach for first. 📌 “Mixing with your eyes” (yes, we admit it… pretty plugins matter). 📌 Silencer, Soothe, and our favorite tom gating tricks. 📌 What we do when our mix “falls apart” at the loud parts. 📌 How we build a drum sound that fits the whole song—not just soloed drums. Listener Q&A: 🎙️ “Should I time-align overheads to the snare—or just leave them?” 🎙️ “What’s the point of using room samples instead of reverb?” 🎙️ “How many drum samples are too many?” We talk about all of these… and probably overthink most of them. Final Takeaway: There’s no one right way to mix drums. It’s about making creative choices that support the song. Whether you're stacking samples or working with raw tracks, the goal is the same: make it feel good. 📢 Join the conversation! What’s your go-to drum mixing trick? Do you mix from a drummer’s perspective—or the audience’s? Drop your thoughts below or tag us on socials! Got a question for a future episode? We’d love to hear from you!📩 Submit your question here: Form Link We’ll answer as many as we can in upcoming shows.

The Secrets Behind Songs That Make You FEEL Something! This is the Q&A from Episode 6, where we answer a great listener question: What parts of songs really bring out emotion for us? We dive into how little imperfections, unexpected arrangement choices, and second verse magic often create the biggest emotional moments. From the charm of old vinyl records to how we approach mixing to enhance the feel of a song, we share what moves us — and how we try to bring that same energy into the music we work on.  📢 Join the conversation!What’s the next piece of gear you’re planning to buy?Tell us how you’re building your home studio—one smart choice at a time.   Got a question for a future episode?🎧 We’d love to hear from you!📩 Submit your question here: Form LinkWe’ll answer as many as we can in upcoming shows.

What Should You Buy Next for Your Home Studio? | Studio Stuff Podcast #06 Building a home studio can feel like navigating a never-ending gear jungle. Mic? Interface? Preamp? Cables? What should you actually buy next—and what can wait? In this episode, Chris and Steve walk through how they’d prioritize studio gear purchases if they were starting from scratch today. Whether you're working with a tight budget or just got some surprise "mom money" 💸, we’ll help you figure out what makes the biggest difference in your sound—and what’s just hype. From entry-level mics to multi-thousand-dollar preamps, this one’s packed with real-world advice, gear suggestions, and plenty of laughs.   You'll Learn: ✅ What gear actually improves your sound the most. ✅ Why the microphone is still king—yes, even over your preamp. ✅ How to think about gear upgrades as your needs evolve. ✅ When two budget mics beat one expensive one. ✅ What to look for in an interface (hint: it's not just converters). ✅ Cables: where to save, where to spend (and where not to care).   Topics & Stories: 📌 Dynamic vs. Condenser Mics: What to buy first—and why. 📌 $200 vs. $2,000 mics: Is the gap still worth it in 2025? 📌 The Case for Building a "Mic Locker" One Piece at a Time. 📌 When Renting Gear Is Smarter Than Buying. 📌 Cheap Cables, Expensive Connectors: Chris’s take on budget signal chains. 📌 Preamp Personalities: How one guy’s "dream sound" is another guy’s regret. 📌 Interface Buying Guide: How to choose one that fits your workflow. 📌 Monitoring & Headphones: When to skip monitors and just go closed-back. 📌 The Real Game-Changer: Learning the gear you already own.   Listener Q&A: 🎙️ “Should I get one great preamp or two budget ones?” 🎙️ “Do converters still matter as much as they used to?” 🎙️ “Can I get professional results on an entry-level interface?” We dive into these questions and more throughout the episode.   Final Takeaway: Don’t fall into the trap of chasing gear for the sake of gear. Learn what really makes a difference for your specific setup, buy intentionally, and remember—it's better to master a $150 mic than to misuse a $1,500 one.   📢 Join the conversation! What’s the next piece of gear you’re planning to buy? Tell us how you’re building your home studio—one smart choice at a time.   Got a question for a future episode? 🎧 We’d love to hear from you!📩 Submit your question here: Form Link We’ll answer as many as we can in upcoming shows.

