We’ve all felt it: you see the fancy meter, the iconic logo, the higher price tag—and suddenly it “sounds” better. This week we unpack placebo in the studio: how visuals and expectations shape our judgment, why blind tests change everything, and why different versions of the “same” unit can legitimately sound different. We also share practical A/B methods you can try today and a slick Cubase Control Room trick to solo just your reverb return.
 
Special thanks to our sponsor, Audient.
 
You’ll Learn:


Why expectation bias and visuals can trick your ears


How to set up blind A/B tests that actually help you decide


Why an “original” vs a “clone” isn’t a morality tale—it’s a tool choice


How two of the same analog units can diverge over time


A fast Cubase Pro method to hear only your reverb return


 
Topics & Stories:


Coffee, wine… and why blind tastings map perfectly to audio


Watching meters vs. trusting first impressions


A/Being hardware vs. plugins without knowing what’s playing


The “nowhere bus” vs. Control Room Listen (L) in Cubase


Why arguing online about $129 plugins is a waste of studio joy


Big thanks to Audient Audio (iD interfaces + ASP preamps) for powering real-world sessions


 
Listener Q&A: “In Cubase, how do I solo the FX reverb return without hearing the dry source?”


Cubase Pro Control Room method: Use Listen (L) on the FX channel and set Dim to 0 in Control Room so only the FX return is heard.


Alternate approach: Advanced routing (e.g., a “nowhere”/mute bus workflow) to isolate returns without breaking send balances.


 
Final Takeaway: There’s no universal “best”—only what serves the track. Blind test more, stare at the meters less, and let your choices be intentional.
 
👉 Got a question for us?📩 Submit it here: Form LinkWe’ll answer as many as we can in upcoming shows.

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