Explore every episode of the podcast Studio Stuff

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.

🎯 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)

🔥 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

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.

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.

📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.

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?

🎛 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

• 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”

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.

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.

📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.

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

• 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

   

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.”

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.

📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.

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

• 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

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.

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.

📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.

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.

• 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

• 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

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.

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.

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

Let us know in the comments or tag us on socials—we’d love to hear from you!

Got a question for a future episode?
📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.

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.

• 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
  
  

• 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
  
  

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.

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.

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.

What’s your biggest challenge when recording vocals? Drop your thoughts below or tag us on socials!

Got a question for a future episode?
📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.

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.

✅ 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

• 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
   

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.

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.

We’d love to hear from you!
📩 Submit your question here: Form Link
We’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.

Drums are the heartbeat of a track—but getting them to feel right in the mix? That’s a whole other story.

In this episode, we (Chris and Steve) pick up where we left off in Part 1 and dive deep into the art of mixing drums. From building the sound around overheads to layering samples, managing reverb, debating time alignment, and even feeling bad for the neglected hi-hat mic—we cover it all.

If you've ever wondered how two mixers with totally different workflows approach drum mixing (and still somehow get great results), this one's for you.

✅ Why we both start mixes with overheads—and how it changed our drum sound.
✅ How to decide if your overheads are for cymbals or the whole kit.
✅ When drum samples are essential—and when they just get in the way.
✅ Our personal routing setups (and why they might be overkill).
✅ How we handle phase, time alignment, and why we don’t always agree.
✅ Tricks for taming hi-hats and bright cymbals without killing your tone.

📌 The overhead-first approach: why it works and what to watch for.
📌 Our favorite sample stacking techniques (and why we name them like pizza toppings).
📌 Drum bus setup, parallel compression, and how not to overdo it.
📌 Why clipping might be your drum mix’s best friend.
📌 Room samples vs. reverb plugins: what we reach for first.
📌 “Mixing with your eyes” (yes, we admit it… pretty plugins matter).
📌 Silencer, Soothe, and our favorite tom gating tricks.
📌 What we do when our mix “falls apart” at the loud parts.
📌 How we build a drum sound that fits the whole song—not just soloed drums.

🎙️ “Should I time-align overheads to the snare—or just leave them?”
🎙️ “What’s the point of using room samples instead of reverb?”
🎙️ “How many drum samples are too many?”

We talk about all of these… and probably overthink most of them.

There’s no one right way to mix drums. It’s about making creative choices that support the song. Whether you're stacking samples or working with raw tracks, the goal is the same: make it feel good.

What’s your go-to drum mixing trick? Do you mix from a drummer’s perspective—or the audience’s?

Drop your thoughts below or tag us on socials!

We’d love to hear from you!
📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.

The Secrets Behind Songs That Make You FEEL Something!

This is the Q&A from Episode 6, where we answer a great listener question: What parts of songs really bring out emotion for us? We dive into how little imperfections, unexpected arrangement choices, and second verse magic often create the biggest emotional moments. From the charm of old vinyl records to how we approach mixing to enhance the feel of a song, we share what moves us — and how we try to bring that same energy into the music we work on.

 📢 Join the conversation!
What’s the next piece of gear you’re planning to buy?
Tell us how you’re building your home studio—one smart choice at a time.

Got a question for a future episode?
🎧 We’d love to hear from you!
📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.

Building a home studio can feel like navigating a never-ending gear jungle. Mic? Interface? Preamp? Cables? What should you actually buy next—and what can wait?

In this episode, Chris and Steve walk through how they’d prioritize studio gear purchases if they were starting from scratch today. Whether you're working with a tight budget or just got some surprise "mom money" 💸, we’ll help you figure out what makes the biggest difference in your sound—and what’s just hype.

From entry-level mics to multi-thousand-dollar preamps, this one’s packed with real-world advice, gear suggestions, and plenty of laughs.

✅ What gear actually improves your sound the most.
✅ Why the microphone is still king—yes, even over your preamp.
✅ How to think about gear upgrades as your needs evolve.
✅ When two budget mics beat one expensive one.
✅ What to look for in an interface (hint: it's not just converters).
✅ Cables: where to save, where to spend (and where not to care).

