I sort of had lessons. I then did the usual thing: school orchestra, and then I got accepted into the county symphony orchestra when I was about 15-16. I played with them for 3 years until I left school and went to university. So now it’s about getting my fingers back in shape, getting my tone back in shape, and at least getting back to a level where I can play most of the music again. You’re basically having all of these flutists, eminent flutists, online when you need them, on what you need them for. So if I want to look at and play Taffanel and Gaubert, I pick and choose — I don’t listen to all 17 parts of Chelsea’s video, I pick and choose the ones I like. So it’s just basically having on-demand world famous flutists that can actually teach it. Because in reality, what does the teacher do? The teacher explains how you’re supposed to play it. And that’s what the videos do. In the end it’s up to you to play it. It’s up to you to listen to your teacher, and how they present the piece of music. Whether that’s real life or whether on a video, it’s the same concept. The ability to do it when I want to do it, refreshes my mind on how to practice efficiently, rather than just picking the flute up and playing. So that’s what I like about tonebase, a) the people who are on the video and b) the ability to dive as much as you want. You can skim it, you can deep-dive it, you can go into most of what you want to take away from it. I’m less into the pieces, so whether it’s the Mozart Concertos or the Chaminade, or Enescu’s pieces — because that’s really relevant when you want to practice it and play it. I much prefer more of the lessons in terms of the practicing, whether that’s Chelsea’s ones where she tends to do more of the technical theory, rather than pieces. I enjoyed the practicing ones, because again, it explained how to practice efficiently. Over the years you forget the finer details. I mean, it’s interesting: do you practice pieces slowly and speed it up? Or do you practice pieces in bite-sized chunks? It’s a resource that it’s up to you to decide how you want to use it, and how much you want to use it. But it’s a great resource if you’re already — I’ll call it more of an “accomplished” flutist. It’s not really designed for beginners. You have to be able to play to take all the benefit from it. We’ll call it: a flutist who wants additional ideas to expand their current playing.