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Find a music rehearsal space near you - visit the music map The Music Map The Music Map is a definitive music discovery platform dedicated to independent music rehearsal spaces. You can click anywhere on the zoomable map to get started and discover the world of music rehearsal spaces. We also have custom maps for the UK , Australia and Ireland . Wherever you go, you are never far from somewhere of major (or minor) musical significance. A unique location that helped a great song or performance, a place where a random music story unfolds. The Music Map attempts to provide the ultimate location of music rehearsal spaces. It is the result of more than four years research with over 600 listed sources.

Photo gallery of music rehearsal spaces from around the world. GALLERY Over 450 images of leading music rehearsal spaces around the world There are many music rehearsal spaces across the world offering excellent opportunities for musicians to perfect their music-making. A rehearsal space can range from one bare room to a dedicated space with soundproofed practice rooms, some with a recording studio. Many are run on a commercial basis but can include makeshift rooms and shared areas such as community centers and even Dad's garage. Spaces are often unique in response to their users, location and the building they are housed in. 13 Sound Studios Weston-super-Mare UK 3by3 Recording and Rehearsal Studios Sydney Australia 44 Music Cheltenham UK 6/8 Studios, New York USA A.T. Music Group Chelmsford UK ABC Rehearsal Studio, Los Angeles USA AFM Studios Academic Freedom Music, San Francisco USA AMP Rehearsal, Los Angeles USA Abacus Recording Studio Guildford UK Abbey Lane Studios Derby UK Abbey Music Studios London UK Absolute Music Bournemouth UK Adder Studios, San Diego USA Adversary Studios Sydney Australia Adversary Studios Sydney Australia Africa Studios Hull UK After 5 Studios, Arden USA Airplay Rehearsal Studios Ashford UK Airtight Studios Chichester UK Allo Sound Widnes UK AlphaDelta Recording Studio and Rehearsal Bristol UK American One Productions, Woodland Park USA Ant Farm Studios Waltham Abbey UK Antenna Studios London UK Apollo Audio Hertford UK www.bandspace.info/gallery, www.bandspace.info/gallery, music, rehearsal, practice room, band space, band practice, recording studio, rehearsal room, music rehearsal space gallery, 13 Sound Studios, 44 Music, Abacus Rwww.bandspace.info/gallery, www.bandspace.info/gallery, music, rehearsal, practice room, band space, band practice, recording studio, rehearsal room, music rehearsal space gallery, 13 Sound Studios, 44 Music, Abacus Recording Studio, Abbey Lane Studios, Abbey Music Studios, Absolute Music, Africa Studios, Airplay Rehearsal Studios, Airtight Studios, AlphaDelta Recording Studio, Antenna Studios, Ant Farm Studios, Apollo Audio, Apollo Studio, Appleyard Studios, Archive Studios, Arch Studios, Ashby Academy of Rock, Aspect Studios, A.T. Music Group, Audio Underground, Audio Works, Axis Rehearsal & Say Music Recording Studios, Backstreet Studio, Back to Black Music Studios, Bad Habit Rehearsal Rooms, Bally Studios, Banana Road Studios, Banana Row Music Company, Barnroom Recording Studios, Barton Studios, Basement Studio, Base Studios, Beatsabar Music Project, Big City Jacks, Big Noise Studio, BlackFrog Studios, Black Rock Subway Studios, Black Room Studios, Black Rose Studios, Blackwater Studios, Bleeding Ear Studios, Blotto Studio, Bluebarn Recording Studios, Blueberry Hill Studios, Blue Line Studios, Blueprint Studios, BonaFideStudio, Bottega Rooms, Brazen Sound Studios, Breakout Music Space, Brick Lane Studios, Brighton Electric, Brixton Hill Studios, Brockley Studios, Brunel Studios, Brunswick Mill Rehearsal Studios, Bush Studios, Cabin Fever Rehearsals (Pool), Cabin Fever Rehearsals (Redruth), Campbell Road Music Studio, CapsaArx Studios, Captain Toms, Card Trick Music, Cargo Rooms, Carlton Studios, Carncrees 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Bandspace | music studio space near me and everything you wanted to know about music rehearsal spaces The world of music rehearsal spaces Play Video Replay Music Studios - New York City's Premier Music Rehearsal Play Video Arch Studios Play Video Finding a music practice room Play Video Play Video Play Video Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Share Channel Info Close The world of music rehearsal spaces Read our rehearsal guides Young people's music-making Issues facing music rehearsal spaces Introductory guides to music studios Bandspace introductory guides - A unique set of do's and don'ts for music rehearsal spaces packed with experience and knowledge. Store NEW Quick View Wrong Note Filter spoof guitar foot pedal greetings card Price £3.00 NEW Quick View Blame Shifter spoof guitar foot pedal greetings card Price £3.00 NEW Quick View Disdainer spoof guitar foot pedal greetings card Price £3.00 NEW Quick View Karen Speaker Manager spoof foot pedal greetings card Price £3.00 NEW Quick View Turd Polish spoof guitar foot pedal greetings card Price £3.00 NEW Quick View Ultimate Guitar Rig guitar spoof foot pedals greetings card Price £3.00 NEW Quick View Need More Distortion spoof ginormous guitar foot pedal greetings card Price £3.00 NEW Quick View Setting up a music rehearsal space guide Price £3.00 Quick View Mediocre Guitar Player Magazine greetings card Price £3.00 NEW Quick View Cancellation policies guide Price £3.00 Quick View Pack of 6 Greeting Cards Price £12.00 Quick View What makes a good music rehearsal space guide Price £3.00 Quick View Bassist: The pinnacle of our species greetings card Price £3.00 Quick View Rise of Pirate guide Price £3.00 Quick View Instantly create a Top 40 song with this synth greetings card Price £3.00 Quick View Challenges facing music spaces guide Price £3.00 Socials For an informal chat, better call Trevor on +447900683497 or email at trevor@bandspace.info "Bandspace has been a supportive advocate for our business, with continual postings on social media directing musicians to us. The musician community runs on word of mouth and