📌 Dynamic vs. Condenser Mics: What to buy first—and why.
📌 $200 vs. $2,000 mics: Is the gap still worth it in 2025?
📌 The Case for Building a "Mic Locker" One Piece at a Time.
📌 When Renting Gear Is Smarter Than Buying.
📌 Cheap Cables, Expensive Connectors: Chris’s take on budget signal chains.
📌 Preamp Personalities: How one guy’s "dream sound" is another guy’s regret.
📌 Interface Buying Guide: How to choose one that fits your workflow.
📌 Monitoring & Headphones: When to skip monitors and just go closed-back.
📌 The Real Game-Changer: Learning the gear you already own.

🎙️ “Should I get one great preamp or two budget ones?”
🎙️ “Do converters still matter as much as they used to?”
🎙️ “Can I get professional results on an entry-level interface?”
We dive into these questions and more throughout the episode.

Don’t fall into the trap of chasing gear for the sake of gear. Learn what really makes a difference for your specific setup, buy intentionally, and remember—it's better to master a $150 mic than to misuse a $1,500 one.

What’s the next piece of gear you’re planning to buy?
Tell us how you’re building your home studio—one smart choice at a time.

🎧 We’d love to hear from you!
📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.

Recording drums in a small studio can feel like a mix of science, art… and sometimes total chaos. So how do you get great drum sounds without a million-dollar room or a warehouse full of gear?

In this episode, Chris and Steve break down their drum recording philosophy—covering everything from choosing the right kick and snare to getting creative with room mics (including one placed in the bathroom!). Whether you're working with a full kit or just a couple of mics, this episode is packed with real-world tips and personal studio stories.

You'll hear how we approach everything from mic placement to room treatment, the gear we use, and the philosophy behind why we record the way we do.

Oh—and yes, we do talk about the legendary butt-shaker for the drummer’s throne. Don’t worry, it all makes sense in context. 😄

✅ Why the drummer matters more than the drum kit or mic locker.
✅ The performance-first mindset that shapes our drum recording.
✅ How to record drums in a small room without sounding small.
✅ Why we sometimes use a bathroom mic for natural ambiance.
✅ What to prioritize when you’re limited to just a few inputs.
✅ How shell materials, drum heads, and mic choices affect tone.

📌 Chris’s Bathroom Mic Trick: How a washroom became his favorite "room mic."
📌 Session vs. Loud Drummers: Why playing dynamically matters more than you think.
📌 Kick vs. Snare: What’s the most important part of the kit?
📌 Old Pearls & Cheap Kits: Why expensive drums don’t always sound better.
📌 Recording in Tight Spaces: How Chris adapted his studio setup with hallway and stair mics.
📌 Steve’s Live Room Take: Why he prefers tight recordings with reverb added later.
📌 The “Talkback Mic That Made the Mix”: A happy accident that became a drum room staple.
📌 Glyn Johns & Classic Techniques: Do they still work for modern productions?

🎙️ “What exactly do you send to the mastering engineer? One stereo file or stems?” Chris and Steve break down the difference—and when sending stems might actually be the right move.

🎙️ “What level should I send my mix to mastering?” We talk about limiter use, mix bus gain staging, and why peaking digitally is never a good idea.

You don’t need a massive space or expensive gear to get great drum sounds. Start with a great performance, make smart choices with your mic placement, and don’t be afraid to get creative with your environment—even if that means putting a mic in the bathroom.

📢 Join the conversation!

How are YOU recording drums in your home studio? Have you tried unusual room mic setups? Share your approach in the comments!

We love hearing from you!
If you have a question about mixing, recording, mastering, or home studio gear, send it our way.

📩 Submit your question here: Form Link
We’ll do our best to answer as many as possible in upcoming episodes!

Mixing a song feels like an endless loop sometimes—you tweak, adjust, listen again, and suddenly, you're back at square one. So, how do you actually know when a mix is finished? 

In this episode, Chris and Steve dive deep into the never-ending question: When is a mix really done? They break down their own mixing workflows, share the struggles of over-mixing, and reveal the mental tricks they use to finally let go of a project.

