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"Not that I want or need a carbon-fiber bow any more than I want or need a wooden leg," one classically trained cellist remarked recently about his experience with carbon-fiber bows. This stigma, once prevalent in the world of stringed instruments, is quickly falling by the wayside. With each passing year, more and more violin dealers sell a steadily increasing number of carbon-fiber bows–a testament to many players' need for inexpensive, extremely durable, good-sounding bows. "My impression is that players are becoming more open to the idea of carbon-fiber bows and what they offer," says Susan Horkan of Johnson String Instrument in Newton, Massachusetts. "The availability of these bows has never been a problem," adds John C. Jordan, owner of Jordan Violins in Concord, California, "but I notice them gaining acceptance and market share in recent years." Strings asked a panel of professional players to sample several carbon-fiber bows for intermediate- and advanced-level cellists. Our panel consisted of three professional cellists: Sandy Wilson of the Alexander String Quartet (playing an H. Silvestre, 1864 cello); Paul Hale of the Philharmonia Baroque Orchestra, American Bach Soloists, California Symphony, and Oakland Symphony (Joseph Grubaugh & Sigrun Seifert, ten-year-old poplar-back cello); and Mark Summer of the Turtle Island String Quartet (Joseph Grubaugh & Sigrun Seifert, 1997). Once thought to be the best material for students' and beginners' bows–it is unflaggingly durable—carbon fiber is emerging as the material of choice for professionals seeking a second bow, as well as a primary bow for many musicians in general. "I find that professional musicians want an alternative bow that has the response and playability of a higher-quality stick and can be used in situations where a more expensive pernambuco wood bow would incur a greater risk of damage, such as outdoor concerts," says Horkan. While our reviewers were quite taken by a couple of the more expensive models, all agreed that there are real bargains to be found among the more affordable bows. Our panel evaluated bows for their quality of sound, aesthetics, technical specifications, and price (ranging from approximately $300 to $3,000). The examples presented here do not constitute a complete list–there are dozens of additional companies offering carbon-fiber models for all levels of musicians. While Strings made an effort to include all of the leading manufacturers in this survey, several companies did not respond to our participation requests. The following makers were not included in this survey: Berg Bows, Durro Bows, and ARY France. Strings also received a couple of bows that we couldn't include in this review. Difficulties adjusting the end button on our sample Leopold bow prevented us from maintaining taught hair. (A problem most likely due to the glue inside the button losing grip of the screw; and easily fixed by any violin maker. Leopold assures us that the life-long warranty covers all repairs. For more information, visit www.leopold-bow.com.) We also received a bow from Carbow LNM, but it arrived with transport damage, and we were unable to acquire a replacement in time for our panelists to review. (See www.carbow.com.)
Arcus
Wilson professionally endorses Arcus bows–and has used them often in the past when making studio recordings. But he admittedly didn't care for the cutaway frog or the new opaque color of the stick (until last March Arcus painted all its sticks a shiny black–but, since then, the company has left them with a polished-carbon finish). He adds, "There is no leverage for my little finger." Hale enjoyed the light Arcus models, but also questions the cutaway design of the frog on the newer models, saying, "This just doesn't seem comfortable." The Concerto bow was a favorite from the Arcus collection, for its smooth sound and playability. Concerto, $1,995. Ten-year warranty (stick). 65—70 grams. Carbon-fiber, octagonal stick; sterling silver wrap; leather grip; snakewood frog; mother-of-pearl eye; titanium underslide; snakewood and silver button. (We also looked at the Cadenza Gold $3,540, Cadenza Silver $2,900, Sinfonia $1,455, and Sonata $970.) Distributed by J. Fenn Inc. (800) 883-3606; or Arcus, 49 (931) 95 00 602, www.arcus-bow.de.
