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.

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We’ll answer as many as we can in upcoming shows.