On Home Studios

One of the best things about a home studio is that once you’ve got it set up, you can just start using it. You don’t need to book time, you don’t need to schedule things ahead of time, you don’t need to hire somebody else’s engineer. Just pick up your instruments, fire up your control board, and go. Every note of Psycliq’s musical catalogue has been recorded in my home studio, with the execption of those couple of tracks I composed and recorded while on an airplane that one time. In other words, the studio part is pretty great.

But one of the worst things about a home studio is that your recording space needs to be shared with the rest of your life. Even if you’re lucky enough to set a room aside, the rest of the house is still likely to be buzzing with all kinds of noise from kids, spouses, TV’s, radios, pets, and all kinds of other things. In other words, the home part of “home studio” isn’t all it’s cracked up to be.

For one, the setup definitely makes recording things like vocals or acoustic instruments very, very tricky. But the other issue is one of distractions, especially if you’ve got kids and they want to play the instruments and push the buttons and turn the knobs just like Daddy does. One moment you’re all set to sit down and record a new idea, and the next moment you’re desperately trying to figure out why every input to your box has been padded by -15db while trying to figure out exactly where your headphones are now. You may have guessed that I speak from experience.

For these, and many other real-life reasons, I’m going to be relocating my home studio to a different part of the house. One a bit more removed from the rush of toddlers. One a little more isolated from the noises of every day life. And most importantly, one with a door on it. Pro tip: doors are good.

But even with a planned studio shuffle and all kinds of life in the way, we’ve got some goals here at Psycliq Musical Productions for 2012. As we move into the year, I’m going to be diving back into recording and making a new full-length record. The lucky folks who subscribe to the Newsletter already know the title and more information about it, and they’ll keep getting some exclusive updates, too. But suffice it to say that I’m very excited about the prospects. I’ve set a goal of getting it released by the end of this calendar year. At the moment, I’ve got 20 tracks demo’d out that might make it, but who’s to say what the cutting room floor will really see. We might even put up a preorder bonus thing that gives you access to all of the demo tracks, whether they make it in or not.

But whatever comes, I’m going to try my darndest to get this thing rolling. Here goes nothing.

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