The music industry of the Solomon Islands exists essentially outside the transnational Anglophone and European music industries. Piracy of overseas and local material is rampant, and artists are often at the mercy of companies in control of all parts of the recording and distribution process. This article presents a case study exploring the role of a “grassroots” home studio in a regionally insular yet vibrantly commercial scene. It also explores ways musicians manage their careers in this environment, the impact of Chinese mercantile interests and issues of copyright. The case study is ethnographic in nature, drawing upon musicians’ perspectives on the role of recording technology and the recording industry in their region.