In my experience, a higher tension string, like thomastik spirocore
viola 3rd for low G has allowed me to use less string pressure,
without losing much punch.
On the other hand, I remember I read somewhere in the old mailing
list, the importance of having an even pressure of the string on the
wheel, and how often the upper octave sounds scratchy / out of tune
due to the string pressing more on the bridge side; thus the need for
filing or sanding down a bit the nut. I have been experimenting with
that lately with good results.
On 28 nov, 21:00, Billy Horne <[email protected]> wrote:
> Hi,
> Very interesting,what about the use of  strings that have  different
> "tensions" ie.  low ,medium, high. How does this effect /affect the
> situation.
> Billy Horne
>
> On 26 November 2011 15:58, JULIE BARKER <[email protected]> wrote:
>
>
>
>
>
>
>
> > 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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