If I Opened a Recording Studio Today, I'd Do These 7 Things Differently

Lessons from more than 40 years in audio and over 20 years owning a commercial recording studio.

I've spent more than 40 years working in the audio business. For over 20 of those years, I owned and operated a commercial recording studio.

I've worked with some incredible people, recorded some amazing music, and had experiences I wouldn't trade for anything.

But I've also learned a few lessons along the way. Some were easy. Others were expensive.

Today, I'm working differently. I'm still recording, mixing, producing, and helping clients make great music, but I'm no longer carrying the overhead of a large commercial recording facility.

And that change has given me a different perspective on what it really takes to run a successful audio business.

So here's a question I've been thinking about:

If I were opening another recording studio tomorrow, what would I do differently?

Quite a bit, actually.

Here are seven things I'd approach differently, based on what I've learned over the years.

1. I'd Find the Clients Before Building the Studio

This is probably the first thing I'd tell anyone who's thinking about opening a recording studio.

Find your customers before you build the business around them.

A lot of engineers dream about opening their own studio. They picture the control room, the console, the microphones, the acoustic treatment, and all the gear they've always wanted.

They spend months, sometimes years, putting everything together.

And then they open the doors.

Now what?

Where are the clients?

That's a problem you should be working on long before you sign a lease or start buying equipment.

If I were starting today, I'd first figure out who I wanted to serve.

Are there local artists looking for affordable recording services? Podcasters who need editing? Voice actors who need demos? Bands that need a place to track drums?

What are these people actually willing to pay for?

I'd start building relationships, finding customers, and generating some revenue before investing heavily in a facility.

Don't build a studio and hope a business shows up. Build the business first.

2. I'd Keep My Overhead as Low as Possible

Here's something nobody gets particularly excited about when they're dreaming of opening a studio.

The bills.

Rent. Electricity. Insurance. Internet. Maintenance. Repairs. Software subscriptions. Equipment payments.

And those bills don't care whether you have clients booked this week.

When you're operating a commercial recording studio, you have to generate enough revenue just to keep the doors open before you ever pay yourself.

That's an important distinction.

Today, I'd start with the smallest facility that could comfortably and professionally deliver the services my clients need.

If I needed a larger room for drums or a full band, I'd rent one for that project.

If I needed specialized equipment, I'd rent it.

Why carry the expense of something every day when you only need it occasionally?

There's nothing wrong with owning a beautiful commercial recording studio. But the facility needs to make financial sense.

The size of your studio doesn't determine the success of your business.

3. I'd Stop Buying Equipment to Impress Other Engineers

I'll admit it.

I love audio equipment.

After more than 40 years in this business, I still appreciate a great microphone, a beautiful console, and a well-designed piece of outboard gear.

But I've also learned that there's a big difference between buying something because you need it and buying it because you want it.

And sometimes we engineers have a hard time telling the difference.

If I were starting over, I'd ask myself three questions before making any major equipment purchase:

• Will this help me generate more revenue?

• Will it allow me to provide a better service to my clients?

• Will it save enough time to justify the expense?

If I couldn't answer yes to at least one of those questions, I'd probably wait.

Here's something else worth remembering.

Your clients aren't necessarily impressed by the same things other engineers are.

Most clients don't care whether you're using a particular preamp, compressor, or microphone.

They care about how their music sounds, how the session feels, and whether you deliver what you promised.

I'd rather have a modest studio with a full calendar than a room full of expensive equipment sitting unused.

A studio full of gear isn't the same thing as a studio full of paying clients.

4. I'd Build My Business Systems Before Opening the Doors

This is one of the biggest changes I'd make.

And it's something I spend a lot more time thinking about these days.

When people imagine opening a recording studio, they usually focus on the technical side.

What microphones should I buy? Which DAW should I use? How should I treat the room?

Those things matter.

But what happens when somebody wants to book a session?

Can they easily find your services and pricing? Can they request a date? Do you collect a deposit? Do you have a cancellation policy?

What happens after the session?

How do you handle invoicing, file delivery, backups, and follow-up?

These aren't particularly glamorous questions, but they're important.

Today, I'd put systems in place for:

• Client inquiries and booking

• Deposits and payments

• Session preparation and intake forms

• Confirmations and reminders

• File delivery and project management

• Follow-up and repeat business

And I'd automate as much of the routine administrative work as reasonably possible.

Why?

