It’s A Wonderfull Muswell!

Local traders and residents have secured a wonderful Christmas tree this year which will be lit on Small Business Saturday at our new celebration we are calling “It’s a Wonderful Muswell”.  Join us in St James Square at 4pm on Saturday 7th December to see it lit in all its glory.  There’s plenty going on in Muswell Hill throughout the day and we are proud as punch to be one of the key organisers.

Join us and Muswell Hill traders and residents in seasonal fun and frolics on 7th of December.

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Music Copyright in UK


The first of these rights is the right to the song or musical composition, also known as the publishing copyright. Songwriters who have either written the composition or the lyrics will get the copyright to the song attributed to them. It is worth noting that if one songwriter writes the composition and another writes lyrics, they all share the rights to both parts of the song.

In the UK, copyright is created when music is manifested in a tangible form. This means you create the publishing right when you notate the chords and melody or write down the lyrics. Recording the song also creates a copyright. However, this also creates another music copyright for the sound recording.

The good news is that in the UK, copyrighting a song is automatic once the song is tangible, so either written down or recorded. However, this doesn’t mean you’ll start earning royalties. You will need to join collection societies in order to start capitalising on your copyright.

Music copyright includes the right to the song and the right to the recording, known as the master copyright. The master is the final version of a recording. All CDs, vinyl records or digital versions of this master are copies made with a license to copy the master.

A single song has the potential to be made into multiple different recordings. This creates different copyrights for each master of the recording. First, permission from the owner of the publishing needs to be given. The right to reproduce a song in a sound recording is known as the mechanical license and a recording can’t be created for commercial purposes without this right.

Of course, if you own the publishing then you have nothing to worry about when recording your song. However, if another recording artist likes your song, they wouldn’t be able to make a recording of it without obtaining a mechanical license from you.

Having these two separate rights means that one songwriter can license their song to multiple recording artists. It also means that the songwriter will receive royalties for each sale or performance of the song, whether live or through the broadcast of the recording. The songwriter won’t receive any royalties attributed to the master copyright of the sound recording.


(via OpenMikeUK)

Traders Week in Muswell Hill

93b00a78-36a7-44b1-a69d-040a85e75cabSmall businesses need your support to thrive, expand, and create jobs. And the economy needs a healthy small business community to bolster and sustain its recovery. That is why we have decided to kick start Muswell Hill Traders Association this year and play key part in organising Traders Week 21/9-28/9
Our #shoplocal campaign is providing support to local businesses through the Association rebranded now Muswell Business and raising awareness on its importance.

We are on a mission to encourage #shoppers to spend more with the #localshops and use local services like ours to help our high-street remain diverse and interesting. Join us!

Take a pledge!

How to record small percussion instruments

Recording hand percussion is often more challenging than it would initially appear to be. Part of the problem is that often the sound pressure levels aren’t that high — so close-miking appears to be sensible approach to take — yet a lot of physical movement is involved in playing the instrument in question, making distant mic placement seem like a better option.

Whatever you’re recording — from balaphons to finger cymbals and thumb pianos — you will need a microphone that is able to deal with a very wide range of frequencies. Percussion obviously involves a lot of fast transients, and the detail of the sound is conveyed by those transients, so a responsive microphone such as a capacitor is a must. But ribbon mics are enjoying renewed popularity, thanks to the new cheap components flooding the market. These tend to sound smoother and more natural than capacitor mics, without any resonant emphasis at the high end (which can be an issue with tambourines, for example). However, most have a figure-of-eight polar pattern, which will result in more room pickup than, for example, a cardioid mic. Some ribbons are designed with ‘bright’ and ‘dark’-sounding sides, so some experimentation may be appropriate to see what complements the percussive sound best.

Deciding whether the sound of the room enhances or degrades the recorded signal is something that you will have to do after listening to what’s coming from the mics. Generally speaking, domestic rooms tend to sound boxy and add little to the life of the sound. Therefore, you may be better off keeping the recording fairly dry and then adding ambient reverb (predominantly early reflections) when you mix. If you find that you’re getting too much of the room sound in your recorded signal, you can place a broadband absorber, such as a commercially available filter or some thick duvets, behind the mic.

