In the Tycho Brahe laboratory in Bad Liebenzell-Unterlengenhardt (northern Black Forest), a rosin with special attributes is produced. Ludwig Kremling, a friend of violin maker Dr. Franz Thomastik, developed it since 1922 in Vienna, based on the human arts findings of Rudolf Steiner. Following the death of Mr. Kremling in 1967, this research was continued first on the Goetheanum in Dornach, Switzerland, and since 1972 in Unterlengenhardt. After years of continous trials conducted together with violinists, this rosin which satisfies the highest demands was the result.

This rosin is obtained from pure larch (Larix europoea) gum, and a rhythmic treatment under addition of metal creates a tone which is more alive, warm and luminous than the untreated, and further - depending on which metal is used - causes differentiation in a variety of ways. This naturally leads to a number of different sorts. Each one is, under consideration of specific rhythms, prepared with especial care.

Technically, the special merits of this rosin are: good and even response reduction of additional sounds (advantageous for microphones) relatively insensitive to moisture and temperature fluctuations less dust accumulation. It is exceptionally economical in use; usually it is only necessary to apply a very fine coating. Too often in the beginning too much is applied, and this leads to scratching noises. When bow strings are of lesser quality (worn through playing), this condition can be largely balanced out.

As far as tone quality concerned, the soloist appreciates the great modulation ability of this rosin as well as the volume and special carrying ability in large halls; he can get more out the instrument in every respect. The beginner and layman have more contact to their instrument, more pleasure in playing, the dynamic becomes more varied, and the smallest under the violinists experience less problems with what is often a difficult start. - By chosing the right sort, the own sound of every instrument will be better and more easily expressed; in addition, certain poor sounds can be smoothed out. Generally, the sound of the instrument becomes refined, sharper, and strata or empty strings harmonized. The choice of rosin depends, apart from the instrument, on the player's own tone ideal and manner of playing. Many players use several sorts, and change them according to the period style of the pieces, the composers, the condition of the rooms, etc. -When changing to another sort, it is only necessary to clean bow and strings with a linen cloth, perhaps with a touch of alcohol (dust out bow first). Very important for new users: Before applying metal rosin, bow must be thoroughly cleaned! This rosin should be much more sparsely applied than with normal rosin, and the strings should be occasionally cleaned with alcohol (the bow as well sometimes). The influence of heat should be avoided!