Music rehearsal space

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A music rehearsal space is a room or number of rooms dedicated to music-making. A professionally soundproofed 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 rehearsal and recording 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 bands for rehearsing, including makeshift rooms and shared areas such as halls and community centers (see https://www.bandspace.info/the-music-rehearsal-space).

Contents

Importance of music rehearsal spaces to musicians

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 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.

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 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 https://www.bandspace.info/post/setting-up-a-music-rehearsal-space).

The National Museums Liverpool [1] 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 rehearsal spaces were Vulcan Studios and The Ministry set up in old Victorian warehouses and used by many local rock musicians.

BBC News in 2006 reported the opening of a music rehearsal space in Wrexham in Wales in the UK. [2] 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 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.

The UK's Musicians' Union's Winter 2015 edition of its Musicians Journal published an article titled "How to find and make the most of a rehearsal studio" (p. 36). [3] 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 develops. Good rehearsal spaces support musicians to flourish by providing great room acoustics, excellent facilities, a friendly atmosphere and convenient location.

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 [4]

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.

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.

Commercial music rehearsal spaces

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 have flexible opening hours because some musicians prefer to work at weekends and late at night.

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 physical space to music-making can often be overlooked in favour of the creative process.

Commercial spaces usually offer variable hire rates according to the following:

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 https://www.bandspace.info/post/music-lockout).

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.

The music rehearsal space economy

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 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.

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. [5] highlighted the issues of affordability and space for independent 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.

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 https://www.bandspace.info/post/music-rehearsal-spaces-and-economic-regeneration).

Music Education

UK Music published Liberating Creativity [6] in 2010. Its Recommendation Five highlighted a need to use public spaces so musicians can practice.

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 development of young musicians and music ensembles. [7] 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. [8] The evaluation report found a music space is defined by its purpose and the availability of equipment and instruments.

The UK government's Department for Education and Skills published in 2004 its Music Manifesto. [9] 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".

Researchers Dickens and Lonie [10] 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.

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. The Good practice guide to planning music in Myplace Centres [11] 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, Good practice guide to running a music facility in Myplace Centres provides information on managing a youth music rehearsal space with ideas for activities.

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 https://www.bandspace.info/post/music-rehearsal-spaces-in-schools).

Soundproofing

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.

Alec Nisbett in his book Sound Studios [12] 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 properties.

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 Environmental Health Officers and the Health and Safety Executive (HSE) recommends using a suitable venue for music rehearsals. Its Note 9 [13] suggests a common problem with practice rooms is they lack physical volume, have low ceilings and limited space for separation between players.

The Sonicbids Blog How to Set Up the Ideal Band Rehearsal Space [14] suggests the positioning of the musicians and equipment is important so each band member can hear what he, she and others are playing.

Ole Adrian Heggli in his MA thesis Room Acoustics for Small Scale Rehearsal Rooms for Pop and Rock Music [15] 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.

Related Research Articles

<span class="mw-page-title-main">Kling Klang Studio</span> German recording studio; private music studio of the band Kraftwerk

Kling Klang is the private music studio of the band Kraftwerk. The name is taken from the first song on the Kraftwerk 2 album. The studio was originally located at Mintropstraße 16 in Düsseldorf, Germany, adjacent to Düsseldorf Hauptbahnhof, but in mid-2009 moved to Meerbusch-Osterath, around 10 kilometers west of Düsseldorf. The band also operate a record label named Kling Klang, which they use to release their music.

Reverberation, in acoustics, is a persistence of sound, or echo after a sound is produced. Reverberation is created when a sound or signal is reflected causing numerous reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture, people, and air. This is most noticeable when the sound source stops but the reflections continue, their amplitude decreasing, until zero is reached.

<span class="mw-page-title-main">Recording studio</span> Facility for sound recording

A recording studio is a specialized facility for sound recording, mixing, and audio production of instrumental or vocal musical performances, spoken words, and other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally, both the recording and monitoring spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties.

