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The music industry isn\u2019t immune to natural disasters. From wildfires and floods to earthquakes and tornadoes, recording studios are as vulnerable as homes and traditional <\/span>businesses\u00a0 \u2014<\/span> and when the worst happens, the loss extends beyond four walls. Entire creative lifelines are at stake: unreleased masters, rare gear, archives, the ability to keep working at all.<\/span>\u00a0<\/span><\/p>\n That reality has been driven home over and over again, most recently with the devastating wildfires that swept through Los Angeles in early 2025. During the GRAMMY Awards telecast in February, viewers <\/span>contributed <\/span><\/a>nearly $10 million to fire relief efforts, part of a larger $26 million raised by the Recording Academy and <\/span>MusiCares<\/span><\/a> during GRAMMY Week. Those funds have already provided critical support to more than 3,000 music professionals in Los Angeles and, through partnerships with local organizations, directed nearly $4 million in aid to those hardest hit. The message was clear: When disaster strikes, the music community rallies to help its own.<\/span>\u00a0<\/span><\/p>\n For Colorado-based mastering engineer and San Francisco Chapter Board Member <\/span>Anna Frick<\/span><\/a>, disaster preparedness became personal. During a recent wildfire season, she found herself evacuating her studio multiple times in just a few weeks. \u201cOne night, I joined a Producers & Engineers Wing call and casually mentioned I\u2019d had to evacuate again,\u201d she recalls. \u201cPretty soon, everyone was trading tips; some had been through it, others had never considered it, but everyone was soaking it all up.\u201d<\/span>\u00a0<\/span><\/p>\n That moment sparked an initiative within the Recording Academy\u2019s <\/span>Producers & Engineers Wing<\/span><\/a>: consolidate real-world lessons, FEMA guidance, and insurance insights into one accessible resource. The result is <\/span>Studio Emergency Preparation Recommendations 2025<\/span><\/a>, a new guide designed to help recording studios of all sizes \u2014 from home setups to multi-room commercial facilities \u2014 prepare for disasters and recover afterward.<\/span>\u00a0<\/span><\/p>\n GRAMMY.com sat down with Frick and <\/span>Maureen Droney<\/span><\/a>, Vice President of the Producers & Engineers Wing, to talk about the hard truths of studio preparedness and how protecting these spaces has impact beyond music.<\/span>\u00a0<\/span><\/p>\n Why was it important for the P&E Wing to publish this guide now?<\/span><\/strong>\u00a0<\/span><\/p>\n Maureen Droney:<\/span><\/strong> This really came from Anna. She brought it up after her own experiences, and it sparked something bigger for all of us.<\/span>\u00a0<\/span><\/p>\n Anna Frick:<\/span><\/strong> On one of our P&E Wing committee calls, I mentioned having to evacuate because of wildfires, and people started sharing what they\u2019d done in disasters. Some had systems in place, others admitted they\u2019d never thought about it. That conversation showed me how widespread the gaps were, and how important it was to put all of these tips together in one place, and also bring in outside resources, so nobody was starting from scratch when disaster hits.<\/span>\u00a0<\/span><\/p>\n Did you have a plan already in place at that time?<\/span><\/strong>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> Luckily, <\/span>previous studio, the studio owner was a volunteer firefighter. He\u2019d already put together a detailed plan: how to power everything down, what to grab, even small steps like sealing vents or pulling down curtains. When he got called away to fight a fire, I was the one responsible for carrying it out. Having that kind of structure showed me how valuable it is to think things through <\/span>before<\/span> you\u2019re in crisis mode. Most studios don\u2019t have that kind of built-in knowledge, which is exactly why this guide felt necessary.<\/span>\u00a0<\/span><\/p>\n Did you actually run practice drills?<\/span><\/strong>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> Definitely. Living in Colorado, we\u2019re always under threat of wildfires. I practiced how to power down the studio from the panel in the right order so sensitive gear wouldn\u2019t get damaged. That kind of muscle memory is important. Disasters are stressful; you need to be able to act quickly without second-guessing.<\/span>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> Absolutely. During one of the L.A. fires this year, I had my go bags already packed in the car. But when it looked like I might really have to leave, I started piling in other things \u2014papers, things I hadn\u2019t thought about. That first round was almost like a rehearsal, and it made me realize what I\u2019d missed.<\/span>\u00a0<\/span><\/p>\n What makes studios different from other businesses when it comes to disaster prep?<\/span><\/strong>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> We\u2019ve got gear that\u2019s not only expensive but irreplaceable. Some of <\/span>it\u2019s<\/span> vintage, some <\/span>is<\/span> rare or custom. And then there\u2019s the work itself: Clients are trusting us with recordings that don\u2019t exist anywhere else. I want to make sure my clients know that their work is safe. I\u2019ve known people who tried to load an entire studio into a car during an evacuation. Without a plan, you\u2019re just grabbing what you see.<\/span>\u00a0<\/span><\/p>\n How prepared do you think most studios actually are for disaster scenarios?<\/span><\/strong>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> I think we all believe we\u2019re ready, until the moment comes. Then you realize you forgot something crucial. There\u2019s always more you could do, but you also can\u2019t run a studio in full \u201cdisaster mode\u201d all the time. These best practices are about finding balance. You might not keep all your racks off the floor every day, but you know to move them if flooding is even a remote risk.<\/span>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> That\u2019s exactly it \u2014 you don\u2019t need to do everything at once. It\u2019s more about awareness and gradual steps.<\/span>\u00a0<\/span><\/p>\n One of the distinctions you draw in the document is preparing for hazards versus preparing for consequences. What does that mean?