Got something on your mind?

BandUp brings rehearsals, gigs and all the organising in between into one place. Repertoire, setlists, calendar and tech rider live together, and on stage there's a band-synced Stage Mode showing lyrics and chords. The point is to take the admin off your plate so everyone can focus on the music.

The Solo plan is free forever. Every feature is open for one person, and we don't ask for a card. You can create unlimited bands, setlists and songs. Paid plans only come in when you want to invite other members: Garage covers up to 4 people, Big Band up to 12.

Create an account with your email, then a three-step setup takes over: your name and the instruments you play, your band's name and genre, and that's it. When setup finishes your band is ready and you land straight on the dashboard. It takes a few minutes and there's nothing to learn.

From band settings you enter their email addresses and send an invitation, choosing whether each one joins as an Admin or a Member. Once they follow the link and set up their account, the band's repertoire, setlists and calendar are right there. You never have to send anyone a file again.

When you enter stage mode, every song in the set (lyrics, chords and notes included) is quietly downloaded to your device, so if the connection drops you keep reading and swiping through it. While you're offline the content becomes read-only and the live features are disabled; once you're back, everything refreshes silently.

It does. Use it in the browser, or get the mobile app from the App Store and Google Play; the app runs full screen on tablets too. There's a read-only Apple Watch companion as well: setlists, the stage list and song details on your wrist. One account across all of them, kept in sync.

Yes. One account can belong to as many bands as you like, and you can create your own. You switch between them from the band picker at the top; each band keeps its own repertoire, setlists, calendar and members, completely separate. Even on the free Solo plan there's no limit on how many bands you create.

The database and the files you upload are held on servers in Europe. All traffic goes over an encrypted connection, passwords are hashed irreversibly, and every query is isolated per band, so one band can never reach another's data. Your card details never reach us at all; they stay with the payment provider.

Yes, that's what the Listings section is for. There are four types: for sale, wanted, looking for a musician and looking for a band. Listings belong to you rather than to a band, so they work regardless of which band you're in. If you prefer, you can publish a listing under your band's name instead.

It is. Posting, browsing and messaging a listing's owner need no paid plan, so a free Solo account is enough. We don't take a commission either: BandUp puts buyer and seller in touch and stays out of the payment and delivery entirely.

Really, there's no catch tucked away somewhere. We don't ask for a card at signup, so no payment quietly kicks in at the end of a period. It isn't a trial either; you'll never hit a "your time is up" screen. You only need a paid plan when you want to invite someone else into your band.

Yes, that's the only one. Solo holds 1, Garage 4 and Big Band 12, and the feature list is identical across all three. Stage Mode, the tech rider, date polls, the lyrics and chords editor and offline use are all open on the free plan too, with no cap on songs or setlists. The only question when choosing is how many of you there are.

Big Band covers up to 12; for anything larger, write to support@bandup.io. Tell us briefly how many of you there are and what you do, and we'll set something up that fits. That's how we handle orchestras, choirs and large production lineups.

The subscription is per band, not per person, so one payment covers the whole lineup. Only the band's owner pays; other members never enter card details or pay anything separately. Everyone you invite gets full access under that same subscription.

Payments are taken on bandup.io by credit card. There's no in-app purchase: because a subscription belongs to a band rather than a person, payment happens on the web side. Our merchant of record, Paddle, processes it and issues the invoice, and your card details never reach us.

Any time. The difference is prorated and shown to you before you confirm. If you downgrade, members beyond the new capacity have their access suspended but none of their data is deleted; you restore access once capacity frees up, or by swapping them against another member.

You can, and there's no commitment. Cancelling takes effect at the end of the period you've paid for, and everything stays open until then. After that the band drops to free-plan capacity and none of your data is deleted. We email a reminder 7 days before each renewal.

If it's your first time on a paid plan, you can request a refund within 30 days with no reason given. Just write to info@bandup.io. Automatic renewals aren't refundable as a rule, but if you didn't notice a renewal and haven't used the service within 14 days, we'll refund it. Your statutory withdrawal rights always stand.

Settings → Billing lists every invoice with its number, date, amount and status, and the download button on each row opens the PDF. Invoices are issued by Paddle, our merchant of record, so they carry Paddle's details.