Bandspace understands this. Thank you!!" Meg, Eastside Rehearsal, Los Angeles, USA "The 'go to' place for all things related to Music Rehearsal spaces. With great articles, how to guides and a searchable location database, this has to be the most useful collection of rehearsal studio resources on the internet." Elliot Seymour, Pure Rehearsal Studios, Southampton, UK "A really great resource, run with passion with all of the unnecessary clutter cut out. Trevor is always very quick to respond to feedback as well, which is very reassuring as a business owner. Really highly recommended, we recommend it to all of the bands that come to us." Jimmy Mulvihill, Bally Studios, London, UK "Bandspace is a great resource for checking out local rehearsal spaces and getting an idea if they suit your needs." Lisa Caruana, Casemates Rehearsal Studios, Portsmouth, UK www.bandspace.info, www.bandspace.info, music, rehearsal, practice room, band space, band practice, recording studio, rehearsal room, show practice rooms, show rehearsal studio, show recording studio, best rehearsal room, best practice room, best recording studio, find a practice room near me, find a recording studio near me, find rehearsal room near me, affordable practice room, affordable recording studio, practice room blog, band rehearsal space, band rehearsal space near me, find me a rehearsal room, find me a practice room, find me a recording studio, where to practice, where to have band practice, where can my band practice,

City and Moon Backline Ever thought what Facebook posts you should make for your music rehearsal space? Bandspace followed hundreds of spaces on the web over 3 months and reports back... Focal Point There's simply no credit given to social entrepreneurs who have often invested small fortunes and worked hard to build a music rehearsal space. They are part of the local music ecology, along with recording studios and venues. They should therefore be acknowledged as an integral part of the music industry, in particular their critical role in developing new talent and providing pathways in to the live and recording sectors. The Octave Rooms Based on research following over 500 music rehearsal spaces in the UK, this article hopes to get those who manage music spaces and social media thinking about the sort of posts they can make to develop and maintain their customer base. We were not able to visit the spaces in person so we wholly relied on how well they presented themselves on Facebook. We can summarise our findings below. Aardvark Music Services Regular updates Making a variety of posts on different social media networks attracts the interest of a range of people. Regular status updates imparts the personality of your space such as offering a discount will encourage musicians to engage with your content. Including a picture along with your text attracts more attention. A short video works very well too (see the  Bandspace Youtube channel  for some examples). Facebook "page" Most spaces run a Facebook page, rather than maintaining their business presence on their personal account or a group page. Maintaining a Facebook page gives those managing them flexibility and looks professional. By selecting Artist, Band or Public Figure, then Musician/Band, gives you more options and can be managed from your personal page. Posting twice a day and no less than twice a week should help to maintain your presence. You can also allow colleagues to become admin users of the page. Content with media gains more notice. A well taken, bright photo accompanying an announcement will gain more views than just text. Arctic Monkeys rehearsing Think about your audiences Think about separating your social media accounts for your practice rooms from your other work. For example, some music rehearsal spaces also promote gigs so differentiate the audiences for your gigs (live music fans) from the musicians using your space by establishing separate pages. This means your posts will hit the right audience at the right time and will likely be more effective. By regularly visiting the Insights page on your Facebook page will give you an idea of which posts are more popular than others. If you also manage a recording studio, you may want to think about setting up separate pages for these because rehearsing musicians will be using your practice room more regularly than your recording studio. They are using your space for different reasons. Goodwill Don't underestimate the value you bring to the music world. You can generate much goodwill by offering information about the music scene based on your experience working with many bands and musicians. Goodwill will encourage those considering using your space to view your Facebook page, and hence your service, as a source of information, advice and guidance. Honesty in your posts about any challenges you may face will help to galvanise support and loyalty. For example, users will be more likely to accommodate increases in hire rates. Your goodwill may give you an edge over your competition. Activities Some spaces organise activities and events such as workshops, lessons, masterclasses, clinics and open days to attract new users. This promotes the idea you are accessible, friendly and helpful, wanting to encourage more music-making. You may want to work in partnership with others to enable you to deliver this. Positioning Make it easy for musicians to find where you are. Include a google map on your website and FB page so new users can easily find you. Also, list available parking and public transport links. Its not just about location either. You could write a description of your local live music scene, listing the major bands past & present, to provide a tipping point to those on the periphery or new to the local music scene to join. It will also give those located further afield a sense your scene is thriving and encourage them to visit. Maintaining and developing your audiences You should view your timelines as part of your service and not simply a means to promote your space. This means engaging your Facebook friends in your posts. And remember, social media is a