CodaBow The panel tried several CodaBow models, but gravitated to two in particular: the Electric and the Classic (shown). The Electric is the newest addition to the CodaBow line, and is specially designed to be played with electric cello (although we tried it with acoustic instruments). CodaBow began business in 1993 with the mission of creating "a family of bows for stringed instruments that would serve the performance needs of all serious players and rival the finest existing pernambuco bows available." "Feels good," says Hale of the flashy purple Electric model. "I like the color." Wilson agrees, saying, "This purple thing has guts." "Clean, but slow," says Hale of the Classic, his preferred choice of the CodaBows. "Just a tad slower. But that can be nice, too. It is more lush sounding." Summer, a long-time user and endorser of CodaBows, also likes the Classic. "This draws a bassier, deeper sound," he observes. "And it definitely is a nice looking stick." Wilson isn't as sure of the Classic's balance or sound. "I'm just not confident going to the tip," he comments. But he adds, "There's nothing wrong with it, really; sometimes the chemistry is just not right." Jordan Violins reports that CodaBows achieve healthy sales at its retail shop. "The [CodaBow models] that I've sold have gone mostly to serious amateurs and semi-professional players in both classical and popular music styles," says Jordan. "Some were used as primary bows and others as specific-purpose bows, such as for playing in an orchestra pit for a theater where space is confined and a wooden bow is more at risk of damage." Electric,
$365. Limited warranty (shaft only); 79.5 grams; purple dyno-chromatic,
round, carbon-fiber stick; silver-thread wrap; leather-foam grip; engineered
ebony frog with nickel-silver fittings; "electrified" CodaBow
signature inlay; pearl slide; nickel-silver button.
Eastman Strings
"This is a very nice bow, actually," says Summer of the Silver. "It is bouncy, and a little hard to control–but not overly so. I like this bow, not a bad stick at all." Wilson comments on the bows' design–noting the well-constructed, close seat of the frog to the stick (some bows display a gap or looseness here, a common problem with some carbon-fiber bows). And each one produced a smooth, warm sound on both Hale's and Wilson's instruments. "This is shaky in the middle," Hale reports. "But I'd rather have that than something totally dead. It is very slight and I could get used to it." "Wow, for these prices, I think they are incredible," says Hale of the Eastman line. "So many cheap wood bows don't have any mass to them, but at least with a carbon-fiber bow you have the density without the stiffness. These are flexible and even from frog to tip." "They all feel pretty similar," Wilson responds after picking up several of the Eastman bows. "For the money, I think these are fine." Cadenza Silver (shown), $475. Lifetime warranty for stick; approx. 82 grams; black, round, carbon-fiber stick; silver wire wrap; leather grip; ebony frog with silver ferrule and heel plate; Parisian-style abalone eye; silver ring; abalone slide; silver button with abalone eye. (We also looked at the Cadenza Prelude, $205, Cadenza Artist, $325; and the Cadenza Master, $750). Available from Eastman Strings, (800) 624-0270, www.eastmanstrings.com.
J.S. Finkel Hybrid
"I like the stick," says Hale of the Finkel's unique design. "I love the feel of it so far. I imagine after the hair is broken in it will feel better. It isn't too heavy. Lively. Feels like it has potential." Summer likes the feel of the bow, calling it a "powerful stick. This has a noticeably warm tone," he adds. Wilson is equally intrigued by the hybrid quality of this bow and wonders about its construction–a company trade secret. J.S. Finkel, 2,800SFrs ($2,195). Approx. 81 grams. Round, pernambuco and carbon-fiber hybrid stick; silver wrap and tip; leather grip; ebony frog; Parisian-style pearl eye; silver-mounted pearl slide; silver button. Available from Finkel Bows, (41) 33 951 15 09, www.finkel-bows.ch.
