As you may have alread known, I've been working to establish a career in the classical music industry ever since I saw the Double Bass when I was in the 6th grade. For some reason I knew the giant instrument was right for me but little did I know that by choosing it, I would hear hilarious phrases such as, "did you ever think of playing the flute?!" or "you know the harmonica fits in your pocket right ?!" the rest of my life. Now here I am, 20 years later and still playing. Classical music has been an integral part of my life and a passion of mine ever since my mother introduced it to me when I was in elementary school. I've dreamed of someday having the opportunity to perform with some the greastest orchestras and musicians I heard in those recordings and I'm so lucky to have had the support from my mother to pursue this passion.
My path has led me from Grand Junction, Colorado to Rochester, New York where I studied classical Double Bass at the Eastman School of Music and now Boston, Massachusetts where I have been working and freelancing for the past 7 years. The path is not easy and it requires many hours of solitary practice at home, rehearsals and concerts with various orchestras and groups across New England, auditions, private lessons, coachings, masterclasses as well as working a full-time job. Living in Boston is also really expensive, especially when income from freelancing is inconsistent and money from the full-time job isn't enough to cover all of my expenses.
Not only do the hours spent in improving the art form leave me exhausted, there are also other aspects that come along with the territory like having a top of the line instrument that's in good, working condition. Without an instrument, there's no music and life has been testing me in this area recently. In the process of trying to get a new fingerboard for my bass, I have discovered that, with the help and expertise of a couple of luthiers in Boston, there are some structural issues with the body of the bass. Because I chose a rather large and obscure instrument, this means expenses towards maintenence are high and adds additional stress.
There is a rather large crack on the left side of the instrument that runs along side the bass bar. What does this mean? It means that if I leave this crack unattended, it could eventually run under the bass bar itself, the main interior component that makes a bass sound like a bass, and that would not be good! It could render the instrument unplayable. Now, these things can be fixed, and unplayable might be a bit of a dramatic term, but the longer this crack festers, the more time and money it will cost to reverse the negative affects of the damage. I love my bass, I've had a lot of history with it and I would hate for this problem to get worse. This is where you come in: in order to get that crack fixed, the top of instrument has to be taken off. The amout charged for this is $1,000 and is a standard with most luthiers. Some might even charge more.
Not only does the top have to come off but the materials to fix the crack have to be rendered and the manual labor involved to restore account for the additional $500. These materials include additional wood for the cleets and glue that will hold the crack in place, provide extra support so that the crack wont open again and to glue the top back onto the body of the instrument.
Thank you so much for showing interest in my campaign. Your help in supporting my endeavors to be successful in music is really greatly appreciated!
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