We don't cut you off straight away. You get a notification and everything stays open for 8 days, with a banner across the top of the app counting down the days left (shown to the band's owner and admins). If the payment isn't completed in that window the subscription lapses and the band drops to free-plan capacity. No data is deleted.

Usually within 2-4 business days. Every message is read by an actual person, and we don't send canned replies. If you can't get into your account or something's wrong with a payment, say so in the subject line; we move those to the front.

Three things make it much easier for us: what you were trying to do, what happened instead, and which device or browser you were on. Attach a screenshot if you have one, and paste the address of the page. If it concerns a band, include its name so we can find the record and reproduce your steps.

You can do it yourself in the app under Settings → Security; no need to write to us. For 30 days afterwards you can simply sign in to restore the account. Once that window passes, your personal data is irreversibly anonymised. Your session and device records are deleted straight away.

Check our status page first. If there's a general outage it'll be listed there and waiting is all you need to do. If it looks local to you: reload the page, fully close and reopen the mobile app, and make sure you're on the latest version. If that doesn't help, write to us and mention what you already tried.

To the same support address. There's no separate form. It really helps if you describe the problem you're trying to solve alongside the idea; understanding the problem guides us more than the proposed solution does. We review what comes in regularly, and anything we ship shows up on the Release Notes page.

Yes, that's what the Listings section is for. There are four types: for sale, wanted, looking for a musician and looking for a band. Listings belong to you rather than to a band, so they work regardless of which band you're in. If you prefer, you can publish a listing under your band's name instead.

It is. Posting, browsing and messaging a listing's owner need no paid plan, so a free Solo account is enough. We don't take a commission either: BandUp puts buyer and seller in touch and stays out of the payment and delivery entirely.

Four types: for sale and wanted for gear (with category, price and condition fields), plus looking for a musician and looking for a band (with instrument, genre and level). The form adapts to the type you pick. Location (country and city) is required on every listing, and you can add up to 8 photos.

You choose. Pick "for myself" and your name and avatar appear on the listing, with messages coming to you. Pick "for my band" and it's published under the band's name, with enquiries landing in a shared inbox. On musician-wanted listings you can also invite chosen bandmates into those conversations.

Through the "Send message" button on the listing. There's no need to share a phone number or email address; the conversation stays inside the app. All your threads gather in a single inbox, regardless of which band you're in, and you get an instant notification on every new message.

Your exact address is never shared. When posting you can allow approximate location (around 1 km precision) or decline. If you decline, the listing is placed at the city centre instead, and publishing is never blocked either way. If you grant location permission, results are sorted nearest first and cards show a distance badge.

It expires automatically 60 days after publishing, and we send a reminder before that happens. Republishing an expired listing takes one click. If you want to take it down sooner you can close it yourself, then reopen it whenever you like.

Every listing has a "Report" action; our team reviews what comes in and takes the listing down where warranted. Blocking someone, whether a person or a band, happens instantly from the menu in a conversation, with no review: neither side can message the other and each disappears from the other's browsing. Undo it in Settings → Blocked.

You don't. You can browse, filter and open listings on bandup.io without an account: photos, price, location and description are all there. You only need to sign in to see who posted it, send a message or report it; "Open in the app" on the detail page takes you to the same listing.

Yes. It's published the moment you save it, with no approval queue. Moderation happens afterwards: our team reviews listings that break the rules or get reported and takes them down where needed. So nothing sits waiting, but a published listing still has to play by the rules.

"My listings" has four tabs (Active, Closed, Expired and Removed), each with a count. An active listing can be edited or closed; a closed or expired one is republished in a single click. Each row also shows how many messages that listing has received.

If a listing breaks the rules our team takes it down and you get a notification. It moves to the "My listings → Removed" tab, where you can read the reason it was removed. A removed listing can't be republished; you can only delete it. The rules are in the Listings section of the Terms of Use.

You can do it yourself in the app under Settings → Security; no need to write to us. For 30 days afterwards you can simply sign in to restore the account. Once that window passes, your personal data is irreversibly anonymised. Your session and device records are deleted straight away.

The Owner owns the band: billing, member management, ownership transfer and deleting the band are theirs alone, and there's one per band. An Admin edits band settings and can invite or remove members. A Member does everything in the repertoire, setlists, calendar and stage mode; they simply don't manage the band itself.

