269:
development of young musicians and music ensembles. evaluated a two-year project to establish 14 pilot music rehearsal spaces in urban and rural areas across
England for young people aged between 8–25 years. The DCMS spent £440,000 to provide instruments and equipment, and contributed towards the cost of capital works, such as sound proofing. The majority of the spaces were located in local authority owned buildings created in collaboration with local and regional government, youth music organisations and the music industry. The evaluation report found a music space is defined by its purpose and the availability of equipment and instruments.
38:
154:
residential and most commercial spaces. Although there may be plenty of commercial space available, sound proofing and acoustic treatment can be costly, requiring technical know-how often beyond the capabilities of the average person. These particular space requirements have left a specialised niche market which has been filled by rehearsal space businesses (see
193:
Rehearsal facilities often supply high quality equipment and on-hand expertise used by amateur and professional musicians preparing for gigs and recordings. Spaces often rent their space by the hour, session or day, and extra services such as instrument and equipment hire. Commercial spaces typically
136:
functions. Music rehearsal spaces are unique in response to their users, location and the building they are housed in developed over several years. Rehearsal spaces serve local musicians and to make access easy are usually located in urban areas. There are many places used by musicians, ensembles and
241:
A music rehearsal space exists according to the size of the community it serves and how it is financed. Some can be for general purposes, while others may specialise. The cost of running a music rehearsal space is such that its support by any given population is limited. With a smaller population it
197:
Music rehearsal spaces are concerned with talent development. As most commercially operated spaces are small, localised and not networked, their overall economic significance goes unnoticed, over-shadowed by the larger economic force of the corporate live and recorded music sectors. The value of the
245:
Roger Martin and
Richard Florida at the Martin Prosperity Institute at the University of Toronto’s Rotman School of Management undertook research into the cost of monthly rehearsal spaces for musicians in the City of Toronto, Canada. highlighted the issues of affordability and space for independent
173:
published an article titled "How to find and make the most of a rehearsal studio" (p. 36). Rehearsal spaces play an important role in the preparation of live and recorded music. Its author, Neil
Crossley, concluded an informal measure of an effective rehearsal space is the rate at which a band
268:
A report commissioned in 2012 by the London music organisation Sound
Connections, working in partnership with UK Music, the UK government's Department for Culture, Media & Sport (DCMS) and the UK's Music Industries Association found access to a rehearsal space is an integral part of the career
320:
advances the idea that the acoustic properties of large houses during the seventeenth and eighteenth centuries defined the balance of sounds in the performance of orchestral and chamber music. Music now on the other hand has come to define the physical design of a space to suit different acoustic
153:
Musicians may not necessarily rehearse and prepare for shows in the same space as they live. This is due to a sonic requirement for space. Loud volume will need to be tolerated by landlords, tenants and the building’s physical structure. These particular space requirements are not appropriate for
161:
The
National Museums Liverpool in the UK asserts a variety of spaces are used for music rehearsals. Many are run on a commercial basis solely for band rehearsals. Music rehearsal spaces enable musicians to practice new songs and support local music scenes. In Liverpool in the 1980s two important
165:
BBC News in 2006 reported the opening of a music rehearsal space in
Wrexham in Wales in the UK. Many musicians had no option but to practise in bedrooms or garages, so Wrexham Council donated a rehearsal space to develop local bands. At its launch, the Welsh Economic Development Minister Andrew
149:
A dedicated music rehearsal space gives musicians the space to perfect their ensemble music-making, compositions and performance skills. Regular rehearsals disciplines the musicians, honing their music-making before performing in front of an audience. A good space enables and nurtures the
343:
suggests a rock and pop music practice room requires different acoustic properties compared to classical acoustic music. It specifies the 63 Hz octave band should be considered in designing a practice room and when sourcing absorption material to improve room acoustics.
150:
music-making process. It should help musicians to feel comfortable, encouraging freedom of expression and implicitly agreed by its users as a safe place to explore ideas. Accessibility is a major factor too because music instruments and equipment can be bulky and heavy.
328:
and the Health and Safety
Executive (HSE) recommends using a suitable venue for music rehearsals. Its Note 9 suggests a common problem with practice rooms is they lack physical volume, have low ceilings and limited space for separation between players.
232:
The incidence of locating music rehearsal spaces in deprived areas, often away from residential areas, is more attractive due to affordable property, concentration of cheaper housing for artists and areas of social, cultural and economic regeneration.
246:
musicians in the city. It found the price of easily accessible rehearsal spaces in the central area of the city were the most costly, posing a serious concern in retaining emerging musical talent, forcing many to relocate to other affordable cities.
312:
The quality of the sound is an important aspect when rehearsing music. Professionally designed music rehearsal spaces will improve the sound of music instruments being played. Substandard acoustics can lead musicians to make the wrong decisions.
181:
Space affects the quality and performance of music. In some cases small environments are not ideal for rehearsing ensembles. Due to the limited size of some practice rooms, the artistry of musicians interacting with one another may be lost.