Mic positioning varies from instrument to instrument, but my general rule for capturing a natural sound is not to bring the mic closer than the longest dimension of that part of the instruments that produces sound. In the case of a drum, this would be the head diameter, though as with all drums, you can mic them very close up if that produces a more useful sound, even though it may not be as accurate as miking from a greater distance. It’s always best to search for the sweet spot, but as a fallback position, you can usually capture a decent sound by miking over the player’s shoulder, providing the instrument sounds good to the player.

Absolute rhythmic accuracy is usually of prime importance with hand percussion, and if the performer’s abilities are limited (playing hand percussion accurately for a three-minute track is extremely difficult and tiring), then there isn’t much shame in identifying a bar, or a couple of bars, that work well, and then copying and pasting them as necessary in to the track.


How to get a gig if you’re an unsigned band

Once you and your band have strung a few decent tunes together, and you’ve practised enough to give yourself (and all your neighbours) tinnitus, there’s only one thing left to do. Play a gig. Getting out there and getting your music heard is essential for young bands but, as all too many know all too well, sometimes it’s not that easy.

1. Make sure the music is recorded to a high level

When you get sent a track and the quality of the recording is good (doesn’t have to be studio level), it makes you take the music a lot more seriously. It’s harder to get into the music when it’s an iphone recording and you can hear a baby crying in the background. Well recored music sets a precedent and shows that you’re taking the project seriously.

2. Send an Email that makes sense and give context

Everyone complains about the amount of emails they receive so best to send something that is short, concise and easy to read. Make sure there is a link to music that works (the amount of times I’ve tried to open a soundcloud link that doesn’t work) and maybe include one video that has some sort of live element. If you don’t have this, don’t worry, one track is fine. If the booker likes the music, they’ll want to hear more and will respond to you. If you’ve supported artists on the way up, or have played reputable music venues, mention that in the email, it gives context.

3. Always follow up

If the person you have sent the music to hasn’t responded after a week or two, it’s totally fine and advisable to send a reminder asking them to give you some feedback. The likelihood is that it’s just at the bottom of their inbox. Don’t send a rude email or constantly chase up every day.

4. Go to a gig / open mic night

Try meet the person who books these shows. Go to gigs and meet artists, make new friends. You’re more likely to get a gig if you have a personal relationship with the booker or the band!

5. Keep on writing

If you’re struggling to get gigs it might be because you’re not ready! Keep on writing and don’t give up. Lots of young musicians try to get out and gig too early so don’t get deflated if no one is getting back to you yet.

Thank you for loving us!

Our 20th anniversary Party day was officially open by our Local MP ‪Catherine West MP and Dr Who himself #PeterCapaldi who cut our cake and ‘played’ host until 2pm. Over 200 musos come through our doors on 1/5 to wish us well.

We would like to thank all our bonafide friends who came to help us celebrate but also those who could not make it but sent their love.


We would also like to thank ITV News, Guardian, Evening Standard, Becky Beach, Making Music, Art Channel, Art Council, Ham and High, Britic, The Archer and other media for generously covering our 20th anniversary. We are sincerely touched.


Thank you to our staff, clients and community who contributed to our 20 years of success.
Through the years your talent and loyalty have helped us live the dream.
Together, we take pride in our accomplishment and our commitment to bonafide approach to #MakingMusic.
Here is to 20 more!

20 Year Celebrations at BonaFideStudio

Open Day on 1st of May 10am-10pm. All Welcome!


After 20 years in Music Business and 7 years in this neighbourhood, no wonder it feels that BonaFideStudio is such a permanent fixture of the Muswell Hill community.  When on 1 May 1999 Deanna and Brian Bogdanovic opened the door of their brand new recording studio for the first time, not even they could have foreseen how much it would grow.

BonaFideStudio now work with some of the biggest names in the industry but have most certainly not forgotten the up-and-coming artists who are the stars of the future.  At their heart a family business, Deanna and Brian are always the first to be involved in community events, and passionately believe in what they do.


But 20 years calls for some celebrations!
Deanna and Brian and the team will be holding an open day at the studio:

Wednesday, 1stof May 2019, 10am-10pm

and everyone is invited to come along between 10am-10pm for some cake, drink and a complimentary t-shirt.  Collect your t-shirt and then head out, take photos and tag the studio, and those in the most unusual places will earn themselves some free studio time.


So mark your calendars and come along for an inside view of the studio and a chance to chat and celebrate with Brian and Deanna.


Bonafide Studio

13-14 The Viaduct

St James’s Lane

London N10 3QX