Category: Products

Products reviews

Lost Beauty

Music for Double Bass by František Hertl and Contemporaries

Szymon Mariniak – double bass. Jongsuk Kim – piano

Solaire Records SOL1018

Lost Beauty is a wonderful CD on so many different levels – amazingly beautiful and informed performances, informative programme notes and stylishly produced packaging. It brings together two of the finest double bass sonatas in the repertoire alongside three pieces which deserve to join todays standard concert fare.

František Černý (1861-1940) represents the late-romantic school with two evocative pieces which emphasise the cantabile and sonorous qualities of the double bass. Černý obviously knew how to write for the instrument and both performers revel in the rich sonorities and long lyrical melodies which hark back to a previous age. Szymon Marciniak understands the style completely and draws out a wonderfully singing tone throughout the solo range, which is perfect for these pieces.

Karel Reiner (1910-1979), although not a bassist, produced a sonata which sounds like it was written by a player. Reiner survived incarceration in Terezín, the concentration camp situated a few miles out of Prague, only to fall foul of the Communist party who disapproved of his avant-garde style music. The sonata, composed in 1957 and dedicated to František Hertl is, as the liner notes recount ‘falls into the “conservative” period of his output’. The three movements are rhythmically charged, with a drive and colourfully independent accompaniment, in music which is tonally modern but also instantly accessible. Both performers explore the lighter and darker colours, creating constantly changing moods and atmosphere, and this is a wonderfully exciting performance which confirms the sonatas place in the top tier of double bass sonatas.

František Hertl (1906-1973) was an important figure in Czech musical life for many decades, as a composer, bassist, teacher and conductor. His sonata, composed in 1946, is a significant three-movement work which never fails to deliver and offers so much to performers and audiences alike. Each movement explores new and diverse musical worlds and the performers revel in the challenges creating a performance which is both musically and technically appealing.

Hertl’s Four Pieces are not so well known but ought to be. Playable singly or as a suite, each one encapsulates a different musical image or style with none outstaying their welcome. The piano accompaniments are beautifully subdued and sensitive and demonstrate Jongsuk Kim’s mastery of the style and idiom.

Lost Beauty is a CD that I will return to time again because of the wonderful repertoire and also the stylishly elegant performances. There is much to enjoy, for bassists and non-bassists alike, and if you want to discover the power and beauty of the solo double bass simply listen to the slow movements of each sonata. Although they inhabit different musical worlds, the message is clear and decisive that the double bass is an amazing solo instrument and there is a wealth of concert repertoire still to explore. Highly recommended.

David Heyes [15 December 2024]

Read more about Karel Reiner here:

The Fascinating Life of Karel Reiner

20/12/2024
Tuning your instrument

Unless you are blessed with perfect pitch, at some point you will need to consider how to accurately tune your instrument. Of course, if you’re a pianist, you just get someone who has been trained to do it for you. Not cheap, but easy! So, there are choices to be made, and there is plenty out there to choose from. As usual, we’ve tried to give you a range of products we consider to be worth trying.

No tech and environmentally friendly choices:

Pitch pipes and tuning forks are both used for tuning musical instruments and helping musicians find the correct pitch. So far, so good. So how do they work and what is the difference?

A pitch pipe is typically a small device which when blown into produces a music pitch. Rather like a harmonica. Some pitch pipes are chromatic and will give an octave scale (producing all 12 notes of an octave), while others are tailored for specific instruments like ukuleles or guitars, so cover a smaller range of notes. Chromatic ones are more versatile and are especially useful for choirs and singers, where you may well be asked to start on any given note. The upside of pitch pipes is that they are very portable, and not reliant on a power source; you just blow! The down side is that the accuracy of the pitch is determined by your technique, so you need to get your breathing right. Don’t over blow or under blow.

I’ve found the Tombo PE13e is a reliable product, with the TGI77 a good budget option.