291:
puts forward a planning process using music-making to engage young people at a
Myplace youth centre. The guide suggests for many young people the cost of hiring a commercial music rehearsal space is too expensive. The second guide,
224:
Spaces do not work at full capacity. Some sub-let rooms to groups or individuals on a semi-permanent basis who in turn often hire out to third parties to recoup their rent. This is commonly known as a music lockout (see
177:
The UK's TPi Awards acknowledges and rewards the achievements of individuals and service companies working within the live production industry. One of its 27 annual awards categories is
Favourite Rehearsal Facility
283:
Researchers
Dickens and Lonie consider the role played by non-formal educational provision in the geographies of childhood, learning and education where the music rehearsal studio is examined, using case studies.
299:
In January 2009, a group of music practitioners from the education, community and professional music sectors met at Morpeth School in London to consider what future music spaces in schools should look like (see
242:
may be difficult to sustain a space: there may be only two practice rooms or even one, jeopardising its very survival. A music rehearsal space represents a great capital investment in equipment and premises.
280:. It asserted many young people make music outside school forming 'garage' bands, and writing and playing music in their bedrooms and on their computers. It labelled this form of music-making "informal".
185:
Owning and running a music rehearsal space requires a range of skills, including business planning, knowledge of music equipment and instruments, building and personnel management and legal matters.
287:
The consultancy firm Hall Aitken working for the UK government's Department for Children Schools and Families and the Big Lottery Fund]'s £280m Myplace programme produced two good practice guides.
324:
Sound Advice works to provide practical guidelines on the control of noise at work in music and entertainment. Its representatives working in the music and entertainment industries together with
483:
166:
Davies, highlighted the significance of the music industry to the UK economy, and by providing space for musicians to work on their music will help sustain the local music scene.
468:
273:
249:
The Bandspace website suggests without a physical space, music scenes remain rootless, moving from one location to another with little time to explore, connect and create (see
495:
482:
Mills, S. and Kraftl, P. (exp. 2014) (Eds.) Informal Education, Childhood and Youth: Geographies, Histories, Practices, Basingstoke: Palgrave Macmillan. Chapter 12,
174:
develops. Good rehearsal spaces support musicians to flourish by providing great room acoustics, excellent facilities, a friendly atmosphere and convenient location.
67:
361:
128:
practice room(s) is an acoustic environment defined by its purpose and layout, designed to keep sound inside and unwanted sound out. Spaces can combine
446:
530:
336:
suggests the positioning of the musicians and equipment is important so each band member can hear what he, she and others are playing.
107:
83:
162:
rehearsal spaces were Vulcan Studios and The Ministry set up in old Victorian warehouses and used by many local rock musicians.
499:
414:
388:
325:
59:
250:
63:
572:"(PDF) Room Acoustics for Small Scale Rehearsal Rooms for Pop and Rock Music | Ole Adrian Heggli - Academia.edu"
447:
http://www.sound-connections.org.uk/wp-content/uploads/2012-11-Pilot-Rehearsal-Spaces-report-November-2012.pdf
435:
137:
bands for rehearsing, including makeshift rooms and shared areas such as halls and community centers (see
556:
48:
591:
72:
52:
457:
155:
301:
265:
in 2010. Its Recommendation Five highlighted a need to use public spaces so musicians can practice.
534:
76:
194:
have flexible opening hours because some musicians prefer to work at weekends and late at night.
87:
484:
Rehearsal spaces as "children’s spaces"? Considering the place of non-formal music education
133:
375:
296:
provides information on managing a youth music rehearsal space with ideas for activities.
198:
physical space to music-making can often be overlooked in favour of the creative process.
596:
138:
585:
389:
https://issuu.com/musicians_union/docs/the_musician__winter_2015/1?e=5264862/32017501
125:
422:
251:
https://www.bandspace.info/post/music-rehearsal-spaces-and-economic-regeneration
226:
201:
Commercial spaces usually offer variable hire rates according to the following:
17:
129:
124:
is a room or number of rooms dedicated to music-making. A professionally
436:
http://www.mpaonline.org.uk/sites/default/files/LC_BrochureDigital4.pdf
400:
341:
Room Acoustics for Small Scale Rehearsal Rooms for Pop and Rock Music
571:
458:
http://old.culture.gov.uk/what_we_do/creative_industries/5016.aspx
294:
Good practice guide to running a music facility in Myplace Centres
156:
https://www.bandspace.info/post/setting-up-a-music-rehearsal-space
302:
https://www.bandspace.info/post/music-rehearsal-spaces-in-schools
27:
Room used for rehearsal purposes and recording of musical pieces
31:
289:
The Good practice guide to planning music in Myplace Centres
70:
and tools are available to assist in formatting, such as
169:
The UK's Musicians' Union's Winter 2015 edition of its
139:
https://www.bandspace.info/the-music-rehearsal-space
220:whether equipment and/or instruments are supplied
145:Importance of music rehearsal spaces to musicians
531:"Sound Advice Note 9 – Rehearsals and warm-ups"
520:Nisbett, Alec. Sound Studios, 1995, Focal Press
415:"Rehearsal Space | Martin Prosperity Institute"
557:"How to Set up the Ideal Band Rehearsal Space"
227:https://www.bandspace.info/post/music-lockout
8:
334:How to Set Up the Ideal Band Rehearsal Space
51:, which are uninformative and vulnerable to
362:"World Museum | National Museums Liverpool"
66:and maintains a consistent citation style.
