Unlike classical music, which evolved to resonate in acoustic spaces, almost all popular music was written for a pair of speakers (Ross, 2010). Scholars and critics have observed that the emergence of rock music was closely tied to the rise of recorded media, so much so that its history is often narrated through a timeline of album releases (Frith, 2012). In recent decades, as popular music has gained increased acceptance within educational settings (Powell, 2019), some educators working with students who engage with rock music and other popular genres have naturally begun to incorporate studio recording practices into their classrooms.This study examines the experiences of five Canadian and American high school teachers who incorporate studio recording practices into their classrooms, utilizing these methods to record student rock bands. In this context, studio recording practices refer to the techniques used to create a track intended for album release or streaming platforms, as opposed to documenting a live performance. These practices commonly include live tracking, asynchronous overdubbing, and post-production processes (Anthony, 2023), although they may vary widely depending on the genre, as well as the artistic intentions of the musicians, engineers, and producers involved.Through narrative inquiry, the study examines how participants’ classroom recording practices mirror, or diverge from, those employed in professional studios. Participants' stories are examined through the lens of Basil Bernstein's concepts of the "discursive gap" and "pedagogic device," which collectively explain how real-world knowledge is recontextualized into school knowledge (Wright et al, 2012). This transformation occurs through tacit rules maintained and reinforced in various ways - from explicit pedagogical decisions, such as how content is framed and assessed, to subtler influences, including limitations of time and physical space. By sharing these stories from participating educators, this study aims to inspire and empower other music educators to adopt similar practices in their own classrooms - offering a framework for teachers interested in integrating studio recording, regardless of their teaching environment or prior recording experience.