You can. In band settings you pick one of the existing members and transfer ownership to them; they become Owner and you stay in the band as an Admin. This is the only way ownership changes: you can't grant the Owner role in an invitation. You need to transfer it before you can leave the band entirely.

Owners and Admins can remove someone from the members list. The person is notified and loses access to the band's data immediately, while the songs, notes and setlists they added stay with the band. You can also cancel invitations that haven't been accepted yet from the same screen.

They stay with the band. Whatever you put into a band (songs, lyrics and chords, band notes, setlists) is the band's shared work, and the band carries on without you. Only your personal notes and setup list are yours alone. If you're the Owner, you need to transfer ownership before leaving.

A band is never left without an owner. If you're an ordinary member, only your membership goes. If you're the Owner and the band has no other members, the band is deleted along with your account. If there are other members or an active paid subscription, deletion is held back until you transfer ownership or cancel the plan.

You can. In notification preferences you turn each channel on or off per event type. Push and email are independent for new events, changes, date polls, listing messages and the rest. The pre-event reminder defaults to one day ahead, and you're free to change that yourself.

Settings → Security lists every device your account is signed in on. You can end a single session, or use "sign out of all other sessions" to log out everywhere except the device you're on. If you spot a device you don't recognise, end that session first, then change your password.

Change it under Settings → Security; we ask for your current password first. If you've forgotten it, use the "Forgot password" link on the sign-in screen. You'll get an email with a link to set a new one. The same screen also lists the devices you're signed in on so you can end those sessions.

The band's name, logo and currency are edited under Settings → Band Settings, and that's limited to the owner and admins; members can see the details but not change them. Deleting the band outright and transferring ownership are the owner's alone. Leaving the band is up to each person.

The time zone is assigned automatically from your location when the band is created; after that, Settings → Band Settings → Date & time lets you change the time zone, the date and time format and which day the week starts on. Owners and admins edit it. The calendar, date polls, dashboard, billing and member list all follow that preference.

Hit "New setlist", give it a name, then drag songs across from your repertoire pool and put them in order. You can reorder by dragging at any point and pull out anything you don't want. Song count and total running time are calculated live as you build, and every change saves on its own.

You can. Drop a Break with its length between songs and an Encore at the end; both get their own page on stage. Numbering restarts from 1 after a break, and everything from the encore on is unnumbered. Total duration and song count are recalculated live as you edit.

They can. Everyone in the band can open and change setlists, and whatever one person does appears on everyone else's screen straight away, so nobody has to refresh. It makes no difference whether it's a new setlist, a rename, an added song or a reorder: everyone is looking at the same, current list.

The Board shows several setlists side by side as columns on desktop; you can drag from a pinned song pool and move songs between setlists, which is handy when planning a run of shows together. The List view focuses on one set at a time. Your choice is remembered, and on mobile widths it's always List.

You can. A show takes one setlist; a rehearsal can take a setlist and, separately, a list of songs to work on that day. The link works both ways: from a setlist you can see which shows it's played at, and from an event you can see which set is planned.

Press the "Stage" button on the setlist. You can also go straight in from the list and board views. The screen switches to a full-screen, dark, large-type stage mode; the menus disappear and all that's left is your set. While stage mode is open the screen won't dim by itself.

A full-screen, dark view built for playing live. There's no menu or sidebar; what's on screen is your set order and the song's lyrics and chords in large type, readable from a metre away. While it's open the screen won't dim by itself, and because the content is downloaded to your device it stays readable even if the connection drops.

It is. If someone reorders the set, adds a song or drops one mid-gig, the change appears on everyone's screen straight away. Shared transpose reaches the whole band the same way. So you never have to shout a last-minute change across the stage: everyone is already looking at the same, current set.

You pick one of the people on stage as the leader, and your screen mirrors wherever they're looking, so whatever song they move to, you're there too. If you start navigating yourself, following pauses, and "Back to leader" picks it up again. When the leader leaves the stage, following ends and you stay where you are.

If you need to change a song's key mid-gig (say the singer's voice is tired that night), you pick the new key from the key chip and the chords shift on the whole band's screens instantly. The change is temporary: it isn't saved to the song, and the song returns to its own key after the gig. Your personal transpose stacks on top of it.