two-way conversation. Always, always, press "Like" if you have read someone else's post even if you feel indifferent about its content. This credits the source, provides positive feedback and encourages similar posts. Even better, is to leave a comment. Video Photos, videos, blogs and social media are all things most media-savvy music makers are using already. Research suggests websites that contain video content are generally ranked higher in Google searches. It found 85% of customers are more likely to buy a product after seeing a demonstration video. Also, 50% of visitors to your site who watch a video remember the message, while only 10% who just hear it. Many spaces have a short and snappy video introducing their facility and offer. band rehearsal Online gigs For many years now, the way musicians interact with their audiences has undergone profound change. Nowadays, people watch music as much as they listen to it. Virtual gigs make use of streaming technology to broadcast live shows online from anywhere, including your home. Broadband internet and a webcam offers music rehearsal spaces an opportunity to provide musicians the facility to stream to their audiences all the stuff that happens during a rehearsal. It can make a record of the excitement of seeing a song being created and how the arrangements come together such as what the drummer's doing and how the guitar part works with the bass. A video recording can also act as a useful document for the band members. Traditionally, live performances have enabled musicians to attract new audiences. However, putting on gigs and tours has become more difficult, mostly due to the cost. Audience members find the convenience of attending cyber gigs easier than a real gig, reaching a worldwide audience instantly. They are, if not more, as personal as a traditional gig. The streaming platforms also host a chat facility to build a rapport with your listeners. Your cyber gig becomes a meeting place where viewers who like your music enjoy your show. Some artists have produced their own app. The app can give the viewer a 360-degree feed of a live rehearsal. The user rotates their viewpoint around the practice room while the band plays, taking in individual performances and equipment. It can also offer an interactive element giving access to a virtual mixer so the viewer can mix a song's stems. The app can bring together video footage of documentaries and interviews, rare photos and artwork, while charging hard cash. Using new technologies could ensure a music rehearsal space does not miss a huge aspect of what an artist is really about. Although not every artist perhaps warrants this level of content, the idea of sitting on your sofa, phone in hand, and watching a great rehearsal is an attractive one. In the rehearsal sphere, there's often simply no record of those who work hard for musicians to enable them to create the music. We found music rehearsal spaces most often make the following posts: AVC Band Rehearsal Studio Users 1. List current users of your space, particularly those bands you feel sound awesome with a pic or two eg. The Octave Rooms (Nottingham), Blue Line Studios (Bournemouth) and Big City Jacks Studios (Manchester). Spiral Studios (Guildford) posted an attractive picture with the caption: "Let your fans know you're here", encouraging bands to promote the rehearsal space on their own Facebook, Twitter and Instagram timelines. The AVC Band Rehearsal Studio in the Philippines has a small room with stickers plastered all over the walls used as a photographic booth. The photos are used as a record of its users. 2. List past users of your space, especially well known bands eg. Blueprint Studios (Manchester) and Bona Fide Studio (London). The Depot Outcomes and benefits 3. Describe the outcomes the bands using your space hope to achieve, for example, rehearsal before making a studio recording, preparing for local gigs, pre-tour production set, or for fun, etc. eg. Quay West Studios (Gosport). 4. Briefly list your services and benefits, including instrumental lessons & tuition, parking, ground floor access, storage, successes/achievements, etc with a link to your website eg. Mill Hill Music Complex (London). 5. Use photos of your space such as an external pic of your premises, your entrance area, individual rooms and equipment. 6. Photos of building, maintenance & decorating works eg. Yellow Arch Studios (Sheffield). 7. Promote available slots coming up over the next week and room availability. Don't forget to include your phone number or online calendar so you can respond to bookings quickly eg. Silver Lining Studios (Manchester), CMP Studios (Eastbourne) and Big Noise Studio (Northampton). 8. Post last minute cancellations including a discount if you mention the post eg.   Eiger Music Studios (Leeds), Lofi Studios (Glasgow), Silent Hill Studios (Guildford) and Riverside Rehearsal & Recording Studios (Kent). Hanking Rehearsal Studio Offers 9. Advertise special offers, concessions, gift vouchers, competitions, loyalty card & discounts for example block and last minute bookings eg. The Rock & Roll Circus (Leeds), First Avenue Studios (Newcastle), Oxygen Rooms (Birmingham), Robannas Studios (Birmingham),  The Pump House Recording & Rehearsal Studios (Lincolnshire) and Stage 2 Studios (Bath). 10. Post a big thank you to all your customers, perhaps at a time to celebrate the birthday of opening your space or a calendar event such as Halloween. eg. Studio City Rehearsal Rooms (Plymouth). 11. Advertise a special event in the space eg. Swap Shop at Plug Studios (Norwich) or an instrument / equipment showcase eg. the great North East Bass Bash at Ginger Music Company (Gateshead-on-Tyne). Some spaces post details of their masterclasses and drum clinics ( Absolute Music in Bournemouth) aimed at musicians. Two spaces hosted an intimate practice room gig ( Eiger Music Studios , Leeds) and  RiverCity (Hertford). Yellow Bean Studios (Leicester) held an open day to celebrate the opening of a new large live room. 12. Promote any work opportunities you may be offering eg. Studio 808 (Chelmsford). Such opportunities, even if they are voluntary are usually very popular. 