Tombo Pitchpipe

TGI Pitchpipe

Tuning forks have two metal prongs which resonate at a specific pitch when struck and placed on a surface which resonates to hear the pitch. You can get chromatic set, but these are eye-wateringly expensive (just over £200 last time I looked. Most people just buy one or two of a pitch they most commonly need (typically, C, G A, and, for guitarists, E -high or low). These days, tuning forks are mostly used by classical musicians and purists. Tuning forks give a very precise, pure tone, and because you only get one note, you have to learn how to tune the other notes of you instrument by ear. So, it improves your musicianship. These days there aren’t a massive number of manufacturers; I prefer those made by John Walker. They are a high-quality product and made in Sheffield.

John Walker Tuning Fork

John Walker Tuning Fork 2

Medium Tech:

Electronic, battery-operated tuners have become extremely popular, mainly due to their accuracy, and ability to enable you to easily tune more than one note. You can get clip-on tuners which are specific to certain instruments, but it’s always worth considering if there is a chromatic option as this will give you maximum amount of choice. There are three kinds of battery tuners: Clip-on, stand-alone and pedal tuners.

Clip-On Tuners are relatively small, and as the name implies, clip on to your instrument (either the headstock or the body), which makes them a good choice for any string instrument. They work by detecting the vibration of the string you are tuning and giving a visual display which indicates when the string is in tune. They’re generally easy to use, portable, and because they work by vibration, they are not affected by any background noise. My personal preference is the D’Addario Planet Waves range. They do a good range of both chromatic and instrument specific, with guitars, ukuleles, mandolins, banjos, violins, violas, cellos and double basses all specifically catered for. They’ve really thought out how these best attach to your instrument. As you can see, fro example, the violin micro tuner attaches to the body of the instrument with a non marring lever clamp, whereas the cello/bass tuner attaches to the bridge:

D’Addario PW-CT-17 Eclipse chromatic tuner, which is available in various colours, if that sort of thing bothers you, is a best seller. It’s a very reliable, easy to use model. D’Addario have also produced a rechargeable version of the Eclipse tuner, the PW-CT-27.

I do also like the Snark Supertight ST-2 tuner. It’s chromatic, so will work on any instrument, and has a mic option as well as vibration, which means you don’t have to attach it to your instrument – you can just place it on any nearby surface. It also has full 360 degree rotation, and a very clear display. However, we did have a couple of returns where the head had become detached from the clip as the joint on the clip had broken. A good model, nevertheless, just handle with care!

Handheld or standalone tuners are small, portable devices with built-in microphones (for acoustic instruments) or input jacks (for electric instruments). For versatility, chromatic versions will work on any instrument, making them a popular choice. They display the pitch of the sound detected and indicate whether the note is flat, sharp, or in tune (usually by displaying in red for sharp of flat, and green for in tune). The Korg CA2 or CA50 chromatic tuners are both excellent choices. Just turn on, play, and the tune until the needle on the display is in the middle and the green light comes on, but sometimes the natural decay on the note affects the display. There is also in input and output for your instrument cable. Both models give allow you to calibrate your note precisely, and there is a little pull-out stand at the back which enables you to place the tuner in a more up=right position if you prefer. If you just guitar model the GA2 is a good option. All run on 2 AAA batteries which come with the tuner, so don’t throw the box out until you got the batteries out (they’re separated from the tuner in the ox, so open both ends).

30/10/2024
Music Stands Part 3 …. The Orchestra

Your standard foldable music stand will almost certainly have been your introduction to the world of music stands. Orchestral and conductor stands are the next stage. These tend to be more robust in construction, have a non-folding desk, and are specifically designed for use by players in an orchestral situation – either in the pits (always thought that’s a charming name!) or as a conductor. They are also a useful option if you just happen to want a more robust stand – one that allows you to put some fairly heavy pieces of music on it (specifically, I’m thinking about things like the 256 page O’Neill’s Music of Ireland which weighs in at a hefty 1kg).

