Some of our Favorite Items
Thomas La Forgia, Cellist.
I like the two-hole Tourte mute for general orchestral muting. It doesn’t rattle around and it’s easy to leave on the instrument and quickly pull onto your bridge during a performance. For a practice mute, I like the one from Artino. It’s a metal mute with a rubber outer coating. It does a good job muting the instrument more than the standard orchestral mute and my cello still sounds like my cello, just a lot quieter. As for strings, I like different strings for different reasons. My go-to for years was Larsen Soloist A and D and Spirocore Tungsten G and C. The new strings that have come out in the past few years have some great qualities of that combo while adding other nuances to my instrument. Recently I’ve had a Versum Solo set on my cello and I love the colors they bring out. Before that, I tried Perpetual by Pirastro. The Perpetual strings are a really fun way to change your sound. The strings are wound at full tension so the break in time is significantly reduced, the response (especially on the C and G) is much quicker, and the sound just keeps spinning. I like the balance they strike between brightness and warmth and they remind me of the positive things I like about the Larsen and Spirocore pairing, without any of the drawbacks. Gina Rico, Violist.
Over the years I’ve experimented with a wide variety of strings and accessories on both my violin and viola. I am still constantly discovering new “favorite” things! Lately, I’ve been having great success with PI (Peter Infeld) strings on my viola. My instrument responds well to the duality of warmth & clarity they provide, and I’ve found they have a relatively long lifespan to other brands I have tried. I recently started using TI strings on my violin, which I also really love–they have lots of sparkly overtones!
I started using Melos light rosin a few years ago and I’m excited to try the dark variety this winter. One of the best additions I’ve made to my case recently has been the Boveda 2-way humidification system. It’s a little pouch that can sit inside your case which absorbs and releases moisture to help maintain an ideal humidity level. What I really like about them is how low-maintenance they are — all you have to do is replace the pouch about twice per year (once for fall/winter, once for spring/summer). It has really helped my instrument remain stable during the dramatic seasonal humidity changes we have here in Philly! Isaac Tabone, Violinist, Suzuki Teacher
I personally have used Bernardel rosin for years. I’ve been so happy with it that I’ve never bothered to try any other kinds! I typically use an Everest shoulder rest since they come in lots of fun colors and are easy to accessorize with. I used Dominant strings for ages as well, they are a great tonal middle ground and work well on almost any instrument; I recently tried Peter Infeld strings which have a similar tonal profile as Dominants, but with more “oomph.” I also keep a rubberized metal or rubber practice mute by Artino in my case.
Adam Oleksa, Violinist (Classical & Folk)
I usually switch between two string/rosin combos, depending upon the season. During the summer, I use Larsen Il Cannone Solo strings paired with Baker’s Rosin Original Formula. In winter, I want something a bit warmer, so I switch to Evah Pirazzi Gold strings with Stevens Rosin. I also keep a Bech mute on my instrument; having a magnet holding the mute to the tailpiece means I don’t have to worry about it rattling around while I’m playing. My shoulder rest is a standard Kun, but I do use an interesting chinrest in that I’ve got a Kreddle, which has a ball joint in the base. It allows for personal adjustments to height/angle/rotation so you can get it to perfectly fit your body.
Elizabeth Shaak, Fiddler (Old Time)
I’ve got Bernardel rosin in my case at the moment. I also like Stevens rosin, especially in the winter. That said, I’m going to try the Melos Mini Violin Dark, just because I’m curious about it. I always keep a 2-hole, round Tourte mute at the ready and use it when I’m picking up a new tune “on the fly” at Old Time sessions. That way I can hear the player showing the tune more than myself. I use an Oasis humidifier because I can see and feel when it needs more water. As for strings, I love the sound of the Larsen Il Cannone strings– so full and lush. The fellow who made my violin (Robert McCluskie) will disown me when he reads this, but at this time I’m using Prim strings. I do this so that I can re-tune to AEAE or ADAE in the middle of a session without having to fuss with the tuning for the next 30 minutes. Sorry, Bob. | 