Plus, we get into mix revisions, dealing with client feedback (including the “my nephew is also a mix engineer” nightmare), and why it’s so much harder to mix your own music than someone else’s.

Oh, and if you've ever wondered whether Chris thinks in French while mixing, we take a fun detour into that too. 🇫🇷

✅ The telltale signs that a mix is done—and when you’re just overthinking it.
✅ Why mixing your own music is WAY harder than mixing for clients.
✅ The “85% Rule” that helps you let go of a mix before you start ruining it.
✅ When client revisions are valid—and when they’re just over complicating things.
✅ How getting mix feedback from others can actually save you from endless tweaks.
✅ Why mixing in mono can reveal hidden mix issues you’d never catch otherwise.

📌 The Food Analogy: Why over-mixing is like rearranging food on your plate when you’re already full.
📌 Chris’s “First 100%” Rule: Why his first mix delivery is actually his 85%.
📌 Steve’s 13 Revision Client: Some people just love to tweak forever… and sometimes, that’s okay.
📌 The Classic Nightmare: When a client says, “I sent the mix to my cousin who’s also a producer...” 🚨
📌 Mixing Your Own Music: Why the closer you are to a project, the harder it is to finish it.
📌 Mixing in Mono: Does it really help, or is it just another unnecessary step?

🎙️ “How do you decide when your mix is actually done?”
Chris and Steve break down their personal approaches—and why the “perfect mix” might not even exist.

🎙️ “Why mix in mono? What should I be listening for?”
Find out what actually matters when you collapse your mix to mono (hint: phase issues, masking, and weird balance shifts).

At some point, you have to stop tweaking and let the mix go. If you’re making tiny changes that don’t really affect the overall impact—chances are, you’re done. Instead of endlessly tweaking, learn from your mix and improve on the next one.

📢 Join the conversation!
How do YOU decide when a mix is done? Do you have a system, or do you just go by feel? Drop your thoughts in the comments! 

We love hearing from you! If you have a question about mixing, recording, mastering, or home studio gear, send it our way.

📩 Submit your question here: Form Link
We’ll do our best to answer as many as possible in upcoming episodes! 

Music production isn’t what it used to be. Gone are the days when producers just sat on a couch, sipping coffee, while engineers did all the work. Today, producers are arrangers, mix engineers, problem solvers, psychologists, and sometimes even the artists themselves. In this episode, we dive deep into how the role of the music producer has evolved and whether that’s a good thing—or a bad thing. Are we just pressing the space bar now, or do producers still play a critical role? Oh, and we also have some strong opinions on recording with a click track (spoiler: it’s complicated).

✅ How the role of the music producer has evolved from the days of legendary producers like Rick Rubin to today’s multi-tasking reality.
✅ The difference between old-school producers and today’s multi-hat wearing music creators.
✅ How budget constraints have reshaped the role of the music producer for indie artists.
✅ The psychological and emotional roles a music producer often plays during recording sessions.
✅ Why producing isn’t just about gear and sound—it’s about translating the artist’s vision into reality.
✅ When you should (or shouldn’t) record with a click track—and why it matters.

📌Rick Rubin's legendary approach and why he brought his own couch to recording sessions.
📌Chris’s memorable (and stressful!) first production experience producing a live album straight out of music production school.
📌When and why Chris "fired himself" as a drummer—and why knowing when to delegate is key.
📌Why Steve thinks today's producer is often just “the other person in the room.”
📌The ongoing debate: Should you always record with a click track?

"Do you always need to record to a click track? "
Chris and Steve share their strong—and nuanced—opinions about the pros and cons of recording with or without a click.

Final Takeaway:
Being a music producer in 2025 means wearing many hats. You’re a collaborator, technician, counselor, and translator of artists’ visions. Understanding this helps you navigate the complexity—and joy—of making great music.

📢 Join the conversation!
Have thoughts on the evolving role of producers? Drop your stories, opinions, or questions in the comments—we’d love to hear from you!

We love hearing from you! If you have a question about mixing, recording, mastering, or home studio gear, send it our way.

