Elements of Sound
Carbon-fiber bows gain ground with a growing cadre of cellists
by Heather K. Scott

"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.)
 
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."

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.

< BACK