You can. Reorder by pressing and dragging, and use "Add from repertoire" to bring in another song, a break or an encore. The panel stays open so you can add several in a row. Swipe a row away to remove it, and undo if you didn't mean to. Every change saves and reaches the band instantly.

There is. It's a visual one, not an audible one. Turn it on in settings and the area in the footer becomes the metronome; tap it and it flashes white at the song's tempo, showing which beat you're on. It's meant for holding tempo on stage without in-ears. It stops by itself when the song changes, and won't run on a song with no tempo set.

The moment you enter stage mode, every song in the set (lyrics, chords, notes and setup list included) is quietly downloaded to your device. If the connection goes, you keep reading and swiping through the set, including songs you haven't opened yet. Only the live features (shared transpose, leader selection, set editing) are disabled.

Both are there. Turn on auto-scroll in settings; there are five speed steps, and "Normal" is derived from the song's duration, or its tempo when there's no duration. Text size is in the same place. Line height opens up with it, and there's a bold text option. Every setting is remembered on your device across all setlists.

You can. Turn on content blocks in settings and your setup list, personal note and the band note appear above the lyrics and chords page, so you can glance at your drum or pedal settings before the song starts. Setup rows can be hidden one by one, and that choice stays on your device. With none of them on, the page reduces to a giant song title.

Stage Mode has its own theme, independent of the app's. It's dark by default, and you can switch it to light in a bright room. Text size, bold text, chord colour and whether chords or lyrics are shown are all in settings too, along with a reduced-animation option. Everything is remembered on your device across all setlists.

All you need is the title. Type it, confirm, and the song is created and its detail page opens. On a phone the "+" opens a small sheet that asks for nothing but the name. Artist, key, tempo, duration and original-or-cover you fill in later as you go; all of it saves on its own, with no save button to hunt for.

You type the lyrics straight onto the page. To place a chord, select the word it lands on and enter it; the chord sits directly above the word, and clicking it lets you change or remove it. You can add section headings like chorus and bridge. Transpose the song and every chord moves together with the song's key.

You can. Lyrics pasted from Word, a notes app or a website are converted into blocks automatically. The line layout is kept and you don't have to retype anything. From there you place chords above the words and add section headings. Everything saves on its own as you go.

If you play a transposing instrument like a Bb trumpet or an Eb sax, you don't have to transpose in your head: you pick your own key and the chords shift on your screen only. The song's key and the band's data stay exactly as they are, and the preference is saved to your account across every song. While personal transpose is on, editing lyrics and chords is locked, so you can't accidentally save the band's data in your key.

Add a song as an "Idea" and the band votes it up or down, so the discussion doesn't get lost in a group chat. Once everyone has voted: a majority yes moves it into the repertoire in one click, a majority no deletes it after a confirmation, and on a tie you decide. Songs still at idea stage don't show up in the setlist pool.

Your own notes are visible only to you: a free-form note plus a setup list where you keep things like amp and pedal settings. Band notes are open to everyone: a shared note and a references block where you can add links and upload files. Each block saves separately, and the setup list can be shown in stage mode too.

Yes. In the references block on the band notes side of a song you can add links and upload files: sheet music, a PDF, whatever you need. Anything you upload is visible to everyone in the band. Things meant only for you go in the personal notes and setup list in the opposite column.

You can. In the lyrics and chords editor, Ctrl+Z on the web (Cmd+Z on a Mac) undoes your last change. Because everything saves automatically, a wrong move is nothing to panic about. Undo it and carry on where you left off.

If you no longer play a song but don't want to lose it, set it to "Archive". It moves to the Archive tab and drops out of the repertoire list and the setlist pool, so it won't turn up while you're building a set. Its lyrics, chords and notes stay untouched and you can bring it back any time. Deleting, by contrast, is permanent.

On the song's detail page you can type the number in, or find it with Tap: play the track and tap along with the beat, and the tempo works itself out. The saved tempo is visible to the whole band and feeds the visual metronome in stage mode, which won't run on a song with no tempo set.

It's the technical document you send a venue: who stands where on stage, which instruments are being played, which mics and lines are needed. In BandUp each band has a single rider fed from your band's own data, so instead of reworking a Word file every time, you keep one document that's always current.

