Violinists, always searching for the best sound, delivered in the best way, have differing opinions when it comes to the violin bow. The main argument concerns the relative merits of the syntheticviolin bow, typically made of carbon fiber, as opposed to the wood bow, traditionally made of pernambuco wood. These two bows differ in sound, durability and weight.
Of late, carbon fiber bows have become increasingly common. This is particularly true among the young, up-and-coming class ofviolinists since most beginning and intermediate violinists use them. Because of their superior durability--carbon fiber bows are virtually indestructible--most young players use carbon fiber. Once accustomed to the heft, feel and sound of the synthetic version, now-advanced violinists usually prefer to stay with what they have always used.
Just as wood bows are not all the same, varying from cheap, easily-breakable to heirloom-quality, so, too, carbon fiber bows are not all the same, differing drastically in quality and sound. Top-of-the-line Berg Bows, for instance, create custom carbon fiber bows, employing an entire team of engineers and technicians to do so. A violin bow is nothing if not a highly technical enterprise. The carbon material allows for constant innovation, especially in angling and in materials which now include Kevlar and Spectra.
Another famous synthetic violin bow maker, Arcus, innovated by hollowing out the bow, making it some 20% lighter than traditional wooden bows. The lightness, in consequence, allows theviolinist to play more intensely without fatigue, making Beethoven or Shostakovich quartets more frequent in the repertoire. Pernambuco bows are selected based on lightness as well, and by adjusting the stiffness and mass can be “tuned” but cannot match the Arcus violin bow in weight. .
Among the first carbon fiber bows, the Spiccato, now no longer produced, has a mechanism inside allowing the curvature to be adjusted. Creating the sound by altering the pressure on the bow, the violinist thus has some five or six bows in one. Yehudi Menuhin liked the Spiccato bow.
Besides its durability, the very lightness of the carbon fiber bow allows for a tremendously powerful sound, an aggressive sound, while the more mellow wooden bow allows for a wider range of tonal colors. The players using a carbon fiber bow must supply the power themselves, creating more articulated and fast-paced pieces. The players using the more fragile wooden bows have a more sensitive, delicate touch and can produce sound with far more depth and variety.
In sum, it seems fair to say that the carbon fiber violin bow is best for big sound and precise articulation. Carbon fibre bows are durable and very light. Pernambuco bows are beloved by virtuosos and master violinists for their delicate response and mellow sound. Musicians putting their bows and instruments to hard use as in in rock or jazz almost all choose carbon fiber while classical violinists remain divided between those who love violin bows made of carbon fiber and those who prefer the traditional wood.
Of late, carbon fiber bows have become increasingly common. This is particularly true among the young, up-and-coming class ofviolinists since most beginning and intermediate violinists use them. Because of their superior durability--carbon fiber bows are virtually indestructible--most young players use carbon fiber. Once accustomed to the heft, feel and sound of the synthetic version, now-advanced violinists usually prefer to stay with what they have always used.
Just as wood bows are not all the same, varying from cheap, easily-breakable to heirloom-quality, so, too, carbon fiber bows are not all the same, differing drastically in quality and sound. Top-of-the-line Berg Bows, for instance, create custom carbon fiber bows, employing an entire team of engineers and technicians to do so. A violin bow is nothing if not a highly technical enterprise. The carbon material allows for constant innovation, especially in angling and in materials which now include Kevlar and Spectra.
Another famous synthetic violin bow maker, Arcus, innovated by hollowing out the bow, making it some 20% lighter than traditional wooden bows. The lightness, in consequence, allows theviolinist to play more intensely without fatigue, making Beethoven or Shostakovich quartets more frequent in the repertoire. Pernambuco bows are selected based on lightness as well, and by adjusting the stiffness and mass can be “tuned” but cannot match the Arcus violin bow in weight. .
Among the first carbon fiber bows, the Spiccato, now no longer produced, has a mechanism inside allowing the curvature to be adjusted. Creating the sound by altering the pressure on the bow, the violinist thus has some five or six bows in one. Yehudi Menuhin liked the Spiccato bow.
Besides its durability, the very lightness of the carbon fiber bow allows for a tremendously powerful sound, an aggressive sound, while the more mellow wooden bow allows for a wider range of tonal colors. The players using a carbon fiber bow must supply the power themselves, creating more articulated and fast-paced pieces. The players using the more fragile wooden bows have a more sensitive, delicate touch and can produce sound with far more depth and variety.
In sum, it seems fair to say that the carbon fiber violin bow is best for big sound and precise articulation. Carbon fibre bows are durable and very light. Pernambuco bows are beloved by virtuosos and master violinists for their delicate response and mellow sound. Musicians putting their bows and instruments to hard use as in in rock or jazz almost all choose carbon fiber while classical violinists remain divided between those who love violin bows made of carbon fiber and those who prefer the traditional wood.
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