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.
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.
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.
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.
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.
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.
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.
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.
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 after it is produced. Reverberation is created when a sound or signal is reflected. This causes 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.
A recording studio is a specialized facility for recording and mixing 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.
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.
In music, sight-reading, also called a prima vista, is the practice of reading and performing of a piece in a music notation that the performer has not seen or learned before. Sight-singing is used to describe a singer who is sight-reading. Both activities require the musician to play or sing the notated rhythms and pitches.
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 and financial services administration. The term is also used for the workroom of dancers, often specified to dance studio.
A sound reinforcement system is the combination of microphones, signal processors, amplifiers, and loudspeakers in enclosures all controlled by a mixing console that makes live or pre-recorded sounds louder and may also distribute those sounds to a larger or more distant audience. In many situations, a sound reinforcement system is also used to enhance or alter the sound of the sources on the stage, typically by using electronic effects, such as reverb, as opposed to simply amplifying the sources unaltered.
A session musician is a musician hired to perform in a recording session or a live performance. The term sideman is also used in the case of live performances, such as accompanying a recording artist on a tour. Session musicians are usually not permanent or official members of a musical ensemble or band.
Architectural acoustics is the science and engineering of achieving a good sound within a building and is a branch of acoustical engineering. The first application of modern scientific methods to architectural acoustics was carried out by the American physicist Wallace Sabine in the Fogg Museum lecture room. He applied his newfound knowledge to the design of Symphony Hall, Boston.
Snape Maltings Concert Hall is an arts complex on the banks of the River Alde at Snape, Suffolk, England. It is best known as one of the main sites of the annual Aldeburgh Festival. It is now one of two headquarters for Britten Pears Arts, with the other being The Red House.
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.
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.
The Henry and Leigh Bienen School of Music is the music and performance arts school of Northwestern University. It is located on Northwestern University's campus in Evanston, Illinois, United States.
The School of Jazz and Contemporary Music is the second conservatory of The New School. It is located on West 13th Street in New York City's Greenwich Village neighborhood. It was once known as The New School for Jazz and Contemporary Music.
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 anhancement 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.
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.
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…"
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 in Istanbul, is currently the largest dedicated performing arts theatre and concert hall in Turkey. It is in the Beşiktaş district on the European side of the city, near the junction between Barbaros Boulevard and Boulderer Avenue, near Levent.
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.