Do You Really Need Audio Theory to Mix Great?

Some of us love the graphs. Some of us love the vibe. In this episode, we (Chris & Steve) talk about the sweet spot between technical knowledge and practical decision-making.

How much theory do you actually need? When does ear training beat book learning? And how do you keep your mixes translating on cars, phones, earbuds, and studio monitors without chasing your tail?

We also answer a listener question about mixes that sound muddy or tinny on different systems, and lay out a quick, repeatable translation check using references you already love.

Special thanks to our sponsor, Audient.

We’ve been leaning on the iD-series interfaces lately: clean when you want it, pushable when you need it.

You’ll Learn:

• The real value of technical knowledge, and where it stops helping

• Ear training that actually speeds up your mix decisions

• A 10-minute translation test you can repeat every mix

• How to use references on each system before judging your own mix

• Why “enjoy the journey” is more than a motivational poster in the studio

Topics & Stories:

• Andrew Scheps vs. “feel-first” mixers - two valid paths to great results

• Harman curves, compression “definitions,” and the limits of theory

• Plugin Doctor curiosity vs. productivity

• The car test (done right): know the system before you judge the mix

• Gearspace nostalgia and why we avoid unproductive debates

Listener Q&A:
“My mixes don’t translate. They’re muddy on one system and thin on another.”
Our take: start with references on each system, then compare yours. Know your playback rigs (car, living room, headphones) by listening to pro mixes first, then A/B to gauge if you’re truly off, or just unfamiliar with the system.

Final Takeaway:
Learn enough to move faster, train your ears relentlessly, and keep asking, “Does this serve the song?” Translation comes from knowing your systems and using references, not buying a new pair of speakers.

👉 Got a question for us?
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We’ll answer as many as we can in upcoming shows.

Everyone talks about “flat” headphones for mixing… but what does flat actually mean?

In this episode, we sit down with Rok Gulič of OLLO Audio to unpack the myths and realities behind flat response, low end, calibration, and translation when mixing on headphones.

We dive into why “flat” isn’t one curve, how calibration really works, and how psychoacoustics shape what we think we’re hearing, especially in the low end.

Plus, Rok explains the differences between driver types, the role of crossfeed and room emulations, and whether Atmos mixing on headphones is truly possible.

• What “flat” response really means (and why there’s no single standard)

• Why calibration matters for translation between pairs

• Dynamic vs planar drivers—and how they affect distortion and bass

• How referencing trumps tools when mixing on headphones

• Why our body experience changes how we hear low end

• Whether crossfeed and room emulation plugins are worth committing to

• How Atmos mixing on headphones is already happening

• From foam Walkman pads to pro studio cans

• The rise of headphone mixing in home studios

• “Flat according to what?”—the scientific tolerance range

• Unit-by-unit calibration explained (and why OLLO does it)

• Crossfeed as a way to “move out of the sweet spot”

• Bass perception, body memory, and translation struggles

• The future: Atmos on headphones and beyond

Q: Should I commit to crossfeed/room emulation plugins?
A: Use them like virtual “movement checks.” They’re not essential, but if they help you build trust in your balances, they’re worth trying.

“Flat” is not a single curve. It’s a range. The key is choosing trustworthy tools, referencing a lot, and learning what your headphones are telling you, so your mixes translate everywhere.

📩 Submit it here: Form Link
We’ll answer as many as we can in upcoming shows.

Automation: it’s more than fader rides, it’s storytelling.
In this episode, we’re unpacking how automation evolved from a handful of engineers riding faders on an analog desk to today’s unlimited possibilities inside the DAW. And more importantly, how we use it every day to make music feel alive.

• Why automation is the most powerful creative tool in your DAW

• How clip gain changes the entire mix before you even hit a compressor

• When to automate faders, plugins, EQ, panning, and when not to

• Why subtle automation moves create emotion listeners can’t even explain

• How presets and “happy accidents” can spark inspiration

• The wild days of four people mixing on the same console at once

• Our favorite creative uses of delay throws, panning tricks, and EQ rides

• When automation makes a part feel like a hook

• Over-automation: what it sounds like and how to avoid it

• The steak and salt analogy (why sometimes less is more)

• Plugin presets that sparked whole new creative directions

Shoutout to Ken from YouTube for sparking our talk about plugin presets and experimenting as a way to stay creative in the studio.

Automation isn’t about showing off, it’s about serving the song. When used with intention, it’s one of the most powerful tools we have to make music emotional, dynamic, and unforgettable.

📩 Submit it here: Form Link
We’ll answer as many as we can in upcoming shows.