Radio pluggers are the people to chase

There are three types; radio pluggers, online pluggers and TV pluggers. Radio pluggers will try to get a band played on the radio, Online pluggers cover all your promotion with websites and mobile phone companies and a TV plugger will try to get a band on the TV. As well as live performances, they will try to get interviews and sessions for the band. They will work out where the best audio and visual outlets are to get a new record noticed.

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Pluggers are a subset of public relations people who specialize in getting clients’ music played on the radio. Getting a good plugger can make the difference between a single becoming a hit or a flop and between a band having a successful career or disappearing into obscurity. The pluggers are the link between bands, their labels, and radio station managers, producers and DJs.
A plugger is essentially being paid for the contacts they’ve built in radio.

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A good plugger will have a range of contacts across different radio/TV stations, covering DJs and producers as well as music and playlist programmers. He or she will also have a database of detailed info about his contacts; the format each contact prefers (digital, vinyl, CD, etc), and past results.
Some labels will have in-house pluggers to work with their clients. Independent pluggers will often only take on acts that they believe in and like, and ones that will appeal to their contacts.

Getting a plugger is like getting any other music industry professional to work with your band. Do your research and approach pluggers that work with acts in a similar genre to your own band. There’s no point trying to get a plugger who works predominately with rock to take on your hip hop act. Pluggers will be more likely to work with an act that has shown they’re prepared to work hard.

If you can’t find/afford a plugger, consider doing the job yourself.

Pop star parties in the recording studio: Be A Star For A Day

Stop singing into your hairbrush and get your friends over to have some real pop-star fun.

 

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If you are looking for a party that is both different and exciting, then look no further thanour pop star parties! Invite your friends (10 minimum) to record your favorite songs or opt for our band parties.

Our PopStar Parties are run from a professional recording studio where we work with top musicians every day. Experience the thrill of a real session!
We run parties for big kids too! Birthdays. Hens. Stags. Or Just Because…

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Package A £150
up to 10 popstars, 2 hours (or £15 per person, 10 minimum)
Free upload of your music, party provides music (backing track)
Recording, editing, postproduction included (and fun!)

Package B £250
up to 10 popstars , 2 hours (or £25 per person, 10 minimum)
Free upload of your music, CD for each pop star*, backing track provided by the studio
Recording, editing, postproduction included (and fun!)
Free Parking.
*only 1 CD can be given on the day (not enough time to do them all within the time frame) you may collect your CDs next day or leave SAE with correct postage.
Email us for more information and or call 020 8883 9641

Band Parties
up to 10 rock stars, 2 hours
Free upload of your music, party provides music (booking rehearsal prior to the party is advisable)
Instruments (drum kit, guitars, bass guitars, keyboard, etc) included
Recording, editing, postproduction included (and fun!)

Email us for more information and prices (from only £250 for two hours) or call 020 8883 9641

Singing experience

Microphone Positioning: Drums and Percussion

The drum kit is one of the most complicated sound sources to record. Although there are many different methods, some common techniques and principles should be understood.

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Since the different parts of the drum kit have widely varying sound they should be considered as individual instruments, or at least a small group of instrument types: Kick, Snare, Toms, Cymbals, and Percussion.

Certain mic characteristics are extremely critical for drum usage.

Dynamic Range – A drum can produce very high Sound Pressure Levels (SPLs). The microphone must be able to handle these levels. A dynamic microphone will usually handle high SPLs better than a condenser. Check the Maximum SPL in condenser microphone specifications. It should be at least 130 dB for closeup drum use.

Directionality – Because we want to consider each part of the kit an individual instrument; each drum may have its own mic. Interference effects may occur due to the close proximity of the mics to each other and to the various drums. Choosing mics that can reject sound at certain angles and placing them properly can be pivotal in achieving an overall drum mix with minimal phase problems.

Proximity Effect – Unidirectional mics may have excessive low frequency response when placed very close to the drums.

