Ever finish an album and realize every song sounds… just a little different?
Yeah... we’ve all been there. In this episode, we dig into how to keep a full record sounding cohesive without killing the vibe or getting lost in “template land.”

We share our real-world album mixing workflow: how we craft a strong “first-song” mix, build a flexible mix template, what actually carries over between songs (and what definitely doesn’t), and how to reference yourself as you go so your record feels like one connected piece of art.

Then we switch gears into room correction, do you really need it if you’ve already “learned” your room? We talk about what works, what doesn’t, and why acoustic treatment still beats software (but both can play nice together).

Huge thanks to Audient Audio for supporting the show 👉 https://audient.com

You’ll Learn:

• Why the first song sets the tone for the entire album

• How to mix faster using a smart, flexible album template

• What to copy between songs (drums, bass, lead vox) and what to rebuild

• How to prevent “album drift” and keep your sound consistent

• The truth about room correction vs. room treatment

• How calibration tools can actually help dense rock or punk mixes

Topics & Stories:

• The joy of “Select All → Delete” to build a new mix template

• Why we still reference earlier songs while mixing

• Ballads vs. rockers: when reverb and ambience should change

• Different studios, different drummers—how we tie it all together

• The Denny’s breakfast redemption arc (we went back!)

• Chris’s clouds are almost on the ceiling—progress!

• Audient iD44 goes on a Euro trip: high-quality preamps in carry-on form

Listener Q&A:

Shoutout to Arthur from MCC for the album consistency question,
and to Tomas from Norway for asking about room correction and calibration tools.

Final Takeaway:

Make your first mix the North Star for your album.
Use smart templates, reference often, treat your room first, and let every song serve the record.
Consistency doesn’t mean boring—it means connected.

👉 Got a question for us?
📩 Submit it here: Form Link
We’ll answer as many as we can in upcoming shows.

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

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

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.

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.

• 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

• 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

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.

“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.

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

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.

• 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

• 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

Shoutout to Ken from YouTube for sparking our talk about plugin presets and experimenting as a way to stay creative in the studio.

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.

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

Some of us are at home in a controlled studio, tweaking every detail until the mix is just right.
Others thrive under the pressure of a live show, mixing on the fly in front of thousands.
We’ve done both — and in this episode, we’re unpacking the lessons each world has taught us.

From corporate gigs to church productions to mixing album release shows, we share the wins, fails, and “MacGyver” moments that shaped our approach to mixing. You’ll hear why live sound engineers make faster decisions, how studio habits can make live shows more emotional, and why the best mixers often straddle both worlds.

• How to stay calm under pressure when gear fails mid-show

• Why quick thinking is a survival skill for live sound

• Studio automation tricks that bring life to live mixes

• How in-ear monitoring and click tracks changed the live game

• Why “perfection” means something different on stage than in the studio

• Chris’ church gig blackout disaster

• Steve’s take on managing band trust in fast-turnaround soundchecks

• Riding faders live like an instrument

• Bringing studio plugins to live shows (yes, really)

• Why wedges were the old enemy — and how in-ears saved the day

Live sound and studio mixing aren’t rivals — they’re complementary skills. The best engineers borrow from both worlds to create mixes that connect emotionally and translate in any environment.

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

We all have those things we should do in the studio… but don’t. In this episode, we’re getting real about the habits we tend to skip—not because we don’t know better, but because sometimes it’s just easier (or smarter?) not to.

We’re talking about “studio laziness” in all its forms—from forgetting to print stems to dodging analog gear setup. The question is: when does it cross from saving time to causing problems later?

• Why we often skip printing stems… and how it bites us later

• The old plugin problem: why we keep them and when we finally let go

• Why setting up analog gear feels like going to the gym

• The truth about plugin presets (and whether we tweak them or not)

• Why finishing that song might not be laziness—it might be something deeper

• Armenian basturma and garlic tailpipes 🤢

• Dom Sigalas in yellow (if you know, you know)

• Our folder and file organization quirks

• How Cubase folders and macros help (or don’t)

• VCA groups vs Busses: a follow-up listener Q&A

Shoutout to “Popular Beat Combo” for the great question about VCA routing and keeping relative levels intact. We break down how it compares to using busses and why it still matters.

Sometimes “lazy” is just being efficient. But other times… it might be procrastination in disguise. The key? Know when you’re avoiding something that really matters—and fix it before it fixes your mix.

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