The Home Studio Experience and the COVID Pandemic

Accessibility to recording equipment and spaces is probably the most vital aspect of completing recording projects. In a time where we must socially distance ourselves from one another, musicians, engineers, and producers worldwide have lost access to studio spaces, equipment such as microphones and interfaces, and software like certain digital audio workstations. Those without these necessary resources in their home can no longer rely on the workflows they are used to and must figure out alternative methods for recording their projects. This hasn’t brought the world of music production to a complete halt, but to an exceptionally slow crawl, especially for the smaller scale working individuals relying on their normal and consistent work to support themselves. Because of increased free-time and because of necessity, our current, heavy reliance on digital media platforms has given way to a strong wave of digital usage opportunities, exploration, and outlets. This suddenly increased digital wave has shed light onto new ways musical professionals can expand their skill sets in ways that they can utilize not just throughout the pandemic, but also when the pandemic is over. This paper examines the positive and negative effects the COVID-19 pandemic has had on the process of music recording, especially in terms of home recording studios. Through engaging in online music recording forums, interviews with at-home studio engineers/music makers, and discourse with the recording community, I make the argument that the COVID-19 pandemic is giving way to great strides in the self-sufficiency and skill sets of engineers, producers, and music makers alike.

I had the pleasure of interviewing Ben DeUrso, a former Northeastern student who plays and records music for many of his own bands as well as running a small music label called Citizens’ Loft. Ben has been working in his home studio in Brighton, MA since 2018, where he lives with two of his bandmates from one of  his groups called Koogler. I was surprised to learn just how immensely active Ben has been with recording and releasing projects even during the pandemic. He discusses how the pandemic and shutdowns have had an “overwhelmingly positive” effect on his studio work. While a lot of home studios are geared towards more in-the-box production, meaning produced mainly within a digital audio workstation program, many are also capable of more live recording of elements such as full drum kits. Originally constructed for recording live drums, the space has since been built up and worked on to allow for tracking vocals and other instruments as well. He has plenty of microphones for various purposes, two Tascam eight-input interfaces, two two-input interfaces, a new MacBook Pro, and two high quality Sampson mixing speakers. In terms of digital audio workstations, Ben actually utilizes three different programs: the industry standard Pro Tools, the more creatively capable Logic Pro X, and Reaper which is a free but useful one. The studio space is mainly his basement, which has been spacious enough to allow for greater recording capabilities and the amount of gear he has.

August 2019, Snell Recording Studios – Northeastern University, Ben Deurso. Ben plays a chair from the studios as a percussion instrument in Fall 2019.

I asked Ben about how the quarantine and isolation with his studio space has affected his overall workflow. He commented, “ I'd say that my workflow has developed in a way that I'm more efficient, which is something I'm happy about because it's hard to be efficient in the studio, as I was just saying. And I feel that my workflow has become a kind of scenario where I'm able to put down my tracks in a more leisurely manner and not feel rushed to get things done so that we're capitalizing on studio time.” Another positive he highlighted is how every member of Koogler is able to work on their parts, as well as their own projects, since they’ve all been living in parallel isolation with the studio space. I was also very curious as to how Ben has been able to sustain his Citizens’ Loft label and continue to release his and his artists’ work throughout the pandemic and shutdowns putting a strain on many recording projects. He highlights the importance and necessity of substantial output coming from the work put into projects when doing professional industry work like he is. Not everyone on Citizens’ Loft has their own space to make projects like Ben and he states that a lot of these artists he works with haven’t been able to finish projects at the level they could before the pandemic. A silver lining can be seen here however, as Ben feels that because of the isolation, a lot of these artists have had time to take a step back and really self-reflect about why they are making the music that they are making and why they want to release it. As a result, the projects they are able to put out have been more meaningful. Ben notes this existential feeling brought on by the COVID shutdowns and social-distancing as a positive in a quality-over-quantity sense.

November 10, Brighton MA, Ben lays down drum tracks at his home recording studio.

Closer view of Ben’s kit, with Koogler bandmate Jack in the background

Towards the end of our talk, I asked Ben to weigh the overall positives and negatives of the COVID shutdowns mainly in terms of working in and improving his home studio. In this home studio context, he calls the effect “overwhelmingly positive” because of the time he’s been able to focus in and put time into it. There are clear negatives in other contexts, such as a twenty-five date tour he had booked for Koogler which got cancelled. But when strictly speaking about working on and in his personal home studio work, the positives vastly outweigh the negatives.