No. It arrives pre-filled from your band's data the first time you open it. Lineup and instruments, a drag-and-drop stage plot derived from those instruments, an automatic input list, a song list from the repertoire and your contact details are all there. You just correct what's off.

Flip the share switch and you get a public link to send to the venue. The link is live: update the rider and the venue sees the new version instantly, with no second file to send. Turning sharing on and off is limited to the band's owner and admins.

The venue doesn't need an account. The link opens without any login, reads well on a phone and is hidden from search engines. If a venue wants something printed, you can download the rider as a black-and-white PDF or print it directly.

Because the rider is fed from your lineup and instrument data, the document follows a lineup change, and the stage plot and input list reshape around the new lineup. The link you shared with the venue stays the same, so there's no new file to send and no "this one's the latest" message.

"Reset" returns the rider to the auto-filled state it had when it was first created. Your edits go, and the stage plot, input list and song list are rebuilt from your band's data. It's the quickest way to start from a clean page when the document has got messy.

Shows, rehearsals and other events all live on one calendar. On the web you switch between Month, Week and Agenda views; on a phone there's Month and List. Events are colour-coded by type, members' availability shows as a separate layer, and the filter lets you turn any of it off.

You pick a few candidate days from the calendar and open a poll, optionally with time slots. Everyone marks each option as available, not sure or unavailable, and can leave a comment. The slot with the most "available" votes is highlighted; when you finalise it, that day lands on the calendar as an event of the type you chose.

Normally we wait for everyone to vote before the date can be settled. But if you set a voting deadline and it passes, voting closes, a banner reports how many people responded and finalising unlocks, so one silent member shouldn't leave a poll stuck. Extending the deadline reopens it for voting.

You can. Mark the times you're not free as a single day, a date range or a timed block, and they appear to the band as a separate layer. Only you can edit your own blocks. If a candidate day in a date poll clashes with one of them, a warning is shown.

You can. Each availability block carries its own visibility: choose "show to band" and members read what you've written, or "busy only" and all they see is that you're unavailable then, with no reason given.

There are. Set up the rehearsal that happens the same day every week once, and it repeats on the calendar by itself. When you edit or delete one occurrence you choose the scope: just this date, the whole series, or this one and everything after it. So moving a single week doesn't disturb the rest.

You will. A reminder goes out one day before an event by default, and you can change that in your own preferences. You're also notified when an event is created, changed or cancelled; which notifications reach you through which channel is up to you in settings.

Your browser needs to grant permission first. Click the padlock icon at the left of the address bar, set "Microphone" to "Allow" and reload the page. If the needle still doesn't move: make sure the right microphone is selected and that its input volume isn't muted. Background noise throws the reading off too, so try a quiet room. On an acoustic guitar bring the sound hole close to the mic; on an electric, point it at your amp's speaker.

A chromatic tuner doesn't expect a preset tuning: it listens to whatever you play and names the closest note as it is, with the semitone below and above shown alongside. In practice that means it works with any tuning. Standard, drop D, a baritone ukulele or a 5-string bass: all you need is to know the note each string should reach, then turn the peg until the needle centres on it.

No. The tuner works out the pitch by analysing sound from your microphone, so it can't read anything without permission. The interface stays available, so you can still use the string table and note reference on this page. The permission applies only to this tab, and no audio is sent anywhere or stored: the whole analysis happens inside your browser.

In standard tuning the six strings run, thickest to thinnest: E2 (82.41 Hz), A2 (110.00 Hz), D3 (146.83 Hz), G3 (196.00 Hz), B3 (246.94 Hz), E4 (329.63 Hz). The thickest and thinnest strings are the same note, two octaves apart. Work from the thickest down; because tightening one string changes the tension on the others, going round a second time is what really settles the tuning.

In drop D only the thickest string changes: instead of standard E2 (82.41 Hz) you drop a whole tone to D2 (73.42 Hz). The other five stay standard. Because the tuner is chromatic there's no mode to switch: play the low string, loosen the peg and keep going until the display reads D and the needle centres. A quick check: barring the lowest three strings at the same fret should give a clean power chord.