Kick, Snare, and a Bathroom Mic: Our Drum Recording Philosophy | Studio Stuff Podcast #05 Recording drums in a small studio can feel like a mix of science, art… and sometimes total chaos. So how do you get great drum sounds without a million-dollar room or a warehouse full of gear? In this episode, Chris and Steve break down their drum recording philosophy—covering everything from choosing the right kick and snare to getting creative with room mics (including one placed in the bathroom!). Whether you're working with a full kit or just a couple of mics, this episode is packed with real-world tips and personal studio stories. You'll hear how we approach everything from mic placement to room treatment, the gear we use, and the philosophy behind why we record the way we do. Oh—and yes, we do talk about the legendary butt-shaker for the drummer’s throne. Don’t worry, it all makes sense in context. 😄   You'll Learn: ✅ Why the drummer matters more than the drum kit or mic locker. ✅ The performance-first mindset that shapes our drum recording. ✅ How to record drums in a small room without sounding small. ✅ Why we sometimes use a bathroom mic for natural ambiance. ✅ What to prioritize when you’re limited to just a few inputs. ✅ How shell materials, drum heads, and mic choices affect tone.   Topics & Stories: 📌 Chris’s Bathroom Mic Trick: How a washroom became his favorite "room mic." 📌 Session vs. Loud Drummers: Why playing dynamically matters more than you think. 📌 Kick vs. Snare: What’s the most important part of the kit? 📌 Old Pearls & Cheap Kits: Why expensive drums don’t always sound better. 📌 Recording in Tight Spaces: How Chris adapted his studio setup with hallway and stair mics. 📌 Steve’s Live Room Take: Why he prefers tight recordings with reverb added later. 📌 The “Talkback Mic That Made the Mix”: A happy accident that became a drum room staple. 📌 Glyn Johns & Classic Techniques: Do they still work for modern productions?   Listener Q&A: 🎙️ “What exactly do you send to the mastering engineer? One stereo file or stems?” Chris and Steve break down the difference—and when sending stems might actually be the right move. 🎙️ “What level should I send my mix to mastering?” We talk about limiter use, mix bus gain staging, and why peaking digitally is never a good idea.   Final Takeaway: You don’t need a massive space or expensive gear to get great drum sounds. Start with a great performance, make smart choices with your mic placement, and don’t be afraid to get creative with your environment—even if that means putting a mic in the bathroom. 📢 Join the conversation! How are YOU recording drums in your home studio? Have you tried unusual room mic setups? Share your approach in the comments!   Got a Question for a Future Episode? We love hearing from you! If you have a question about mixing, recording, mastering, or home studio gear, send it our way. 📩 Submit your question here: Form Link We’ll do our best to answer as many as possible in upcoming episodes!