A low frequency roll-off either on the microphone or at the mixer will help reduce the “muddied” sound. However, proximity effect may also enhance low frequency response if desired. It can also be used to effectively reduce pickup of distant low frequency sources by the amount of low frequency roll-off used to control the closeup source.

Typically, drums are isolated in their own room to prevent bleed through to microphones on other instruments. In professional studios it is common for the drums to be raised above the floor. This helps reduce low frequency transmission through the ground.

This drum’s purpose in most music is to provide transient, low-frequency energy bursts that help establish the primary rhythmic pattern of a song. The kick drum’s energy is primarily focused in two areas: very low-end timbre and “attack”.

Although this varies by individual drum, the attack tends to be in the 2.5- 5kHz range. A microphone for this use should have good low frequency response and possibly a boost in the attack range, although this can be done easily with EQ. The mic should be placed in the drum, in close proximity (1 – 6 inches), facing the beater head or for less “slap” just inside the hole.

Snare drum is the most piercing drum in the kit and almost always establishes tempo. In modern music it usually indicates when to clap your hands! This is an extremely transient drum with little or no sustain to it. Its attack energy is focused in the 4 – 6kHz range. Typically, the drum is miked on the top head at the edge of the drum with a cardioid or supercardioid microphone.

Hi hats cymbals are primarily short, high frequency bursts used for time keeping, although the cymbals can be opened for a more loose sound. Many times the overhead mics will provide enough response to the high hat to eliminate the need for a separate hi-hat microphone.

If necessary, a mic placed away from the puff of air that happens when hi-hats close and within four inches to the cymbals should be a good starting point. Simpler methods of drum miking are used for jazz and any application where open, natural kit sounds are desired. Using fewer mics over sections of the drums is common. Also, one high quality mic placed at a distance facing the whole kit may capture the sounds of kit and room acoustics in an enjoyable balance. Additional mics may be added to reinforce certain parts of the kit that are used more frequently.

While the kick and snare establish the low and high rhythmic functions, the toms are multiple drums that will be tuned from high to low between the snare and kick. They are primarily used for fills, but may also be consistent parts of the rhythmic structure.

The attack range is similar to the snare drum, but often with more sustain. An individual directional mic on the top head near the edge can be used on each drum and panned to create some spatial imaging. A simpler setup is to place one mic slightly above and directly between two toms.

The cymbals perform a variety of sonic duties from sibilant transient exclamation points to high frequency time keeping. In any case, most of the energy is high-frequency content.

Flat frequency response condenser microphones will give accurate reproduction of these sounds. Having microphones with low frequency roll-off will help to reject some of the sound of the rest of the kit, which may otherwise cause phase problems when the drum channels are being mixed.

The common approach to capturing the array of cymbals that a drummer may use is an overhead stereo pair of microphones.

If you want to lear more why not book 1-2-1 tutorial with one of engineers? From only £20 per lesson: 02088839641

Father’s Day StudioGift Vouchers

Choosing the perfect Father's Day present can be difficult but with our 
fantastic range of personalised gift cards and vouchers you can't go 
wrong! 
Give him the freedom to choose exactly what he wants from our list of 
services: rehearsal, recording, mixing, mastering or combination of all.
The vouchers are valid for a year, so plenty of time for your dad to 
book whenever he finds it convenient. 
From £25
Email us for Gift Certificates instantly, print our vouchers at home. 
02088839641
 And....because your dad is super human....

He deserves super human studio! ( we are immortal too…)

MidSummer Muswell Fest

Once again, we are delighted to be organising MidSummer Muswell Fest in Muswell Hill on 25th of June 2016 2pm-6pm, fundraiser for WAVE and LCCCP. StageTimeTables

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From 2pm on Saturday 25th June 2015 Muswell Hill will be celebrating MidSummer (Muswell Hill style of course).

For a second year in a row Muswell Hill will be holding this fabulous, community-led festival that brings together fellow Muswell Hillians, their families, local traders and organisations. The festivities will be returning to St James Square and St James Church.

