Tag Archive: British Recording Industry

  1. Horus Music welcomes PPL and PRS for Music move

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    PRS and PPL Leicester move

    Earlier this week it was announced that Phonographic Performance Limited (PPL) and PRS for Music will be moving their national headquarters from London to Leicester city centre.

    Their new joint venture will begin around July 2017 and will be based in Mercury Place.

    Here at Horus Music we are very excited about this move to join us in Leicester. This has been our home for almost 10 years now and amongst the vibrant music that is played here we enjoy the Midland Mainline service meaning it takes us less than an hour to get into London city centre; less time than many those that are based around London itself.

    We have been partners with both PRS for Music and PPL for many years, and we have seen the benefits that their service provides to our many independent artists and record label clients, which includes the licensing of musical composition and lyrics on behalf of songwriters, composers and publishers as well as the licensing of recorded music for record companies and performers which is played in public or in digital media.

    CEO and Managing Director of Horus Music, Nick Dunn, adds: We’re very happy to see that more and more companies are realising that there are opportunities for business, especially in the music industry, that are available outside of London and have the additional benefit of being both financially and environmentally friendly. We welcome PPL and PRS for Music to such a diverse and growing city.”

    Everyone at Horus Music looks forward to many more years of a successful partnership with both of these companies and hope that our relationship with grow even further as we work together in the city of Leicester to help the musicians, songwriters and record labels of Leicestershire and beyond.

  2. 3 Strategies For Growing Your Music Creativity

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    An insiders Guide to creating better ideas. Faster.

    The average hit song in 2016 is just over three minutes long. Only three minutes to fill with hit material! Easy right? But we all know that making tracks takes hours. Weeks. Months….Years.

    Sure there’s a few exceptions. Like Max Martin’s mind melting pace of #1 hits. Or Jamie Jones’ biggest hit that was made in just 45 minutes. But are these just exceptions? Is brilliance fleeting?

    3 Strategies For Growing Your Music Creativity

    Put your creativity to the test

    Does Creativity Have To Take A Lot Of Time?

    Maybe. But finding that one magic idea means diving deep. David Lynch put it best when he said: “Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. Down deep, the fish are more powerful and more pure. They’re huge and abstract. And they’re very beautiful.”

    Being creative can sometimes mean your track gets delayed. Delayed again. And all of a sudden your idea is drowning and the roadblocks start taking over:

    • Doubt: When you open up an old project, you might start doubting your initial idea. And after you open it for the sixth time, the idea might be completely lost on you… Even though the initial idea was brilliant.
    • Confusion: Sometimes, a great idea needs to be wrapped up in the moment to capture the spirit behind it. Think of photography. Can you imagine composing a picture for days? You’d go crazy. The longer it takes, the harder it is to understand.
    • Weak results: When you spend months toiling over one song, you are literally ignoring hundreds of potential songs. Think of how many other songs you could have done in that span of time?

    Don’t get bit by the perfectionism bug. Being prolific is a skill. And you only get skilled through practice. Here’s how to counter the fear of creating:

    • Start TONS of projects: Don’t think about it. Don’t tweak things. Just freakin’ do it. You have an idea for a melody? Open a project, write it down and save it. Give yourself an objective to do three projects minimum in an evening instead of finishing one average song. Use the Pommodoro Technique to get a drive.
    • Record live: Perhaps you’re not the best performer just yet. So start by recording live takes into your DAW. This will give you spontaneous and fresh ideas that you can edit later. Plus it makes you practice. Start new projects, save them.
    • Harvest: This is where fun begins. Put all of those unfinished songs in a folder. Now you can combine that melody you made one night—at 4 AM—with the percussion idea you had one Sunday afternoon with your brother in law.

    So there you go, have lots of ideas, combine and harvest ideas, you’ll get to a level you never thought you’d get.

  3. 5 Steps to Finishing a Track Properly

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    Before you send your mix out for audio mastering, there are 5 steps you have to take to get the best results.

    It can be really annoying when masters come back and a little mistake you made is suddenly loud and clear. It’s easy to blame everyone else too, but can often be fixed by correcting some common mixing mistakes.

    Follow these 5 steps and finish your tracks the right way.

    5 Steps to Finishing a Track Properly

    1. Housecleaning

    When you create a track you’re also creating the room that it’s in. Clean up your mix:

    1. Check your edit points – Go back into the mix to all the places where you made edits in the mixing phase and listen close to the edit points. Make sure your fades are seamless and there’s no abrupt cut off or drop out. The smooth fade is the better fade.
    2. Solo your tracks – Listen to each track on it’s own. Make sure they’re faded in and out properly. These are the little things that you can’t fix after you export. So be safe and check before it’s too late.
    3. Take out the garbage – Take out the pops, the clicks, the blips, and the swishes that may have snuck into your mix. This is your last chance to remove all the little sound artefacts. Check each track in solo mode and be thorough. Mastering can amplify and magnify these unwanted noises, so it’s better to be safe than sorry.

     2. Leave Headroom

    Headroom is something you should be considering throughout the mixing phase. But it’s a good idea to check it again while you’re finalising a project. This is the most important key to getting the most out of your mastering tool.

    You need to leave a certain amount of space—typically about 6dBFs between ‘0’ and the loudest part of your track.

    Hot Tip: don’t put a limiter on your master bus. Mastering will take care of that.

    mixing3. The Top

    The first thing you should hear at the start of your track is silence. Confused? Let me explain.

    Mastering needs room to work. So leave one bar of courtesy space at the start of your track. This will also give you the option to alter your intro or fade-in down to road if you decide that your original wasn’t working.

    4. … And The Tail

    The last thing you should hear at the end of your track is also silence. So leave a bar of silence at the end of your track as well.

    Even after the fade out you should be leaving a space of silence. This will ensure that all your reverbs and delays have room to fade out completely. Delays and reverbs will continue long after the sound that they’re applied to. So be aware of how they tail off. Nothing is worse than having a delay cut off at the very end of your track.

    Hot Tip: use headphones to be absolutely sure when your reverb and delay tails end.

    A little bit of silence is also great for giving the listener a moment to reflect on how much they enjoyed listening to your track. :)

    5. Just Listen

    Put on headphones and listen to your ENTIRE song all the way through. Better yet, do it twice. This is your final chance to be absolutely sure everything is in order. The first time around listen for all the technicalities mentioned above—artefacts, fades, edit points, reverb and delay tails.

    Hot Tip: remember that reverb and delay tails don’t ‘snap-to-grid’ in most DAWs.

    This ensures that all your housecleaning is done. Then listen again, but listen objectively. Stop being a mixer and just be a music fan. Does your track do everything you want it to? Is it sounding perfect in all the right places?

    It is? Perfect. You’ve finished your track properly.