When Is a Mix Actually DONE? | Studio Stuff Podcast #04 Mixing a song feels like an endless loop sometimes—you tweak, adjust, listen again, and suddenly, you're back at square one. So, how do you actually know when a mix is finished?  In this episode, Chris and Steve dive deep into the never-ending question: When is a mix really done? They break down their own mixing workflows, share the struggles of over-mixing, and reveal the mental tricks they use to finally let go of a project. Plus, we get into mix revisions, dealing with client feedback (including the “my nephew is also a mix engineer” nightmare), and why it’s so much harder to mix your own music than someone else’s. Oh, and if you've ever wondered whether Chris thinks in French while mixing, we take a fun detour into that too. 🇫🇷   You'll Learn: ✅ The telltale signs that a mix is done—and when you’re just overthinking it. ✅ Why mixing your own music is WAY harder than mixing for clients. ✅ The “85% Rule” that helps you let go of a mix before you start ruining it. ✅ When client revisions are valid—and when they’re just over complicating things. ✅ How getting mix feedback from others can actually save you from endless tweaks. ✅ Why mixing in mono can reveal hidden mix issues you’d never catch otherwise.   Topics & Stories: 📌 The Food Analogy: Why over-mixing is like rearranging food on your plate when you’re already full. 📌 Chris’s “First 100%” Rule: Why his first mix delivery is actually his 85%. 📌 Steve’s 13 Revision Client: Some people just love to tweak forever… and sometimes, that’s okay. 📌 The Classic Nightmare: When a client says, “I sent the mix to my cousin who’s also a producer...” 🚨 📌 Mixing Your Own Music: Why the closer you are to a project, the harder it is to finish it. 📌 Mixing in Mono: Does it really help, or is it just another unnecessary step?   Listener Q&A: 🎙️ “How do you decide when your mix is actually done?” Chris and Steve break down their personal approaches—and why the “perfect mix” might not even exist. 🎙️ “Why mix in mono? What should I be listening for?” Find out what actually matters when you collapse your mix to mono (hint: phase issues, masking, and weird balance shifts).   Final Takeaway: At some point, you have to stop tweaking and let the mix go. If you’re making tiny changes that don’t really affect the overall impact—chances are, you’re done. Instead of endlessly tweaking, learn from your mix and improve on the next one. 📢 Join the conversation! How do YOU decide when a mix is done? Do you have a system, or do you just go by feel? Drop your thoughts in the comments!    Got a Question for a Future Episode? We love hearing from you! If you have a question about mixing, recording, mastering, or home studio gear, send it our way. 📩 Submit your question here: Form Link We’ll do our best to answer as many as possible in upcoming episodes! 

The TRUTH About Music Producers (What They Really Do!) | Studio Stuff Podcast #03 Music production isn’t what it used to be. Gone are the days when producers just sat on a couch, sipping coffee, while engineers did all the work. Today, producers are arrangers, mix engineers, problem solvers, psychologists, and sometimes even the artists themselves. In this episode, we dive deep into how the role of the music producer has evolved and whether that’s a good thing—or a bad thing. Are we just pressing the space bar now, or do producers still play a critical role? Oh, and we also have some strong opinions on recording with a click track (spoiler: it’s complicated).   You'll Learn ✅ How the role of the music producer has evolved from the days of legendary producers like Rick Rubin to today’s multi-tasking reality. ✅ The difference between old-school producers and today’s multi-hat wearing music creators. ✅ How budget constraints have reshaped the role of the music producer for indie artists. ✅ The psychological and emotional roles a music producer often plays during recording sessions.✅ Why producing isn’t just about gear and sound—it’s about translating the artist’s vision into reality. ✅ When you should (or shouldn’t) record with a click track—and why it matters.    Topics and Stories: 📌Rick Rubin's legendary approach and why he brought his own couch to recording sessions.📌Chris’s memorable (and stressful!) first production experience producing a live album straight out of music production school.📌When and why Chris "fired himself" as a drummer—and why knowing when to delegate is key.📌Why Steve thinks today's producer is often just “the other person in the room.”📌The ongoing debate: Should you always record with a click track?   Listener Q&A "Do you always need to record to a click track? "Chris and Steve share their strong—and nuanced—opinions about the pros and cons of recording with or without a click.   Final Takeaway: Being a music producer in 2025 means wearing many hats. You’re a collaborator, technician, counselor, and translator of artists’ visions. Understanding this helps you navigate the complexity—and joy—of making great music. 📢 Join the conversation! Have thoughts on the evolving role of producers? Drop your stories, opinions, or questions in the comments—we’d love to hear from you!   Got a Question for a Future Episode? We love hearing from you! If you have a question about mixing, recording, mastering, or home studio gear, send it our way. 📩 Submit your question here: Form Link We’ll do our best to answer as many as possible, but due to time constraints, we can’t guarantee every question will make it on the podcast. Priority will be given to the most relevant and commonly asked questions. So, ask away—your question might just be featured in an upcoming episode! 🎙️🔥