108:Learn how and when to remove this message
496:"Document Details | Planning music"
353:
7:
401:"Categories | TPi AWARDS 2022"
339:Ole Adrian Heggli in his MA thesis
274:Department for Education and Skills
58:Please consider converting them to
25:
237:The music rehearsal space economy
189:Commercial music rehearsal spaces
376:"Ex-pop star opens music studio"
36:
62:to ensure the article remains
1:
326:Environmental Health Officers
613:
316:Alec Nisbett in his book
473:, National Archives (UK)
217:block-booking discounts
276:published in 2004 its
425:on 24 September 2016.
263:Liberating Creativity
205:size of practice room
122:music rehearsal space
570:Heggli, Ole Adrian.
419:martinprosperity.org
272:The UK government's
332:The Sonicbids Blog
261:UK Music published
502:on 2 February 2017
378:. 26 January 2006.
214:weekday or weekend
537:on 14 August 2016
211:length of session
171:Musicians Journal
118:
117:
110:
68:Several templates
16:(Redirected from
604:
576:
575:
567:
561:
560:
553:
547:
546:
544:
542:
533:. Archived from
527:
521:
518:
512:
511:
509:
507:
498:. Archived from
492:
486:
480:
474:
466:
460:
455:
449:
444:
438:
433:
427:
426:
421:. Archived from
411:
405:
404:
397:
391:
386:
380:
379:
372:
366:
365:
358:
113:
106:
102:
99:
93:
91:
80:
40:
39:
32:
21:
612:
611:
607:
606:
605:
603:
602:
601:
582:
581:
580:
579:
569:
568:
564:
555:
554:
550:
540:
538:
529:
528:
524:
519:
515:
505:
503:
494:
493:
489:
481:
477:
470:Music Manifesto
467:
463:
456:
452:
445:
441:
434:
430:
413:
412:
408:
399:
398:
394:
387:
383:
374:
373:
369:
360:
359:
355:
350:
310:
278:Music Manifesto
259:
257:Music Education
239:
191:
147:
114:
103:
97:
94:
82:
71:
57:
41:
37:
28:
23:
22:
15:
12:
11:
5:
610:
608:
600:
599:
594:
584:
583:
578:
577:
562:
548:
522:
513:
487:
475:
461:
450:
439:
428:
406:
392:
381:
367:
352:
351:
349:
346:
309:
306:
258:
255:
238:
235:
222:
221:
218:
215:
212:
209:
206:
190:
187:
146:
143:
116:
115:
98:September 2022
60:full citations
44:
42:
35:
26:
24:
18:Rehearsal room
14:
13:
10:
9:
6:
4:
3:
2:
609:
598:
595:
593:
590:
589:
587:
573:
566:
563:
558:
552:
549:
536:
532:
526:
523:
517:
514:
501:
497:
491:
488:
485:
479:
476:
472:
471:
465:
462:
459:
454:
451:
448:
443:
440:
437:
432:
429:
424:
420:
416:
410:
407:
402:
396:
393:
390:
385:
382:
377:
371:
368:
363:
357:
354:
347:
345:
342:
337:
335:
330:
327:
322:
319:
318:Sound Studios
314:
308:Soundproofing
307:
305:
303:
297:
295:
290:
285:
281:
279:
275:
270:
266:
264:
256:
254:
252:
247:
243:
236:
234:
230:
228:
219:
216:
213:
210:
207:
204:
203:
202:
199:
195:
188:
186:
183:
179:
175:
172:
167:
163:
159:
157:
151:
144:
142:
140:
135:
131:
127:
123:
112:
109:
101:
89:
88:documentation
85:
78:
77:documentation
74:
69:
65:
61:
56:
54:
50:
45:This article
43:
34:
33:
30:
19:
592:Music venues
565:
551:
539:. Retrieved
535:the original
525:
516:
504:. Retrieved
500:the original
490:
478:
469:
464:
453:
442:
431:
423:the original
418:
409:
395:
384:
370:
356:
340:
338:
333:
331:
323:
321:properties.
317:
315:
311:
298:
293:
288:
286:
282:
277:
271:
267:
262:
260:
248:
244:
240:
231:
223:
200:
196:
192:
184:
180:
176:
170:
168:
164:
160:
152:
148:
126:soundproofed
121:
119:
104:
95:
84:Citation bot
46:
29:
208:time of day
586:Categories
348:References
64:verifiable
134:recording
130:rehearsal
49:bare URLs
53:link rot
506:23 July
541:3 July
73:reFill
597:Rooms
47:uses
543:2016
508:2016
132:and
81:and
304:).
253:).
229:).
158:).
141:).
588::
417:.
120:A
574:.
559:.
545:.
510:.
403:.
364:.
111:)
105:(
100:)
96:(
92:.
90:)
86:(
79:)
75:(
55:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.