Because every hour I spend chasing a deposit or answering the same booking question is an hour I'm not spending doing paid work.

A professional recording studio needs more than professional audio equipment.

It needs professional business systems.

5. I'd Create More Than One Way to Make Money

If the only way your recording studio generates revenue is when somebody books the room, you're limiting yourself.

Recording sessions are great. I still love them.

But there are plenty of other ways to generate income using the skills and equipment you already have.

For example:

• Mixing and mastering

• Podcast editing and production

• Voice-over recording and demo production

• Audio cleanup and restoration

• Music production and editing

• Audio consulting, coaching, and training

Now, I'm not suggesting you try to do everything.

That's another mistake.

Instead, I'd identify a few services that complement each other and make sense for the customers I want to attract.

A musician who hires you to record a song might also need mixing and mastering.

A voice actor who needs a demo might eventually need help with their home recording setup.

A business producing a podcast might need ongoing editing every week.

These are opportunities to build relationships and generate repeat business.

And that's especially important when recording sessions slow down.

Don't make your entire business dependent on keeping one room booked.

6. I'd Build Relationships With Other Studios Instead of Trying to Own Everything

This is something I've come to appreciate even more as I've transitioned away from operating a large commercial facility.

You don't have to own everything to deliver a professional result.

Need a great drum room?

Rent one.

Need a larger tracking space?

Partner with another studio.

Need a particular microphone or piece of equipment for one project?

Rent it when the project justifies the expense.

I'd build relationships with other studio owners, engineers, producers, and service providers.

Not just because it's good networking, but because those relationships allow you to offer more services without carrying all the overhead yourself.

That's a big part of how I approach my work today.

I can still work on larger projects when needed. I simply don't have to maintain a large facility every day to make that happen.

And there's another benefit.

Instead of treating every other studio as competition, you begin seeing opportunities to work together.

You don't have to own every piece of the process to deliver a professional result.

7. I'd Build a Business That Gives Me a Life Outside the Studio

This might be the most important lesson of all.

When you own a recording studio, it's easy to become everything.

You're the engineer.

You're the producer.

You're the salesperson, receptionist, bookkeeper, maintenance department, and cleaning crew.

You're working when you're recording.

And you're still working when you're not recording.

Emails. Scheduling. Equipment problems. Bills. Client questions. The next session. The next project.

It never really stops.

And when you love what you do, it's easy to convince yourself that working all the time is simply part of the deal.

But eventually, that can wear you down.

If I were starting over today, I'd establish boundaries much earlier.

I'd have clear operating hours.

I'd price my services to account for preparation, administration, editing, delivery, and all the other work that happens outside the actual recording session.

I'd build systems that allowed me to step away without everything coming to a halt.

And I'd make sure I was building a business that supported the life I wanted.

Because here's something I've learned.

You can love the audio business and still need a life outside the studio.

In fact, I think having that balance can help you enjoy the work even more.

So, Would I Open Another Recording Studio?

Under the right circumstances?

Absolutely.

I still love recording music. I love working with artists. I love helping somebody take an idea and turn it into something they're proud of.

That part hasn't changed.

What has changed is how I think about the business.

Today, I wouldn't measure success by the size of the control room, the number of microphones, or how impressive the equipment rack looks.

I'd measure it by whether my clients are happy, whether the business is profitable, and whether I still enjoy doing the work.

Because at the end of the day, we're not just trying to own recording studios.

We're trying to make a living making music happen.

FREE DOWNLOAD: Before You Open Your Studio — The 7-Point Reality Check

Thinking about opening a recording studio of your own?

I've put together a free three-page checklist based on the lessons I've learned from more than two decades of studio ownership.

It includes seven important areas to think through before spending money, plus a simple financial worksheet to help you estimate your monthly expenses and how many paying projects you'll need.

DOWNLOAD THE FREE 7-POINT REALITY CHECK

It's a practical starting point for anyone considering a home studio business or commercial recording facility.

Let's Talk About It

If you were opening a recording studio tomorrow, what's the very first thing you'd spend your money on?

And if you already own a studio, what's one thing you wish you'd done differently?

I'd love to hear your thoughts.

You can also join us inside The Business of Audio, where we talk about recording, mixing, getting clients, and building a sustainable career in the audio industry.

JOIN THE BUSINESS OF AUDIO COMMUNITY

— Donny Baker
Grammy®-winning Engineer / Producer
The Business of Audio — Learn to make your living making music happen.