The stand out offering (pardon the pun) is probably the Manhasset Symphony Model no. 4801. It’s an extremely popular stand and with good reason. The high quality steel construction is very sturdy weighing in at just over 3kg with a load capacity of 3.6kg. So, for example, you’ll safely be able to put your linen bound full score of Mahler’s Third Symphony in a Breitkopf edition, which weighs 1,775g, on the stand without worrying about it collapsing. It has good height adjustment (660 to 1536 mm) and the solid desk has dimensions of 508 x 317.5 mm. The desk also has a friction tilt system whereby you adjust the angle of the desk to what suits you and it stays in that position until you need to alter it. Very clever! Manhasset claim that this stand is used by more schools than all other stands combined, and I can well believe it. You’ve got a choice of colours (although black is the most popular) and can get good deals on the 6 packs if you need to buy in bulk. There are some useful accessories such as clip-on lights you can also buy, and if you are working in an orchestral environment the storage carts are definitely worth considering. The only downside of this stand is that the legs don’t fold up, so it’s not so convenient if you need to carry it round with you (in which case it’s worth looking at their model no 5201, which has traditional foldable tri-pod legs), but other than that, it is a fantastic option.

If you’re looking to spend a little less and have a more portable offering, I would definitely take a look at the Konig and Meyer 11960 and the TGI 1042B. The spec of these stands is pretty similar: The Konig stand has a height range of 670 to 1200mm, weight of 3.6kg and desk dimensions of 490 x 340 mm. As with all Konig stands, it is a very well constructed stand, and although it doesn’t come with a bag, you can purchase one separately. The TGI height is 700 to 1200mm, the weight 3.3kg and the desk dimensions 500 x 340 mm (n.b. the desk is perforated rather than solid, which may, or may not, bother you). I’ve sold a lot of the TGI stands over the years, and they are a very decent offering for the price. Good, robust stand which comes with a handy carry bag – you can also put you music scores in the bag, which is handy.

Manhasset 4801

K&M 11960

TGI 1042B

To see other reviews on music stands, please click on the buttons below:

16/10/2024
The Elephant

Whether we like it or not, the double bass will be for ever linked with the large, lumbering and lugubrious elephant – much as the cello is with the elegant swan, or the tuba with Tubby!

It wasn’t always the case however, and certainly in the 18th-century the double bass was an important and respected solo instrument with a vast repertoire of concertos and solo works by Dittersdorf, Vanhal, Hoffmeister, Pichl, Kohaut, Mozart, Koželuch, Sperger, Zimmerman and Haydn. In the 19th-century Giovanni Bottesini (1821-1889) was able to dispel the myth that the double bass was only an orchestral or bass-line instrument, and one report noted that his bass sounded like a ‘cage full of nightingales’.

From 1886, the year of its composition, and 1922, the year of publication, the image of the double bass was changed for ever. The Carnival of the Animals by Camille Saint-Saëns (1835-1921), a perennial favourite at children’s concerts, represented the double bass in a humorous ‘pomposo’ way and we are now blessed with our own ‘national anthem’. The Carnival of the Animals is one of Saint-Saëns’ most popular works and it is perhaps ironic that, in a career lasting almost seventy years and having composed operas, concertos, symphonies, choral works and chamber music, he should be best remembered for a work that was only written as a musical relaxation.

Saint-Saëns’ misgivings about the popularity of The Carnival of the Animals overshadowing his many other great achievements was entirely accurate, and it was not released for publication until after his death in 1921. The complete work was published the following year, just over thirty-five years after its composition, and The Elephant was released into the musical community. It is a rare work of musical humour which never fails to thrill its audience, young or old.

The Elephant exists in a variety of editions, was used as background music for a series of television adverts for a well-known UK superstore, and inspired the ever-popular The Elephant’s Gavotte by New York bassist, David Walter. One other enduring image is of an almost endless line of bassists standing along the promenade in Port Erin, performing The Elephant during the 1978 Isle of Man Double Bass Competition & Festival. Director, John Bethell, astride a large inflatable elephant, conducted the assemble bassists as Clifford Lee manfully provided the accompaniment on a piano which had been dragged across the beach. This was an excellent publicity opportunity, recorded by the BBC, and what else could they play?

The Elephant is the fifth movement of The Carnival of the Animals and, although only 52 bars long and lasting a little over a minute, it has really captured the imagination of the concert-going public. In E flat major and in 3/8 time, it remains in the lower orchestral register for much of the time and is a musical joke par excellence. Saint-Saëns created a work of great invention and imagination, whether we like it or not, and he has imbued the work with great skill and humour which is typical of the suite as a whole.