In his video Recording A Full Song!! (Studio Session #1 With Sharpe), Youtuber and music producer Sharpe documents and overviews the creation of a full musical project from start to finish. This project was created in his simple home studio. At his desk we can see a small Focusrite interface, two Yamaha speakers on stands, a mouse and keyboard, a small midi keyboard underneath, and his computer running FL Studio. Off to the side is a condenser microphone on a stand with a pop-filter and noise isolation shield. He shows us the different elements of creating his hip-hop track step-by-step. All the midi keyboard elements come first: the main chord progression, then another choppy chord progression, and onto a spacey melody line. Next is the midi drum elements: 808s, hi-hats, and claps. His last step is recording vocals. He preemptively answers the questions his viewers might have on why he’s not in the usual professional studio. Sharpe comments, “It’s on lockdown...The studio’s closed, literally. We’re just gonna be getting it in here today” This is a simple yet strongly relatable statement for the countless producers and music makers who’ve lost access to their normal, more outfitted studios. However, as we see through this video, these more outfitted studios are not entirely necessary for creating music ready for release. After going through all these steps, the final product is played for the audience. I found this video interesting because it’s the perfect visual and audible exemplifier of how musicians and producers can create full projects with just a barebones set-up in their homes, and at times be more efficient in doing so. One viewer commented on his own positive experience recording primarily in his bedroom. They state, “I’ve been recording in my room now since forever and it’s 100% more efficient than in the studio when you get into the zone and it’s a wrap in like 20 mins”

The importance of skill-versatility for home studio musicians and engineers is great, especially at times like the current where health crises and the economy increase said need. In “Impacts of COVID on Recording and Production.”, music and culture journalist Haley Zaremba states that the pandemic has drastically increased the shift from large studio formats to smaller studio formats (i.e. home studios), a process that has already been taking place anyway (Zaremba, majoringinmusic.com). Also brought up is the increase in musicians learning more about the recording process and engineers learning more about the music-making process, giving way to more interactive and successful creations and collaborations. Just like Sharpe, the role of musician and engineer are more able to merge in the home studio setting. With his setup, Sharpe can do all the work right at his desk. He can set his own volume levels because the interface is right next to him. He can press the record button for himself because it’s only a foot away from the microphone. He can edit and mix his tracks right within the digital studio workstation. Contained setups like these foster growth in becoming versatile in learning and utilizing tools for those who may lean toward being more of a musician than an engineer or vice-versa. The importance of skill-versatility for home studio musicians and engineers is great, especially at times like the current where health crises and the economy increase said need. It’s not just important for but extremely beneficial for furthering one’s musical vision. In “Trial-by-Fire: A Case Study of the Musician–Engineer Hybrid Role in the Home Studio,”Adam Bell documents a 26-year old songwriter learning how to function in and interact with a home studio environment, exactly what a lot of individuals have had to do since the pandemic and shut-downs began (Bell, 295-312). Just like this songwriter, many musicians begin to hone their own engineering skills so that they can further their musical visions past just writing and playing them.

This notion of the musician and engineer becoming one is strongly facilitated by the tools made available to us in this time. In “A Tool Is a Tool”, Pamela Z discusses the effects of technology, existing and new, on artistic creation and expression. Outlining the drastic wave of digitization in so many facets of modern life, she disputes that regardless of the form, a tool is a tool and can be used to one’s advantage (Z., 63). Introducing a new tool into one’s life can effectively serve to open new doors for artistic expression and gaining new skill-sets. Gaining new tools and skill-sets, whether it be learning a new DAW or learning how to set up a new mic, has been necessary for a lot of individuals who were newly forced to record, mix, and master in their own homes due to the pandemic. New tools come in the form of user-friendly digital audio workstations with vast capabilities, simple interfaces, midi keyboards, etc. Learning how to use these tools out of necessity fosters the implementation and learning of the skills required to do so. Of course, there is a caveat in that some people just don’t have the means to acquire the necessary tools. While cheap studio set-ups are fairly achievable to some, to others it is still a struggle.

Focusrite 2i4, two input interface. A simple go-to for home studios.

Audio-technica AT4040. A simple, yet versatile condenser microphone great for home studio recording.

Works Cited

Bell, Adam Patrick. “Trial-by-Fire: A Case Study of the Musician–Engineer Hybrid Role in the Home Studio.” Journal of Music, Technology & Education, vol. 7, no. 3, 2014, pp. 295–312.

Eno, Brian. "The studio as compositional tool." Audio culture: Readings in modern music (2004): 127-130.

Sharpe. “Recording A Full Song!! (Studio Session #1 With Sharpe).” Youtube, 14 June 2020, https://www.youtube.com/watch?v=q2FLnw1ekM0

Z, Pamela. “A Tool Is A Tool.” Theater (New Haven, Conn.), vol. 30, no. 2, 2000, pp. 62–64.

Zaremba, Haley. “Impacts of COVID on Recording and Production.” Music Major - Majoring in Music, 6 Sept. 2020, majoringinmusic.com/impacts-of-covid-on-recording-and-production/.

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