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.