13. Provide an introduction to your staff to give a personal and friendly touch to your online presence eg. C ream Room Sound Productions (Hertfordshire). Music Lab Extras 14. Include a ground floor plan of your music rehearsal space all in the right proportions, identifying each practice room, booths, storage, walkways, doors, WC, lounge, reception, etc e.g. Miloco Studios (London) and  Lofi Studios (Glasgow). 15. Posts of gear for sale or newly purchased items eg. amps, guitars, etc. Bally Studios (London) offered to purchase equipment for its customers such as mic stands, adding items to its regular bulk order, and passing on any discounts. 16. Repairs you regularly undertake to maintain your gear eg. London Road Studios (London) replace their practice rooms drum kit heads every two months. 17. Ask your users to pass on their honest comments on Facebook following a rehearsal. Perhaps they could use a star rating. Reviews are always the best way to get a feel for a place before you visit, so they're super important for the business. eg. Sound Inc Studios (Newcastle). Other posts include one from LS-Live making a new addition for the health & safety of clients - a defibrillator case - highlighting the organisation has a special in-house team trained to use this life saving equipment. We found posts of soundcloud/iTunes tracks and Youtube videos of bands who have used a space fairly common. The optimum times to post is probably at 5pm & 9pm on weekdays, and at weekends, also at 11am. An attractively designed logo and brand consistent across all your web, print and display platforms will help attract customers to your service. All these pointers were collected from music rehearsal spaces over three months in 2014. Good luck with posting.

If you’re tired of hauling your gear from home to practice room and back, then a music lockout might be just the solution. What is a “lockout” or "lock-up" music practice room? They fill a very particular niche. A lockout music practice room is about having your own space for you and your band members to rehearse and gel as a performing group. You never know when inspiration strikes and a lockout room brings convenient access to your gear anytime day or night, safely and securely. ABC Rehearsal Studios Lockouts are usually rented monthly and available to hirers 24 hours a day, 7 days a week, 365 days a year. Utilities such as electric, heat and WiFi are included in the rental, but no gear is provided. Pricing depends on the size of the room and the location. Added extras can include a weekly clean and access to a bar and refreshment area. They are often part of a complex of lockout rooms with 24-7 access to a bathroom. You'll have keys to the room after you’ve paid a deposit and signed a contract. The room becomes a workspace with your stuff, with your vibe, putting your commitment to music on a professional level. music lockout room Benefits Renting a lockout room can bring many benefits. Their attraction lies in no waiting time for the music rehearsal space to open its doors. You and your band members are able to leave gear set up permanently how you like it, so no more setting up and breaking down for each rehearsal. Attendance can become more consistent and productivity increased due to decreased setup time. You can also share or sublicense your room with other bands and musicians and store equipment between gigs. And you can decorate the room to make an awesome personal space that’s conducive to creating great music. Such facilities feel it is important tenants have a clean, secure, professional music rehearsal environment. Many major and independent record labels rent rooms for their clients. Well-known acts use lockout rooms for privacy away from public view. Facilities do not advertise their location address for these reasons. And they can come in all sorts of sizes... empty music lockout Size There are no standard sizes since each music space is housed in a building with its own character and configuration. However, we took a look at several spaces and room sizes. They are designed to accommodate different uses and loosely, but typically, fall into four categories: Individual: 8 X 8 ft (64 sq. ft.) or slightly larger - good for small drum room, music production, songwriting/recording and storage Small: 10 X 14 ft (140 sq. ft.) - can accommodate a 3-piece band Medium: 13 X 18 ft (234 sq. ft.) - very comfortable for a 4-piece band Large: 15 X 20 ft (300 sq. ft.) - spacious; two bands can easily share or a jam space Self-storage units Self storage facilities are an often over looked solution for rehearsal spaces, though many bands have actually been using them for years. There is an interesting blog capturing the prevalence of this growing market in the US found here: http://tinyurl.com/lov4ljz . Hootie & the Blowfish penned and practiced their hits "Hold My Hand" and "Only Wanna Be With You" in a self storage facility in the mid 90s. Self storage can be a flexible alternative to the traditional rented practice space. You can downsize your rented space temporarily if you don’t need it for a while, and get more space when you return. You might even want to expand to a bigger space, if you get some new gear or a new member joins. With self storage, you have the option to cater the space to suit your needs. Magenta Studios is such a space, based in a Personal Storage facility in Acton, West London. It offers full back line, PA and secure storage space for instruments and equipment. Academy of Contemporary Music Security is important with any practice space. If you’re storing your precious equipment, you need to know it’s in safe hands. Often, a storage centre can actually be safer than a traditional multi-user rehearsal space, where musicians are shifting gear in and out at all hours. Band members can each have a key for the unit, able to come and go as they please within the access hours of the storage centre. This is a great way for several people to store gear in one place and allows each user to pick up gear for a gig whenever they need it. You can