you're right about when soft rosin gets hot - and putting more on does not really seem to change the situation. Ultimately you will learn that you are in your mind and don't even know it.... the "grip" which is gone is actually changing, in a state of flux with the rosin - the sound is liquidity. I think, if one tries many rosins, it can be lived with, but it's annoying... see the problem is actually the bass. I've found Nymans, and Carlssons, to be somehow more consistent, and a few others, as a matter of fact - to answer this thread maybe: most rosin is good quality and of decent consistency in its own way, and I've even tried some of the violin and cello and viola rosins, with even more varied palate. They are probably the most consistent in their feel... If you go to a teacher they may not mind what you use, or they may tell you use Nymans, or something like that. Petz, medium, or hard, and probably soft, are good, even, and warm - good to the player's ear. Pirastro, who makes tons of different types are worth their price. Pops which can be so soft, is actually liquid gold, and if you get into this enough you might see what I mean...if you put on too much just take a clean cloth and wipe off the strings. It's better to take too much.
If you manage to open your ears enough then you will see that it is all equal among those quality recipes/producers, and you will find out, how to use rosin that is not grabbing, and you will find how to break out when the soft is too sticky... But, for general purposes, the medium and softer rosins will give a thick sound, which is also not too abrasive or too clingy or heavy... it is better to feel your arm as soft, conducting sound, weight which is easy for your wrists, and constant relaxation for the best sensation, which is you and your sound. It is very difficult to go into all the possibilities of combinations of frequencies of sound between different rosins and what string is under them. It is better to have a handful of reliable choices, of which there are many to choose from, and try to diligently find out as much as you can about them by your ear, which is irreplaceable experience. So sooner or later you'll have to put aside all the choices and practice, hopefully for at least a couple of weeks with one to let it's sound work into the bass, to break in, and if you aren't reasonably satisfied by then, then go on; don't put up with bad sound, but don't just be impulsive. You may miss something sounding good... it may take some time to find it. If you really want to be random then indulge, I've never tried this out too far. It confuses the instrument. As this clears you begin to hear what is growing, what remains. You may be surprised to realize that the bass is most benefited by you playing it, although the rosin can be useful for a quick change, maybe a significant one - but it is to your liking. Your freedom of sound is at stake. How much does that matter? In other words, are you forced to use something? Are you willing to suspend partiality to learn about sound, what is the behavior of rosin?
