As the pernambuco forests of South America become alarmingly depleted, bow makers are taking a fresh look at the materials used to construct instrument bows while searching for new ways to improve on tried-and-true synthetic alternatives.

For many years, carbon fiber was thought of as the stepchild of the lutherie world—often ignored and underappreciated. But more recently, makers have come to recognize the usefulness of nontraditional fibers—and players are lauding the craftsmanship seen in these new models. As a result, more professional musicians are using carbon fiber bows in addition to, and sometimes in place of, traditional wood bows. Why? Carbon fiber bows are much more durable than pernambuco bows, they resist warping, are priced economically (especially when compared with their wooden counterparts), and are often very light and well balanced.

Bruce Dukov agrees. He has played professionally for 28 years, performing as a soloist and recording solo albums for CBS Masterworks. His carbon fiber bow experiences had not been positive until a colleague introduced him to one particular model during a recording session. Soon after, the bow became his tool of choice.

"When I played a solo at the Hollywood Bowl last season," he says, "I took into account the irregular weather conditions of playing outside—as well as the necessity of amplification, 18,000 people, a difficult piece—and decided to use a carbon fiber bow over my more 'temperamental' Pecatte. As a result, I was really comfortable, which assisted me in performing with great ease and confidence."

Despite the growing popularity of carbon-fiber bows, many players know little or nothing of how they're made—or what's on the market. And Dukov's story is typical: Some players believe that carbon fiber just can't produce quality sounds comparable to pernambuco. But after trying a variety of carbon fiber bows, most find that there are many that not only look appealing, but produce quality sound—at extremely affordable prices.

The Judges

Strings enlisted the help of five experienced string players with different musical backgrounds to evaluate a selection of carbon fiber violin bows (as well as a small number of viola bows). We put together our panel keeping in mind that musicians who play in different genres employ different playing styles and techniques. Our team included Sue Draheim, violinist for the band Tempest (violin: unknown German maker, early 1900s, plays with pickup); Evan Price, violinist with the Turtle Island String Quartet (violin: A. Delivet, 1920); Bobbi Nikles, a teacher and traditional fiddler (violin: Thomas Oliver Croen, 2000); Jocelyn Startz, a symphony and chamber music player (viola: 16-inch Derazey, 1870s); and Meg Eldridge, a teacher and classical performer (viola: 16-inch Russ Coe, 2001).

The panel evaluated each of the 11 bows in this review on the following points: quality of sound (tone, projection, manageability, ease of playing, and balance), aesthetics (design, wrapping, frog, eye, slide, color, and surface of stick), specifications (weight, length, camber, strength, materials), and price and availability. (Note: The panel tried standard-weight bows; many carbon fiber bows are available at different weights.)

For this survey, Strings focused on models priced between $500 and $1,500, designed for the advanced student and professional.

The examples here do not constitute a complete list of makers—many additional companies offer alternative fiber models for the beginning student to the touring professional.

Strings made the effort to include all leading manufacturers in this survey, but several companies did not respond to our requests for their participation. For that reason, the following carbon fiber bow makers were not included in this survey: Berg Bows and Durro Bows.

