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Thanks for the feedback there @AndrewH
That's interesting and yes indeed I get what you mean by the "crunchy sound" if actually playing 3 strings at once (and not by "rolling over them") and making it easier (in fact making it possible at all) by playing closer to the fingerboard.
I'm just curious about the amount of pressure you would use to do this, even when close to the fingerboard, and if you actually "expect" the bow hair to depress until it contacts the stick (hence, possibly, the unavoidable crunchy sound) - or - if you know in advance this is going to be done, you use a more highly tensioned bow... ????
Honestly, I simply don't know and just seeking answers - it's just an open question to you Andrew as an experienced player! Appreciate any more detail may be able to give on this one
I seriously recommend not copying my mistakes. D'oh -
Please make your own, different mistakes, and help us all learn :-)
I don't press it all the way to the stick. In fact, I'd still use the minimum bow weight needed to contact all three strings. Bow speed helps, too. The crunchy sound is unavoidable, though. It comes from pressure interfering with the string's vibration, not from contact between the stick and the string.
I don't really think consciously about bow hair tension, but I've noticed I tend to tighten my bow a bit more for late Romantic and modern music than for Baroque and Classical.
That's a very cool tip to bow closer to the finger board.
Is that beneficial at all with double stops as well?
There isn't any benefit with double stops. The purpose of playing closer to the fingerboard is so that the middle string (of 3) sticks up less above the other two. When you're playing on only two strings, your bow hair just needs to be in the same plane as both strings.