also use your storage unit for its intended purpose: to store amps, gear and even drum kits when you’re not using them. It’s also a great place to store all the t-shirts, CDs and posters that you plan to sell as soon as you get your first gig. Climate control is important when storing instruments and amplifiers for long periods of time. Guitars (and other wooden instruments) can become warped by damp conditions and temperature change. The constant temperature and dry conditions of a self storage unit can help keep your instruments safe and in good condition. music lockout corridor When arranging self storage, it is important to make your intentions clear: don’t try and sneak around the subject. It’s a common misconception that self storage companies don’t want musicians making noise, but the majority of them are actually very accommodating, so long as you make your situation clear. Storage units as practice spaces have become so popular that many companies include special band practice clauses in their rental agreements. Storage facilities in Dallas, Nashville, Los Angeles and New York all host band practice sessions. Green Rooms outdoor studio Garden Studios Green Rooms is a company that manufactures a range of sound attenuating booths which can be used indoors as well as outdoors. All their rooms come in panel form and can be put up quickly. Some can be self assembled, or can be installed by the company. Its range of acoustic rooms can be put down the end of your garden and used for all sorts of applications including music practise, music teaching, classrooms, sound recording and production. Music Practice Rooms.com This UK-based manufacturer supply and install sound-isolating music practice rooms. Its acoustic music practice pods are used by schools and universities and also make good recording studios. The modular, relocatable design means the rooms can be virtually any shape or size to accommodate a solo singer, a band or a full orchestra in rehearsal. Container City Music Boxes Shipping Containers Container City is an another interesting solution. A development company has provided six new sound studios in London’s Docklands. Each housed within a single or double 20ft shipping container, the Music Boxes have a fully glazed entrance, porthole windows and good sound insulation. The small size of each container enables the management company to keep rent low and encourage small businesses to develop. Hanking Studio voucher Membership schemes Suburb is a rehearsal facility just outside Leeds in Keighley, West Yorkshire. It understands bands want regular access to a practice room. It offers a block booking membership scheme at £100 per month. This includes four sessions per month, late night rehearsals with no time restriction on sessions, a personal set of keys, 24-hour storage and 20% off its recording prices. Survival Studios in London offers a loyalty reward based on the London average hourly rehearsal rate. Users will be rewarded a cash discount on block booking an evening rehearsal. Gem Studios Case studies Gem Studios is a leading Lockout facility in Birmingham. As a resident band you become part of a musical community – ideal for gig-sharing, co-promotion, creative collaborations and simply making friends. If you rehearse more than five to 10 hours a week then a lockout can be a more affordable option. Some rooms are big enough for two or more bands to share which makes a lockout more attractive. Stayfree Music in Leicester offers what it calls 'resident rooms' as well as sessional practice rooms.. It charges £150 per band per month for two bands sharing. Warrington's Tuff Gong Studioplex also offer residential/lockout rooms for long-term rent. Lizard Lounge Studios Robannas Studios is located in Birmingham. It offers for a fixed weekly rent exclusive access to a secure, sound-treated room. As a resident lockout band you have access to their chill-out spaces, free pool and football tables and an in-house equipment repair workshop. Prices vary based on the amount of bands sharing and room size. Rather surprisingly, London only has one lockout space, Rooz Studios in East London allowing sub-lets to third parties. The music lockout room sector is under-developed in the UK compared to the US. ABC Rehearsal Studios Monthly rental prices in the US can start at $300 per month (approx. £190) with larger rooms costing $1500 per month (approx. £950), usually rented to record companies for artist development. ABC Rehearsal Studios is one of the largest 24-hour lockouts with nearly 200 practice rooms across two locations in a range of different sizes and layouts in the Los Angeles area. It owns both buildings, which allows it more control to invest in practical and aesthetic amenities to ensure its facilities serve the music industry in the best ways possible. Not all music rehearsal spaces offer lockouts, but it's worth looking in to if you have the opportunity. More information TK Productions 24 Hour Lockout Rehearsal Studios Lease Studio Rental Agreement - Open Flight Studio

Forest of Dean Music Makers Young people are resourceful at being able to enjoy and make music almost anywhere. The lack of proper spaces for music making, exploring new ideas, styles, genres and instruments, and accessing the emerging technologies in music, can seriously inhibit their interest, progress and creativity in a 'real-life' context. The following is abridged from an article in the Sound Sense magazine, Sounding Board, published in the Summer 2007. It is supported by various studies conducted in to how many young people wish to learn to play a musical instrument with others in a space dedicated to informal learning. For a start young people and music is an instinctive match. Many look to music lyrics as a source of reassurance and inspiration, and joining a band is a classic teen pastime. However, the lack of an affordable, well-equipped rehearsal space may mean a talented young musician may not even get off the starting block for want of access to a practice room. Youth empowerment means access to heavier and more expensive equipment. A report looking in to