The Elephant begins in a grand and heroic style, with a strong four-bar chordal introduction, although bars two and four lack a downbeat, which is one thing a waltz-inspired piece needs above all things, and the double bass is ‘wrong-footed’ immediately with an upbeat theme which begins on the first beat of the bar. Extracts from Berlioz’s Danse des Sylphes (The Damnation of Faust) and Mendelssohn’s Scherzo from A Midsummer Night’s Dream, adapted in an elephantine style and several octaves lower than the original, are used to offer the double bass and opportunity to dance elegantly.

The original music returns, but now with a light harp-like accompaniment, and little by little the two instruments come together until they play in unison followed by a two-bar scalic-run from the lowest register of the double bass, offering one brief pirouette for the heroic pachyderm, before a two-bar coda confidently states “That’s All!” with its final two chords.

The music is witty and cleverly written to describe the elephant and is a minor musical masterpiece. It is probably the first piece to introduce the double bass to a general audience and, although the double is so much more than this one piece, we all embrace it to the present day and I can guarantee that every bassist will have played it at least once in their musical career.

David Heyes
D’Addario Performing Artist
^{16 October 2024}

David Heyes (b.1960) studied double bass with Laurence Gray and Bronwen Naish, later at the Royal College of Music in London, and completed his post-graduate studies in Prague with František Pošta (Principal Bass, Czech Philharmonic Orchestra). He has given recitals and masterclasses in 20 countries over the past few years and has been a juror at a number of international competitions, three times as chairman. David’s collaborative work gained him a prestigious award from the David Walter Charitable Trust of New York for his pioneering activities as a soloist, teacher, publisher, and commissioner of new music for double bass and he works with composers throughout the world to expand the double bass repertoire by commissioning new music and by rediscovering forgotten ones. Since 1983 more than 700 works have been written for him, music from one to twenty basses and from beginner to virtuoso, and he has premiered ten contemporary concertos with orchestra. David began to compose in 2013 and has had music performed and recorded in 29 countries across five continents. He is a D’Addario Performing Artist and has recently commissioned a solo double bass from British master-luthier Martin Penning.

16/10/2024
Music Stands Part 2

You may have thought from our review of the K&M 101 music stand that it was the be all and end all. Music stand nirvana! Well, it’s a very, very good stand. I loved it because I knew I could rely on it. But there some more options to it than that, and choices to be had. If you’ve read any of our instrument stand reviews, you don’t have to be a genius to know that Hercules and Konig & Meyer are my favourites. In this case, I just can’t include Hercules – they are just a bit too awkward to put up. In theory, they should be great. They look great. The spec is great. But in practice I just never got on with them. I just couldn’t get them up quickly and easily, and when you are struggling to do this in front of your customer, it makes it a hard sale indeed!

The K&M 101 does, however, have competition, even within it’s own range. Next up in the K&M range is the 10065. Like the 101, it has a 3-piece folding design, but as it is a more robust stand, weighing in at 1.55kg, compared to 1kg for the 101, the folded size is 490mm compared to 390mm for the 101, and it has a height range of 585 – 1220mm. The desk dimensions are slightly larger as well at 485 x 240 mm compared to 440 x 215 mm. Although it’s a bit more expensive, I think this model represents excellent value for money. They also have an extra tall model (no. 10052) which goes as high as 1500mm. Only downside is that none of these K&M models come with a bag, but these can be bought separately if that kind of thing bothers you.

If you are looking for a good, and slightly cheaper, alternative to Konig and Meyer, TGI have some decent offerings which are well worth looking at, not least because they do come with a carrying bag. Personally, I would avoid their basic offering, the MS10BK as I simply had too many returns over the years – but the MS20BK is ok. It’s a fairly strong stand, although the page retainers are a bit fiddly and don’t work as smoothly as they should. If you’re looking for a lightweight option, we think the best around is the RAT Scherzo stand. It weighs in at 0.7 kg and is made of aluminium. The stem clasps enable you to set the stand at the perfect height and stay there. Comes with a carry bag as well.