Room acoustics is a subfield of acoustics dealing with the behaviour of sound in enclosed or partially-enclosed spaces. The architectural details of a room influences the behaviour of sound waves within it, with the effects varying by frequency. Acoustic reflection, diffraction, and diffusion can combine to create audible phenomena such as room modes and standing waves at specific frequencies and locations, echos, and unique reverberation patterns.

<span class="mw-page-title-main">Acoustical engineering</span> Branch of engineering dealing with sound and vibration

Acoustical engineering is the branch of engineering dealing with sound and vibration. It includes the application of acoustics, the science of sound and vibration, in technology. Acoustical engineers are typically concerned with the design, analysis and control of sound.

<span class="mw-page-title-main">Studio</span> Artist or workers workroom

A studio is an artist or worker's workroom. This can be for the purpose of acting, architecture, painting, pottery (ceramics), sculpture, origami, woodworking, scrapbooking, photography, graphic design, filmmaking, animation, industrial design, radio or television production broadcasting or the making of music. The term is also used for the workroom of dancers, often specified to dance studio.

Gobo is a sound recording term for a movable acoustic isolation panel. In typical use, a recording engineer might put a gobo between two musicians to increase the isolation of their microphones from each other.

<span class="mw-page-title-main">Electronic drum</span> Musical instrument

Electronic drums is a modern electronic musical instrument, primarily designed to serve as an alternative to an acoustic drum kit. Electronic drums consist of an electronic sound module which produces the synthesized or sampled percussion sounds and a set of 'pads', usually constructed in a shape to resemble drums and cymbals, which are equipped with electronic sensors to send an electronic signal to the sound module which outputs a sound to the player. Like regular drums, the pads are struck by drum sticks and they are played in a similar manner to an acoustic drum kit, albeit some differences in the drumming experience.

<span class="mw-page-title-main">Snape Maltings</span>

Snape Maltings is an arts complex on the banks of the River Alde at Snape, Suffolk, England. It is best known for its concert hall, which is one of the main sites of the annual Aldeburgh Festival.

<span class="mw-page-title-main">Rehearsal</span> Practice performance

A rehearsal is an activity in the performing arts that occurs as preparation for a performance in music, theatre, dance and related arts, such as opera, musical theatre and film production. It is undertaken as a form of practising, to ensure that all details of the subsequent performance are adequately prepared and coordinated. The term rehearsal typically refers to ensemble activities undertaken by a group of people. For example, when a musician is preparing a piano concerto in their music studio, this is called practising, but when they practice it with an orchestra, this is called a rehearsal. The music rehearsal takes place in a music rehearsal space.

<span class="mw-page-title-main">Noise control</span> Strategies to reduce noise pollution or its impact

Noise control or noise mitigation is a set of strategies to reduce noise pollution or to reduce the impact of that noise, whether outdoors or indoors.

School of Jazz and Contemporary Music at The New School is the second conservatory of The New School university. It is located on West 13th Street in New York City's Greenwich Village neighborhood. It was known as The New School for Jazz and Contemporary Music before it was rebranded as School of Jazz and Contemporary Music and becoming part of College of Performing Arts at The New School in 2016.

Acoustic enhancement is a subtle type of sound reinforcement system used to augment direct, reflected, or reverberant sound. While sound reinforcement systems are usually used to increase the sound level of the sound source, acoustic enhancement systems are typically used to increase the acoustic energy in the venue in a manner that is not noticed by the audience. The correctly installed systems replicate the desired acoustics of early reflections and reverberation from a room that is properly designed for Acoustic Music. An additional benefit of these systems is that the room acoustics can be changed or adjusted to be matched to the type of performance. The use of Acoustic Enhancement as Electronic Architecture offers a good solution for multi-use performance halls that need to be "dead" for amplified music, and are used occasionally for acoustic performances. These systems are often associated with acoustic sound sources like a chamber orchestra, symphony orchestra, or opera, but have also found acceptance in a variety of applications and venues that include rehearsal rooms, recording facilities conference rooms, sound stages, sports arenas, and outdoor venues.

