Rosins that famous violinist use?

September 1, 2016 at 03:17 PM · I can only laugh.

There have been numerous rosin threads in the past.

If you want to go extra-fancy, you can annoy your parents by asking for Leatherwood.

September 1, 2016 at 08:10 PM · I'm still using on my violins a cake of anonymous black cello rosin that must be at least 30 years old. When it gets too thin to use I'll probably go for Pirastro Black (which its maker says is suitable for all strings including bass), on the easy-to-decide grounds that all my strings are Pirastro.

I've long been of the opinion that the rosin world has its own share of smoke 'n' mirrors laced with snake oil, so let's be careful out there.

September 1, 2016 at 08:21 PM · I'm way too much of a beginner to hold any weight. But the message I get from anyone who knows better is that it doesn't matter... My teacher uses the same little block she got 14 years ago.

September 1, 2016 at 09:08 PM · Ah, where would we be without a new rosin topic every other day? :)

Have you seen this article, David?

http://www.wsj.com/articles/SB10001424127887323528404578455242113346634

September 1, 2016 at 09:15 PM · ...or this one...

http://www.violinist.com/discussion/response.cfm?ID=14412

(someone in there says he uses Bernardel Rosin but the picture from his bag shows a dark rosin. He probably changes depending on the venue he's playing, if it's going to be humid or dry, or any other reason he might have to change rosin)

September 1, 2016 at 09:38 PM · I guess it has to be a superior rosin for superior strings used by a superior player, eh?

September 1, 2016 at 10:23 PM · There's a lot of great options available these days.

D'Addario has really hit the mark with their Kaplan Artcraft Light rosin, which for under $10 plays beautifully. It applies easily, and the feeling of the hair/string connection is very fluid without any brittleness. I bought a couple dozen cakes for my school program and studio, and always keep one or two on hand to share with colleagues and students. Especially for those young players who only have the really cheap wood block rosins, their surprise at how well it works is palpable.

I also like Melos, both their light and dark varieties.

September 1, 2016 at 11:34 PM · Trevor's comment about snake oil is spot on. There is a lot of mythology out there. If only I used the same rosin as [pick some great soloist], I would sound excellent. This, IMHO, is nonsense. While rosin choice may make some difference to violinists who are in the top tier or two, for most mortals, most good rosins will do the trick. Look at previous threads, as Lydia suggests. Ask your luthier for a rosin recommendation. Stop worrying about what Bell uses.

September 1, 2016 at 11:43 PM · Is it just me, or did the price for Andrea Solo, go up 90%+ in the past year?

I do recall making a remark buying them for $25(on how expensive they are), and now most places sell them for $45

By all means, It is the single best projecting, somewhat-bright I've used, but I do alternate with some of other rosins because it seems to make my violin too loud on odd days.

September 2, 2016 at 01:23 AM · andrea solo's always been ~US$30 as far as I can remember. I suspect it's fluctuations in exchange rates that you're seeing.

September 2, 2016 at 09:00 AM · Regardless of rosin brand, I find it useful to have rosin of a range of colours. The lighter rosin is less sticky, and necessary when I'm playing in a hot pub. The darker rosin gets too sticky when in a hot room, but is necessary for playing in a cold location (such as my small convervatory at night.

I use Melos Light and Dark violin rosin, and really like it.

September 2, 2016 at 10:59 AM · How about a thread on what kind of hygiene products Joshua Bell uses???

September 2, 2016 at 12:36 PM · Leatherwood is great! They recently had a 2-for-one sale (but its's over now). Even so it's the most expensive rosin I've ever bought.

For my first 50 years of playing I was a "rosin is rosin" believer, but in more recent years I have definitely come to have favorites among which have been Liebenzeller, Tartini/Andrea, Magic Rosin, and now Leatherwood. I started to use each of those brands over the past 20 years as I learned of their existence. At the time(s) I felt each of those were very good - when I finally found the right "grade" for each instrument (I play violin, viola, and cello). I've used many other brands, most were pretty good, the ones I've mentioned stood out for me. There is also a brand, called Baker's, made in Florida, in 2 grades, by the people who claim to own the trees and drain the sap - that has many advocates. I find that it probably made it easier for me to create various "colors" in my sound, but it created a lot of fine dust - and most of my playing has been in ensembles where my "colors" don't matter. The advocates of Baker's subscribe to annual deliveries, because its unique qualities are said to age.

A rosin that acts with a high static friction coefficient (during the "stick" phase) will get the strings vibrating easily, even with low bow pressure and can lead to more powerful sound (when you want that) by holding the strings longer (for a wider vibration). A rosin that acts with a lower sliding friction coefficient will interfere less with the string vibration during the "slip" phase of the vibration cycle, thus not interfering with sound production. Ambient temperature has a big effect on how any rosin works. Because rosin softens (melts?) from the heat [produced during the slip phase, the ambient conditions and the way you use the bow affect this behavior. Rosin makers affect the stick/slip behaviors of their product by adjusting their formulations. You might think that the ideal rosin would maximize static friction and have zero sliding friction - but I suspect that might restrict our ability to create "colors" in our sound.