opportunities for young people commissioned by the UK Government in 2007 found: " Participating in art, music, drama and dance can build confidence, self-esteem and self-discipline and help develop social and team-working skills. It can also help young people to be more open-minded, better able to make friends and to deal with difficult experiences, and be more creative in their thinking". It recommended public investment should be focused on music rehearsal spaces (p.21 & 49, Aiming High for Young People, 2007). Enjoying music Many children lose interest in learning music when they reach their teenage years. Research suggests classroom music has been an inappropriate vehicle for music education at this time. A more effective music education environment may well be found within the mixed economy of out-of-school music provision (Sloboda, 2001, p.22). Teenagers more readily engage with music in informal settings committing considerable time listening to music, experimenting with software and exploring a range of music sources. The age at which members form a band is roughly between 12 and 15 years old. The social environments in which musical learning takes place such as in garages, youth clubs or places without adult supervision marks the prevalence amongst young people of learning to play an instrument outside school (Rosevear, 2008, p.89). In the UK, the Music Manifesto Report No. 1 identified Informal music as that which happens when young people organise and lead themselves without adult supervision. (DfES, 2005, p. 7). Academic Lucy Green (2002) has investigated the informal learning practices of popular musicians. She found within popular music traditions individuals: “largely teach themselves or ‘pick up’ skills and knowledge, usually with the help or encouragement of their family or peers, by watching and imitating musicians around them and by making reference to recordings or performances or other live events involving their chosen music” (Green, 2002a, p. 5). There are five main characteristics of informal music learning practices, identified by Professor Green (2006) based on her observations on how popular musicians learn: Learning based on personal choice , enjoyment, identification and familiarity with the music, as distinct from being introduced to new and often unfamiliar music Recorded music as the principal, aural means of musical transmission and skill acquisition, as distinct from notated or other written or verbal instructions and exercises Self-teaching and peer-directed learning , as distinct from learning with adult supervision and guidance, curricula, syllabi or external assessment Assimilating skills and knowledge in haphazard ways according to musical preferences, rather than following a progression from simple to complex Integration of listening, performing, improvising and composing throughout the learning process, as distinct from their increasing differentiation (Green, 2005, p. 28) Professor Green Professor Green suggests since the 1960s even though popular music has become common in music classrooms, that however the learning practices of popular musicians "bears no resemblance to how popular musicians actually learn to produce the music themselves” (Green, 2006, p. 106). Thus many informal learning practices by which these teaching musicians acquired their own skills and knowledge, may be overlooked by much popular music tuition in schools. (Green, 2002a, p. 180). "Being in a band, being a DJ, vocalist or creating your own tracks on a computer is a great motivator for young people," says community musician Mark Bick. "The first barrier to engage in these activities is the confidence to start." Peer example is the best way of overcoming this barrier. Mark continued: "When young people see someone they know, close to their age, creating music they gain far more conviction they can do it themselves than can be gained from any 'expert'. The next stage depends on the young person. Some learn best from videos, listening and watching, others benefit greatly from a bit of teaching and encouragement, from peers or from an 'expert'. But in all cases, the common need is access to equipment and suitable space." Transferable skills A culture of unpaid work experience dominates the creative and cultural industries. For employers, someone with relevant on-the-job experience is more valuable than an untested graduate. Gaining experience in a well run music space will prepare a young person for work in the creative and cultural industries. Nestle survey Young people need somewhere they can go to independently and which their parents would see as safe. They want it open for long hours and affordable. A report written by Kids’ Clubs Network based on the MORI and BMRB research findings found one in four young people hang around with nothing to do when they are not in school - a time which they are found to be most likely to get into trouble (Nestle Family Monitor, 2002, p.5). "There is a fairly long history of creating space for young bands to practice without supervision in schools and youth arts centres, but they have tended to fall in to two extremes," asserts Mark. "Either badly equipped, badly maintained and not very soundproof. Or highly expensive recording studios, with expensive equipment that only trained staff can use." "Architects seem to be incapable of accurately assessing costs at the beginning of a project," said Mark, "which makes fundraising very difficult as it is not generally possible to ask for more than the architect's estimates." Youth Matters There is strong evidence to suggest young people themselves demand an informal space where they can participate in music-making on their terms. The UK government's Youth Matters document stated: “Our first challenge is to put young people themselves in control of the things to do and places to go in their area. We don't want government agencies second guessing them. So we propose to put buying power directly in the hands of young people themselves" (DfES, 2005, p.5). "Making space sustainable means either being in a building where there is other general supervision already