Why is rosin different colors

When shopping for rosin, purchase rosin made exclusively for your instrument. If you play more than one instrument, purchase multiple rosins, keeping instrument-specific options in their relevant instrument case so they aren't mixed up. Similarly, different strings work better with different rosin formulas.

As you know, strings come in three variations - gut core, synthetic core, and steel core. These varying materials respond differently to changes in rosin types. Most string manufacturers recommend specific rosin types that work best with their product.

Yes, some of these recommendations are made due to company partnerships or promotions but, for the most part, recommendations are sincere, and strings perform best when you use the rosin best suited to their makeup. There are a seemingly infinite array of rosin formulations, and some are more natural than others.

The fine rosin dust can get into your lungs and may also cause contact dermatitis skin allergies depending on your body's sensitivity. We recommend using rosin products that are all-natural to minimize exposure to harsh chemicals or other potential irritants. There are even hypoallergenic options available if you sneeze, itch, or water when exposed to rosin dust.

You may notice there are options with regards to dark, amber, and light rosin. Darker rosins are softer and stickier, while lighter rosins are harder and less sticky. While it's worth trying different types to create different sound quality throughout your musical career, climate should also play a role in the decision making.

For example, dark rosin's soft, sticky nature is not ideal for hot, humid climates as it can clump up. In addition to diminishing sound quality, darker rosin can also make a mess on your bow, strings, and the instrument's body. Most violinists use lighter- to amber rosins to achieve smoother sounds, while bass rosin is on the softer, stickier side to provide increased friction and richer tone.

Innovative products, like Magic Rosin , offer superb grip, clear complex tone and fun designs using purified pine rosin that yields a completely translucent product. Always use a soft cloth to wipe off strings and the instrument body after every use to prevent destructive rosin build-up. It just depends on your personal tastes. It is semi-translucent and the side of the cake appears smooth, shiny and non-sticky to the touch.

If I'm not mistaken, previous batches have been a bit darker not sure if this is simply darkening with age. I prefer the original over the "Vuilluame Citron" which I find to produce an overly bright and rough sound at least, it did on my old violin. I've gotten to put several swipes of the original on my bow a few times, and every time, it was like my right arm had suddenly gotten twice as good..

With my pure gut strings I need a hard, non-sticky rosin so I'll know to order the standard Vuillaume when I come up on the Baker's dozen list :D. What kind of strings do you use?

With my passiones I had to go to a stickier rosin but the gut whistle with that and the harder and paler the better now use Hill light or bernadrel. But I notice that the difference between brand new and half a year old is quite significant. Anyone who has problems with Kolophonium i would suggest to get a fresh one first before thinking too much about the brand. I currently use Dominants.

I'm not sure what Jade is made from that makes it different or if it counts as a light or dark rosin its green in appearance although I seriously doubt there is actual jade stone in it. I can't even find a website for the company in France I think. Another upside is that Jade produces very little dust and allows for the right amount of grip and glide for any bow stroke I need in orchestral playing.

And, they are indeed located in France. You can find them on the web at www. Yes, Jade is a very good rosin. Thanks for the tip on Baker's rosin; I'll check it out! The factors that make a rosin for me are: 1 tone control, 2 staying power - i.

You can google Paul Stevens Violins and order the rosin. I enjoy using Baker's rosin for its superior tone control, but it does not have the "staying power" for me that I desire. It was fine for solo work, when I could hear myself and adjust, but in ensemble or orchestra environments I could not tell how my sound was changing to make that adjustment.

For 40 years, until about 10 - 15 years ago I tried most of the other rosins on the market and was one of the believers of the adage "Rosin is rosin! You should also be aware that my hearing is no longer what it should be so my opinions are just that mine, for me. Not all rosins use the color indicator. Finally, rosin does flow when heated.

It can stick between the metal windings on the string; it changes physical properties on the bow. It is a good idea to clean the strings regularly - especially if your sound seems to change. Personally, I get a lot of extra mileage by cleaning the bow hair, much as I may enjoy visiting my luthier and going out for lunch while he rehairs my bow s. My current favorite is Lebenzeller Gold 1. It produces a good sound with clarity and substance, good adhesion and almost no dust at all - and this with quite a few different violins and bows in my collection.

Amber rosin sits between light and dark. Some are lighter and behave more like a light rosin; some are darker and share similar features to dark rosin. The strings, after all, are huge in comparison to that of their smaller cousins, requiring the extra stickiness of a dark rosin.

This means that just about all bass rosin can be classified as either dark or amber. Once a rosin is applied to your bow hair, it is nigh-impossible to remove all of it. Some residue will always be left behind, and the only way to completely remove it is to re-hair your bow.

Some rosins are designed to be mixed to suit the individual player or piece Leatherwood Rosin is a good example of this. However, some rosins will react in strange ways when mixed, potentially creating little sticky clumps on your bow. To overcome this, the most effective way to test new rosin is to make the switch when you have a bow with fresh, un-rosined hair. If you live or are performing in a hot, humid environment, or are playing expressive pieces in a small ensemble, a light rosin is recommended.

Dark rosins are recommended for large ensembles or soloistic pieces, and perform best in cool, dry environments. Of course, these are just guidelines. Wherever you find yourself on the spectrum, you should be able to find the right rosin for you among this excellent selection.