• How to Record Bass with Direct Input: Tips for Clean Low End



    Bass, Direct: How to Nail Your Low End With DI Recording

    This week on Inside the Recording Studio, Chris and Jody dig into a foundation-shaking topic: recording bass using Direct Input (DI) techniques.

    Whether you’re working with a classic electric bass or an acoustic fitted with pickups, DI is a go-to method for clean, tight low-end. But what exactly does “going direct” mean — and why should you care? Chris and Jody walk through the various ways to record DI bass, from basic interface inputs to high-end DI boxes and preamps.

    You’ll hear when and why DI is the right move, how to get the best tone without re-amping, and why understanding impedance, gain staging, and your gear’s signal path can make or break your final mix. This episode is perfect for anyone looking to improve their low-end clarity, tighten up their tracking workflow, or finally figure out why their bass sounds like a soggy pillow.

    And of course — there’s bound to be a little nonsense along the way.

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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

  • Overview of Reverb: It’s More Than an Effect — It’s a Space



    Reverb: The Space Your Mix Has Been Waiting For

    This week on Inside the Recording Studio, Chris and Jody step into the sonic void to explore one of the most essential and ear-catching effects in music production: reverb.

    Whether you’re working in a bedroom studio or a commercial space, reverb is often the first “wow” effect added to a track — and for good reason. But not all reverb is created equal. In this episode, Chris and Jody break down the different types of reverb (plate, room, hall, spring, convolution, and more), and share practical insights into when and why to use each one.

    From lush vocals to massive drum rooms, they unpack how reverb helps create depth, atmosphere, and that elusive “finished” sound. You’ll also hear their personal go-to uses, reverb chain strategies, and a few hot takes on when not to reach for it.

    Of course, it wouldn’t be Inside the Recording Studio without a few laughs, some playful nonsense, and this week’s Gold Star word — hidden somewhere in the ambient mist.

    Stick around for Friday Finds, where Chris and Jody each bring a new tool or tip that could give your mixes more space and clarity (and maybe even a few more fans).

    Shoutout: Benjamin Layton, Chris Bjornn, Liquid Sonics

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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

  • Mix Templates = Faster Sessions + Better Focus



    Mix Templates: Why You Need One (and What to Put in It)

    This week on Inside the Recording Studio, Chris and Jody dive into one of the most overlooked but powerful tools in the recording and mixing workflow: the mix template.

    Ever feel like you’re wasting time setting up the same buses, plugin chains, or routing every time you open a session? Enter the mix template — your personal studio autopilot. Chris and Jody walk through how they build and customize their templates, what they include, and why these starting points help speed up the process while keeping creative momentum high.

    Whether you’re building a vocal template, a full-band starting point, or a recallable mastering setup, you’ll walk away with real-world insights into making templates that work for your gear, your style, and your sessions.

    They’ll also explain the balance between automation and intention — and yes, there will likely be a few tangents and some classic Chris & Jody nonsense along the way.

    Hit play and streamline your workflow — your future self (and your CPU) will thank you.

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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 Pultec EQ: Deep Dive of Tube-Era Tone, Timeless Technique

     

     

    Pulse Techniques and Polished Tone: The Pultec EQ Deep Dive

    This week on Inside the Recording Studio, Chris and Jody dig into one of the most iconic tools in recording history: the Pultec EQ. From its humble tube-powered beginnings under the name Pulse Techniques (not “Pulse Technologies” — right, Chris?) to its modern-day plugin emulations, this episode is a crash course in silky curves, low-end magic, and why the Pultec still matters in a digital world.

    You’ll learn about the different models and software versions, how to use that famous simultaneous boost/cut trick, and where this EQ shines in real-world mixes — from vocals to bass to mastering chains.

    Whether you’ve got a boutique hardware unit or a plugin from Waves, UAD, or Softube, this episode will help you better understand what the Pultec does, how it shapes tone, and how to stop just “adding it for color” without knowing why.

    Plus: Friday Finds delivers two new tools you’ll want to check out, and if you’re listening closely, the Gold Star wordmakes its cameo — your ticket to insider status.

    Of course, some nonsense may occur. But would it even be Inside the Recording Studio without it?

    Shoutout: Neil deGrasse Tyson

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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

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