Episode #39 – Why Ignorance is Bliss in the Home Studio

In this episode, we read a killer email from one of Graham’s subscribers that emphasizes how ignorance is bliss in the home studio. And in the Quick Tip, Graham shares a simple 10-minute exercise to help you EQ like boss. 🙂

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For more information about us:

Graham Cochrane – www.TheRecordingRevolution.com
Joe Gilder – www.HomeStudioCorner.com

9 thoughts on “Episode #39 – Why Ignorance is Bliss in the Home Studio”

  1. This really interesting because I noticed the same thing with my own tracks. The sad thing is I have lost all of my old recordings so I can’t even go back to look at what I didn’t do that made them sound better. Great as always

  2. Know that feel. When I was 18 I know nothing about music and have nearly no gear, but I was doing lot of awesome stuff. Now I’m 30 and got lot of gear, I can do almost anything, but l have “no power”, not so many ideas, do little thing with music now… 🙁

  3. Yep! In the late 80’s I was recording analog with 8 tracks on 1/4″ tape. DBX was my friend with bouncing. Mixed to a Tascam 32 at 15 ips. Yes, I’m old enough to know how to splice tape! But there was something about recording back then that I miss…. Punching in was something you did with your index finger and tape saturation was real. One of you said something in this podcast about using gear to ‘capture’ your music. Maybe that’s the ticket. We use our DAWs and our plugins and our software and our samples to create music these days. Maybe we’ve strayed away from capturing music.

  4. Good article with a lot of good points. The music didn’t come close to the new stuff because he replaced inspiration, hard work and yes, a little ignorance with “the new obsession”… the gear factor. I’ve said it before… we who love and collect old music in our libraries know that some recordings sound different than others. (I was going to say “better” but that’s really not necessarily the case.) In the end the art comes first and if we can do a great job with the limited gear we have, then that’s just fine by me. Love what you do and the truth will seep through.

  5. Rich

    Yes, now we sculpt music. Before we were recording what was played and over time were able to manipulate it but at a large time cost. So we were judicious in how we used those expensive processes. Today? We can do anything. Much of it in a few moments. Just like a cook with the worlds largest fresh spice cabinet we have it all. The trick has always been how to use the spices when we cook and when we rock.

    I was a drummer. I used to tell people I craft the frame. The band paints the picture within my frame. Same with recording. The intent we bring to the project is reflected in the results. The balance is to reflect the intent and reality of the music presented. As those who also mix, effect and perhaps also master the work we must leave our ego in the car. Our job is to do as little as possible to allow the artists vision to be realized.
    to many spices = lousy food. To many effects = lousy music. To much compression = loud soul less noise. Loud because people think loud is better. But those folks are wrong too.

    Best regards,


  6. What an awesome story. I am nobody but I do like to play and record. And some of my best stuff was just me and a guitar into one mic. The performance was spot on.

    Even now, as I work on new stuff I am doing, I find myself using EQ to lessen some things so that the tracks fit together better. And I use the plug-ins available, which is what I now use. I was using Audacity.

    And one of my well received recordings sounded like crud to me but others like it and it was a cover of “Highway to Hell” with an acoustic guitar on a Tascam porta 4 – track tape machine that I jacked into my USB interface to make “digital.”

  7. I have been a lurker here for a while and have agreed with much, lately though I feel there has been a very strong emphasis on “fast” and ” fast is better” while I can certainly find reasons and times where this is possible, it seems to me this is highly depended on the type of music you are trying to do and what the end result is that you are after. An example for me would be Steely Dan. Would their music be the same if they mixed it in an hour? probably not and it stands the test of time again and again…the Ramones, maybe…but maybe not?
    My point being that there are reasons to move quickly and with a certain aim and there are definitely reasons to take large amounts of time with much thought. I have done both. most recently the later. A two man project, bringing in musicians to complete things over time, working in different rooms, short times, long times and then taking a long time to mix…just so you know Im real you can give a listen. Thanks for time and continuing education. http://www.brokenlandband.com

  8. ive been thinking on getting again the tascam 2488 portastudio. why?? i mean i have my macmini with good plugins and everything you need to mix…but i remember years ago the only options i had to get a great mix there were only by a great arrangment , volume, panning and eq. And honestly i found a mix that i did with the tascam…maaaaannnnn it sounds more pure, present , balanced that right there was a punch to my brain lettin me know how much ive change the way i work. Going more for the best sound ignoring the basics. I really didnt even know what was a frequency or gain stagging…..with out knowin it i was doing it. CRAZY!!!!

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