• How to Handle Short Deadlines in the Studio Without Losing Quality



    How to Handle Short Deadlines Without Losing Your Mind

    If you’ve ever had a client drop the dreaded words “we need it by tomorrow”, you know the panic that can set in when time is tight and the pressure is high. In this episode of Inside the Recording Studio, Chris and Jody dig into the art (and chaos) of working under short deadlines—sharing real-world examples, best practices, and a healthy dose of humor to help you survive the crunch.

    From last-minute mix requests to sudden revisions that derail your carefully planned workflow, short deadlines are part of the music and audio world. But while they can feel like a nightmare, they don’t have to result in disaster. Chris and Jody explore strategies that keep you cool, creative, and productive when the clock is ticking.

    Topics covered include:

    • Prioritization tactics—how to separate what’s mission-critical from what can wait.
    • Streamlined workflows that save you hours (hint: proper recording setup tips and file organization go a long way).
    • Leveraging home studio gear efficiently so you can work fast without cutting corners.
    • Real-world stories of deadline disasters and how they pulled through.
    • The balance between speed and quality—when “good enough” really is good enough.
    • Tricks to avoid burnout when you’re asked to move at lightning speed.

    Chris and Jody also highlight hidden features in studio gear that can shave precious minutes off a session, as well as mindsets and habits that make fast turnarounds less stressful.

    And because this is Inside the Recording Studio, expect some nonsense and laughs sprinkled throughout—because sometimes humor is the best way to handle a looming deadline. Add in this week’s Friday Finds, and you’ll leave with not just survival tips, but also new tools to help you work smarter under pressure.

    By the end of the episode, you’ll have a toolkit of practical strategies and a renewed confidence that the next time a last-minute project lands in your lap, you’ll be ready to handle it like a pro.

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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

  • 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.

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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 Use Music Theory To Become A Better Producer (And Mix Engineer)



    Do You Really Need to Know Music Theory?

    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

    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

  • 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.

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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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