Studio Stuff

Studio Stuff Podcast #45 | Your Phone Knows Your Mix Has a Problem. Do You?

We get into three listener questions this episode, and at least one of them might change how you check your mixes going forward.

The first question comes from Northern California, and it is one we have probably all experienced but never quite pinpointed. A listener notices his mix sounds great in the car and on AirPods, but something about the iPhone speaker makes his reverb sound harsh and brittle. When he tries to fix it, the mix loses something on the other playback systems. We dig into what the phone EQ curve is actually doing, why reverb returns tend to live right in the problem zone, and why other people's mixes don't have the same issue on the same device. The phone is not broken. It is telling you something true.

The fixes we talk through: high pass and low pass your reverb return as a first move, add a touch of pre-delay to separate the wet from the dry, and check the whole thing in mono while you are at it. We also make a small promise to ourselves to start checking mixes on our phones more often, which is either a great habit or a rabbit hole. Probably both.

The second question is about signal flow. Specifically, what is the advantage of routing your mix to a stereo bus group channel rather than going straight to the output? We walk through how we each handle this in our sessions, why the output channel stays completely clean in both cases, and what happens if you run room correction software like Sonar Works and forget to bypass it before you bounce. Chris also explains why keeping that group bus as a middle man makes it easy to import your mix bus chain from a previous session into a new one, which took a few extra words to explain but is genuinely useful.

The third question is a bonus, and it is a good one. Does anyone actually track their time on a mix, and if so, how? Steve uses his feelings. Chris blocks time by the day and lets the song fill the window. We also look at a free plugin called Project Time Pro by Hoffa that logs your session time automatically the moment you open the session. Great concept, one small flaw involving an open Cubase session and a backyard barbecue.

You'll Learn:

Why the iPhone speaker exposes reverb problems that other playback systems let slide

The two-move fix for harsh reverb on phone speakers: high pass and low pass the return, then add pre-delay

Why pro mixers EQ their reverb returns way more than most home studio producers realize

The case for keeping your output channel completely free of plugins

How a stereo bus group channel makes your mix chain portable between sessions

Why blocking time might be smarter than tracking it, and what a free session timer actually does to your workflow

Topics and Stories:

The phone speaker that knows too much

Why Chris is finally going to start checking mixes on his iPhone

The Sonar Works bypass you absolutely cannot forget before bouncing

Steve's feelings-based approach to pricing flat-rate mixes

The goldfish and the bowl

Project Time Pro and the barbecue problem

Listener Q&A:

We had three great questions this episode. Keep them coming. Submit yours using the form in the show notes or leave a comment on YouTube and we will get to as many as we can.



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Studio Stuff Podcast #44 | Mic Shootouts, Genre Comfort Zones, and the Music We Love Mixing

You've got two mics, one singer, and a session to run. Which one do you reach for?

In this episode, we dig into that exact scenario, starting with a great question from Johnny in Denmark. He's got a Rode NT1 and an SE V7, and he wants to know how to think about the choice. We break down the real decision-making process: it's not about which mic is "better" on paper. It's about tone, sibilance, room sensitivity, how much work you'll have to do in the mix, and what the song actually needs.

We get into why sibilance is often the first thing that eliminates a mic, why a dynamic sometimes just solves problems a condenser can't, and why committing to two mics at once is a completely valid move when you're still learning what your gear does. We also talk about building an internal catalog of your mics over time, so eventually you walk into a session and already know where to start.

Then we shift into Ian's question: what genre do we feel most comfortable mixing and mastering? The answer comes pretty quickly for both of us, and it connects directly to where we each started.

You'll Learn:

How to run a real mic shootout that actually tells you something useful

Why sibilance is a red flag worth eliminating early

How room acoustics affect which mic makes sense for a session

Why testing across dynamics (verse to chorus) matters as much as tone

What it means for a mic to "photoshop" a voice before you even hit record

How genre familiarity shapes what you listen for when you mix

Topics and Stories:

The new breakfast spot (Korean barbecue bowl, and yes, it won)

Johnny's mic question: Rode NT1 vs. SE V7 for home studio vocals

The SM7B's embarrassing habit of winning shootouts it shouldn't

Multi-mic recording as a learning tool

Ian's genre question: rock, jazz, country, and why "people music" keeps winning

Steve's salsa dancing backstory (and Jessie making him look good)

Listener Q&A:

Big shoutout to Johnny from Denmark for the mic question, and to Ian for sending in a two-parter. We tackle the first half of Ian's question this episode, what genre we feel most comfortable mixing, and we're saving the second part for an upcoming show.

Got a question for us? Drop it in the comments on YouTube or hit the link below to fill out the form.



👉 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.

