Firstly, thank you for the tip about smoothing the rosin with a blowtorch, I 
will get myself a torch and give it a try, then I'll celebrate with a 
well-earned creme brulee.
I think that the differences of opinion re amount of rosin could be down to the 
differences in wheel construction. When I played Chris Eaton gurdies with 
laminated wheels I needed to use a lot more rosin than I need on my Boudet, 
where the rim of the wheel is cut from solid wood; however, I do agree that 
some of us, myself included, do allow our rosin to deteriorate beyond what is 
good for the sound; not too much of a problem when an edgy rock and roll sound 
is required but less than ideal when you want a sweet controlable sound.

Philip G Martin aka Drohne
www.drohne.co.uk

--- On Fri, 25/11/11, Arle Lommel <[email protected]> wrote:


From: Arle Lommel <[email protected]>
Subject: Re: [HG-new] Rosin-pressure balance
To: [email protected]
Date: Friday, 25 November, 2011, 20:24


This topic always gets me on my soapbox, but I'd like to point out one critical 
aspect of rosining that I've seen forgotten by many good players: You need a 
very smooth surface on your rosin block. Most problems with “too much rosin” 
arise because the rosin has built up unevenly on the surface of the wheel and 
made ridges that break and leave jagged chunks on the surface. The result is 
the dreaded scratchy too-much-rosin sound. By contrast, if you use a block with 
a smooth surface and apply it by moving the block back and forth across the 
face of the wheel while turning it, you can apply tremendous amounts of rosin 
because these ridges do not build up and you won't end up with this problem.

I've seen far too many players—including good ones—applying rosin with broken 
little chunks that they stick on the wheel and leave in one place. As a result 
I personally think that inadequate rosin is likely to be a bigger problem than 
most people realize: they are so scared of putting too much on that they end up 
using too little. The amounts of rosin I put on my wheel would startle many 
players, but I *never* have problems with too much because of the way I apply 
it.

Leading back to the original question, I think "less rosin-more pressure" vs. 
"more pressure-less rosin" is a false dichotomy if you know how to apply the 
rosin. You shouldn't ever need more pressure to accommodate a lack of rosin. 
Similarly, if your pressure is high enough that a good coat of rosin leads to 
too much “bite” from the wheel and a bad tone, you have too much pressure, 
period. All the rosin is doing is revealing that the pressure was too high. If 
the pressure is right, you should be able to add as much rosin as you 
want—provided you do it properly—and not have problems. If you keep the 
pressure low because your rosining tends to cause problems, it's probably the 
way the rosin is applied.

In other words, my opinion is that you set the pressure right and 
properly-applied rosin won't impact it. I know others on the list whom I 
respect greatly may disagree with my opinion, so take what I write as just an 
expression of my experience and opinion. Even if you disagree with me about 
whether too much rosin can be a problem, I do think it's worth looking at your 
rosining technique if you are having trouble with too much rosin: applying 
rosin evenly and neatly can only help.

Incidentally, if you have a rosin cake that has been good but gets chipped or 
broken, an easy fix is to take a kitchen torch (like you use to caramelize the 
top of creme brûlée) and heat the rosin. It will melt the surface and smooth 
out the chipped/broken area. You don't want it so hot that it burns the rosin, 
but rather just enough to liquify it and allow it to flow into a smooth 
surface, so go slowly. I've saved a number of cakes of rosin this way.

-Arle

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