ALG (Alain Le Gouic) When these bows first arrived, the package smelled strongly of cigarette smoke. Nikles and Startz commented that the hair was rather dirty and didn't hold rosin very well—this could explain the ALG bows' lower scores in sound projection. Nikles didn't care for the stiff buttons (making the hair seem much tighter than it actually was). Aesthetically, reactions to the see-through glass finish revealing the texture of the carbon fiber underneath were mixed. Several judges commented on the bow's inability to sustain a smooth tone in slower strokes, and under soft pressure. But most agreed that this bow might be more geared to the symphony player—and not the soloist. The tone and sound generated under heavier playing pressure was more than passable, and our reviewers like the manageability of the ALG bows. Conversely, Draheim really enjoyed the Spirito—and kept returning to it repeatedly during our testing session. The bow sang beautifully on her violin, the manageability was smoother, the tone round and rich, and the projection balanced and controlled. This could have been in part due to Draheim's unusual bow hold (she grips the stick above the wrap). But it must be noted that instruments respond differently to different bows—and Draheim's German violin responded exceptionally well to the Spirito. For her, it was one of the best-sounding and most comfortable bows, and one of her top three choices. Specifications: Spirito, $1,052. (We also looked at the Concert, $813, and the Classic, $564.) Three-year warranty. 60–63 grams. Round stick, silver wrap, alligator grip (various colors), ebony frog with mother-of-pearl signature eye and slide, silver button. Available directly from ALG (www.members.aol.com/algbows) or from U.S. Distributors: Jacque Harper (www.algbows-usa.com).
Arcus Of all the bows we reviewed, the Arcus seemed to have the thickest shaft. According to Nikles, it was also the stiffest and most difficult to play with. Price also commented that the Arcus felt awkward in his hand. The bow produced hesitant sounds for him, as he described: "I feel like I have to really coax it." However, the Arcus is an incredibly light bow, due to its hollow shaft (which doesn't affect its durability). For several of our reviewers, this made the bow particularly desirable. Its lightness brought out an easy manageability, but a much softer tone, as agreed by all our reviewers. The craftsmanship of this bow is appealing. The shaft is a warm, dark-brown color, and the silver Hill-style wrap, mother-of-pearl eye and slide, and snakewood frog were all well received. Professional Endorsements: Christian Tetzlaff, Leonid Gorokhov, Isabelle Faust, Peter Hoerr, Hitoshi Maezawa. Specifications: Concerto, $1,495. Ten-year warranty for the stick, frog and mechanisms have a separate two-year warranty. 50 grams. Octagonal stick, silver wrap, leather grip, snakewood frog, mother-of-pearl eye and slide, silver button. (Violin and viola bows also available with round sticks.) Widely available in the U.S. Exclusive distribution through J. Fenn, Inc. For details, visit www.arcus-bow.de.
Carbow—LNM (Les Nouveau Matériaux) "This is really nice—this is my favorite," said Startz of the Carbow's Ebony viola bow. In comparison to the few other viola bows that we evaluated, she preferred the bright, clear sound and easy manageability of the Ebony. Eldridge, a violinist and violist, enjoyed the Ebony as well, but didn't care for how the violin models blended with her violin (Tony Lane, 1995). However, she liked the overall manageability of this collection, saying of the Sartory, "There is a surface ringing, but it's a very easy bow." Similarly, the Baroque bow managed well: "It looks good," said Eldridge, "it's a little heavy at the tip—but handles well despite." Nikles concurred. She thought highly of the Sartory's ease and nice balance: "Lovely, lovely sound." But she didn't care for the "odd choice" of the green and silver wire wrap. A soft surface sound concerned Price regarding these bows. Although he felt their balance was nice and light, Price commented that the sound it produced lacked a deepness in tone and volume. Professional Endorsements: Regina Carter, Ron Carter, Henri Texier, Barre Phillips, Gary Karr, George Mraz, Deborah Seffer, Didier Lockwood, and Marc Johnson. Specifications: Sartory, $1,342. (We also looked at the Ebony, $640, and N. Poidevin Baroque, $640, violin bows; and the Ebony viola bow, $671). One-year warranty. 59–62 grams. Combination octagonal/round shaft, silver wrap, leather grip, ebony frog, mother-of-pearl eye and slide, silver three-part button. (Violin bows are available in ebony and nickel mounted, snakewood and nickel mounted, or ebony and silver mounted. Carbow also makes viola, cello, and bass bows. All bows are designed by Jean Grunberger.) Carbow-LNM bows are available from a variety of dealers and retailers. For a complete directory, visit www.carbow.com.
CodaBow Our reviewers had a difficult time agreeing on one favorite bow from the CodaBow samples we received. The Aspire was chosen by some for its low price and high-quality sound. The Conservatory was a favorite with others due to its aesthetics and generous tone, and the Classic was a favorite with nearly everyone. Startz tried all four viola bows, but best liked the warm sound the Conservatory produced. "I'm surprised—I've never played carbon bows and I really like this," she said. Draheim was torn between the Aspire and the Colours "[The Aspire is] much louder and a lot stronger," she commented, "but I like the Colours—I like the softer sound." "The overall sound is good, and it feels very comfortable," said Nikles of the Classic. Eldridge agreed: "Nice aesthetics, rich deep tone, and loud sound." Evan Price has owned a CodaBow Classic for many years. In testing the new