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 Link
We’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 Link
We’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 Link
We’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 Link
We’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 Link
We’ll answer as many as we can in upcoming shows.