Within the one-to-one studio environment, research has been steady, however in regional rural and remote (RRR) New South Wales (NSW) Australia, research is sparce. In this context this paper examines data collected as part of a larger doctoral thesis investigating characteristics of RRR studio music education and outlines the optimistic or pessimistic views expressed by studio music practitioners (SMP) about studio music education.Semi structured interviews with 10 RRR SMPs teaching various instruments, ages, styles, and genres reveals different attitudes. These attitudes fluctuated depending on the topic area discussed which were: Background of the SMP, their current practice, their technology usage and their professional development needs. These attitudes fluctuated even further when specific SMP practices are discussed, revealing a complicated and nuanced one-to-one educational environment. The SMP would hold both optimistic and pessimistic views about their practice, or, the practice of studio music education that was shifted by personal or professional perceptions of their work.The examination of these fluctuations reveals secondary themes such as isolation, instrument cultural bias, elements of master/apprentice and learner centered teaching, government regulation, and institutional vs personal accountability. While perspectives were generally optimistic, this was tempered by an underlying unease from some. Particularly those with greater experience, or, who have other rolls in the studio music environment, other than facilitating music education. These secondary themes are common in the literature, however, given that RRR areas of Australia has been noted as having less access to equity in the education system, due to the distance from metropolitan areas.This paper highlights the existence of complex layers in the attitudes of SMP in RRR, NSW. While the optimistic tone of the participants is encouraging, the underlying concerns illustrate a disparate collection of perspectives. This unease may contribute to lower quality of studio music education in our regional areas despite the optimism shown by its practitioners. Resolution of these tensions will help unify the voice of the modern studio music practitioner, thus improving studio music education, the practitioner’s professional development and therefore their students’ outcomes. It is expected that this research will highlight the need for further investigations into studio music education in RRR to help unite and grow the RRR studio music industry into a well-recognised, regulated and respected form of music education into the future.