models, he gravitated towards the Aspire bow, liking the sound and feel. When comparing it to the Colours, the Classic, and the Conservatory, Price felt the Aspire performed "much better" than the other three but lost a little focus towards the tip. Several judges complimented CodaBow's high quality of sound and equally high level of craftsmanship. Many of the reviewers had already played CodaBows, "they've been around for so long," said Eldridge. Summing up most of our judges' comments, she added: "Really nice acoustics and aesthetics and a lush sound." Professional Endorsements: Turtle Island String Quartet (Evan Price, David Balakrishnan, Danny Seidenberg, Marc Summer), Roman Totenberg, and Stacy Phillips. Specifications: Classic, $775. (We also looked at the Aspire, $265, Conservatory $395, Colours $440, and viola bows: Aspire, $295, Conservatory, $435, Colours, $480, and the Classic, $850.) Codabow makes cello bows as well. Lifetime guarantee to registered owner. 60.5 grams. Round polished graphite (ebony) shaft, sterling silver wrap, Moroccan goat skin grip, custom Sri Lankan ebony frog with gold "coda" eye inlay and silver slide, silver mountings, three-piece sterling silver, ebony, and abalone button, individualized registration number on shaft. Widely available through dealers and retailers. For more information, visit www.codabow.com.
Glasser "This has a very rigid stick and a flat sound," said Eldridge of the gold mounted Glasser Bow. Price didn't care for the aesthetics of this bow either (finding a spot of glue near the frog), but liked the easy balance and forgiving tone. "This is very smooth and playable," said Nikles. "I don't know about the look, but it sounds good under the ear. I'm a little surprised—I really like the sound. Of all the Glasser bows [we received several samples for evaluation], I like this sound the best." Professional Endorsements: Vasser Clements. Specifications: Gold mounted, $1,400 (also available in nickel, $249, or silver mounted, $595). 56–63 grams. One-year unconditional warranty. Round graphite stick, gold wrap, leather grip, ebony frog with abalone eye and slide, gold button. A variety of Glasser bows is available from Howard Coe & Company (1821 McCall Dr., Anniston, AL 36207; [800] 633-2302).
Finkel Workshop The Finkel bows are unusual: They are hybrids, carbon fiber bows with a pernambuco shell. "This is very comfortable," Nikles remarked immediately after trying the H. Bru bow. "Nice sound, smooth tone, and rich, good, strong projection." The panel agreed that all four bows are well designed, responsive, comfortable, and nicely balanced. We especially enjoyed the strong projection and the tone control in the upper and lower partials. Eldridge really enjoyed the H. Bru, marveling at the affordability and enjoying the solid tone. "This is richer sounding than the other Finkel bows," she said. The tone is much deeper and it feels very maneuverable—nice all the way to the tip." "I don't know, this rings quite a bit," stated Price. "But better than the other three bows in this collection. I'm hearing a choking sound close to the frog and tip, but it isn't too bad. I wish it had more bite." With these bows, when it comes to aesthetics, you get what you pay for. The higher-priced deluxe model will bring you a fancier frog, slide, button, and eye. But the most expensive bow doesn't necessarily make for the best sound—the mid-priced H. Bru sounded better on all the instruments we tested with than any other bow from the Finkel collection. Professional Endorsements: Stephen Shipps and J. Patrick Rafferty. Specifications: H. Bru, $600. (We also tried three other hybrid bows from the Finkel Workshop: the Conbrio, $750, the E. Jumeau, $1,050, and the J.S. Finkel, $1,650.) Lifetime warranty against breaking. 59.5–62.5 grams. Round pernambuco stick with carbon fiber core, Peccatte head, silver wire wrap, leather grip and endcap, ebony frog with mother-of-pearl slide, silver button. Available through Shar Music (www.sharmusic.com).
Musicary Price couldn't adjust to the sound of this bow, but he felt the manageability was worth noting. "There is some surface noise, and the sound is a little brash," he observed. "But it handles well and feels nice and light." Eldridge actually asked for this bow by name, mentioning that she suggests it to many students due to its great responsiveness and affordable price. Nikles also spoke highly of it for student use, but thought this particular bow sounded a bit "fuzzy." Several judges had tried Musicary bows in the past, but voiced concern over how each one had seem to respond and sound differently. Consistency is an issue with this bow—some judges noted that the bow sounded a bit flatter than other Musicary models they had played in the past. Specifications: $325 (available in black, brown, white, blue, green, and red). Lifetime warranty against warping or breaking. 59–62 grams. Round stick, wire wrap, leather grip, ebony frog with mother-of-pearl eye and slide, nickel button. Available through Shar Music (www.sharmusic.com). [Editor's Note: Although this bow doesn't fall within the $500–$1,500 range of this review, we decided to include it as a lower-priced alternative for the intermediate player. Also, it's worth mentioning due to the inconsistency issue: Be sure to try several Musicary bows of the same model before crossing this brand off your list of possibilities.]
Otto Musica Our panel praised the aesthetics but was split over the sound of the Otto Musica bow. I felt that it offered a nice full sound and round tones. Price also found its tone and projection appealing, "This has one of the best sounds—the tone is very focused. But the bow is a little resistant to bouncing." "This feels very heavy to me," said Nikles. "It makes my playing feel a little muddy." Eldridge agreed, saying the bow felt too heavy and awkward. The aesthetics of this bow are particularly appealing. Small added touches such as a mother-of-pearl inlay on the end of the button and the silver eye ring are nicely crafted. Specifications: BF-490S, $585. Lifetime warranty. 60 grams. Round stick, Hill-style wrap, leather grip, mother-of-pearl eye and slide, silver button. Available only from Otto Musica (www.ottomusica.com).
