• Pros & Cons: Hardware vs Software Synths – Let’s Talk Now!



    Let’s be honest: nothing splits a room of producers faster than the words “hardware vs. software synths.” On one side you’ve got the purists—the diehards who wax poetic about analog circuits, wood panels, and “the warmth you can feel in your bones.” On the other, you’ve got the digital disciples, clicking their way through infinite presets, grinning about recall and asking, “Do I really need to dust my synth if it lives in a laptop?”

    This week on Inside the Recording Studio, Chris and Jody stroll straight into the controversy with the confidence of two guys who’ve twisted enough knobs (both real and virtual) to know what’s hype and what’s useful. They’re not afraid to admit that both sides have their perks—and their pain points.

    First up: hardware. Ah, the romance of plugging in a Moog, Prophet, or Juno and letting the voltage flow. There’s nothing quite like the tactile feel of turning a real knob, hearing a filter sweep morph under your fingertips, or watching lights flicker as the room vibrates with analog mojo. But let’s not kid ourselves—hardware comes with baggage. It’s heavy. It’s expensive. It doesn’t fit in your carry-on. And heaven forbid you need to recall yesterday’s patch in a session—good luck recreating that happy accident.

    Now, software synths. The underdogs that grew up to dominate modern production. VSTs like Serum, Omnisphere, Diva, and countless others can live inside your laptop, ready to summon entire orchestras or alien soundscapes at 2 a.m. Software is flexible, affordable, and infinitely expandable. But it’s not without flaws. Clicking a mouse doesn’t exactly scream “rock star performance,” and let’s face it: sometimes the presets can feel a little… sterile.

    Chris and Jody don’t just stop at pros and cons—they dig into practical applications. Hardware tends to shine in live setups where the immediacy of hands-on control adds energy (and spectacle) to the performance. Software, meanwhile, thrives in the studio, where instant recall, layering, and endless sound design options keep the creative flow moving. The duo shares which side of the fence they personally lean toward, how they combine both worlds, and why the smartest producers aren’t picking a fight—they’re picking the right tool for the job.

    And let’s not ignore what the big-name producers are doing. Some swear by walls of vintage synths like shrines to electronic gods, while others make chart-topping hits entirely “in the box.” Spoiler alert: it’s not about bragging rights, it’s about results.

    Expect some laughs, some jabs at both camps, and a few hot takes that may ruffle feathers. (Yes, we said it: sometimes your $199 plug-in sounds better than your $5,000 analog beast. Deal with it.) But underneath the jokes is solid advice: don’t let the gear debate derail your creativity. Hardware or software, knobs or mouse clicks—use whatever gets you to the sound in your head.

    At the end of the day, music isn’t about which side of the fence you’re on. It’s about what comes out of the speakers. Chris and Jody are here to remind you that whether you’re twiddling a knob, clicking a mouse, or doing both at the same time, the point is the same: make something that moves people.

    So grab your favorite synth—hardware, software, or both—and get ready for some laughs, some insight, and maybe a little controversy. This episode is proof that in the war of synths, the only side that matters is yours.

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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

  • Unveiling The Secrets of Choosing The Right Vocal Mic



    A voice enters the room. Unshaped. Untamed. Waiting.
    It carries the story of the singer, the weight of intention, the spark of melody. Yet, before it becomes the performance we hear through headphones or speakers, it must pass through a gatekeeper: the vocal mic.

    The microphone is more than a tool. It is a character in the recording process—sometimes a gentle ally, sometimes a stern interrogator, sometimes a trickster exposing every imperfection. Choosing the right vocal mic is not simply about budget or brand. It is about the alchemy between human tone and mechanical translation.

    Chris and Jody know this dance well. Over the years, they’ve sat across from countless mics, watching them either elevate a performance into something timeless—or crush it under the weight of incompatibility. In this episode of Inside the Recording Studio, they detail their own journey of learning how to choose the right vocal microphone. It’s not a story of always getting it right, but of discovery, adjustment, and listening deeply.

    Each type of mic brings a distinct personality. The ribbon, with its soft and smoky embrace, can turn harshness into velvet but sometimes smothers the brilliance of an airy vocal. The condenser, precise and crystalline, reveals every crack, breath, and whisper—both blessing and curse. The dynamic, rugged and loyal, thrives in grit and punch, capturing soul without fuss. And then there are tube mics, warm and glowing, like analog storytellers humming beneath the surface of a track.