funded by someone else, or multiple rooms so that it is more cost effective to provide staff supervision," said Mark. "Probably the largest amount of spaces are in schools, but I do not know how music teachers cope with the aural abuse of listening to young bands practice for hours in badly soundproofed rooms. From what I can make out, many don't cope and retreat to the staff room, don't allow it to happen or give up school teaching." Musical Futures Musical Futures began as an action research project in 2003 when the Paul Hamlyn Foundation instigated an initiative to find new and imaginative ways of engaging young people, aged 11-18, in meaningful music activities. It's teaching styles attempt to place informal learning methods outlined by Professor Green in to formal school settings. Its aim was to try to understand the factors affecting the disengagement of young people with sustained music-making activities, at a time in their lives when music is not only a passion for many young people, but plays a big part in shaping their social identity. Juvat Studios It believes music learning is most effective when young people are making music together and their existing passion for music is reflected and built upon. It wants music-making to be relevant and engaging, imaginative and authentic and to keep music alive in our schools in order to nurture the creative talent of tomorrow. The experience of its three pilot projects was that schools can make their music provision more vital, and closer to their students external experience of music, by recognising the social importance which students place upon the activity, and designating accommodation accordingly. It found access to adult 'authentic' venues, equipment and instruments, where young musicians can meet other musicians, make their music available to others and find ways into the music industry as critical motivation boosters. Many young people want to find out where they can rehearse, how to get their demo listened to and put on their own events. This desire to access the resources which adults take for granted grows from a philosophy that wherever possible music-making is placed in a 'real-life' context. Its publication Musical Futures: An approach to teaching and learning revealed many school music teachers are working in inadequate facilities, and lack of space was one of the major obstacles to take on Musical Futures (Paul Hamlyn Foundation, 2010, p.194). Having the right sort of space available is a major consideration when implementing Musical Futures and ensuring the atmosphere within the music department is one in which students are able to be creative. Based upon feedback from schools the ideal set-up for Musical Futures work would be: Separate breakout spaces equipped with piano/keyboard, sound system and computer Up to four instrumental teaching spaces with piano, sound system and computer in each Technology in every practice space Recording studio Full sound proofing Musical Futures became a not-for-profit organisation in 2005. Dedicated to supporting music teachers it is based on a pedagogy driven by the musical culture of the participants. It offers training and consultancy predominantly in the UK and Europe, but has links with institutions and schools in other countries. UK Music Rehearsal Space Project Access to a rehearsal space is an integral part of the career development of young musicians and music ensembles. However, little investment has been specifically directed at the building infrastructure for music rehearsal spaces. The capital investment to convert a music space can be a big outlay representing a significant challenge to public and private operators. Funding from the UK Government enabled UK Music, working in partnership with Sound Connections, to support a two-year pilot Rehearsal Spaces project. In 2009 the project invested £430,000 to establish 14 pilot music rehearsal spaces in community settings across England for young people aged between 8–25 years. The funds paid for instruments, equipment and necessary capital works, such as soundproofing. The UK Government tasked Fearful Sharkey formerly of The Undertones to set up a network of rehearsal studios for budding musicians throughout the country. Feargal Sharkey at the time said: “It’s incredibly difficult to break into the music industry. To get a recording contract means everything to every young artist and being able to play well live is a vital ingredient of that. So it’s obvious that young musicians need somewhere decent to practice. Without new musicians and performers there is no £6 billion music industry. Without them the UK wouldn’t have such a fantastic reputation for groundbreaking music." The Bunker “But this isn’t just about what we can do for the music industry. It’s about ensuring young people have all the opportunity and support that we can possibly provide to get them into the creative industries. It’s about giving them the confidence to play in front of an audience to discover themselves and discover their music. And it’s simply about giving them somewhere to be creative.” An evaluation of the project ending in December 2012 found it raised the quality of provision and that a music space is defined by its purpose and the availability of equipment and instruments and falls in to one of the following descriptions: music practice room recording studio music technology suite performance space Cohere Bandwidth The evaluation found music practice rooms were the most commonly used. The entire project supported music activity in 64 separate rooms. In rural areas access to expertise and equipment over sound-proofing spaces was preferred. The art and science of recording music was not a feature of this scheme. It found MC/DJ activity, dominated by urban genres is likely to offer greater value for money with a comparably modest capital outlay. It is also associated with youth empowerment and social cohesion work with potential for swift and significant outcomes. Typically, participants came from within a five miles radius of a space during weekday opening times, term time and out of school hours. Session