Do not underestimate a power of oboe…

OBOE: This weapon may appear harmless at first sight. The instrument’s stealth qualities lure its intended victims into a false state of security, and then hit them without mercy. The oboe itself is a harmless composite or wooden conical tube.


Once the ordnance (reed) is inserted, it is a weapon of tremendous power. One comforting factor is that the oboe is only as dangerous as the musician who wields it. At first glance, the operator of the oboe appears sweet, demure, and quite approachable. Do not be fooled by this deception. The oboist is actually a very high strung and temperamental foe. This mania is caused by the perpetual search for the perfect reed, which we all know doesn’t exist. Those who play on plastic reeds are the bottom dwellers of the oboe world and are especially dangerous. The oboe is capable of producing a tone of laser-like quality. The sheer capabilities of volume produced can overpower an entire concert band. The resulting backpressure produced by over blowing has a two-way effect. It allows the musician to play seemingly forever on one breath resulting in sympathetic vibrations causing bulletproof glass and diamonds to shatter into deadly flying shards. The warning signs of impending doom occur when the musician raises the body of the instrument to her mouth to blow dust from under a key. This is how the weapon is cocked. If you ever see an oboist do this, run for cover my friend, for all Hell is about to break loose. The second effect of this weapon’s backpressure is to cause its owner to eventually go insane. On rare occasions an oboist’s head has been known to explode while firing their weapon. The only countermeasure to this weapon is to remove and professionally destroy the ordnance (reed). Doing so will also incur the wrath of its owner, so use extreme caution. The first master of the oboe as a weapon was Melvin “Schwartz” (Oklahoma All-State Band 1982), name changed to protect the guilty. He single handedly destroyed a performance of the Howard Hanson Romantic Symphony Finale under McBeth with his laser-like tones and inconsistent attacks. To this day, he has a bounty on his head and was last seen tending bar in Tijuana.

Hope to see you soon with your oboe at BonaFideStudio

02088839641 and 02084445054

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.


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.


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.



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…


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.


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 
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. 
 And....because your dad is super human....

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