The Sound Studio is fetishised in popular culture. It is represented as a cryptic place where alchemy happens –mere mortals become superstars, vague musical sketches miraculously evolve into worldwide smash hits and svengali producers wield absolute power over the base talent that they must mould in their vision. Cinema portrays the sound studio as a place where genius, musicianship and ego collide. Ethnographer Louise Meintjes (2003) compares a recording studio to "a space station on the moon"and refers to the "mysteriousness of the studio as a phenomenon". The reality is more prosaic. In this paper, we will explore the mundane yet essential processes undertaken to record an album of songs related to the history of Glasgow and how these processes have been adapted to instigate an inclusive creative space for all participants. The studio in question, La Chunky, has been a going concern for 20 years and is owned by the paper’s author. The paper will also examine the studio’s history in the context of Glasgow’s prolific music scene and hopefully provide further insight into the DIY culture that has proven so valuable to Glasgow’s popular music hegemony.