Studio Stuff

Home studios have never been more powerful. Cheap gear is better than ever, plugins are ridiculous, and you can make real records on a laptop. But commercial studios still have something you can’t always fake: space, acoustics, and the kind of “big room” recording that makes drums feel like drums.

In this episode, we go back and forth on the real advantages (and the real traps) of recording at home in 2026, why the answer depends on what you’re tracking, and why most people end up in a hybrid workflow anyway. Then we tackle a super practical listener question about recording vocals in an untreated room without the room taking over once compression gets involved.

What We Dig Into

Why the cost-to-quality of home studio gear is insane in 2026

The hidden downside of home studios: unlimited time can make you slower

When a commercial studio is actually worth it (especially for drums)

Why acoustics and room size matter more than most people admit

The real “secret weapon” in both worlds: the person running the session

Why mixing doesn’t need a commercial studio (most of the time)

The hybrid approach that makes the most sense for a lot of artists

Topics & Stories

The return of “the glasses” and Chris’s evolving brain

Vancouver “devolving” trips and studio philosophy whiplash

The Audeze headphone rabbit hole (and how fast it escalates)

The legendary computer handle design that should’ve never existed

“Vintage 1967 Cajon through a Neve console” (because… of course)

Listener Q&A

Cornelius asks:
How do you record vocals in a normal untreated bedroom/living room so the room doesn’t get exaggerated, especially once you start compressing or doing parallel compression, when the closet trick isn’t available?

Our answer (the practical version):

Use moving blankets and build a quick “dead corner” setup

Try a corner setup with layers (blankets + mattress if you can)

Experiment with facing the treatment vs facing the room

Focus on stopping early reflections before they hit the mic

Make it ugly if you have to. Clean vocals first, aesthetics later.

Final Takeaway

There isn’t a single winner in 2026. The “best studio” is the one that fits the recording you’re doing, your workflow, and your personality. For big, loud sources like drums, space matters. For creativity and consistency, home often wins. And for mixing, the engineer usually matters more than the room.

👉 Got a question for us?
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We’ll answer as many as we can in upcoming shows.

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It really helps more home studio folks find Studio Stuff.

You know that moment where your mix feels great… until you look at the master bus and it’s basically a nuclear explosion? Yeah. This episode is all about avoiding that trap while you’re mixing—so mastering doesn’t turn into “how hard can I slam this limiter before it breaks?”

We answer three listener questions that hit real workflow stuff: dynamic range and headroom, pitch vs timing when editing vocals, and how to align audio to the grid without going cross-eyed staring at waveforms.



What We Dig Into

How we watch dynamic range during the mix so mastering stays easy

Why gain staging is still the boring answer that fixes everything

The mix-bus sweet spot (and why not clipping is the real rule)

How buses / subgroups become the fastest way to control level as the mix grows

Vocal editing order: timing first vs pitch first, and the “annoyance rule”

Why performance cleanup beats obsessing over tiny artifacts

Aligning audio to the grid: transient vs peak and how “Tab to Transient” saves your life

The 3-step check: grid → click → drums/groove



Topics & Stories

The “I’m too stupid to be alive” glasses story (Amazon hooks vs the obvious fix)

Becoming YouTube professionals: the smoothest “like & subscribe” pivot we’ve ever done

Morning wine on a flight… because statistically, you probably won’t have to land the plane



Listener Q&A

Stefan (MCC): How do you manage dynamic range in the mix so mastering doesn’t require slamming the limiter?
Joe (Rochester): When editing vocals, do you time-correct first or pitch-correct first?
Charles (Montreal): When manually quantizing audio, what part of the waveform should you align to the grid?



Final Takeaway

If you keep your gain staging sane, control levels through buses, and make editing decisions based on what you actually hear (not what the waveform “looks like”), you’ll end up with mixes that are easier to master—and feel more “finished” without fighting your tools.



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

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 | Back Then vs Now: Did We Lose “Pro” Recordings?