<\/span><\/strong>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> It\u2019s easy to focus on the hazard itself \u2014 fire, flood, earthquake \u2014 but the real pain often comes afterward. You might lose your studio and your gear, but you\u2019ve also lost your income. Preparing for consequences means thinking about recovery: knowing your insurance procedures, understanding how to support your team, and planning for how to keep business moving while you rebuild.<\/span>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> And Anna thinks this way because she\u2019s a business owner. For a lot of people, especially with home studios, that side isn\u2019t top of mind. This document helps bridge that gap.<\/span>\u00a0<\/span><\/p>\n Let\u2019s talk specifically about home studios. How do these recommendations apply to them?<\/span><\/strong>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> One of the most important things is backups \u2014 not just one hard drive in your studio. Follow the \u201cthree different places\u201d rule, whether that means the cloud or drives in other locations. That applies to everyone, but it\u2019s especially critical if your home is also your business.<\/span>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> When your home is your studio, decisions in an evacuation become harder. Are you grabbing family photos or your tube compressor? You can\u2019t save everything. Having reliable backups and knowing your insurance coverage \u2014 what your homeowner\u2019s policy does or doesn\u2019t cover \u2014 makes those choices less devastating.\u00a0<\/span>\u00a0<\/span><\/p>\n You also had input from FEMA as you were shaping this doc.<\/span><\/strong>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> One of my close friends works for FEMA and gets deployed to disaster zones. She pointed me toward resources and helped us think about how to apply them specifically to studios.\u00a0<\/span>\u00a0<\/span><\/p>\n FEMA offers a huge amount of information, but it\u2019s not tailored for the music business. We layered on the things we would think about in our studios: rare instruments, vintage compressors, unreleased projects, backup media.<\/span>\u00a0<\/span><\/p>\n Insurance is notoriously complicated. What can studio owners do to minimize headaches?<\/span><\/strong>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> Honestly? Read your policies. Have a conversation with your broker. Most of us don\u2019t. Understanding the big picture of what\u2019s covered and what isn\u2019t saves a lot of frustration.<\/span>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> And work with someone who understands music. Studio insurance is very different from standard business insurance. You need a carrier who knows the right questions to ask \u2014 liability if clients are on site, coverage for specialized equipment, inventory documentation. I\u2019d call it \u201ctrust but verify.\u201d Keep a detailed inventory, and make sure your provider really understands your needs.<\/span>\u00a0<\/span><\/p>\n We\u2019ve been talking about practical issues, but the guide also addresses the emotional side. How should studio owners think about mental health and team care after a disaster?<\/span><\/strong>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> This industry is already tough on mental health. If your studio is also your home, the loss is doubly personal. Having resources lined up matters. MusiCares is incredible \u2014 they can help financially, but also with counseling and support groups. That\u2019s as important as protecting gear.<\/span>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> Absolutely. In Los Angeles, after the recent wildfires, people lost not just their studios and homes, but things like grand pianos, instruments that were emotional anchors. Having go bags and documents ready helps, but knowing there\u2019s a safety net for your emotional health is just as critical.<\/span>\u00a0<\/span><\/p>\n Should artists and labels also be asking questions about a studio\u2019s preparedness?<\/span><\/strong>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> Definitely. As an artist, if you\u2019re leaving instruments or masters in a studio, you absolutely have a right to ask how they\u2019re being protected. You would expect that from your label and your management, so you should also expect that from your studio. It\u2019s part of being a responsible creative. And if you don\u2019t like the answers, you can ask for <\/span>accommodations<\/span> \u2014 or choose another studio.<\/span>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> And beyond that, there\u2019s a basic education piece. Archiving practices are a big part of our <\/span>Delivery Recommendations for Recorded Music Projects<\/span><\/a>; in the outreach we do, we know that <\/span>lot<\/span> of artists, especially younger ones, don\u2019t think about backing up files. Some assume streaming services are storing their masters, which they aren\u2019t.<\/span>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> Streaming services are not your archive. If they shut down tomorrow, your work is gone. You can\u2019t rely on someone else to take care of your masters. You have to do it yourself.<\/span>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> Exactly. That\u2019s why engineers and producers are so vital \u2014 they know these things and can help artists protect themselves.<\/span>\u00a0<\/span><\/p>\n For people who want to dive deeper into this conversation, where can they learn more?<\/span><\/strong>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> We\u2019ll be hosting a panel at the <\/span>Audio Engineering Society Conventio<\/span><\/a>n in Long Beach <\/span> focusing on disaster preparedness for studios and how to apply these best practices. Then in November at <\/span>Music Expo 25<\/span><\/a> in San Francisco, we\u2019ll continue the conversation with another panel. Both will bring in insurance specialists and other experts to answer questions and give people practical steps they can act on immediately.<\/span>\u00a0<\/span><\/p>\n What\u2019s the first thing you hope people do after reading this guide?<\/span><\/strong>\u00a0<\/span><\/p>\n Droney:<\/span><\/strong> I hope they actually read it! Even filling out the simple worksheet inside will put you in a better place than before.<\/span>\u00a0<\/span><\/p>\n Frick:<\/span><\/strong> We designed this guide to be practical. It\u2019s not pages of theory\u2014there are one-sheets, checklists, blanks to fill in. Do even part of it, and you\u2019ll be better prepared than you were yesterday.<\/span><\/p>\n<\/div>\n