Planning Ahead: The Details You Don’t Think About at First

One of the biggest lessons I learned while building this studio is how important it is to think through everything you’ll need before you start. That may sound obvious, but it’s something I personally learned the hard way.

When I set up my main studio desk, most of the decisions had already been made. The layout was planned, the gear was known, and everything fit together in a way that worked exactly as intended. Problems didn’t really appear until I began expanding the studio into areas I was far less familiar with.

That’s when the small details started to matter—a lot more than I expected.

The Hidden Decisions Behind a Studio Setup

Once you move beyond a basic setup, questions start piling up quickly:

• What audio interface are you using, and does it actually have enough inputs and outputs?
  
• Are you relying on internal computer storage, external drives, or a combination of both?
  
• What drive types and speeds do you need for audio work?
  
• How much equipment is being connected directly to the computer—and can it handle it?
  

In my case, I rely on multiple powered USB hubs just to keep everything connected and functioning properly. While my original in-the-box studio didn’t require all of these extras, it became unavoidable as more gear entered the picture. Sometimes it really was a case of more gear, more problems.

Studio Gear vs. Office Reality

Placing music gear is one challenge, but most studios also need to accommodate basic office equipment: printers, phone chargers, storage for supplies, paperwork, and day-to-day administrative tools. These items don’t always play nicely with audio setups and can introduce both physical clutter and acoustic issues.

My studio serves two main purposes: online teaching and music creation/production. Because of that, I made a very intentional choice not to cover the walls with acoustic foam. While wall treatment can certainly improve sound, I feel that students logging in for lessons are more inspired by seeing instruments rather than foam panels.

That decision comes with tradeoffs—and I’m fully aware of them. I’m also not implying that this is the right choice for everyone. It’s simply the right choice for me, and depending on how you use your studio, it may not be the right choice for you.

Choosing Tradeoffs Intentionally

Instead of traditional wall treatment, I rely on bookcases to help diffuse sound, along with software-based correction to get the best monitoring accuracy I can in an untreated room. It’s not a perfect solution, but it’s a deliberate one.

My room being square is never going to have ideal acoustics for mixing and mastering, which is why I chose early on to do that particular work primarily on headphones. While I understand the tradeoffs of mixing in headphones rather than through monitors, I also understand that, for me, headphones in my studio environment give the best results.

I do have monitors—two sets, actually—that I use for reference checks. I just don’t rely on them for major or final mix decisions. Because of that, sound treatment isn’t necessary for me in the same way it might be for someone else.

This is an important consideration for anyone setting up a studio in a shared or common space. If your studio lives in a family room, dining room, or even a kitchen, permanent acoustic treatment may simply not be practical—or welcome. Sometimes you have to work within the space you have and accept compromises, which may, as in my case, include using headphones for most mixing and mastering tasks.

The key is understanding what you’re giving up—and why.

When the Studio Outgrows the Original Plan

Audio interfaces are a perfect example of how studios quietly evolve.

When I started, something like a simple two-in, two-out interface was more than enough. As the studio expanded into hardware synths and sound modules, the demands on the interface grew as well. Eventually, that meant moving to larger interfaces with more inputs, adding submixers, and rethinking signal flow entirely.

Each solution solved one problem—but often introduced new ones.

This is where complexity really starts to compound. More gear means more cables, more routing, more power requirements, and more potential points of failure.

Complexity Grows With the Studio

The main point I’m trying to make in this entry is that studio setups tend to grow in ways you don’t fully anticipate. What starts as a simple system can quickly turn into a network of interconnected parts, all of which need to work together reliably.

That doesn’t mean bigger setups are better—or necessary.

A laptop, a pair of headphones, and a small keyboard controller can be incredibly effective, low-stress, and in many cases just as productive—if not more so—because you eliminate option paralysis. There’s absolutely nothing wrong with keeping things simple.

At the same time, for those of us who enjoy larger, more involved setups, that’s valid too. “Large” is relative. My setup, which feels substantial to some, would be considered a modest or even cute little studio compared to much larger and more elaborate rooms. I personally think of my studio as fairly modest—my gear isn’t on the hugely expensive side, although I certainly admire studios filled with Moogs, Novation Peaks, and collections of synths from Dave Smith.

Building a Studio That Motivates You

In the end, your studio has to work for you. It needs to be a space that inspires you to sit down, create, and stay engaged with the work. Whether that means a minimal setup or a room full of interconnected gear, the goal is the same: supporting creativity rather than getting in the way of it.

This series continues to document how my own setup grows, becomes more complex, and occasionally challenges my assumptions—often forcing me to rethink decisions I thought were already settled.