    But this is not only about categories. It’s about connection. About how a mic pairs with a voice the way wine pairs with food—sometimes complementary, sometimes transformative, sometimes disastrous. Chris and Jody explore what happens when the wrong mic meets the wrong voice: the brittle highs that slice, the muddy lows that blur, the sterile mids that erase character. And they celebrate the moments when the perfect match occurs, when a singer leans into the capsule and magic arrives.

    Modern technology changes the landscape. Today’s home studio gear offers options once reserved for major studios. Mic modeling systems allow us to audition legendary tones with the click of a mouse. Shootouts can be done virtually, letting us explore characters we may never physically own. Even hidden features in studio gear—like variable polar patterns or pad switches—become tools for sculpting the relationship between voice and mic.

    Chris and Jody don’t just speak to engineers in multimillion-dollar rooms. They speak to anyone chasing authenticity in sound—whether you’re at a kitchen table with a modest interface or in a treated studio with racks of options. They share their approaches, their mistakes, their preferences, and the small details that make all the difference.

    There is poetry in this process. A mic is not just hardware. It is a mirror, a filter, a co-writer of the song. Choosing the right one requires patience, curiosity, and humility. It asks us to listen not only to the singer, but to the relationship between singer and machine.

    So what mic do you choose? The one that doesn’t just capture a voice, but reveals it. That’s the journey Chris and Jody unpack here. Imperfect, unpredictable, but endlessly rewarding.

    The following are examples of what the ML-1 mic models sound like without EQ, compression or mic pres – just the raw audio and the type of mic model only. Best to listen in a good environment so you can hear how each mic changes the quality of the voice.

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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

  • How to Enhance Your Music Production with Esoteric Effects



    Reverb? Delay? Pssh. Cute. Chris and Jody are cracking open the toy chest and pulling out the weird stuff. This week’s Inside the Recording Studio is all about esoteric effects — the ones you don’t admit to using at parties but secretly love.

    Want to crush a vocal until it sounds like it came through a Game Boy? Done. Want to warp a guitar into a ghostly, otherworldly pad? Easy. Want to make your mix sound like it’s breathing through a broken spaceship airlock? We got you.

    This isn’t your “five plug-ins every producer needs” kind of episode. Nope—we’re diving into the strange, the misunderstood, the “why-does-this-even-exist” effects that somehow make everything cooler when you use them right.

    Chris and Jody share their faves, their “don’t-try-this-at-home” moments, and how to sneak these oddballs into a track without wrecking the vibe. Think of it as audio interface troubleshooting for your creativity. Spoiler: you’re gonna want to hit the bypass button less often after this one.

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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

  • Autotune Secrets Revealed: Inside Look at the Best Vocal Tuning Software and Plugins



    Vocal Tuning or Not Vocal Tuning – That Is the Question

    Vocal tuning. Instrument correction. The mere mention of it can spark heated debates in studios and online forums alike. Is it cheating? Is it necessary? Or is it simply part of the modern DNA of music production? In this episode of Inside the Recording Studio, Chris and Jody jump headfirst onto the autobahn of decisions and tackle the hot-button issue: to tune or not to tune.

    Why Talk About Tuning?

    Because love it or hate it, tuning is everywhere. From polished pop vocals to subtle guitar intonation fixes, modern music often leans on tuning tools to achieve professional results. Chris and Jody bring an honest, balanced perspective to a subject many avoid, asking: What’s the line between correction and overcorrection?

    Tools of the Trade

    The duo break down what they personally use for tuning and when they decide to apply it. They talk through the major players in the tuning world, from industry giants like Auto-Tune and Melodyne to DAW-native solutions that make quick fixes possible. Along the way, they offer recording setup tips to help avoid problems at the source, so you’re not relying on tuning as a crutch.

    More Than Just Vocals

    While vocals usually grab the spotlight, Chris and Jody expand the conversation to other instruments too. Bass guitars, strings, horns—anything can drift out of tune, and sometimes subtle correction can save an otherwise stellar take.

    Pitfalls and Possibilities

    Of course, there are pitfalls to watch for: unnatural artifacts, “robotic” vocals when they weren’t intended, or even losing the emotional essence of a performance. Chris and Jody dive into how to avoid these traps and how to decide when tuning serves the song—or when it’s better to leave a little imperfection in for character.

    Why You’ll Want to Listen

    This episode isn’t a lecture—it’s a real conversation about a sensitive but vital part of music-making. With humor, honesty, and the occasional bit of nonsense, Chris and Jody give listeners a toolkit for making informed choices about tuning in their own work. By the end, you’ll understand not just how to tune, but when to tune, and why the decision is ultimately about serving the song.

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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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