The Struggle is Real: Mixing Bad Recordings| Studio Stuff Podcast #02 Mixing bad recordings—every audio engineer's nightmare! In this episode, Chris and Steve dive deep into the challenges of handling poorly recorded tracks and share real-world solutions. From digital clipping disasters to phase issues and excessive room noise, they break down their go-to techniques for salvaging flawed audio. Plus, they discuss the importance of capturing a great recording from the start and why mixing is not about fixing, but enhancing.   You'll Learn ✅ Common bad recording issues – Digital clipping, phase problems, excessive sibilance, and more.✅ Fixing bad recordings – Tools and techniques for restoring poor audio.✅ The importance of proper recording techniques – Why fixing it in the mix isn't always the answer.✅ EQ & Compression Tricks – How to clean up muddy or overly bright recordings.✅ When to embrace the flaws – Sometimes, a "bad" recording becomes part of an album’s character!   Tools, courses & Plugins Mentioned: 🔹 iZotope RX (De-clip, De-crackle, De-reverb)🔹 FabFilter Pro-Q3 (Dynamic EQ)🔹 Soothe 2 (Resonance suppression)🔹 Black Salt Audio De-Esser🔹 Sound Radix Surfer EQ🔹 Smart: De-Esser by Sonible🔹 The Ultimate Guide To Cubase   Listener Q&A "How do you train your ears to hear what needs adjusting when using EQ?"Chris and Steve share their process, from identifying problem frequencies to balancing tracks in context.   Final Takeaway: The best way to avoid mixing headaches? Focus on getting a great recording from the start!📢 Join the conversation! Have a mixing horror story? Share it in the comments or tag us on social media. Got a Question for a Future Episode? We love hearing from you! If you have a question about mixing, recording, mastering, or home studio gear, send it our way. 📩 Submit your question here: Form Link We’ll do our best to answer as many as possible, but due to time constraints, we can’t guarantee every question will make it on the podcast. Priority will be given to the most relevant and commonly asked questions. So, ask away—your question might just be featured in an upcoming episode! 🎙️🔥

🎙️ Speakers or Headphones: Which Do You Use First? | Studio Stuff Podcast #01 Welcome to the first episode of the Studio Stuff Podcast! In this laid-back yet insightful discussion, we dive into a topic that every home studio owner has an opinion on: Mixing on Headphones vs. Speakers. Chris and Steve break down the pros and cons, share personal experiences, and even throw in some entertaining banter about food, farming, and about Andrew Scheps mixing on Sony MDR-7506s (yes, those headphones). If you’ve ever wondered whether headphones can truly replace studio monitors or not, or how to optimize your headphone mixing experience, this episode is for you.   You’ll Learn: ✅ Why so many pros are shifting towards mixing on headphones ✅ The real difference between headphones and speakers for mixing ✅ How the Harman Curve can transform your headphone experience ✅ Why training your ears is more important than buying expensive gear ✅ How room acoustics impact your monitoring choices ✅ The role of crosstalk in speaker vs. headphone mixing ✅ Plugins that help bridge the gap between speakers and headphones ✅ Why Chris listens to new music on headphones first—even with a killer speaker setup ✅ The next big debate: Can we mix Atmos on headphones?     Listener Q&A A listener asks: "Should I convert stereo virtual instruments to mono before mixing?" Chris and Steve break down: ✅ Why stereo virtual instruments can be misleading ✅ How bouncing MIDI to audio helps workflow & avoids surprises ✅ Whether it actually affects sound quality     Resources & Mentions 🎧 Harman Curve & EQ for Headphones – Why it matters and how it works https://youtu.be/Yo_Bpo9ICZA?si=9FYr0EjKI5XqV8Zc 🎤 Andrew Scheps' Approach – How a legendary mixer made headphones work for him https://youtu.be/s4YuXNTCU2Y?si=YYVzpB00cNvWSFy5 🎶 Paul Third’s Insight – https://youtu.be/46gTNtTmzTU?si=JYYppZr-3USYT6of     Got a Question for a Future Episode? We love hearing from you! If you have a question about mixing, recording, mastering, or home studio gear, send it our way. 📩 Submit your question here: Form Link We’ll do our best to answer as many as possible, but due to time constraints, we can’t guarantee every question will make it on the podcast. Priority will be given to the most relevant and commonly asked questions. So, ask away—your question might just be featured in an upcoming episode! 🎙️🔥