• Uncovering the Secrets of Clipping Audio – A Noisy Adventure



    Clipping: the word alone can make engineers break into a sweat. But is it always bad? In this episode of Inside the Recording Studio, Chris and Jody dive into the art of clipping audio—where it comes from, why it sometimes works, and when it can absolutely ruin your mix.

    They start with the origins: how analog gear and early digital systems introduced us to clipping, and why those “mistakes” sometimes turned into creative tools. Then they dig into the different types of clipping—hard clipping, soft clipping, analog saturation—and explain how each one shapes sound differently.

    Clipping isn’t just an error; it can be a weapon. Chris and Jody share when they intentionally use clipping to add aggression, density, or perceived loudness to drums, guitars, or even a mix bus. At the same time, they cover the dangers: digital clipping that destroys transients, leaves tracks brittle, and makes mastering engineers cry.

    Expect real-world recording setup tips, plugin and hardware examples, and honest insight into how they personally use clipping in their own sessions. And of course, it wouldn’t be an Inside the Recording Studio episode without humor—so yes, there will be some nonsense about how clipping is like hot sauce: a little makes things exciting, too much ruins dinner.

    Whether you’re working with home studio gear or high-end mastering chains, this episode gives you the tools to understand clipping, control it, and use it creatively without wrecking your mixes.

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    Gear we used:
    Jody’s Mic & Voice Chain: Telefunken C12 – Groove Tubes Vipre – Apollo – UA Neve 1073 – UA LA2A – UA Studer A800
    Jody’s Channel Strip: iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Chris’ Mic & Voice Chain: Slate ML1 – Apollo – UA – Slate VMR (FG12, FG73, API Eq, SSL 4kE) – iZotope RX Voice – DeNoise
    Chris’ Channel Strip: Eventide Precision Time Align – iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Master: Oek Sound Soothe 2 – iZotope Ozone Imager – iZotope Ozone Maximize.

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    If you want to collaborate, sponsor a podcast, donate, or want us to review your product – contact us at: collaborate@insidetherecordingstudio.com

  • The Truth About EQ and Compression Order in Music Production



    EQ or compression first? Ah yes, the eternal mixing debate—right up there with “pineapple on pizza” and “do we really need another reverb plugin?”

    This week on Inside the Recording Studio, Chris and Jody wade right into the swamp of EQ vs compression order, giving you the straight dope on what happens when you put EQ before compression, after compression… or, because we all love chaos, both.

    Let’s start with the classic approach: EQ before compression. Think of it like tidying up your living room before guests arrive. You cut the mud, roll off that rumble, and make sure your signal is presentable before handing it to the compressor. That way, the compressor isn’t wasting energy trying to clamp down on stuff you didn’t want in the first place. Kicks get tighter, vocals stay cleaner, and suddenly your mix sounds less like a swamp monster and more like an actual record.

    But then there’s EQ after compression—the “dessert first” approach. Sometimes you want the compressor to react to the raw, unfiltered tone, and then you sweeten things afterward. This is where you boost the sparkle, add some sheen to vocals, or fatten up the bass after the compressor has already done its job. Think of it as putting the icing on the cake after it’s baked. No one eats cake batter with frosting (okay, maybe some of us do).

    Of course, this is Chris and Jody we’re talking about, so things don’t stay neat and tidy for long. Enter the world of double EQ and double compression. Yep, you read that right. EQ → Compression → EQ → Compression. Is it overkill? Sometimes. Is it necessary? Also sometimes. When done right, it’s like layering seasoning in a recipe—you add a little salt early on, then adjust the flavor later to taste. When done wrong, well, let’s just say you end up with an overcooked mess that even your cat won’t eat.

    Throughout the episode, Chris and Jody share real-world examples of when they’d pick one method over the other. Want vocals that cut without being harsh? Maybe try EQ before compression. Want drums that slam but still shimmer? Try compressing first, then EQing the results. They’ll talk about the quirks, the happy accidents, and even the times they’ve completely overcooked a chain just to see what would happen. Spoiler: nonsense is definitely discussed.

    And here’s the kicker—none of this is a “one size fits all” answer. The order of EQ and compression isn’t about hard rules, it’s about intent. Do you want to shape what the compressor reacts to? Or do you want to shape the sound after it’s been leveled out? Both are valid. Both are powerful. And both can make you pull your hair out if you overthink it.

    So, if you’ve ever found yourself rearranging plugins in your DAW at 2 a.m. muttering, “Why does this still sound bad?!”, this episode is for you. Chris and Jody bring the laughs, the lessons, and the honesty that yes—even pros get tripped up sometimes.

    Because at the end of the day, EQ before compression, EQ after compression, or EQ both sides like a sandwich—it’s all fair game. Just don’t forget to actually listen.

