Chris and Jody make quick work of ways to operate when you’ve got short deadlines. What are some real world examples we’ve come across. Best practices that have helped us and can certainly help you. It’s also not unlikely that there will be some nonsense discussed.
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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
Every mix engineer knows EQ is essential, but not all EQ moves are created equal. Sometimes you’re cutting out problem frequencies, other times you’re adding shimmer, air, and character. In this episode of Inside the Recording Studio, Chris and Jody divide and conquer the worlds of corrective EQ vs sweetening EQ — breaking down definitions, approaches, and how each style shapes the sound of your mix.
So what’s the difference? Corrective EQ is all about fixing issues. It’s the audio equivalent of cleaning up clutter in a room—removing mud, harshness, or resonances that distract from the performance. Think rolling off rumble on a vocal track, taming boxy guitar mids, or cleaning cymbal hash. Corrective EQ is practical, problem-solving, and sometimes downright necessary.
Sweetening EQ, on the other hand, is about enhancing and flattering the sound. It’s where you add warmth, sparkle, or that extra something that takes a track from good to inspiring. Boosting low end on a bass guitar for weight, adding air to vocals for clarity, or giving acoustic guitars sheen are all examples of sweetening moves. Sweetening EQ is where you shift from “fixing” to “finessing.”
Chris and Jody walk you through:
The definitions of corrective vs. sweetening EQ.
When to reach for each approach in your mix.
How context—genre, arrangement, even the artist—guides your decisions.
The process value of each style, and why knowing the difference keeps your workflow efficient.
Practical recording setup tips that can reduce the need for corrective EQ later.
Common pitfalls—like over-EQ’ing and chasing perfection instead of serving the song.
And of course, because this is Inside the Recording Studio, the conversation isn’t just clinical. Expect humor, tangents, and a touch of nonsense to keep you entertained while you learn. Plus, don’t miss this week’s Friday Finds, where Chris and Jody share more tools, plugins, and creative sparks that can freshen up your studio routine.
By the end of this episode, you’ll have a clearer understanding of when to put on your “fix-it” hat and when to grab your “flavor” hat. Whether you’re wrangling mud in a home setup or sweetening tracks in a pro mix room, you’ll walk away with a sharper EQ strategy—and mixes that sound better for it.
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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
Music theory. Just saying the phrase can spark strong opinions. For some, it’s the foundation of all great songwriting and performance. For others, it’s a straightjacket that limits creativity. So where does the truth lie? In this episode of Inside the Recording Studio, Chris and Jody roll up their sleeves and dive into the sometimes murky, sometimes hilarious debate: should producers, musicians, or mix engineers know music theory?
They start with the basics: what does “knowing theory” really mean? Is it understanding chord progressions and scales? Recognizing harmonic movement? Or just knowing enough to keep from getting lost in a jam session? From there, they explore how music theory can affect the writing process, the studio workflow, and collaboration between artists and engineers.
On the pro side, music theory can:
Help producers communicate clearly with musicians.
Speed up writing sessions by offering ready-made solutions.
Provide a framework for mixing decisions, especially when arranging complex tracks.
On the con side, too much reliance on theory can:
Intimidate or frustrate artists who prefer instinct over intellect.
Create “paralysis by analysis” where creativity gets stuck in the rules.
Cause unnecessary tension between collaborators who speak different musical languages.
Chris and Jody also weigh in on how much theory knowledge actually matters for a mix engineer. Does understanding harmony help you EQ a vocal or compress a drum bus? Maybe not directly—but knowing the musical context can definitely inform smarter choices in balancing and dynamics.
And, because this is Inside the Recording Studio, the conversation isn’t just technical—it’s fun. Expect anecdotes, humor, and some nonsense along the way (because even when talking about scales and chords, Chris and Jody keep things lively).
To wrap it all up, they consider the practical reality: you don’t need to be a music theory professor to make great tracks, but knowing the basics could save you time, reduce friction, and help you get the best out of your home studio gear and collaborations.
So, should you brush up on circle-of-fifths flashcards? Or just trust your ears and instincts? Hit play and find out where Chris and Jody land on the great music theory debate.
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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
