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Violin rosin

Discussion in 'Bows and Rosin [DB]' started by Andy Mopley, May 30, 2017.

  1. Andy Mopley

    Andy Mopley

    Sep 24, 2011
    an older luthier told me that violin rosin is just as good to use as any specific to double bass.
    With little knowledge to say to the contrary, what is your opinion?

    Regards to all
  2. jallenbass

    jallenbass Supporting Member Commercial User

    May 17, 2005
    Bend, Oregon
    That's wrong.
  3. Andy Mopley

    Andy Mopley

    Sep 24, 2011
    and that would be because...?? Thanks

    Also, following a quick net search:

    "...Alternatively a mix of bass and violin rosin can be effective. The tacky soft rosin supplies the ‘stick’, while the harder rosin provides the slip. Thus a smooth sound is produced..."
    Choosing the right rosin for your instrument - The Strad
  4. jallenbass

    jallenbass Supporting Member Commercial User

    May 17, 2005
    Bend, Oregon
    They are 2 totally different rosins. Violin is hard, powdery and smooth while bass rosin is soft, tacky and allows the bow to grab the string. Try them both and it will be apparent. There are a few bassists who use cello rosin but not many.
  5. It's okay for a bassist to use violin rosin, but not the other way around. ;)

    Last season, a violinist asked one of my section mates for a swipe of rosin during a rehearsal break. The bassist gave caution, which was acknowledged, and then we watched in mild horror as the violinist put two or three strokes of Pops on his hair. That scenario is one I'd never witnessed before. There were 30 violinists wandering around everywhere, but for some unknown reason, he came calling on the bass section.
  6. Andy Mopley

    Andy Mopley

    Sep 24, 2011
    Makes sense, thanks...How this came up was because after I had my bow re-haired, the luthier applied some violin rosin, and when I asked, he commented that it would be OK, although I do recall him now saying that it was like a bit of a "primer" on new hair, before I applied the normal DB rosin..
  7. jallenbass

    jallenbass Supporting Member Commercial User

    May 17, 2005
    Bend, Oregon
    That concept I've heard before.
  8. salcott

    salcott Supporting Member

    Aug 22, 2007
    NYC, Inwood.
    I gave a violist a couple swipes of Nyman after warning him it was sticky-he proceeded to pull the C string out of its bridge slot with his first down bow. Much mirth ensued.
    Scott Lynch, csrund and Rodger Bryan like this.
  9. Rodger Bryan

    Rodger Bryan Supporting Member

    Jun 17, 2006
    For heavy orchestral playing, violin rosin alone would cause a player to exert undue amounts of energy to get the job done.

    For the accompanying work I do with choirs and other small ensembles, I will sometimes start with Salchow violin rosin, play on it for a while and then add Kolstien all-weather for a little more bite or grab. In the winter, it's pretty much all bass rosin.
  10. bassmastan

    bassmastan Guest

    Jun 25, 2011
    I know a violist and a cellist who use pops!
  11. Wtf.
  12. bassmastan

    bassmastan Guest

    Jun 25, 2011
    The cellist is really bad, she will just take my pops and use it. The section actually had to ask her to stop and buy her own...
  13. Malten


    Apr 2, 2012
    Dan Styffe (co-principal in Oslo Philharmonic and a really great player) uses violin rosin only. Seems a bit crazy but he says it gives him more control of the bow.
  14. cold elephant

    cold elephant

    May 9, 2005
    Some people here in the U.K. use hard rosin for orchestral playing. I think it works fine. You have to get used to using the bow in the way that works with that kind of rosin though. I think the sound fits in the kind of continuum of string sound better than bass rosin which can sound a little raspy or noisy to my ear. Perhaps because the bow doesn't adhere to the string so tightly I hear more overtones in the sound. It lets go of the string faster so it can be easier to do the really kind of explosive playing, sharp accents etc, without worrying about the bow getting stuck on the string. Of course Strauss tone poems where you just need to go end to end in the bow playing really loudly are harder work in that way, but the quiet bits are much less stressful. The more I play the more I'm concerned with having the very soft and very exposed moments under control, and I find harder rosin helps me with that. But that's just me. And of course that stuff is manageable with bass rosin too. Just takes a different approach...
  15. BassFisher1952


    Sep 24, 2013

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