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Showing results for tags 'rosin'.
Found 7 results
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Has anyone ever tried the small-batch Deja "Soloist" Rosin? What were your thoughts?
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Hello everyone, I am new to this forum and this is my first post. I have 2 Pirastro rosins, Schwarz and Oliv-Evah. I also have Tonica and Chromcor strings. I currently use Tonica and Oliv-Evah. However, I am a bit suspicious about those two, because there are some differences that are visible: My Oliv-Evah has a writing "Handcrafted Quality" instead of usual "Handmade in Germany" in the internet images. My Schwarz rosin has "Handmade in Germany" writing. My Tonica strings is fine in the outside packaging, but the strings holder (one made of paper with hole in the middle) has a very faint print and some typos. The color winding near the ball is correct, red and white. My Chromcor strings has a stronger print and no typos in the strings holder. Is there a chance that both of my rosin and strings are counterfeit? Or is it just an outdated genuine packaging? (especially for the rosin. There are no typos there) I do have plan to change my rosin in the future to Bernardel or Cecilia. How do I spot a counterfeit in those two?
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I use Andrea Solo and I'm looking for a Gold rosin to combine and apply like two strokes, after applying Andrea, to achieve a warmer tone. My Laubach Gold has only one small piece left. I'm looking at Pirastro Goldflex and Piratro Evah Pirazzi Gold rosins. I know that the Goldflex has actual gold powder, but I'm not sure about the Pirazzi Gold? Does it actually have gold powder or the "gold" is only present in the name because of the strings's name?
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Hey all, New to the forum but I have a unique old piece that I wa looking for more info on. It's a small box of rosin with a label on top that has a French sentence followed by the name Vuillaume. I know it's old, but I've only been able to find one image online and was trying to dig up a little more info about its history, collectibility, rarity, value any and all info would be great.. Thanks alot! I will post a picture when I figure out how haha
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I have long suspected (as well has other makers) that the cooked rosin is fugitive. Below is a photo of two samples of cooked rosin varnish. The control sample is labeled "AIR" because it was left in the air outside my UV drying cabinet. The test sample is labeled "UV" because it was placed for 12 hours in the UV cabinet. It is obvious that the varnish is fugitive. The test sample received less UV intensity than my violin gets because the sample was on the door ledge out of direct illumination from the UV lamps. I believe that perhaps the only way to use cooked rosin is to reduce UV drying and resort to siccatives as @Roger Hargrave did. Of course, I wonder why mess with something so unstable and difficult to control. I'll have more to say on this topic. Stay Tuned.
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Has anyone ever tried the small-batch Deja "Soloist" Rosin? What were your thoughts?
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Hello there, I'm a new member, but I've used threads from this forum as an information source many times before. I'm a Danish cellist with a lot of hobbies, one being restoration of old violins. I'm rather new to it, though, and have only repaired one violin yet with a nasty sound post crack, so I need to gain a lot of experience. I picked this violin up from a luthier's shop window in Schleswig, Germany. He told me it's a 200 or more years old violin from Mittenwald. I asked why the maker didn't use flamed wood for the neck when the body seems to be of rather nice wood and he said that it was probably made by another person than the body like some sort of production line, just like the trade instruments. After staring at it in admiration ever since I purchased it, I've formed a theory that the neck might actually be made later instead of a neck graft. I think there is lots of attention to detail in the body, but not so much in the neck, and the combination seems weird to me. However, I don't have much experience, so I would love if someone could help me identify it. I have taken pictures with my phone, and I've observed a few details: The fingerboard seems to have been too low on this neck and have been lifted with a thin, angled piece of maple. Is that normal? The fingerboard has grooves from the strings The upper right corner where the left hand might rest is weared down a lot so it has a curve down and is even cracked along the purfling. The back has marks after having a chin rest mounted for both a right- and left handed player. Maybe it's been a student violin and used by many people? However, it only has marks in the c-bout on the treble side. It has been repaired in five cracks in the top and one in the side. The stamp on the inside looks a lot like the one of Christian Wilhelm Seidel, but especially the d is not as swung. I can't find anything anywhere matching this font. Does anybody recognize this branding? I can't upload my photos from my phone, so they're on Google Drive: https://drive.google.com/folderview?id=0B0fyVNePhekSc2hsa2xxT3pTSWM My last question is one that I know has been asked too often: It's horribly firty with rosin buildup etc, how should I clean it? I've done my best with a damp cloth, but it's not really enough. I've heard turpentine should be safe on rosin varnishes (this should be dragon blood according to the seller), and it seems to work, but I don't really like how hard the turpentine itself is to get off the surface. I'm not asking how I should clean my instrument casually, but how I should do if I want to be the amateur luthier who enjoys making old stuff play again. Lastly, of course I won't do anything stupid to a really good instrument while I'm still learning, and it will under any circumstanced be taken to my luthier when I get home before I touch it. Sorry for the long post, but I hope someone out there can help me. - Tobias :-)