Two things that are easy to mix up. Tuning is bringing each string to the right pitch so the instrument is ready to play; that's what the tool on this page does. A chord is several notes sounded together (C major, A minor and so on). So you tune first, then you play chords. If the tuning is off, the chord won't sound right either. For chord shapes, have a look at the Guitar Chords tool.

Your browser needs to grant permission first. Click the padlock icon at the left of the address bar, set "Microphone" to "Allow" and reload the page. If the needle still doesn't move: make sure the right microphone is selected and that its input volume isn't muted. Background noise throws the reading off too, so try a quiet room. On an acoustic guitar bring the sound hole close to the mic; on an electric, point it at your amp's speaker.

A chromatic tuner doesn't expect a preset tuning: it listens to whatever you play and names the closest note as it is, with the semitone below and above shown alongside. In practice that means it works with any tuning. Standard, drop D, a baritone ukulele or a 5-string bass: all you need is to know the note each string should reach, then turn the peg until the needle centres on it.

No. The tuner works out the pitch by analysing sound from your microphone, so it can't read anything without permission. The interface stays available, so you can still use the string table and note reference on this page. The permission applies only to this tab, and no audio is sent anywhere or stored: the whole analysis happens inside your browser.

The B string on a 5-string bass sits around 30.9 Hz, the hardest region for pitch detection: as the frequency drops the algorithm has a harder time and laptop or phone microphones may not capture something that low cleanly. For a better reading: work in a quiet room, let the string ring longer, pluck nearer the middle (hitting close to the bridge brings out upper harmonics) and don't hit it hard. If the display shows the octave above, play more softly.

On a 4-string bass, standard tuning runs thickest to thinnest: E1 (41.20 Hz), A1 (55.00 Hz), D2 (73.42 Hz), G2 (98.00 Hz). A 5-string adds one thicker string below those: B0 (30.87 Hz), making it B-E-A-D-G with the other four unchanged. Bass strings sit an octave below a guitar's, which is why the reading takes a little longer to settle.

Your browser needs to grant permission first. Click the padlock icon at the left of the address bar, set "Microphone" to "Allow" and reload the page. If the needle still doesn't move: make sure the right microphone is selected and that its input volume isn't muted. Background noise throws the reading off too, so try a quiet room. On an acoustic guitar bring the sound hole close to the mic; on an electric, point it at your amp's speaker.

A chromatic tuner doesn't expect a preset tuning: it listens to whatever you play and names the closest note as it is, with the semitone below and above shown alongside. In practice that means it works with any tuning. Standard, drop D, a baritone ukulele or a 5-string bass: all you need is to know the note each string should reach, then turn the peg until the needle centres on it.

No. The tuner works out the pitch by analysing sound from your microphone, so it can't read anything without permission. The interface stays available, so you can still use the string table and note reference on this page. The permission applies only to this tab, and no audio is sent anywhere or stored: the whole analysis happens inside your browser.

Standard ukulele tuning is GCEA: G4 (392.00 Hz), C4 (261.63 Hz), E4 (329.63 Hz), A4 (440.00 Hz). The thing to notice is that the top G string is higher than the C string next to it. This is called re-entrant tuning, and it's where the ukulele's bright, jangly ring comes from. So the strings don't run in order from thick to thin; when tuning, go by each string's own note.

In standard (high G) tuning the G string sits a tone below the A string and is tuned to G4 (392.00 Hz), which gives the bright, re-entrant sound. In low G the same string goes down an octave to G3 (196.00 Hz), usually with a thicker string fitted. Low G gives the ukulele a lower register closer to a guitar's. The tuner reads both, since it names whatever you play; just keep an eye on which G you're heading for.

A baritone ukulele is tuned DGBE instead of the standard GCEA: D3 (146.83 Hz), G3 (196.00 Hz), B3 (246.94 Hz), E4 (329.63 Hz). That's exactly the same as a guitar's top four strings, so if you play guitar your chord shapes carry straight over. A baritone sounds deeper and mellower, and it isn't re-entrant: the strings run properly from thick to thin.

Your browser needs to grant permission first. Click the padlock icon at the left of the address bar, set "Microphone" to "Allow" and reload the page. If the needle still doesn't move: make sure the right microphone is selected and that its input volume isn't muted. Background noise throws the reading off too, so try a quiet room. On an acoustic guitar bring the sound hole close to the mic; on an electric, point it at your amp's speaker.