Everyone loves the idea that “back in the day” recordings were more professional. Big studios, serious engineers, real consoles, musicians who rehearsed, and fewer tools to hide behind. But is that actually why those records feel so good… or are we mixing up “professional,” “better,” and “more human”?

In this episode, we unpack a listener comment that turns into a bigger conversation about source material, limitations, modern workflows, and why some top engineers are actually using fewer plugins than ever.

What We Dig Into:

What “professional recording” really means (and how the definition changes over time)

Why the sonic bar is higher in 2026 than it’s ever been

The hidden downside of unlimited plugins and endless options

Why older records often feel more “human” (performance, commitment, interaction)

The “fix it later” mindset and how it changes how people record

Why limitations can lead to faster decisions and stronger mixes

How channel strips can force better listening (and better choices)

The cumulative effect: one channel strip vs 24 across a session

A real-world challenge: mix with only a channel strip (and compare results)



👉 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.

We started this episode the way all professional audio conversations begin… by accidentally starting a mini civil war at breakfast over hash browns. Then we pivot into two really solid listener questions: one about whether a mixer still matters in 2026 (and what it can actually do for you in a home studio), and another about amp sims, effects order, and proper gain staging when recording DI guitars.



What We Dig Into

Why a mixer can still be super useful today, even if you mix “in the box”

The best modern use cases: tracking, monitoring, more inputs, zero-latency headphone mixes

When it makes sense to use the mixer as your main interface

Console reality check: does summing actually help, or is it just “try it and see”?

Amp sim workflow 1: commit the sound while recording (like a real amp)

Amp sim workflow 2: record clean DI first, then dial tones later (commitment-free)

Gain staging basics for amp sims: hit the input sweet spot, then control output so you’re not cooking the channel



Topics & Stories

Chunky vs shredded hash browns: the debate nobody asked for, but everybody needed

Pineapple on pizza: friendships were tested

The “mint condition SSL” running joke (first owner, minimal kilometers, maybe some tears)

Waffle House wisdom: “I used to could.” (Legendary.)



Listener Q&A

Richard (Barrie, Ontario):
“Why is there never talk about the actual mixer? Is it just a conduit for ins and outs, or can it help during mixing? I just bought a Mackie… what can I take advantage of?”

Callen:
“I record DI guitar and use Amplitube / VST Amp Rack. Where should the amp sim go in the chain, and how do you reconcile that with gain staging?”



Final Takeaway

A mixer isn’t automatically “better” or “worse” than mixing in the DAW. It’s a tool. If it helps you track faster, monitor with zero latency, commit better sounds earlier, or simply makes the process feel better, it’s doing its job. Same with amp sims: hit the right level into the sim, keep your output sane, and choose whether you’re committing now or later.



👉 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.

AI is no longer a “someday” conversation. It’s already baked into tools we use, workflows we rely on, and decisions we’re making in the home studio, whether we call it AI or not.

In this episode, we break the whole thing down like producers, not philosophers. Where does AI actually help? Where does it get in the way? And what parts of the process still need a human with taste, intention, and a point of view?



What We Dig Into

The moment AI went from “cool trick” to “daily reality”

Songwriting vs demoing: where AI can speed things up fast

Why AI drums still don’t feel like a real drummer (even after editing)

Production mindset shift: “I can fix that later” as a creative unlock

Mixing with AI-assisted plugins: when it’s just a better starting point

Mastering with Ozone: why “perfect” doesn’t always sound right

The difference between tools, presets, and true AI (and why it’s confusing)



Topics & Stories

The “Canadian sorry” story that completely broke a comedian’s set

The “Cindy/Sandy Winters” AI song moment and the emotional reaction

The reality check: the audience might not care, but you might

“Everything is AI now” marketing and how to filter the noise



Listener Q&A

No listener Q&A this one, but we want your questions for the next episodes.



Final Takeaway

AI can make you faster. It can even make you better. But it still can’t replace the one thing that makes your music yours: taste, intent, and human perspective. Use it like a tool, not like a replacement.



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

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.