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    Gear we used:
    Jody’s Mic & Voice Chain: Telefunken C12 – Groove Tubes Vipre – Apollo – UA Neve 1073 – UA LA2A – UA Studer A800
    Jody’s Channel Strip: iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Chris’ Mic & Voice Chain: Slate ML1 – Apollo – UA – Slate VMR (FG12, FG73, API Eq, SSL 4kE) – iZotope RX Voice – DeNoise
    Chris’ Channel Strip: Eventide Precision Time Align – iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Master: Oek Sound Soothe 2 – iZotope Ozone Imager – iZotope Ozone Maximize.

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    If you want to collaborate, sponsor a podcast, donate, or want us to review your product – contact us at: collaborate@insidetherecordingstudio.com

  • Discover the Magic of Mix Templates and Skyrocket Your Mixing Game!



    When it comes to mixing, speed and consistency are the name of the game—and that’s where mix templates come in. In this episode of Inside the Recording Studio, Chris and Jody wade deep into the weeds of mix templates: what they are, why you should create them, and how to design one that works for your workflow.

    A good template isn’t just a time-saver—it’s a framework for creativity. Chris and Jody cover the essentials: routing, buses, effect chains, and utility tracks that help you hit the ground running every time you open a session. They’ll also share their own approaches to what goes in a template, from reverb and delay sends to parallel compression setups and monitoring chains.

    But templates aren’t one-size-fits-all. Each engineer brings their own preferences, style, and even quirks into how they design them. What separates one mix engineer’s template from another? How do you balance consistency with flexibility? And can you really get multiple mix outputs from a single template? These are the questions Chris and Jody tackle head-on, providing practical answers you can apply to your own workflow.

    Whether you’re building your first mix template in a home studio gear setup or refining an established system for professional work, you’ll come away with fresh insights and recording setup tips that will save time and improve results. And of course, in true Chris-and-Jody style, expect humor, banter, and maybe a reminder to actually clean your music gear once in a while.

    If you’re ready to streamline your process, enhance your creativity, and maybe even learn a few hidden tricks along the way, this episode is a must-listen. Let’s get ready to mix!

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    Gear we used:
    Jody’s Mic & Voice Chain: Telefunken C12 – Groove Tubes Vipre – Apollo – UA Neve 1073 – UA LA2A – UA Studer A800
    Jody’s Channel Strip: iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Chris’ Mic & Voice Chain: Slate ML1 – Apollo – UA – Slate VMR (FG12, FG73, API Eq, SSL 4kE) – iZotope RX Voice – DeNoise
    Chris’ Channel Strip: Eventide Precision Time Align – iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Master: Oek Sound Soothe 2 – iZotope Ozone Imager – iZotope Ozone Maximize.

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    If you want to collaborate, sponsor a podcast, donate, or want us to review your product – contact us at: collaborate@insidetherecordingstudio.com

  • Unlocking the Secrets of a Mix Vision: Expert Tips and Tricks!



    Every great mix starts with a vision. Before EQ tweaks or compressor settings, a mix engineer has to know where the song wants to go. In this episode of Inside the Recording Studio, Chris and Jody break down the often-overlooked art of shaping a mix vision — how to hear the rough version of a track and imagine its potential.

    The process isn’t just technical; it’s creative. They explore how listening to a client’s rough mix provides critical clues, and how conversations with the artist about goals, influences, and emotional intent set the stage. Style and genre matter too—an EDM track, a country ballad, and an indie rock anthem each demand a different sonic treatment. Arrangement, instrumentation, and performance nuance all help define the roadmap.

    Chris and Jody share their strategies for interpreting those elements, from subtle panning decisions to layering reverbs, to making bold choices about dynamics. They explain how communication with the client is just as important as turning knobs: translating abstract ideas like “make it sound bigger” or “give it more air” into concrete mixing decisions.

    For producers and engineers working with home studio gear, this episode offers plenty of recording setup tips and practical wisdom. Even if you’re not mixing chart-toppers, you’ll learn how to establish a clear direction that makes your mixes intentional instead of accidental.

    And, of course, it wouldn’t be an episode with Chris and Jody without humor, banter, and a reminder that mixing is equal parts craft and art. If you’ve ever opened a rough mix and thought, “Now what?”—this episode is your guide to finding the answer.

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    Gear we used:
    Jody’s Mic & Voice Chain: Telefunken C12 – Groove Tubes Vipre – Apollo – UA Neve 1073 – UA LA2A – UA Studer A800
    Jody’s Channel Strip: iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Chris’ Mic & Voice Chain: Slate ML1 – Apollo – UA – Slate VMR (FG12, FG73, API Eq, SSL 4kE) – iZotope RX Voice – DeNoise
    Chris’ Channel Strip: Eventide Precision Time Align – iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Master: Oek Sound Soothe 2 – iZotope Ozone Imager – iZotope Ozone Maximize.

    ******************************

    If you want to collaborate, sponsor a podcast, donate, or want us to review your product – contact us at: collaborate@insidetherecordingstudio.com

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