LARES is an electronic sound enhancement system that uses microprocessors to control multiple loudspeakers and microphones placed around a performance space for the purpose of providing active acoustic treatment. LARES was invented in Massachusetts in 1988, by Dr David Griesinger and Steve Barbar who were working at Lexicon, Inc. LARES was given its own company division in 1990, and LARES Associates was formed in 1995 as a separate corporation. Since then, hundreds of LARES systems have been used in concert halls, opera houses performance venues, and houses of worship from outdoor music festivals to permanent indoor symphony halls.

The Conservatory of Music (COM) is one of eleven schools and colleges at University of the Pacific. It is located on the school’s main campus in Stockton, California.

<span class="mw-page-title-main">Audio engineer</span> Engineer involved in the recording, reproduction, or reinforcement of sound

An audio engineer helps to produce a recording or a live performance, balancing and adjusting sound sources using equalization, dynamics processing and audio effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the "technical aspect of recording—the placing of microphones, pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer... the nuts and bolts."

The Kathmandu Jazz Conservatory is a center for musical studies which opened in the fall of 2007 in the sub-metropolitan city of Lalitpur, outside Kathmandu, Nepal.

<span class="mw-page-title-main">Alexander Hall (Princeton University)</span>

Richardson Auditorium in Alexander Hall is a historic 900-seat Richardsonian Romanesque performance hall at Princeton University in Princeton, New Jersey. It is home to both the Princeton University Orchestra and the Princeton Symphony Orchestra.

Zorlu PSM inside Zorlu Center is currently the largest dedicated performing arts theatre and concert hall in Istanbul, Turkey. It is located in the Beşiktaş district on the European side of the city, near the junction between Barbaros Boulevard and Büyükdere Avenue, in close proximity to Levent.

<span class="mw-page-title-main">Princeton University Orchestra</span>

The Princeton University Orchestra (PUO) is the flagship symphony orchestra of Princeton University. The ensemble tours internationally and includes over 100 musicians, almost all of whom are undergraduates at the university. Every academic year, the Princeton University Orchestra holds eight or nine concerts in Richardson Auditorium in Alexander Hall.

References

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  2. "Ex-pop star opens music studio". 26 January 2006.
  3. https://issuu.com/musicians_union/docs/the_musician__winter_2015/1?e=5264862/32017501 [ dead link ]
  4. "Categories | TPi AWARDS 2022".
  5. "Rehearsal Space | Martin Prosperity Institute". martinprosperity.org. Archived from the original on 2016-09-24.
  6. http://www.mpaonline.org.uk/sites/default/files/LC_BrochureDigital4.pdf [ bare URL PDF ]
  7. http://www.sound-connections.org.uk/wp-content/uploads/2012-11-Pilot-Rehearsal-Spaces-report-November-2012.pdf [ bare URL PDF ]
  8. http://old.culture.gov.uk/what_we_do/creative_industries/5016.aspx
  9. Music Manifesto, National Archives (UK)
  10. Mills, S. and Kraftl, P. (exp. 2014) (Eds.) Informal Education, Childhood and Youth: Geographies, Histories, Practices, Basingstoke: Palgrave Macmillan. Chapter 12, Rehearsal spaces as "children’s spaces"? Considering the place of non-formal music education
  11. "Document Details | Planning music". Archived from the original on 2017-02-02. Retrieved 2016-07-23.
  12. Nisbett, Alec. Sound Studios, 1995, Focal Press
  13. "Sound Advice Note 9 – Rehearsals and warm-ups". Archived from the original on 2016-08-14. Retrieved 2016-07-03.
  14. "How to Set up the Ideal Band Rehearsal Space".
  15. Heggli, Ole Adrian. "(PDF) Room Acoustics for Small Scale Rehearsal Rooms for Pop and Rock Music | Ole Adrian Heggli - Academia.edu".