I’ve known James Woodall for around 10 years and have always respected his craftsmanship and dedication to the string community. Over the years, he’s rehaired my bow, adjusted my cello, and worked with several of my students. So when he offered me the opportunity to try his handmade rosin, I was honored.

Initial Impressions

During the first two days of testing in Southeastern U.S. humidity (around 40–50%), I found the rosin provided excellent grip and wiped clean after use. It offered an articulate response with good sustain and made projecting at higher dynamics relatively easy. Softer dynamics, particularly in lower positions, required more effort, though the rosin performed well in the upper register.

I noticed that phrasing nuance required more engagement from the larger muscle groups, likely due to the extra resistance the rosin adds. Loose-finger bowing and subtle color changes were a bit more challenging as a result. I was testing the rosin on my Roger Zabinski bow paired with a contemporary German cello by Michael Koeberling, strung with Dominant Pro (C, G, D) and Rondo Experience (A). At that point, I knew a full evaluation would require months of consistent use across various venues and climates.

Extended Use – 2.5 Months, 400+ Hours at the Cello

After over two and a half months of regular practice and performance (more than 400 hours), I can confidently say that Woodall’s rosin is a quality product with excellent presentation. The craftsmanship and packaging reflect care and professionalism.

About a month into testing, I changed my lower strings to Peter Infeld C, G, D, and have had them for over a month now, rotating between two bows: my supple Roger Zabinski and the more articulate Pierre Guillaume gold-mounted bow. I found the rosin to behave more like bass rosin for me—quite sticky and requiring reapplication after any break longer than an hour to maintain effective articulation. I applied the rosin only once a day until about a week ago.

A few days into using the Woodall rosin, it began coating my strings more noticeably and became more difficult for me to wipe clean. In passages requiring lyricism and control, such as the first movement of the Schumann Concerto or various Brahms symphony excerpts, I found myself working much harder to achieve clarity and line. String crossings and controlled sustained tones also became more difficult to manage.

Faster, articulated excerpts such as Mendelssohn’s Scherzo were manageable at a dotted-quarter note tempo of 84–88, but the Bartered Bride Overture became significantly more difficult for me to execute cleanly with this rosin.

Conclusion

Woodall’s rosin is clearly a well-made product with attention to detail and intent. While it did not ultimately work for my playing style and equipment setup, I recognize that it may yield different results for other players, depending on their setup, climate, and stylistic demands.

For me, I’ve decided to return to Larica Meteor Iron rosin, which offers the balance of grip and clarity that suits my current needs.

I remain grateful for the opportunity to test James’s work and continue to respect his contributions to our field. His rosin may be just the thing another player is looking for—even if it’s not the right fit for me.