Yumba Professional Handmade Bee Cello Rosin from Argentina!
This line was created for professional orchestra musicians and soloists. The formulas are mixed with excellent natural origin ingredients to attain extraordinary grip and sustain. This exquisite recipe contains genuine beeswax which produces beautiful sonorities with less dust and residue than traditional tree-sap rosins.
Yumba rosins are tapped from the Argentine Littoral - known as the Mesopotamian region, which is surrounded by the Iguazú, Uruguay and Paraná rivers. The tropical weather and rivers which cross the Argentine territory as well as the abundant rainfall produced in the region create excellent conditions for pine growth. The result is one of the most unique rosins in the world.
Yumba’s process of production is sheer artisanal- made from all natural ingredients from Argentina.
Yumba is a tango created by Osvaldo Pugliese in 1946 during the "Golden Age of Argentine Tango.” The term comes from the rhythmical onomatopoeia (zhoóm-ba) whose “Zhoóm” or “Yum” syllable refers to the strong beats while “Ba” refers to the weak ones.
Our intention was to unify the brand with the splendor that is Tango in Argentina
Moreover, Yumba was named to honor the Tango master Pugliese, who is considered the patron saint of musicians. Last but not least, we are convinced that to play the “yumbeado accent” you gotta rosin that bow.
It’s as advertised
Overall it’s the best of my three cello rosins. I’ve used for the past six months it’s a different type of grip. It like to be played softly, I’ve noticed it really doesn’t like the c string all that much.
I finally got to try the Yumba cello rosin on my five string fiddle
I like it much better on my five string Gayford carbon fiber fiddle than I did my Luis & Clark cello. It’s the wee hours of the morning and I’m practicing on my fiddle and my usual rosin is playing hide and go seek. I pried open the Yumba can and it’s playing very well on my fiddle. Currently I’m playing simple Irish tunes in treble clef but I’m playing them an octave down. The fingering is different so it’s not like sight reading or playing an octave down on most winds. The rosin is working well and in closing the can I left a little flap of cloth sticking out to make it easier to open. I may just leave the out for use at night. It’s earning its keep.
Not the best in my collection
I plated it for a half an hour or more. I applied it very heavily after wiping my bow hairs with a piece of tee shirt material. I have at least three other first rate rosins that I use. This stuff slid instead of gripping a couple of times on my D string. I wiped off as much as I could with my trusty tee shirt and reapplied a heavy coat of one of my faves and my cello was back to normal. I should add that at home I play with a mute and I really have to dig in for expressiveness and the Yumba didn’t always grip but I’m going to try it on my fiddle before I reject it completely. My cello is a Luis & Clark and my fiddle is a five string Gayford from up near Toronto. I also have wooden instruments but those are my daily’s and both are very powerful when played unmuted.
Yumba is properly sticky
Very good experience
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