Claudio Righetti Arc Verona (Sartory)
Of all the Righetti bows we tested, the Sartory–the newest of the bunch–was by far the most popular. "This is nice! A light bow. For me, it is more lively and responsive. It feels like at any moment you can do something with the bow," Hale explains. "It feels quick and fun, very flexible but strong. There is no shake in the middle for me, like with the others." "I like how this bow bounces," reports Summer. The Righetti bows in general proved to be favorites for both Wilson and Hale (who returned to our offices several days later to play them once again). The trio of sticks all produced warm sounds with clear tone. Easy manageability was noted by each reviewer (aside from the small wiggle in the middle of the Lamy bow, noticed by Hale), and a nice balance from frog to tip. Aesthetically, they agree, these bows are very attractive–the design is clean and traditional. Sartory, $2,300 (We also looked at the Lamy, $1,900, and the D. Pecatte, $2,150). Lifetime warranty against breakage, 78—84 grams, round, carbon-fiber, reddish-brown stick, silver wrap; lizard skin grip; silver-mounted ebony frog; Parisian-style mother-of-pearl eye and slide; silver button. Available in the US from Johnson String Instrument, or from Arc Verona, (39) 045 8004614 , www.claudiorighetti.com.
Spiccato French-American Bows
"The Spiccato bows are a recent addition to [our] inventory and thus far the feedback . . . has been extremely favorable," says Horkan of the Spiccato bows we reviewed. "Players find these sticks to be very strong and responsive; and pull a clear, full tone from the instruments. A wide range of players have purchased these bows from beginners to professionals," she adds. Wilson concurs: "My sense is that [Spiccato] bows are made in a more exacting sort of way." But Hale isn't as impressed with the Spiccato bows. "This is heavier at the tip," he says of the Premiere. "All of [the Spiccato bows] are not necessarily to my liking. But they are very lively–more so than I would have guessed." Siding with Hale, Summer likes the sound of the Spiccato, but isn't fond of the weight. "This is fine and good," he notes, "but I wonder why it is so heavy." Wilson enjoys being able to adjust the camber of the Premiere, and he's drawn to the workmanship of the three bows we tested. "Not an inch of bow is wasted here," he says. "They seem to be made with a fine tolerance." Premiere silver (adjustable camber), $1,748. Limited lifetime warranty; 78—84 grams; round, carbon-fiber, reddish-brown stick (Peccate/Maline—style head); silver wrap and tip; leather grip; silver-mounted ebony frog; Parisian-style goldfish eye, silver and pearl button. (We also looked at the Arpège nickel silver, $652, and the Arpège silver, $998). Available from Spiccato French-American Bows, (801) 537-7856, www.prierviolins.com, www.spiccato.com. Yamaha
"This bounces nicely," states Summer. "It's a bright-sounding bow." "Both of the [Yamaha] models are lightweight, but not quite balanced right," says Wilson. "This feels good; I think it's a nice bow," Hale says of the CBB-305. "It doesn't have any weird shakes to it. It's more controlled when compared to some of these other bows. It seems like a nice stick. It also has a focused intent from the frog to tip–like any good bow." CBB-305, $2,195. Ten-year warranty, approx. 78—84 grams. Round, carbon-fiber stick; silver wrap; leather grip; ebony frog; abalone eye with silver ring; abalone slide with silver accent; silver button with abalone inlay and ebony core. (We also looked at the CBB-301, $495). Available from Yamaha Music Corporation, (714) 522-9011, www.yamaha.com.
How to Choose a Carbon-Fiber Bow Given the complexity of the manufacturing process, it's not surprising that carbon-fiber bows are much more difficult to repair than their pernamubuco cousins. Many dealers are just not equipped to fix carbon-fiber bows, so when evaluating bows for purchase, pay close attention to the tip (check for cracks and chips) and the frog (make sure that it sits securely on the stick with no space between the frog and the shaft of the bow). Check for imperfections in the carbon, such as seams or bubbles. Also, test the bow's weight and balance–does it respond well to both spiccato and legato bow strokes? Does it play evenly from the frog to the tip? How does it respond to dynamic and bow-pressure changes? Most importantly, note how the bow feels in your hand, and how it interacts with your instrument. Bow shopping is extremely subjective. You and you alone can decide which bow is best for you. Your playing technique and bow hold, the style of music you play, and the environment in which you perform all influence how a bow will respond to your touch. Visit www.stringsmagazine.com to download a bow-comparison chart that can assist you in your selection process.
