My nose and respiratory system get along with Pops. A couple of the more expensive softer models make me start sneezing in about 30 seconds; deal breaker...
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Double Bass If Rosin is Called By Any Other Name...
- Thread starter Tyler L
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FWIW, I use Spiro Mitts. In my hobbyist opinion, yes, it really is that much better.
People need to stop spreading this misinformation. Sprios are fantastic arco strings, if you need dead, unresponsive string to get a clean arco sound, it isn't a string issue.
Oak soft is better for a time, the packaging is not great so it does dry out. The Wiedoeft rosin maintains its character the longest, Pops is cheap enough to replace and keep fresh.
It's my understanding that you play on Spiro SOLOS tuned down to Orchestra pitch.
Is that correct?
Just wondering.
Thanks.
I`ve been having and overcoming serious shoulder issues with my setup of big 3/4 bass, plain gut GDA / EP slap E, Nymans rosin. The issues forced me to play arco only seated, whereas i play everything else standing. I got a new bridge quite recently, my luthier fitted the feet and I did the rest. I wanted to experiment with string spacing as I thought that a wider spacing would work better with fat plain guts, comparing to narrower setup I had on my ex-bridge. I purchased a fresh cake of Pop`s to experiment with that too ( John Feeney uses Pop`s and I thought that that guy knows something about bowing plain guts ). Voila, now I`m back playing arco mostly standing.
So thanks to the persistence of you all, I have finally broken past my inhibitions this evening and purchased a cake of Wiedoeft rosin. I admit I was leaning toward Oak rosin, but in my moment of impulsivity, I decided I did not want to deal with the storage conundrum of the paper packaging and/or deal with a rosiny, Ziploc bag mess of melted Oak. I may be $31.75 poorer, but I feel $31.75 fancier.
I use a weich E, but, yes the others are solos. I've used weichs and reds over the years. Lots of great arco players like Joelle Leandre, Barre Phillips, Mark Dresser, Barry Guy, the late Scodanibbio and many others use them.
People even use them in sections.
That's what I thought. Thanks.
Spiros can be a bit "uncooperative" under the bow to a beginning bassist who may be just starting to figure out the Bow/Hair/Rosin trinity.
And - Not all bassists want to sound like or explore the techniques & repertoire of the bassists (One Percenters?) that you listed.
Finally, I would be shocked to hear that professional orchestral bass sections are using full sets of Spiros - they don't "blend" well with others in a section, IME. In LA (back in the 90's) it was considered Very Bad Manners to show up for an Orchestral Section recording wearing Spiros. (Except for the C ext. string.) Maybe some of the Working Orchestral cats will chime in here?
IME.
Thanks.
EDIT - here is an example of an Orchestral Bass Section string sound - I doubt that there is a Spiro anywhere on this bass.
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This is all "party line" stuff, I used to concede about the section stuff as well. A couple classical bassists have chimed in over the years and "myth busted". Joseph Guastafeste is said to have used them, the Spiro solos I use are used by legit soloists as well.
I think the strings have been blamed for technical flaws over the years.
I think the strings have been blamed for technical flaws over the years.
@neilG - Can you weigh in on the "Spiros in an Orchestral Bass Section" question? Yes/No/Maybe?
Thanks for your time and expertise.
Good for you and all the best!
My take away from all this is that there are opinions and discussions even more sticky than Pop’s rosin.
I’m not a professional orchestral player, but I have attended a clinic with the German WDR Radio symphony orchestra and they all play Spiros on large 4/4 to 5/4 basses.
I think also the vienna symphony bassists play Spiros as I was told by the Thomastik string gurus. Thomastik developed the 3/4-size Spiros for them as far as I can remember.
As DoubleMIdi also said, I think they stand out in a section as a general rule. My worst experience is with a certain player who had them on a really good bass intentionally so he could play loud and stand apart from the section. And it worked: it was obnoxious. I often teach jazz players who use them to good effect in jazz, but they don't bow easily, so the tendency is to overplay them to get them to speak.
Having said that, once in a while you hear someone with a bass that takes beautifully to the Spiros in an orchestra setting, but that seems to be the exception. If I were to use Spiros on my bright-sounding bass, you would not want to be anywhere near me when the music starts.
I noticed this too. I put Spiro Weichs on my Arvi; at first I loved how they cut, but I gradually realized that I wasn't blending well. I do play principal in one orchestra, but I still don't want my sound to be distinct in the hall most of the time. One thing that was great about them was that I could hear every squeak or slide in my technique - I couldn't hide anything.
Curious what it's like in Vienna with a whole section strung up with Spiros...
I heard Vienna live in Carnegie Hall many years ago. I don't know if they had that setup then, but it sounded awesome.
Thought I should follow-up regarding the Wiedoeft rosin. Used it for the first time yesterday. Really happy with the packaging (and it fits in my bow case perfectly). The differences between it and the Pop's are subtle, but enough for me to say that I do prefer the Wiedoeft and that I think it's worth the extra money. Great grip and, not sure if it's psychological, but tone seems a little richer too. My friend also reported a much better sound. Perhaps it's just because I feel like it's easier to get a big sound without risk of tension. I'm not sure if I would recommend it to anyone who doesn't play arco at least semi-regularly or is just starting out. Thanks again and happy Friday!
My pleasure. I use Bel Cantos with black hair, although I'll admit I'm probably slightly overdue on a rehair
