Craig quits teaching, moves to the countryside, and turns a rented garage into Push Patterns HQ. A practical, rental-friendly studio build focused on Ableton Live, Push 3, filming, and smart compromises.
Quitting a stable teaching job in London and moving to the countryside is a bold move. Doing it to go all-in on Ableton Push, content creation, and music production is even bolder. In this video, Craig from Push Patterns documents the complete journey of turning a humble rented garage into a fully functioning filming space and music studio.
This isn’t a luxury studio build with infinite budget or permanent alterations. It’s a realistic, rental-friendly setup built around flexibility, smart compromises, and a clear creative vision.
By the end of the video, the transformation is dramatic: from a bare garage to a space that both looks great on camera and works as a serious Push-centred production environment.
From the outset, the space was divided into clear zones:
A dedicated talking-head setup with controlled lighting, a strong background aesthetic, and clear sightlines into the studio world.
A practical production area built around Ableton Push 3 as the main brain, with modular, hardware synths, and hands-on workflow.
Because the garage is rented, everything needed to be reversible. No drilling where possible, minimal permanent soundproofing, and gear choices that could adapt if the space changes again in the future.
Before buying more gear or finalising layouts, Craig focuses on the most important part of any YouTube studio: the camera angle.
Filming into the corner of the room became the key decision. This approach:
The main camera setup uses a Fujifilm X-S20 with a 23mm prime lens for the talking-head shot, paired with a second X-S20 and a Sigma zoom lens for overhead and desk shots.
Traditional tripods and overhead rigs don’t work well in small rented spaces, especially with a standing desk. The solution here is clever, sturdy, and renter-approved.
Instead of floor stands or ceiling mounts, Craig uses Manfrotto arms and tension-based poles that lock securely between floor and ceiling. These support both main and overhead cameras without nails, screws, or permanent fixtures.
Despite being fully extended, the setup remains impressively stable, even with heavier camera bodies and lenses. It’s an investment, but one that pays off in reliability and peace of mind.
One of the biggest workflow upgrades in the new studio is switching to a height-adjustable desk.
The FlexiSpot standing desk allows Craig to:
With dual motors, quiet operation, memory presets, and enough height for a 6’4″ frame, it fits both music production and content creation without compromise.
Under the desk sits a walking pad, adding another layer to the studio’s long-term sustainability.
While not traditionally “music gear”, the walking pad makes it possible to stay active during:
For producers spending hours in windowless rooms, this kind of setup can make a real difference to health and focus.
The biggest limitation of the space is sound. With minimal insulation and neighbours to consider, full speaker-based mixing isn’t realistic.
Adam Audio D3V desktop monitors provide controlled, low-volume playback for general listening and inspiration. Their compact size, DSP room settings, and front-mounted controls make them ideal for small, untreated rooms.
The real heavy lifting happens on Sony MDR-7506 headphones. Honest, affordable, and unforgiving, they’re a long-standing studio standard for a reason. If a mix works here, it usually works everywhere else.
For voice work, Craig relies on a familiar YouTube and broadcast classic:
The SM7B’s tight pickup pattern helps minimise room reflections, while the latest Focusrite preamps provide plenty of clean gain without noise. It’s a reliable chain that works perfectly in less-than-ideal acoustic environments.
Rather than investing heavily in permanent treatment, Craig reuses DIY acoustic panels built for previous studios.
These panels:
More panels are planned, and a future video will document the full DIY build process for anyone wanting to save money and improve their own room acoustics.
Behind the camera setup sits the heart of Push Patterns HQ.
Ableton Push 3 acts as the central brain, handling sequencing, performance, and control duties. Hardware synths, modular gear, and effects are routed through an RME Fireface interface, with plans for a streamlined, door-less workflow enabled by recent Push updates.
This area is still evolving, but the intention is clear: Push first, screen second, creativity always front and centre.
One of the most talked-about elements in Craig’s studios is his IKEA Stolmen shoe rack hack.
Originally designed for shoes, it turns out to be perfect for synths. It’s:
Filled with instruments like the Prophet-6, Moog Little Phatty, and touring-worn favourites, it becomes both storage and visual centrepiece.
Push Patterns HQ isn’t about perfection. It’s about intention.
Every choice in this garage studio balances creativity, practicality, and the realities of renting. From no-drill camera rigs to headphone-first mixing, it’s a blueprint many producers and content creators will recognise themselves in.
And this is only the beginning. As the space evolves, so will the workflows, the Push-centred experiments, and the videos coming out of it.
If you’re interested in Ableton Live, Push 3, and building a studio that actually fits real life, Push Patterns HQ is officially open.
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