Thanks, that was really encouraging. I’ll try to keep working on making English notation feel more natural to me. Like you said, there are way more resources out there, and once I no longer have to mentally translate everything, with all the effort and slowdown that brings, I’ll definitely be able to get a lot more out of it.
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Bueno supuse que aquí también habría más españoles y latinoamericanos, y claro buscaba también su opinión porque ya habrán pasado por este “problema”!
Escuela de música inglesa complicado, por eso tomo clases online (aquí, en inglés) ni tiempo ni lugar donde darlas! Pero gracias.
Blues in C vs. Blues en Si 
Multilingual jams can be interesting 
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As an Italian living in Germany, I have to juggle between 3 systems. I learnt music with the latin Do, Re, Mi, etc. B2B and online resources use the A,B,C,… English nomenclature. And, last but not least, there is the traditional German system, where the usual notes are A,H,C,D,E,F,G, but B also exists and is the English B flat. All the people I play with tend to use the latter. In addition, in German H is spelled “HA”, so the joy of regularly misunderstanding A and H (and also which B is B?!) is immeasurable…
(Sorry for the only partially related rant. I just needed to vent a bit 
)
For me, mixing notations made things a bit harder to learn and a lot harder to communicate. It is still frustrating at times. Your situation is different, and learning two systems is not a necessity, but it would open a lot of opportunities. As tough as it is at the beginning, it gets better over time, and quicker the more you use them, in my experience (well, not that surprising )
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Think about what functional music theory you will find useful. You want to understand what is happening in a composition. The “why” behind what notes are tabulated out.
I believe the greatest value will come from learning to think in terms of Relative Pitch. Know what the key center is, and then being able to identify the intervals between a note and the key, and the notes within a bar. E.g. being able to identify that you’re outlining root, third (major or minor), and fifth; or root, five, flat seven.
Any notation system can work for that. I find Nashville numbers the most intuitive for me.
I agree that it’s a good idea to check in with latin American bassists.
I learned in Puerto Rico, where everything is in both languages.
Music theory is heavy on solfeo (do re mi), the Latin system (do is fixed to C).
I still have to do a mental translation sometimes, but being able to access European music theory (French, German, Italian) and English (British, USA) is a superpower in Classical music, less so when we deal with Rock or Jazz.
Salsa, reggaeton, bossa nova, etc will tend to be described in Latin. It’s not going away.
A fin de cuentas, depende del contenido que persigues. La nomenclatura inglesa prevalence en rock y jazz, y por supuesto, en los cursillos por internet.
Me parece que lo mejor es adelantar en el sistema más cómodo y entonces “traducir” los conocimientos al sistema menos conocido.
Por ejemplo, si te viene mejor en latín, ponte duro en solfeo y teoría de acordes, etc en español. Luego, desde esa postura, podrás a similar los conocimientos en Inglés porque solo tienes que sustituir los nombres.
TL;DR: there’s ton of research showing that learning in two languages reinforces knowledge.
My pro tip for @kosako is to make deep progress in his native system, then approach the English system knowing most of the material already. That way he only has to replace the names of the notes.
BTW, it’s a similar principle to reading the fall semester’s text during the summer vacation. So, after class you’re essentially reading the material for the second time.