While a studio is most certainly a place within, to make music.
There are a rabid lot in this industry that argue that you don't NEED a studio to record music in.
You also don't need musicians.
For quite a long while, drum machines were supposed take over... and they did.
Soon afterwards, strings... then along came the synths... and the processing and now all the editing that's happening... and there are plenty of mainstream items that are in box-office hits, to soap operas that not one human being actually generated a single tone in the recording.
That's all fine and well, but...
What about those wonderfully gifted people who perform? Are they completely kicked to the curb?
So... all we need to know is that playing music is no longer a part of society?? Is that even realistic??
Maybe... but it sure sounds like a foolish reality to try to exist in.
So, as long as we have cultures within society, there will always be performance that will be unique to each culture.
One aspect of music that I personally find the most rewarding, is when you have an ensemble interacting.
The craft of capturing a performance requires an entirely different approach to how a studio is built.
Ensemble recording often results in something of it's own entity that cannot be quantified, quantized, randomized or exemplified except as it's own.
You can't make a computer's heart skip a beat when you realize you're in the pocket and it feels SO good! There's a certain spirit... a magic if you will... when human souls lock together and play.
It's not perfection.... it can closely approach it, but music itself is not meant to be perfect. It's meant to be an inspiration.
Studio environments are not necessarily hallowed grounds, but at the least, should be spaces that lend themselves to the creativity level.
No two rooms are alike, though many exhibit similar characteristics.
What we did here, was to take into account that most ensembles need to be comfortable working in the same room, with the goal of accentuating a small number of instruments naturally, as opposed to only relying upon the mix process for any balance in the soundfield.
However, if you don't actually record instruments, then you don't need an environment of the same complexity. However, it need not cost any less... although it should. It depends upon your environment.
Trains can be heard, and felt miles away. If you're lucky, you might end up in a nodal point, or you might not. If not, it you might need to decide if that train rumble is going to cause you any problems... as might a busy interstate road overpass. ( I can hear the interstate when the wind is blowing just right. )
There's a huge difference between functionality of a studio and a production facility as well.
As long as there is music, there will be those who think it is good.
But so long as music is actually played by a human, there will be those who think it is good, as well.
I tend to come down on the side of humanity... maybe that's cause I are one.