A chromatic tuner doesn't expect a preset tuning: it listens to whatever you play and names the closest note as it is, with the semitone below and above shown alongside. In practice that means it works with any tuning. Standard, drop D, a baritone ukulele or a 5-string bass: all you need is to know the note each string should reach, then turn the peg until the needle centres on it.

No. The tuner works out the pitch by analysing sound from your microphone, so it can't read anything without permission. The interface stays available, so you can still use the string table and note reference on this page. The permission applies only to this tab, and no audio is sent anywhere or stored: the whole analysis happens inside your browser.

A violin's four strings are tuned in fifths: G3 (196.00 Hz), D4 (293.66 Hz), A4 (440.00 Hz), E5 (659.26 Hz). Most players start from the A string, since that's the reference pitch, then work outwards. Bowing two neighbouring strings together and listening for a smooth fifth is more precise than tuning them one by one. When the beating disappears, the interval is clean.

They do different jobs. The pegs at the scroll are for large moves. If a string is well below or above pitch, start there, and push the peg gently inwards as you turn so it doesn't slip back. The fine tuners at the tailpiece are for small corrections; once the needle is nearly centred, taking the last few cents there is far easier. Because the E string is the thinnest, it's the one that usually has a fine tuner.

BPM stands for beats per minute: the number that says how fast a song goes. 60 BPM is one beat a second; most pop songs sit between 100 and 130, ballads around 70-90, and faster rock tracks at 140 and up. Agreeing on the same BPM as a band is the simplest way to keep a rehearsal from drifting: settle a song's tempo once, note it down, and every rehearsal starts from the same place.

A number appears from the second tap onwards, but eight to ten gives you something far more reliable: the tool averages the gaps between your taps, so the more you give it, the less a single stray tap matters. Tap along with the kick drum while the track plays rather than counting bars. Leave a gap longer than two seconds and the run resets itself, so your next tap starts fresh.

Three common uses. Set a metronome to that number and rehearse to it, so the song stays at one speed from start to finish. Use it as the reference when you count the band in. And note it next to the song, so you're not hunting for the tempo again next rehearsal. In BandUp the tempo you save with a song in your repertoire stays there, so the whole band sees the same number.

BPM stands for beats per minute: the number that says how fast a song goes. 60 BPM is one beat a second; most pop songs sit between 100 and 130, ballads around 70-90, and faster rock tracks at 140 and up. Agreeing on the same BPM as a band is the simplest way to keep a rehearsal from drifting: settle a song's tempo once, note it down, and every rehearsal starts from the same place.

When you're learning a new piece, don't start at the target tempo: drop to a speed you can play cleanly, settle there, then move up in steps of 5-10 BPM. If you can play a hard transition without mistakes, the tempo is right; if you're stumbling, go lower. The metronome on this page runs from 40 to 240 BPM. In rehearsal it works best to fix the tempo once and have the whole band work to the same number.

Beats per bar sets how many beats before it comes back round to the start, and the metronome plays the first beat louder so you can hear where the bar begins. That way you're following the pulse of the piece, not just its speed, and that's what keeps everyone's "one" in the same place. This page offers 2, 3, 4 and 6 beats: 4 is the most common, 3 gives a waltz feel, and 6 is used for compound time like 6/8.

Two things that are easy to mix up. Tuning is bringing each string to the right pitch so the instrument is ready to play; that's what the tool on this page does. A chord is several notes sounded together (C major, A minor and so on). So you tune first, then you play chords. If the tuning is off, the chord won't sound right either. For chord shapes, have a look at the Guitar Chords tool.

The diagram is a top-down view of the neck. The vertical lines are the strings and the horizontal lines are the frets. Where there's a dot, you press that string at that fret. An O above a string means play it open: no finger, just strike it. An X means don't play that string at all. A thick line across several strings is a barre. The top of the diagram faces the headstock, the bottom faces the body.

You pick a root note and a chord type to see the diagram. There are ten: major, minor, 7, m7, maj7, sus2, sus4, dim, aug and add9. Between them they cover almost all of the pop and rock repertoire: major and minor are the basic colours, the sevenths give a blues and funk flavour, sus chords a sense of transition, and dim and aug build tension. Change the root and the same type moves with it.