Claudio Righetti Arc Verona Overall, high marks were recorded here. Draheim couldn't decide whether to name the Sartory, or the Peccatte, or the Lamy as her favorite bow of this collection. Playing on a "no named German violin, made about 100 years ago," Draheim liked the control and sweet sound of both the Peccatte and Lamy models, and after much deliberation voted the Peccatte her favorite. "This is heavy, but it feels nice," said Eldridge. "I like the mother-of-pearl choice for the slide. The sound rings a bit—but otherwise it is really pleasant." Price also liked the Righetti bows. "The sound is not overly 'surfacy' and it bounces moderately." Nikles' comments rounded out a very positive review of this bow: "A lovely balance and aesthetic." Our judges just didn't have many critiques on any of the Righetti bows. All of the players liked the strong sound, graceful tone, and pleasing aesthetics of these bows. Specifications: Peccatte, $1,400. (We also looked at the Sartory, $1,550, and Lamy, $1,150.) One-year warranty against manufacturer defect (through Johnson String Instrument). 60–62 grams. Round carbon fiber stick with epoxy resin, silver or gold wire wrap, lizard-skin grip, ebony and silver or gold frog, mother-of-pearl eye and slide, mammoth headplate. Available in the United States through Johnson String Instrument (www.johnsonstring.com).
Spiccato French-American Benoît Rolland, creator of the Spiccato bows, designed these unique carbon fiber bows so that the player can adjust the camber using a turn-key system (accessible by unscrewing the frog and button). Rolland sent us a Maestro violin bow ($2,649) for review—a gorgeous bow displaying great playing power and aesthetics. However, due to our price focus, we will refer to the bows now made by Spiccato French-American Bows following Rolland's revolutionary design. Nikles had a difficult time stepping away from Benoit's handmade Maestro bow. "This feels really good. Sometimes you just pick up an instrument or bow and it makes you feel good—this bow does that for me." However, after testing the Encore, she reported, "I definitely like the sound of this bow, even more so than the Arpège." "This feels like a 'real' bow," commented Draheim after testing the Encore model. "When it is on the string, it really feels like there's some soul to it—it feels nice, just a bit heavier." At first try, Price was not comfortable with the sound or the balance of either the Encore or the Arpège. "This just doesn't project well. The sound is so soft, but not entirely unpleasant." However, Price found that adjusting the camber on the Encore by several clockwise turns of the key brought about dramatic results. "Much better. A more brilliant sound, really a nice change," he marveled. The bow now felt much more balanced, he added, and produced a full sound and rich tones in a wide dynamic range and under varying bow pressure. Eldridge also enjoyed the adjustable camber of the bow. "I like the manageability a lot," she said. "It has a lively response and a rich sound. The Arpège makes my viola sound really different—much less nasal. It is a softer sound—pleasant." Professional Endorsements: Christian Tetzlaff, Jaime Laredo, Lord Yehudi Menuhin, Heinrich Schiff, Jean-Luc Ponty, Glen Diktero, Josef Suk, Dean Brown, Nick Hoffman. Specifications: Spiccato Encore, $992. (We also looked at the nonadjustable Arpège, $588.) Lifetime warranty against breakage. All bows made from a hollowed stick of carbon composite material (inner-tension mechanism, adjustable through screw; offering a variety of colors of hard finishes). Round composite stick, nickel-silver wrap, ebony frog with mother-of-pearl eye and slide, leather grip, three-part nickel-silver button with mother-of-pearl inlay, nickel-silver tip. (All bows available with silver or nickel-silver mountings, or gold mountings, also in varying sizes and strengths.) Widely available through dealers, visit www.spiccato.com for more information.
Jean Tabary Nikles wasn't particularly fond of the Jean Tabary bow's plain look, but changed her mind quickly after beginning to play. "I like this one a lot," she exclaimed. Although we were the first to apply rosin to this bow, it took quickly to the string, and pulled a generous amount of sound with a well-rounded tone and strong projection. Price also liked the sound, but not the aesthetics. The only critique he had was the soft tone: "It might have a problem in the touch being too 'velvety.' I feel like the bow is holding back a little bit—but the tone is good. I like the chocolate color." Conversely, Eldridge didn't like the bow's sound but thought the aesthetics were fine. "This bow has a really bright sound and a more narrow tone," she concluded. "I don't feel like I have very much control." Professional Endorsements: Bruce Dukov. Specifications: Standard, $630. (Tabary bows are available in three weights: light, 58–59.5 grams; medium, 60–61.5; and heavy, 62–63. We tested the light-to-medium range bows, as more professionals prefer this particular range.) Lifetime warranty against failure due to manufacturing defect. Round graphite stick, silver wrap, leather grip, German nickel frog with mother-of-pearl eye and slide, nickel button with mother-of-pearl inlay. (Also available in a Deluxe model [$830] with an Italian silver frog and silver button.) Available through JR Music Supply ([800] 333-EADG; www.jrmusicsupply.com).

