This paper investigates new spatial relationships in music production triggeredby the proliferation of low-cost digital music production tools and howthey have changed factors of time and creativity for the record producer. Weaddress the problem through a focused set of production projects and the peerreview of those projects by seven well regarded commercial producers. Putsimply, we are asking whether those producers can determine whether the recordingswere made in large-format or DIY “home” studio environments inblind listening tests.