length and opening times were flexible for 19-25 year olds characterised by acting as volunteers, running sessions themselves and using the space independently. There were approximately 33,000 visits to the spaces, three quarters of the young people were aged between 11-18 years and the gender balance was 68% male. The entire project gave paid work to 65 people, including music specialists, youth workers and project managers. Field Music Many spaces assisted young talent to make headway in the fickle music industry. One space formed a partnership with Field Music, a band nominated for the UK's 2012 Mercury Music Prize. And while rioting took hold of many cities in the UK in the summer of 2011, another space working with its young people, took over an empty high street shop to record young people’s music. Musicians from The Enemy and The Specials saw the importance of space acting as ambassadors to the project. Each space was reliant on local partnerships and grants complementing the Government investment. UK Music now supports a number of rehearsal spaces in urban and rural areas across the UK. Each space provides instruments and equipment for young people to use and play with for free or for minimal cost. The rehearsal spaces come in various shapes and sizes and are sited in places as diverse as youth work settings, community spaces, art centres, a secondary school and even a travelling mobile unit. MAS Records A non-profit music development programme was founded in 2001 in the UK by Kevyn Gammond (ex-Band of Joy). Set up as a record label, its aim is to support emerging artists aged 16-18 years old with a bridge into the wider industry, combining expert music industry experience with conventional education. Its patrons include Ricky Wilson (Kaiser Chiefs/The Voice), Robert Plant (ex-Led Zeppelin) and Karl Hyde (Underworld). The young artists do not pay for the services but instead the programme is funded from public sources working in partnership with 16 rehearsal spaces. Through the MAS scheme artists are provided free practice time in music rehearsal spaces and recording time in studios. Spaces involved in the national programme include: Whitewood Studios, Liverpool SAFO Music Group & Rooz Studios, London Songlab, Birmingham Factory Studios, Bristol RML Studios, Wolverhampton Stage 2 Studios, Bath Old Chapel Music, Leeds River Studios, Southampton Oxfordshire Music Rooms, Oxford 44 Music, Cheltenham Redial Studios, Bury Viaduct Studios, Stockport Base Studios, Stourbridge The Smash Rooms, Telford Venombase Studios, Stoke Kidderminster College, Kidderminster Case Study: Vic Studios, Wrexham The Welsh Music Foundation, Live Music Forum and Musical Industries Association set up a rehearsal space in Wrexham in January 2006. The studio was part of the UK government's Live Music Forum’s project to encourage public bodies to provide rehearsal spaces in their unused buildings. The space was free to bands whose members were under 18 and in education. There was a small charge for all other bands, which went towards paying for repairs and equipment maintenance. The equipment was supplied by the UK's Music Industries Association's members. The Professional Lighting and Sound Association paid for work towards fitting out the space. The Welsh Development Agency paid for one full-time member of staff. Wrexham Council provided the space rent free, money towards the construction costs and sound recording equipment. Vic Studios / Jason Samuels Photography Project Manager for the Welsh Music Foundation, Andy Williams, said: “This is a very exciting development, which will assist the area's music scene, as rehearsal rooms have consistently been shown to be effective in stimulating music production in areas where they exist. The space will not only have a rehearsal room but will also have recording facilities, a small performance area and a cafe, and will not only be an excellent space for bands to rehearse, but also a creative meeting place for local musicians." A representative from the UK charity Youth Music visited the facility in North Wales in 2007. He reported the practice room is informal and for experiment and jamming. The worker is on hand to supervise the use of the room and provides artistic and technical advice to bands and individuals if they ask for it. Housed in the Victoria Youth Centre in the centre of town it attracts a large number of local young people through its creative activities. Vic Studios The local government authority supports the studio because it sees the value of music-making to young people to independently develop their own work who would not otherwise access music in school. The facility has been able to access resources without threatening the delicate economy of the music scene in the town. People from England and Wales have visited the studio with a plan to reproduce the model elsewhere. Feargal Sharkey Feargal Sharkey, Chairman of the UK Government’s Live Music Forum, said at the time: “We have a £5 billion music industry that starts with unknown groups and artists performing in the back room of pubs. Without them there would be no multi billion pound industry. So let’s give new and local artists a hand by providing them with somewhere proper to rehearse.” Andrew Davies Andrew Davies, Minister for Economic Development in Wales, said: “These rehearsal rooms represent the beginnings of a Music Hub; not only providing a place for musicians to interact and exchange creative ideas, but generating considerable benefit for the local music scene and the local economy." Music rehearsal spaces play an important part in the talent pipeline providing a valuable breadcrumb trail for young musicians. References UK Music Rehearsal Space Project Green, L. (2002). How popular musicians learn. Hants, England: Ashgate. Green, L. (2005). The music curriculum as lived experience: children’s “natural” music- learning processes. Music Educators Journal, 91(4), 27-32. Green, L. (2006). Popular music education in and for itself, and for ‘other’ music: current research in the classroom. International Journal of Music Education, 24(2), 101-118.