---

HOW CARBON FIBER BOWS ARE MADE

The production of carbon fiber bows involves a peculiar mix of craftsmanship and rocket science. Carbon fiber, a composite material, is made up of two major components: a reinforcement fiber; and a matrix, or resin. This gives the resulting mixture of carbon and fiber mechanical properties that far exceed the capabilities of these separate ingredients.

When we talk about nonwood bows, the reference is usually to either glass fiber or carbon fiber. But the notation of "fiber" as the material used in these bows is a rather broad term. As this article focuses on carbon fiber, let's narrow our look to that synthetic material alone. A more specific term used in carbon fiber bow making is "graphite." When you see bows described as graphite fiber, this means they are constructed from the highest grade of carbon and designed using the most precise standards of manufacturing. The type of fiber used in carbon fiber bow making is called a "pan" fiber (a thermally stable, chemically resistant fiber).

The manufacturing process begins with a thread of material with a carbon base. This material runs through a sophisticated oven where the fiber is stretched and heated in an environment lacking oxygen and rich in nitrogen (this process is called pyrolizing). As the carbon stretches, extraneous atoms burn off until a new carbon substance is formed.

Next, makers must decide what to add to their bow recipe to arrive at a design. Resins are an important part of this stage, and act as a glue holding the fibers together. To make a good composite structure, makers must maximize the ratio of stiffness to weight—and in bow application, they must also understand the acoustic implications of the materials used. Some bow-making companies strive for consistency among all the bows they produce, while others focus on a less expensive product with inconsistent results. The main differences found in the quality of carbon fiber bows are in the ingredients used and the resulting consistency.

Fiber architecture is the last step of the bow making process. Fiber architecture refers to which fibers are present, their configuration, and their orientation. Many companies pour their carbon mixture into molds. (The mixture is either completely dry, partially impregnated with resins, or totally impregnated with resins.) The carbon is placed in the mold cavity and the mold is then closed. The mold is heated until the ingredients solidify or "set." These resins are "thermal set," meaning they cure when heated and can't revert to their previous state. The end product is a highly durable, although very flexible, carbon-based material.

---

HOW TO CHOOSE A CARBON FIBER BOW

As explained in "How carbon fiber bows are made" above, graphite fiber is the best quality of carbon. When shopping for a carbon fiber bow, you'll also need to evaluate the bow shaft: 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? Just as you would with a wood bow, listen to the tone and projection. While you are playing with the bow, also take a closer look at the aesthetics.

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. Remember, your best friend's bow may sound incredible on his or her violin—but mediocre on your own instrument.

---

Excerpted from Strings magazine, October 2002, No. 105.

 

 Return to Top