📩 Submit your question here: Form Link

We’ll do our best to answer as many as possible, but due to time constraints, we can’t guarantee every question will make it on the podcast. Priority will be given to the most relevant and commonly asked questions. So, ask away—your question might just be featured in an upcoming episode! 🎙️🔥

Mixing bad recordings—every audio engineer's nightmare! In this episode, Chris and Steve dive deep into the challenges of handling poorly recorded tracks and share real-world solutions. From digital clipping disasters to phase issues and excessive room noise, they break down their go-to techniques for salvaging flawed audio. Plus, they discuss the importance of capturing a great recording from the start and why mixing is not about fixing, but enhancing.

✅ Common bad recording issues – Digital clipping, phase problems, excessive sibilance, and more.
✅ Fixing bad recordings – Tools and techniques for restoring poor audio.
✅ The importance of proper recording techniques – Why fixing it in the mix isn't always the answer.
✅ EQ & Compression Tricks – How to clean up muddy or overly bright recordings.
✅ When to embrace the flaws – Sometimes, a "bad" recording becomes part of an album’s character!

🔹 iZotope RX (De-clip, De-crackle, De-reverb)
🔹 FabFilter Pro-Q3 (Dynamic EQ)
🔹 Soothe 2 (Resonance suppression)
🔹 Black Salt Audio De-Esser
🔹 Sound Radix Surfer EQ
🔹 Smart: De-Esser by Sonible
🔹 The Ultimate Guide To Cubase

"How do you train your ears to hear what needs adjusting when using EQ?"
Chris and Steve share their process, from identifying problem frequencies to balancing tracks in context.

Final Takeaway: The best way to avoid mixing headaches? Focus on getting a great recording from the start!
📢 Join the conversation! Have a mixing horror story? Share it in the comments or tag us on social media.

We love hearing from you! If you have a question about mixing, recording, mastering, or home studio gear, send it our way.

📩 Submit your question here: Form Link

We’ll do our best to answer as many as possible, but due to time constraints, we can’t guarantee every question will make it on the podcast. Priority will be given to the most relevant and commonly asked questions. So, ask away—your question might just be featured in an upcoming episode! 🎙️🔥

Welcome to the first episode of the Studio Stuff Podcast! In this laid-back yet insightful discussion, we dive into a topic that every home studio owner has an opinion on: Mixing on Headphones vs. Speakers.

Chris and Steve break down the pros and cons, share personal experiences, and even throw in some entertaining banter about food, farming, and about Andrew Scheps mixing on Sony MDR-7506s (yes, those headphones).

If you’ve ever wondered whether headphones can truly replace studio monitors or not, or how to optimize your headphone mixing experience, this episode is for you.

You’ll Learn:

✅ Why so many pros are shifting towards mixing on headphones

✅ The real difference between headphones and speakers for mixing

✅ How the Harman Curve can transform your headphone experience

✅ Why training your ears is more important than buying expensive gear

✅ How room acoustics impact your monitoring choices

✅ The role of crosstalk in speaker vs. headphone mixing

✅ Plugins that help bridge the gap between speakers and headphones

✅ Why Chris listens to new music on headphones first—even with a killer speaker setup

✅ The next big debate: Can we mix Atmos on headphones?

Listener Q&A

A listener asks: "Should I convert stereo virtual instruments to mono before mixing?"

Chris and Steve break down:

✅ Why stereo virtual instruments can be misleading

✅ How bouncing MIDI to audio helps workflow & avoids surprises

✅ Whether it actually affects sound quality

Resources & Mentions

🎧 Harman Curve & EQ for Headphones – Why it matters and how it works https://youtu.be/Yo_Bpo9ICZA?si=9FYr0EjKI5XqV8Zc

🎤 Andrew Scheps' Approach – How a legendary mixer made headphones work for him https://youtu.be/s4YuXNTCU2Y?si=YYVzpB00cNvWSFy5

🎶 Paul Third’s Insight – https://youtu.be/46gTNtTmzTU?si=JYYppZr-3USYT6of

Got a Question for a Future Episode?

We love hearing from you! If you have a question about mixing, recording, mastering, or home studio gear, send it our way.

📩 Submit your question here: Form Link

We’ll do our best to answer as many as possible, but due to time constraints, we can’t guarantee every question will make it on the podcast. Priority will be given to the most relevant and commonly asked questions. So, ask away—your question might just be featured in an upcoming episode! 🎙️🔥