Who would’ve thought that rosin played such an important role in playing a stringed instrument? Rosin is the main source of sound when playing a stringed instrument. You might think – isn’t it the bow or the strings of the instrument? Well, without rosin, the bow wouldn’t produce sound when in contact with the strings. Rosin provides a layer of sticky powder that grips the strings to produce sound. The main ingredient of rosin is pine sap, which is extracted from pine trees (obviously).
According to Jim Early, this process of making rosin stays true from more than 70 years ago, using the same tools as the one Pop Sherman. Although the formula and materials have been tinkered around with, the basic techniques remain unchanged. First, he prepares the molds, which usually comes in either rectangular or circular shape boxes and stopped with rubber strips. Then, he mixes Sylvaros, a type of undefined rosin, with beeswax and other “secret ingredients in a pan to heat. As it heats, the texture becomes thicker and stickier and must cool down a little before pouring. When the mixture partially cools, he slowly drizzles the right amount to each mold. After each mold has been filled, he lights each one with a torch. The hot flame helps get rid of more bubbles and keeps the cake crystals clear. Bubbles in the cake would be the maker’s worst nightmare. Also, the type of wood it’s being burned with contributes to the appearance of bubbles. According to Jim Early, sap gum wood releases fewer bubbles than other woods. An interesting quote from Early: “A cake of rosin should spend its useful life not on the shelf but in an instrument case, where a needy player can reach it.” Rosin often gets left unused, and it’s such a waste. I have not gotten to the point where I was able to finish an entire cake of rosin – I want to reach that point one day.
We often hear of the phrase “rosin flying into the air” when seeing someone’s playing. The amount of rosin placed on the bow is crucial also. If there is too much rosin on the bow, the grip would be too tight and you might create a scratchy sound. If there is too little rosin, then the bow will be too slippery on the string and the sound will be too “fluffy.” Also, it has been said that it’s more productive to apply little amounts of rosin to the bow hair everyday, rather than applying a lot at once and not rosin for few days. This is because it will allow the rosin usage to be more evenly distributed rather than chunks at a time.
Usually, darker rosins tend to be stickier and softer – more ideal for cellos and basses. It is usually better suited for the lower strings. On the other hand, lighter rosin is less sticky and harder, which would be better suited for violins and violas. With this being said, any rosin – except for bass rosin – is typically interchangeably used for any instrument.
There are endless types of rosin aside from just dark and light – from gold to silver to amber to copper. This is definitely something I would want to dive deeper into for a better idea of what to use.
Frankly, this is my first time learning about the process of making rosin and the various types of rosin. I always knew that it was made from pine sap, but never dug into the behind-the-scenes process. I’ve always wanted to explore the different types of rosin to find various rosin-string combinations, to find the right sound and resonance for my instrument. I never really cared about the rosin I used honestly, but I think it can really make a big difference. After researching and understanding more about the creation of rosin, I think I am more intrigued to discover and play around with the options I have.
Fun fact, we usually scratch the brand new rosin before using it because the surface is too smooth and doesn’t stick to the bow hair as much.
Sources:
https://www.wqxr.org/story/what-does-rosin-actually-do-violin-bowsh
https://en.wikipedia.org/wiki/Rosin