Darren Sacks

Many conservatory grads end up taking up corporate, non-music jobs for a variety of reasons: financial, job security, other obligations.

But corporate work leaves them feeling empty; their true passion is playing double bass. They want to play in orchestras not sit at a desk for hours or meet KPI’s.

Most American parents do not support adult children financially - at least not culturally speaking - to be able to continue to build their artistry and network full-time after conservatory.

After working in commission sales for 8 years at Verizon Wireless, I was able to become a full-time freelance orchestra player in Boston playing among some of the best players and in arguably some of the greatest halls in North America.

I hope my journey can inspire others who are also

These are three of the most common bow issues I come across in my private 1:1 double bass coaching.

There are 3 major reasons why young double bassists don’t get into their desired youth orchestra, summer festival, music college, or fellowship.

1) Practicing only rep but not advancing technique

2) Too low of a standard set for the orchestral excerpts section; missing information about how excerpts are judged

3) Issues with timing and rhythmic interpretation

In the post COVID-era, online/virtual double bass lessons are becoming more common. But are they effective and should you consider them?

Yes, you should absolutely consider online instruction. Except in one situation:

If the student is a complete beginner or under 13; it is likely not to be the best fit.

However, online instruction allows you to choose quality instructors outside your normal commute radius. You can study with orchestra players performing in highly competitive cities with a reputation for quality teaching.

If you are on the West Coast and you want to apply to an East Coast conservatory, you can study with alumni and professionals virtually that can give you all of the best practices for getting in.

At this stage, it’s not about virtual vs in-person; it’s about the quality.

Why did I first get the idea to become a double bass “audition coach”?

I was a “good kid” in high school that just wanted to get A’s in class like many of the other high performing students that were around me. I used to think others were achieving more because they were smarter than me.

Later I learned that it wasn’t about intelligence. It was about the types of structure, routines, and environment that they had.

Many of these high achieving students end up coming to me for the reverse issue. They do well in academics, but struggle to win orchestra auditions on double bass.

It can feel demotivating when you lose or get waitlisted your BUTI or NYO-USA audition year after year. You listen to everything your teacher tells you - yet you are not getting acceptance letter.

That’s where I come in and help. I take the guesswork out of audition prep and teach you how to evaluate your playing through the lens of the adjudicators. I’ve helped countless students win All-States, get into Interlochen, Northwestern, and others.

Adult learners of double bass often ask me if it’s possible to pursue an orchestra career after 25 years of age.

These students often share that they played double bass in high school (they were often quite good at the instrument) and the pursued a traditional non-music career path for a variety of reasons. Now they want to go back to something they are passionate about.

Yes. It isn’t too late.

In fact there are some structural advantageous to being an adult learner. Financial stability, greater personal autonomy, as well as well-developed critical thinking, introspectiveness, and self regulation skills all help adult learners achieve success.

You’ve probably done everything right by the books: youth orchestras, excellent music colleges, and elite teachers.

Then you audition for fellowships like Tanglewood, BSO fellowships, major summer festivals, or orchestral training programs.

And get…rejected or waitlisted. Again.

Why? Many institutions emphasize solo playing, solo repertoire, and solo competitions. Sometimes this comes at a cost of spending less time on deep orchestral excerpt study.

Maintaining a wide vibrato without distorting the quality of sound is crucial at double bass auditions.

The panel expects candidates to have a round, pleasing tone and a vibrato with consistent quality throughout the pitch.

Without solid vibrato technique, it can lead to missed opportunities like participating in elite youth orchestras and summer festivals, or get accepted into a dream music college.

Comment VIBRATO, for a free 30-Minute 1:1 session on vibrato via Zoom. And let’s get to the bottom of what is holding you back from audition wins.

When I studied Alysa Liu’s development, I wasn’t focused on the medal.

I was focused on the pattern.

Before winning the Olympic gold medal, there were:

Failed jump attempts.
Coaching transitions.
Mechanical rebuilding.
Growth adjustments.
Daily structure regardless of motivation.
A parent investing deeply in infrastructure.

That structure felt very familiar.

Because the serious double bass students I’ve seen succeed — the ones who win competitive youth orchestra auditions and get into elite programs — followed the same blueprint.

They experienced:

- Frustration rebuilding foundational technique.
- Metronome work that exposed tempo instability.
- Cringey mock audition recordings.
- Constant recalibration of standards.
- Parental support.
- Mentors and conductors who advocated for them.

Different discipline.
Same structure.

Elite skill is not destiny.
It is cultivated.

Whether it’s Olympic skating or a top conservatory audition — the blueprint is almost identical.

Technique Is the #1 Concern in the Double Bass Community.

Across youth orchestra auditions, All-States, summer festivals, and conservatory scholarships, the same issues come up again and again:
• Intonation�• Tempo instability�• Insecure thumb position�• String crossings�• Tension in fast passages�• Upper-register clarity

This isn’t random.
It’s a foundation issue.

You cannot execute nuanced musical ideas if the mechanism underneath isn’t stable.

If technique is the bottleneck in your audition prep, comment FOUNDATION and I’ll DM you a link to book a free 30-minute audition strategy + repertoire refinement session.

Music school admissions are not holistic in the way many people think about general college admissions processes.

Academics determine eligibility.
The audition determines admission.

If the audition doesn’t meet the studio’s threshold, the file does not advance - regardless of GPA.

Once the audition passes, faculty evaluate:

• Can this student think clearly?
• Do they make sound decisions?
• Can they function inside a professional musical community?

That’s what the essay and letters of recommendation reveal.

If you are applying to music school for either a bachelors or masters, comment APPLICATION - I offer a free 30-minute double bass audition strategy session. I’ll listen to one solo movement or orchestral excerpt and give you clear next steps for conservatory/music college admissions.