zbd1960

I have several apps on my phone. The one I sue most is Cleartune as I can change the temperament as well as transposition and the frequency of A (for some stuff I do I need A=415Hz rather than A=440Hz). I also use iStrobosoft. Both of my amps have tuners built in.

I've always wanted something made from purple heart ever since I saw antiques programmes years ago talking about marquetry and purple heart aways came up as being stunning etc.

I have a Yamaha and my hands are not large. Both the Yamaha and the Aulos are sufficiently good that you'd need to spend decent money to get a better wooden one. For wooden ones, the Early Music Shop has a big choice. https://earlymusicshop.com/collections/recorders

Adding to my earlier comments... the odd thing is I used to have to give presentations quite a lot, often technical, and often to large groups. That never used to bother me. I suspect because I was on 'safe' territory and I wasn't fazed by anything anyone was likely to throw at me by way of questions.

My experiences on this are very mixed. My first public outings as a musician were once I started singing with choirs, which is not until my 30s. I've never felt particularly nervous or anxious about performing live in concerts as a choral singer. (I do not and never have performed solo...). In my 50s I started to play cello and sax in orchestras etc and started playing in concerts. Again, that didn't give me any grief either... But... there are two things that do... A few years ago I did my first ABRSM performance exam - grade 3 sax. Jeepers - I started shaking uncontrollably. I just about got through the exam, and passed OK. When it came to doing G5 though, I did all the work for it and refused to do the exam. I really couldn't face it. The other is stick me in a social environment with people I don't know and I struggle. People who know me would find that weird as they tned to think of me a s 'confident' and 'outgoing'. But in a room with people I don't know... it's hard going for me.

Enjoy - got mine last week

Oh dear. I do dislike hearing about this sort of thing as I think it's very unnecessary. I don't have any band experience of this type, but I do have a lot of experience of much bigger orchestras etc. It only takes the wrong ego to be in the organisation space to screw it up for lots of other people. The problem with those sorts of people is they are either lacking in any awareness/empathy, or it's deliberate. Whilst the details of issues in orchestras are different, the essence is the same.

Real world experience of nearly 20 years with my conservatory. It has vents which automatically open according to temperature set on a thermostat. Generally, this means that the temperature doesn't get above about 33C. In winter, it rarely gets colder than 5C. The roof is the opaque triple polycarbonate type with some sort of heat reflective layer in it. I have blinds drawn most of the time as well. I suspect if basses are in cases and not in direct sunlight and you can regulate the maximum temperature and humidity to sensible levels, it's probably viable, BUT it's big swings in temperature and humidity that could do damage.

Well, "next day delivery" wasn't "next day", but anyway it has arrived. It's unfortunate that it coincided with me being stupidly busy with a mix of course work and sax workshops (please read carefully... 🙂). It is stunning in the flesh. I've snapped a few pics with my phone, but I'm goign to do a proper product shoot in the studio with it as soon as I can, so I will post some decent pics in due course.

Agree with above comments and suggestions. When I started cello 10 years ago, I got problems in my left elbow and shoulder. This was due to squeezing the neck, particularly with the thumb. My hands are not large and I find 1FPF at the nut challenging.

Harmonically, whichever instrument is lowest pitched is the 'bass'. Instrumentally, the bass is derived from the double bass / violone which has what is known as 16' pitch rather than 8' (this is a reference to the length of the organ pipe that plays lowest C on an organ ,not the length of the string). The violone which is the ancestor of the double bass had six strings and tended to come in two variants pitched a 4th apart: a G violone and a D violone, with the D being lower. The G was tuned an octave below a tenor viol (GCFADG) and the D an octave below a standard bass (DGCEAD).

It's in transit... I suspect it will arrive tomorrow, but I won't be in....

I don't have any problems reading notation and TAB is relatively new to me and I find it peculiar, particularly the lack of rhythm notation (I am familiar with lute tablature which has similarities, but that does have 'flags' to indicate rhythm). Even worse is the type of lead sheet which is basically the lyrics where someone has shoved chord names in. As to why they're wrong? Like the 'real' books used by jazz players, someone will have written down what they think it is, it gets copied and circulated and then ends up becoming 'official' even though it's not very accurate

I think it will arrive this week....

I'm going as it's an easy drive for me (<50 miles) and I know Liverpool.

When I started my bass journey about 5 years ago, I was already an experienced cello and sax player and I know that by-and-large you get what you pay for with musical instruments in terms of build quality and components. So, my first instruments are all 'reasonable' in the £500 - £750 range. But I've commissioned two instruments, which should be with me over the next couple of months or so: they're both obviously much more expensive. I'm just grateful bass strings are significantly cheaper than cello strings...

I've had updated pics in.... it's obviously getting near to being shipped... getting excited...

PLI is a requirement for most things these days. I first encountered needing it back in the early 90s for holding meetings of the astronomical society I was on the committee of... All the various choirs and orchestras I've been in have had to have it too - they usually go through Making Music, but MU would be an option for individuals/bands.

Hi, I'm a cellist - main instrument. It is extremely easy to acquire bad habits which are hard to undo, so a teacher that you get on with is essential really. There's a lot to angle of the cello, how you sit, left hand technique, bowing etc. And... cello is NOT the same or even similar to violin/viola, so find a cello teacher not a generic string teacher. The bad news is they're much more expensive than violins, the good news is there are very good instruments made in China at a reasonable price. Modern cello strings are much nicer/kinder on the fingers than the old cheese wires, whilst expensive compared to bass guitar strings, they last a long time. Go to a specialist string store / luthier to get an instrument, not a generic music store that doesn't have string specialists. Set-up and action are important. They'll also have secondhand instruments. Some teachers do too. Expect to pay around 1/4 of your instrument cost on the bow, e.g. £1,000 cello, £250 bow. Happy for you to message me if you want to chat more directly.

not my area of expertise... but I played it back through my hi-fi (Naim amps and Neat speakers). Bass sounds quite nice. I had a listen to several tracks and my thoughts I see are similar to others which is the guitar is maybe a little forward, which might be what you're responding to? I'm not an expert on mixing etc so I'd just ad that caveat to my comments!

Raised up by 45 deg - it reduces the stretch of the fretting hand

You need to be careful... a lot of singers engage in what might be described as 'tuned shouting'. This is not good. The voice will tire very quickly, you can get hoarse and have a sore throat and it can cause long-term damage. Yes, singing requires effort, but there should be no tightening of muscles in the neck etc. If you're forcing it, there's something wrong.

Agree joining a choir of some sort will help, also singing lessons will deal with technical issues. For various reasons I'm not a fan of rock choirs, but ymmv.

Earlier violin concertos by Prokofiev and Shostakovich. Currently Respighi Botticelli Triptych

Certainly could not write any sort of job advert with those constraints. The training we got every year at work made it clear you cannot specify an age in a job advert. The direction we were given is you had to be careful with even office socials to not cause inadvertent exclusion... I realise this is a band advert...