Studio Stuff

• Ep 23 - Mix as You Go vs Start Fresh: Where Does Mixing Really Begin?

  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.

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• Ep 22 - The Placebo Effect in the Studio: Are Your Ears Lying to You?

  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.

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• Ep 21 - The Mixing Debate: Science vs. Feel—Which One Actually Wins?

  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.

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• Ep 20 - “Flat” Headphones: What It REALLY Means - with Rok Gulič (OLLO Audio)

  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.

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• Ep 19 - The Most Powerful Tool in Your DAW

  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.

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