This year’s event has been put on by newly formed Friends of St James Square. They are a group of local ladies (and a token gent!) caring about All Things Muswell. They are well versed in putting on events and so far have given you MidSummer Muswell 2015, Geisterfest 2014 and 2015, Hillfield Park Street Parties, Tis is Season To be Jolly, Muswell Hill Festival in Cherry Tree Woods, help with Crouch End Festival, Vivian Stanshall Tribute – to name but a few.

Friends of St James Square is made up of secretary: Peter Thompson – barrister, Free Legal Advice at St James’s Church; and the board of directors: Deanna Bogdanovic owner and music producer at BonaFideStudio recording, postproduction and rehearsal studio, Lindsay Miller, Mel Pretorius and Jacqueline Goldenstein– of  RedDesk VA, virtual assistance and social media.

Friends of St James’s Square is open to anyone who lives in the area and accepts our aims and priorities. Membership for a calendar year is only £25. (Email Peter Thompson our secretary: pt.anythinglegal@gmail.com)

Back to MidSummer Muswell, Deanna Bogdanovic of BonaFideStudio has to say this about the event: “Following on from the success of last year’s event, we want to show that the Muswell Hill community spirit is stronger than ever. We have therefore formed a company called Friends of St James Square and membership is open to everyone (more details on our website).  Our aim is to give the neighbourhood a memorable family day out, hoping that this will be a date to look forward to in the Muswell Hill calendar for many years to come”.

Mel Pretorius of Red Desk: “With our strong team of volunteers we are hoping to bring more events on St James’s Square making it a Muswell Hill hub for arts, traders and families.”

MidSummer Muswell Hill Events:

From 2-6pm, the outside stage in St James Square will host music, dancers, a fashion show, quiz and comedy.

St James Square will also be alive with pop-up stalls, tasty food and drink, competitive events, as well as a treasure hunt, games and stalls manned by local organisations and charities.

Meanwhile over at St James Church, there will be face painters, a bouncy castle, bands, gymnastics, choirs, an art exhibition plus more games and entertainment.

The event will also act as a fundraiser for:

WAVE (We Are all Valued Equally) at St James Church, an outreach programme for young adults with learning difficulties.

LCCCP (London Centre for Cerebral Palsy).

We are adding more to our line up as we draw closer to the date.

Finally, a big thank you to sponsors: Tatlers (Outside Stage), Rose & Mary and Planet Organic (Gold), MEB the Motor Centre & Bill’s (Silver).

For more info on all MidSummer Muswell:

Twitter @Muswellites; Facebook http://www.facebook.com/Muswellitesmidsummermuswell

Audio mixing tips

The recording sessions are done and dusted, and it’s time to sculpt your final mix.
Mixing is an art form in itself, and is best placed in the hands of a specialist if you can afford it. 0208 883 9641

Whether you are finishing off a working mix or coming to our studio and starting with a bunch of stems loaded into a new system, always begin with the basics and work up from there. By that we mean start with the solo’d drums and balance them properly against each other to get the kit sounding just right. Then unmute the bass and work on its interaction with the drums. From there, start to introduce more and more elements into the mix one at a time.
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Watch out: Excessive low-end is probably one of the most common problems in mixes coming from project studios. Usually this is directly related to the mixing environment. The average home studio or project room is lacking in real acoustical treatment is and rife with reflective surfaces and bass traps. The result is an uneven response across the bass spectrum, with some notes being overemphasized and others being practically inaudible. This translates to a poorly balanced low end in your mix.

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Have you every listened to a really dense piece of music and wondered: How did the producers and engineers make it possible to hear every note from each instrument? Well, the answer might be simpler than you think: panning. Even if you don’t perform with a band, you can use audience perspective and complementary panning to create a spacious mix. Because of the way humans hear sound in stereo, panning is actually a more powerful mixing technique than volume. Once you have the tracks panned in the stereo field, you’ll be amazed at how easily you can hear each and every note, with nothing getting lost in the mix.

We offer online and in-house mixing and mastering. Check our prices here.