Studio Stuff Podcast #43 The Da Vinci Problem: Knowing When to Let Go of Your Mix

You've been in the mix for hours. It sounds pretty good. You think it sounds pretty good. But you keep going back in, tweaking, adjusting, making that one last pass. Sound familiar? In this episode, we dig into the question MCC member Frank Robinson sent our way: how do you know when to stop? And is anyone ever actually happy with their final mix?

We also get into a comment from our friend KP, who wants to know whether mixing in Cubase versus Pro Tools actually makes a sonic difference. Spoiler: it's mostly about who's driving.

You'll Learn:

Why the last five percent of a mix can take longer than the first eighty percent

What "pushing food around the plate" actually means as a creative signal

How the sleep test, the scrolling listen, and the AirPods check each serve a different purpose

Why time-constraining your mix sessions might be the most practical habit you can build

Whether your DAW choice genuinely affects your sound, and what actually does

Topics and Stories:

The Da Vinci problem: why art is never finished, only abandoned

Chris's graveyard of mixes he refuses to listen to anymore

Moving furniture in a prison cell as the perfect metaphor for overmixing

Steve's logic-to-Pro Tools workflow and why he uses two different tools for two different jobs

The rich guy with thirty cars: which one do you take to church, the track, and the road trip?

Why Chris drives a Volvo and Steve has a Ferrari, a Bugatti, and several Hondas

Listener Q&A:

Big shoutout to Frank Robinson from the MCC! His question: how do you decide when to stop tinkering and call the mix done? And is anyone really fully happy with their final mix? We spend a good chunk of the episode on this one because it deserves it.

We also dig into a comment from KP, who floated the idea of a Cubase vs. Pro Tools mix-off. We address the DAW question seriously, and then immediately give KP a hard time about the competition idea.



👉 Got a question for us?
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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.

Studio Stuff Podcast #42 | Mixing, Mastering, and the Mindset That Separates Them

You finish the mix, you're happy with it, you slap Ozone on the master bus... and now what? Do you keep tweaking? Do you bounce and walk away? Do you send it somewhere? One listener question about Tonal Balance Control opened up a conversation we've been circling around for a while, and this episode is where we finally went there.

We're talking about the mixing vs. mastering mindset, whether tools like Ozone belong on the mix bus, how AI mastering services fit into a real workflow, and why your answer to all of this probably depends more on your personality than your plugins.

You'll Learn:

Why Tonal Balance Control works great as a monitoring tool, not a mix bus effect

What separates a "mix-mastering" workflow from a proper two-stage process

When it makes sense to leave Ozone committed and keep tweaking the mix around it

Why Chris and Steve approach this completely differently, and why both approaches hold up

What AI mastering tools are actually good for, and where they fall short

Why mastering your own music is one of the best kept secrets for getting better at mixing

Topics and Stories:

Edward Stashko's listener question about Tonal Balance and Ozone on the mix bus

The Cubase control room advantage and why Steve is smug about it

Chris's recent shift toward mix-mastering and why he's owning it

Sending mixes out: Nashville, Montreal, Winnipeg, and Sterling Sound in New York

What happened when three mastering engineers got the same single

Steve officially becoming a grandpa in the Denny's parking lot

Listener Q&A:

Big shoutout to Edward Stashko for this week's question. He asked whether running a mix through Tonal Balance Control before using Ozone as an automated mastering tool produces a better result, and whether tweaking after the mastering stage creates problems that could have been caught earlier. Edward, you cracked this one wide open. Great question.



👉 Got a question for us?
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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.

Studio Stuff Podcast #41 | NS10 Translation in 2026: Emotion, Mixing, and What Actually Works

What does emotion in music actually mean? And does your mix have to make someone cry to count as art? We got a comment on our Angine de Poitrine episode that sent us down a rabbit hole, and we're not mad about it.

In this episode, we're responding to a listener comment that challenged whether technical genius can actually be a form of emotional expression. Then we pivot into something every home studio mixer has wondered about: is the old NS10 translation theory still valid in 2026?

Two very different conversations. One throughline: what does it mean for something to actually work?

You'll Learn:

Why awe and admiration are legitimate emotional responses to music

How the NS10 theory made perfect sense in its era and why it needs more context today

What mix translation actually means with AirPods, Bluetooth speakers, and modern monitoring in the picture

Why "sounds good on bad speakers, sounds good anywhere" now comes with a few asterisks

Topics and Stories:

The Dirk Campbell comment calling Angine de Poitrine's playing "musical parkour" and why we pushed back

Why cathedrals, the Olympics, and a guy spilling wine while distracted by a YouTube clip all ended up in the same conversation

Chris's confession about borrowed NS10s appearing in his old YouTube videos

Why the speakers in your car and living room all basically sounded the same thirty years ago, and how that changed everything

Listener Q&A:

Shoutout to Mastermind on YouTube for the NS10 question. We get into the full translation theory, why it made sense in its day, and how monitoring has evolved enough that it's now more of a checkpoint than a rule.



👉 Got a question for us?
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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.