K&M10065

K&M10052

TGI MS20BK

Scherzo Stand

14/10/2024
(Near) Silence Is Golden

As double bassists we have many pieces of equipment which are essential – the obvious ones are a bass, bow, rosin and case. Alongside these are other things which we use such as a tuner, a duster to clean the rosin off the strings, a mute and one of the most important things, which can be as rare as hens teeth in many bass sections – a pencil.

Double Bass Wheels

We need something to transport the bass, such as a wheel or carrying strap and many other useful tools and gadgets, but one of the most useful things I have ever bought for my double bass is a practice mute. Not one of the smaller mutes which conductors insist on, even though they don’t always make much difference, but one of the hefty plastic or rubber mutes with five prongs.

A practice mute fits across the entire bridge and really does deaden the sound. Sometimes I even add a duster or two across the bridge to soak up a few more of the vibrations.

Double Bass Mutes and Accessories

Why do I think a practice mute is so important?

There are many reasons but it’s mainly to keep everyone in your house, and your neighbours, happy! Obviously, I realise how lucky they are to witness the wondrous tones of a double bass but sometimes even our nearest and dearest are immune to the instrument’s many charms. A practice mute allows us to ‘belt out’ whatever we are playing, but minus many of the usual decibels that we all love and cherish.

One other benefit of a practice mute is to help develop a strong tone when it is employed, and then to hear and feel the difference when it is removed and the bridge is allowed to resonate freely. Suddenly you can feel the true power of your sound, which has been helped by using the practice mute, much like an athlete who uses resistance workouts to increase speed and agility.

Which practice mute to buy? There are many to choose from and my mute is probably decades old, almost like new, and to me is worth its weight in gold. They are quite inexpensive, so it isn’t a big investment financially, but professionally it’s worth a fortune. Give it a go….

David Heyes
D’Addario Performing Artist
^{4 September 2024}

David Heyes (b.1960) studied double bass with Laurence Gray and Bronwen Naish, later at the Royal College of Music in London, and completed his post-graduate studies in Prague with František Pošta (Principal Bass, Czech Philharmonic Orchestra). He has given recitals and masterclasses in 20 countries over the past few years and has been a juror at a number of international competitions, three times as chairman. David’s collaborative work gained him a prestigious award from the David Walter Charitable Trust of New York for his pioneering activities as a soloist, teacher, publisher, and commissioner of new music for double bass and he works with composers throughout the world to expand the double bass repertoire by commissioning new music and by rediscovering forgotten ones. Since 1983 more than 700 works have been written for him, music from one to twenty basses and from beginner to virtuoso, and he has premiered ten contemporary concertos with orchestra. David began to compose in 2013 and has had music performed and recorded in 29 countries across five continents. He is a D’Addario Performing Artist and has recently commissioned a solo double bass from British master-luthier Martin Penning.

23/09/2024
Trombone Stands

We think the two offerings by Hercules and K&M are the best ones to choose from. They all offer good stability with rubber feet giving solid grip, and have good height adjustability.

Two K&M offerings are the 14985 and the149/9 which is a bit more expensive but more robust in its’ construction.

The best-selling 14985 has a 2-piece folding design. The height adjustable tubular design is made from solid steel with a fibreglass reinforced plastic base, it has an adjustable plastic peg. The foldable legs are of the socket style, rather than the swivel style of the Hercules models. Non-marring height-adjustment mechanism.

The K&M upgrade is the 149/9. The trombone itself rests on a rubber cone which is designed not to damage your instrument. The tripod legs are braced for extra stability and can extend out to over 20 inches. This is a 2-part stand is made from tubular steel, and folds down quickly and easily, which is very compact when folded.

From the Hercules brand the DS520B trombone stand is robust stand which will hold most. The sturdy tripod legs have cross braces which give good stability for most trombone models and the legs use Hercules usual swivel method of folding down. The top bracket has two slots and a catch to secure the slide braces. The Hercules TravLite Trombone Stand DS420B folds easily and compactly and stores inside the bell of the instrument; velvet pads protect the instrument. As the name implies, this is a lightweight stand designed for good portability. It’s very quick and easy to set up. The in-bell design means that the stand can be stored safely in the bell or your trombone meaning no extra space is needed in your case. It comes with a velvet base design protects the finish of the instrument.

