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.