This episode airs on the 2-year anniversary of the launch of Dueling Mixes. If you’ve never checked it out and would like a sneak peak, check this out:

Also in this episode, you’ll get to hear the new intro music for the podcast, and hear a little bit more about where that came from.

And in the Q&A section, I answered your questions about stuff like:

  • The role of a limiter (and there are limiters with attack controls on ‘em??)
  • My Presonus Studio One FREE video tutorial series (
  • Using plugins like a channel strip for recording
  • sub-mixing tracks to save CPU
  • using multi-band compression on bass?

I led the music at my church this past weekend.

We did a “stripped-down” acoustic set. I say “stripped down,” but there were actually 8 musicians playing. We had percussion, bass, cello, violin, keys, acoustic guitar, and two vocalists. (I played acoustic guitar, too.)

My wife commented afterwards that it sounded really good. Particularly she said she couldn’t necessarily pick out the individual instruments in the mix, but everything sounded like one cohesive “sound.”

So the math looks like this:

2 singers plus 6 other musicians = 1 sound

That doesn’t always happen, whether live or in the studio.

People focus so much on having “separation” in their mixes, but I don’t think that’s nearly as important as creating ONE sound out of all the tracks.

It’s like cooking.

When I eat a piece of cake, I really don’t want to taste the egg and flour separately. I want it to taste like cake.

It’s the same with mixing. While you do need to address the individual tracks, the ultimate goal is to combine them together in such a way that creates a single “moment” of music.

My latest mix is a great example of this. It’s one of the songs from my upcoming album. We’re mixing it next month over at Dueling Mixes.

It has a lot of tracks, but when you combine them in the right way, they just sound huge. They fit together like a puzzle.

If you’re not a member of Dueling Mixes yet, check out this HSC-exclusive “Sneak Peek” video I put together for you.

You can access it for free here:

Joe Gilder
Home Studio Corner


(By the way, we’re trying out Wednesdays as the new podcast day. Might be temporary, might be permanent. We’ll see.)
In this week’s episode we jump into LIMITERS. What are they? How do they work? How are they meant to be used?
And in the Q&A section I answered your questions about stuff like:
  • dealing with phase issues of doubled distorted guitars
  • the always-annoying “whiny frequency” (and how to avoid it)
  • are high-end A/D converters worth it?
  • pricing your services (a precise way to figure out how to quote a price to a potential client)

I feel bad for my dad.

When I was a teenager, he would try to have “teachable moments” with me.

Maybe it was teaching me how to start the weed-whacker, or how to do basic handyman stuff.

I NEVER wanted to listen. I didn’t want to learn.

Now I’m 30 and FAR from handy. Wish I had paid more attention. Read more »

Funny story.

When I was working on my album “Help of the Helpless,” one of my major focuses was what has now become a bit of a mantra around the HSC campfire — GIRATS (get it right at the source).

While there weren’t a lot of different types of tracks on the album, I wanted to make sure that what we recorded sounded amazing.

Drums, bass, acoustic guitars, electric guitars, organ, and vocals.

Once I finished mixing (which is a lot easier when you get things right at the source), I was very happy with the way things were sounding.

Then I sent them off for mastering.

And when I got them back, I sent the masters over to my bass player Joel to take a listen.

Next thing I know, Joel is tweeting to the mastering engineer, telling him that the bass tone on the masters almost made him cry it was so huge. Read more »

Have you ever thought that you think too much?

I think it’s time to think about rethinking how you think.


But seriously…

Remember when you first got into audio and recording? Everything was new and exciting. If you’re like me, you knew NOTHING…and you loved it.

But then you inevitably develop a desire to learn more. While learning more is good and helpful, if you’re not careful it’ll leave you constantly evaluating, analyzing, and over-thinking every decision you make in your studio. Read more »