If price is an issue, then the Nomad NIS-C022 is quite good considering the price. This trombone stand has a one-piece folding design with tripod retractable legs, and the bell mount is cushioned. As you would expect, it’s not quite well designed and built as the K&M and Hercules models, but at £20.99 (at the time of writing) it is good value for money.

12/09/2024
Trumpet Stands

The lightweight K&M trumpet stand (model number 15213) we think represents a good choice for your trumpet. There are 5 legs which fit inside the bell and give excellent stability, and the rubber peg tip and felt pads give a good secure hold and protects your trumpet from scratches. The entire stand can fit inside the bell of the trumpet making it a very portable stand.

By comparison, the Hercules Trumpet/Cornet Stand DS510BB has really solid legs which give good stability, and a velvet peg which prevents scratches to your trumpet. It has a height adjustment lever and comes with a carrying bag as well. Locking pins hold the legs firmly in place. To fold the stand, just press the pins and swivel to fold. The stand comes with a carry bag.

Of the budget offerings, the Nomad NISC011 stand is worth considering. It has a sturdy tripod design, but the manufacturing quality is not quite as good as the K&M or Hercules ones.

12/09/2024
Saxophone Stands

Saxophone stands are essential accessories for saxophonists, providing a safe and convenient place to rest the instrument when not in use. It’s just not practical to disassemble and put it back in its’ case when you’re going to resume playing in a few moments. Saxophones are fairly expensive and can be quite heavy so a good robust stand is essential. Look for a solid tripod or weighted base to make sure your sax doesn’t topple over. Before you buy your stand it’s worth thinking about if you want a single instrument stand, or one that will also hold multiple saxophones or your saxophone and another instrument. Also bear in mind that if you are travelling a lot with you instrument the portability and foldability of the stand is important.

Alto and Tenor Stands

The Hercules DS-530BB is our pick for Alto and Tenor stands. The robust construction and stability given by the tripod base are hard to beat. The stand itself weighs just under 1kg and has a load capacity of 10 kg, which should be more than enough given that the average alto weighs just over 2kg and tenors about 3 kg. It has a folding yoke, an adjustable backrest, and locking pins that lock the stand in place. To fold the stand after use, you just press the pin and hold it in. It comes with a bag which makes carrying it around with you easy. are secure and stable for use with Tenor or Alto Saxophones. A storage bag included.

K&M 14300 Alto/ Tenor Sax stand is a decent offering, and a little bit cheaper than the Hercules DS-530BB. The tripod base is sturdy, and the support arms have a protective plastic coating. The height of the lower support arm can also be adjusted as there are several locking positions, and the upper support arm is flexible and can be adjusted to different bell sizes. K&M also produce a couple of peg holders which can be used with this stand and you can also get a bag, but it is not included.

Baritone Saxophone Stands

The Baritone Sax Hercules DS535B stand has a folding yoke with locking pins to secure the upper yoke in the correct position. The backrest has a lever to adjust the height and the swivel legs also have locking pins which lock the stand in place There is a peg hole if your stand needs to hold another instrument. The pegs are sold separately and will hold instruments like soprano saxophones, trumpets clarinet and flute, but the peg won’t hold an alto or tenor sax. If you need a bari stand that also holds an alto or tenor sax, take a look at the DS536B which comes with a detachable fitting.

Of the K&M offerings the 14410 is our choice as it has an extra-sturdy tripod base with cross braces giving the legs extra load capacity and a two-piece folding design. The support bracket has several locking positions. As you would expect, the height is adjustable, and as with their alto/tenor sax stand the support arms are covered with special non-marring (i.e. non-damaging) plastic to protect instrument. One caveat; this stand has limited suitability for baritone saxophones with a low Bb, due to the shape of the bell flare.

Soprano Sax Stands

The solid tripod legs on Hercules DS531BB provide good stability and there is a height adjustment lever (this stand will also hold a flugel horn). The velvet covered peg is detachable and the stand comes with a carrying bag.

Rather than a tripod base, the K&M 15290 stand has 5 legs which provides really good stability for the instrument. The detachable metal leg base screws into the peg so that the entire unit can be stored in the bell of the instrument for easy transport. The black plastic peg is covered with a felt ring to protect the instrument.