How Carbon-Fiber Bows Are Made The production of carbon-fiber bows involves a peculiar mix of craftsmanship and rocket science. When people talk about nonwood bows, they usually refer to those made of a wide range of synthetic materials, including fiberglass and carbon fiber, a polymer which is a form of graphite. The type of fiber used in the carbon-fiber bows discussed in this article is called a "pan" fiber, one that is thermally stable and resists change chemically. Carbon fiber, or composite material as it is sometimes called, is made up of two major components: a reinforcing fiber and a matrix, or resin. When mixed together, these ingredients produce a material with mechanical properties that far exceed their individual strengths. The manufacturing process begins with a thread of carbon-based material that is run through a sophisticated oven. There the nascent fiber is stretched and heated–a process that's called pyrolysis–in an oxygen-free, nitrogen-rich environment. As the fiber stretches, extraneous atoms burn off until a new carbon-based substance forms. Manufacturers must then decide what to add to the recipe to produce a composite material that suits their specific bow design. Resins are an important part of this stage, since they act as the glue that holds the carbon fibers together. The carbon mixture is poured into a mold and heated until the ingredients solidify. The resins surrounding the carbon fibers are "thermal set"–they cure when heated and can't revert to their previous state. This produces a highly durable, yet very flexible, composite material. To produce a good composite structure for bow making, the manufacturers accentuate the stiffness-to-weight ratio–while reaching for the desired acoustic characteristics. Some bow-making companies strive for strict standards with every bow they produce, while others choose to make a less expensive product and accept a certain level of inconsistency. Excerpted from Strings magazine, April 2004 , No. 118.
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Bernd
Müsing and Andreas Wetzlinger have been producing Arcus bows for
five years in their factory workshop in Klagenfurt, Austria. The bows
purport to be especially light and agile due to their hollow core. We
looked at five of Arcus' latest cello bow designs.
Eastman
Strings is a new producer of carbon-fiber bows, having just released
its Cadenza line in 2003. We took a look at all four models: the Prelude,
Artist, Silver, and Master. Our reviewers were impressed with the samples
we received, finding them to be a good value for all players.
These
unique hybrids–combining a carbon-fiber core with an exterior shell
of pernambuco–are billed on the Finkel website as suitable "for
an advancing student's first pernambuco wood bow or an established player's
reliable second practice bow." Johannes S. Finkel invented this
bow in his traditional workshop in Switzerland. Finkel also states on
his website that the hybrid design will prevent the stick from warping
and aid in consistent playability.
Claudio
Righetti patented his first usable carbon-fiber bow in 1989, and his
synthetic bows have been in production ever since. We received three
models for evaluation–the Sartory, Lamy, and D.Peccatte. "These
are all superior bows," says Wilson of the collection. "I'm
going to come back [to each] and play them again."
Spiccato
bows were designed and created by master French archetier Benoît
Rolland, and are produced and distributed by Spiccato Bows in Salt Lake
City. We took a look at the Premiere Silver, Arpège Silver, and
Arpège Nickel Silver models. The Premiere employs a camber-adjustment
system. By turning the key clockwise, the adjuster "tightens and
bends the bow, increasing sensitivity and agility," according to
the company literature. When the key is turned counterclockwise, "the
bow becomes more stable."
Another
company new to carbon-fiber production, Yamaha released two models in
2003. According to the company, Yamaha began manufacturing carbon-fiber
bows to "protect the diminishing supplies of pernambuco wood."
These new bows are priced very reasonably. The main difference between
the two we looked at is in the aesthetics–the more expensive CBB-305
model has silver fittings, instead of nickel. It is important to note
the price of these bows–they are some of the lowest we reviewed,
on a par with the Eastman models.