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! 🎙️🔥