• Corrective EQ vs Sweetening EQ – The Difference You Need To Know



    Corrective EQ vs Sweetening EQ

    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.

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

    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

  • Inside the World of ‘Bad’ TV, Composer Mike Greene



    Mike Greene Talks Bad TV, Realitone, and Bowie

    If you’ve ever yelled at your DAW because a virtual instrument just wasn’t cutting it, there’s a good chance you’ve wished for someone like Mike Greene to swoop in and save your session. Songwriter, producer, and the brain behind Realitone, Mike has spent years building sample libraries that are as fun as they are functional. But before he became the VI wizard we know today, he was busy writing songs, producing records, and even sneaking his work into some (let’s be honest) questionable TV shows.

    In this episode of Inside the Recording Studio, Chris and Jody sit down with Mike for a conversation that’s part gear talk, part career confessional, and part comedy show. If you thought virtual instruments were all dry tech talk, think again.

    From Bad TV to Realitone Genius

    Mike openly admits it: you’ve probably heard his music in TV shows you wouldn’t exactly brag about watching. (Think guilty-pleasure reality shows, not award-winning prestige dramas.) But those projects helped shape his perspective, teaching him how to deliver quickly, creatively, and—most importantly—on budget. That hustle eventually led him into the world of virtual instruments, where he figured if nobody else was going to make the tools he wanted, he’d just make them himself. Thus, Realitone was born.

    Making VIs That Don’t Suck

    Let’s face it: some sample libraries feel like they were designed by robots with zero sense of humor. Not Mike’s. Realitone has a personality—equal parts playful and powerful. Chris and Jody dig into Mike’s approach to design, talking about how he balances making tools that sound professional with making them actually enjoyable to use. Spoiler: he’s got strong opinions on both.

    The Bowie Bombshell

    And then there’s the wild card: somewhere in Mike’s journey, he ends up with an unexpected connection to David Bowie. We won’t spoil the details here, but trust us—it’s not every day you go from making TV cues to brushing shoulders (figuratively or literally) with one of music’s greatest icons. Chris and Jody press for the story, and Mike delivers.

    Gear Talk Without the Snore

    Sure, there’s plenty of talk about workflow, home studio gear, and how to avoid overthinking your recording setup tips, but this isn’t some dry lecture on “optimizing metadata” (thankfully). Instead, you get stories, laughs, and a peek behind the curtain of how Mike balances songwriting, producing, and building instruments for the rest of us. Plus, you’ll walk away with a few nuggets of wisdom that might just help you stop fighting your plugins and start making music faster.

    Why You’ll Want to Listen

    This episode has it all: laughs, Bowie, a dash of nonsense (because, let’s be real, it’s Chris and Jody), and enough gear insights to keep your inner audio nerd happy. Whether you’re into writing, mixing, or just discovering the hidden features in studio gear, you’ll leave with a smile—and probably a new respect for the guy behind Realitone.

    So grab your coffee, put your DAW in save mode, and hit play. Mike Greene’s story is proof that the path to making great music (and great tools) doesn’t have to be boring.

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

    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

  • How to Hear Compression: Tricks and Techniques for Better Mixes



    Learning to Hear What Compression Is Really Doing

    Compression: it’s one of the most powerful tools in audio, but for many engineers, it’s also one of the most confusing. Is it doing something? Is it too much? Too little? In this episode of Inside the Recording Studio, Chris and Jody dig into the methods they’ve used to train their ears to hear compression at work—from subtle smoothing to extreme squashing.

    They start with the basics: the controls of a typical compressor. Threshold, ratio, attack, release, make-up gain—these aren’t just knobs, they’re the keys to understanding how dynamics are shaped. Chris and Jody explain what each control does and how it affects the sound in real-world situations.

    Then, they show you how to make compression obvious. By cranking extreme settings, you’ll hear the compressor’s fingerprint on a signal, whether it’s vocals, drums, or guitars. Once your ears can recognize the exaggerated effect, it becomes easier to hear the subtler moves that make a mix come alive.

    Along the way, you’ll learn:

    • Why compression is as much about feel as it is about volume control.
    • Tricks Chris and Jody used when first learning how to identify compression in action.
    • How recording setup tips can help you avoid over-compressing at the source.
    • When compression adds warmth, punch, or glue—and when it simply crushes life out of a performance.
    • How to make compressors your ally, not your enemy.

    Of course, this wouldn’t be Inside the Recording Studio without humor, some lighthearted tangents, and this week’s Friday Finds to round things out.

    By the end of the episode, you’ll walk away with new strategies for recognizing compression, making more intentional decisions in your mixes, and actually hearing what those knobs are doing. Whether you’re deep into professional sessions or experimenting with home studio gear, this episode will help you finally unlock the mystery of compression.

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

    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

  • The Return Of Side Chaining: What Is The Best Way To Use Side Chain In Your Mix?



    Unlocking the Power of Side Chaining

    Side chaining is one of those techniques that, once you “get it,” completely changes how you approach mixing. It’s subtle, powerful, and sometimes downright magical. In this episode of Inside the Recording Studio, Chris and Jody take a deep dive into the world of side chaining—what it is, how it works, and why it can make your mixes breathe, move, and come alive.

    At its core, side chaining is about control. By using one signal to influence how another reacts, you can create space, movement, and dynamic changes that keep your track interesting. While it’s often thought of in the classic “kick drum ducking the bass” context, Chris and Jody explore a range of creative applications that go far beyond EDM clichés.

    Expect a lively discussion on:

    • The basics: What side chaining is and how it functions inside compressors, gates, and other processors.
    • Mix improvements: How side chaining can clear up muddiness, tighten grooves, and emphasize key elements.
    • Creative uses: Adding rhythmic movement, dynamic effects, and ear-grabbing changes.
    • Methods and workflow tips: How Chris and Jody set up their side chains effectively in both pro studios and home studio gear setups.
    • Pitfalls to avoid: Why overusing side chaining can lead to pumping, distraction, or mix imbalance.

    And, of course, there’s some humor and nonsense along the way—it wouldn’t be Inside the Recording Studio otherwise. Add in the weekly Friday Finds, and this episode balances technical depth with fun, approachable conversation.

    By the end of the episode, you’ll not only understand side chaining but also feel confident using it to add clarity, excitement, and personality to your mixes. Whether you’re an experienced mixer or just exploring recording setup tipsfor the first time, this episode gives you both the fundamentals and the creative spark to try side chaining in new ways.

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

    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

© 2020-2025 Inside the Recording Studio