The diagram is a top-down view of the neck. The vertical lines are the strings and the horizontal lines are the frets. Where there's a dot, you press that string at that fret. An O above a string means play it open: no finger, just strike it. An X means don't play that string at all. A thick line across several strings is a barre. The top of the diagram faces the headstock, the bottom faces the body.

You pick a root note and a chord type to see the diagram. This tool offers five: major, minor, 7, m7 and maj7. Between them they cover most of the bass and ukulele repertoire: major and minor are the basic colours, and the sevenths bring a blues, funk and jazz flavour. Change the root and the same type moves with it. For a wider list of types, try the guitar or piano chord tool.

Most of the time the bass's job is to hold the root of the chord. It sets the bottom of the band and carries the floor along with the drums. But knowing the whole chord still helps: once you know which notes are in it, you can step off the root into walking lines and passing notes. That's why the diagrams are here: not to strum the chord, but to see inside it. In a busy arrangement a full chord can muddy the sound.

The diagram is a top-down view of the neck. The vertical lines are the strings and the horizontal lines are the frets. Where there's a dot, you press that string at that fret. An O above a string means play it open: no finger, just strike it. An X means don't play that string at all. A thick line across several strings is a barre. The top of the diagram faces the headstock, the bottom faces the body.

You pick a root note and a chord type to see the diagram. This tool offers five: major, minor, 7, m7 and maj7. Between them they cover most of the bass and ukulele repertoire: major and minor are the basic colours, and the sevenths bring a blues, funk and jazz flavour. Change the root and the same type moves with it. For a wider list of types, try the guitar or piano chord tool.

It doesn't. In standard ukulele tuning the top G string is thinner than its neighbour (re-entrant tuning), but the reading stays the same: the leftmost vertical line is the G string, then C, E and A. The dots tell you which string to press at which fret; whether a string is thick or thin doesn't change where your fingers go. What re-entrant tuning changes is the sound: the same shape, notes in a different order.

You pick a root note and a chord type to see the diagram. There are ten: major, minor, 7, m7, maj7, sus2, sus4, dim, aug and add9. Between them they cover almost all of the pop and rock repertoire: major and minor are the basic colours, the sevenths give a blues and funk flavour, sus chords a sense of transition, and dim and aug build tension. Change the root and the same type moves with it.

The diagram shows part of a keyboard. The highlighted keys are the notes that make up the chord; press them together and you hear it. The key with the different outline is the root, the note the chord takes its name from. The letters on the keys tell you which note you're pressing. Chords are shown in root position, meaning the lowest note is the root; for inversions, try the same notes in a different order.

The same key can have two names: C# and Db are the same key. Which one you use depends on the key the chord sits in. For the spelling to be correct, every note in the chord should take a different letter. This tool mostly writes black-key roots as flats (Eb, Ab, Bb), because those keys come up more often in popular repertoire than their sharp equivalents. The key you press is the same either way.

Transposing means shifting every chord in a song up or down by the same amount so the whole thing lands in a new key. The relationships between the chords stay intact, so it's still the same song; it just sounds higher or lower. It's most often done for a singer: if the original key sits outside their comfortable range, moving it a few semitones is usually enough. It's also used to make things easier to play.

All the common ones work. Plain triads (C, G, Am, F), sevenths and extensions (Em7, Dmaj7, Asus4) and slash chords with a different bass note (like D/F#) are supported, and in a slash chord both the root and the bass note get shifted together. Sharps and flats (F# or Gb) are both recognised. Type the chords on one line separated by spaces; the result updates as you go and copies in one tap.

You type the last word of your line and the tool lists words that rhyme with it. For English it uses a pronunciation dictionary, so matches are based on how a word sounds rather than how it's spelled, which is why "though" and "flow" come up together. The richest rhymes, those sharing the longest ending with your word, are listed first. Tap any word to copy it and paste it into your lyrics.

The tool works in the language of the page: Turkish on the Turkish pages, English on the English ones. The two work differently. Turkish is written the way it's spoken, so the endings of words are matched directly; English spelling and pronunciation drift apart, so a pronunciation dictionary is used, which means words that look different but sound the same still make the list. Switch the page language for the other.