If you have a curved soprano sax then the K&M 14315 is worth a look.

Multi Sax stands

The Hercules DS537B will hold 2 alto/tenor saxophones has a one-piece folding design with the locking pins providing a secure solid stand. To fold the stand, you just press the pin and fold. This is a robust stand which has a total weight capacity of 19.95 kg.

For a combined alto/tenor stand which will hold a soprano sax, the Hercules DS-533BB and has all the features you expect from this manufacturer.

And the DS538B will hold a staggering 2 alto/tenor saxophones, 1 soprano saxophone and 2 clarinets or flutes.

For the full range of Hercules and Konig & Meyer stands, click on the buttons below.

12/09/2024
Which Bass Rosin Should I Buy?

Not a problem, I’ll look online – BUT: suddenly I am faced with dozens and dozens of different rosins, so which is the right one for me?

There are so many factors to take into account. If you are an orchestral player, you will probably need one of the stronger rosins but if you are a beginner, maybe a more general rosin might be better. Baroque players need something different again, some soloists prefer violin rosin, so where do I start?

Do you live in a hot or cold country? That will determine which rosins are most suitable for your climate, and possibly which ones to avoid.

There are so many questions but also a similar number of answers. Over the years I have used rosins by Hidersine, Eugene Cruft, Pops, Carlsson, Nyman and Leatherwood Bespoke, maybe even more, and at the time the one I was using was my favourite. For many, many years I used Nyman’s rosin, which most of my students also liked, and which seemed ideal for the British climate, apart from the hottest spells when many a bass or bow case has been covered in a sticky rosin residue, which seems to glue everything together for weeks, but overall, it was good for all my playing needs – solo, chamber music and the occasional orchestral date.

A few years ago everyone was raving about the new Leatherwood Bespoke rosin (the amber range), which seemed inordinately expensive, but many friends from around the world raved about the rosin, so I ordered two pots from Australia and settled on 20% and 25%, because I do more solo than orchestral playing nowadays, and waited for the post to arrive. It duly did and I absolutely fell in love with the 25% which produced a clear tone across all the registers and suited my bass and strings perfectly. I now only use Leatherwood and love everything about the rosin and am about to order two new pots, although I see they no longer produce a 25% mix so I’ll buy a 20% and 30% and use one swipe from each to hopefully create something like a 25% rosin which I like.

Which rosin is best for you? There are so many different ones to choose from, alongside different string types, playing styles and temperatures, and my advice would be to ask your teacher, a friend or colleague, who will give you good advice from a local perspective, or read some of the online reviews (like this one 😊) and take a chance that it’s the right one for you. Rosin, on the whole, is inexpensive so it isn’t such a big investment if you don’t like the one you have bought.

Personal recommendation is a good starting point and my first pot of rosin was at the back of a cupboard in our music department at school alongside a hardback copy of the Simandl Method, and that’s how I started. I can’t remember which rosin it was but it would have been old, I am certain of that, but other bassists and teachers were happy to help with suggesting different rosins and I never looked back. I know what I like, I know what I don’t like, but there is something out there for everyone.

Happy rosin hunting.

David Heyes
D’Addario Performing Artist
^{4 September 2024}

David Heyes (b.1960) studied double bass with Laurence Gray and Bronwen Naish, later at the Royal College of Music in London, and completed his post-graduate studies in Prague with František Pošta (Principal Bass, Czech Philharmonic Orchestra). He has given recitals and masterclasses in 20 countries over the past few years and has been a juror at a number of international competitions, three times as chairman. David’s collaborative work gained him a prestigious award from the David Walter Charitable Trust of New York for his pioneering activities as a soloist, teacher, publisher, and commissioner of new music for double bass and he works with composers throughout the world to expand the double bass repertoire by commissioning new music and by rediscovering forgotten ones. Since 1983 more than 700 works have been written for him, music from one to twenty basses and from beginner to virtuoso, and he has premiered ten contemporary concertos with orchestra. David began to compose in 2013 and has had music performed and recorded in 29 countries across five continents. He is a D’Addario Performing Artist and has recently commissioned a solo double bass from British master-luthier Martin Penning.

05/09/2024