Strings magazine, October 2002

Bobbi Nikles testing bows

CodaBow's Classic (left)
and Aspire (right)

Excerpted from Focus on Lutherie, Strings magazine, October 2002, No. 105, © 2002 String Letter Publishing. All rights reserved. For more information on Strings, contact String Letter Publishing, PO Box 767, San Anselmo, CA 94979; (415) 485-6946; fax (415) 485-0831; www.stringsmagazine.com.

Sometime around 1785, the story goes, French archetier Fran�ois Tourteöthen the 38-year-old member of a bow-making dynastyöproduced a bow so remarkable that it became the model for all classical bows that followed. Regarded as the "Stradivari of the bow" for "the extraordinary beauty and superb playing qualities of his bows," the Grove Concise Dictionary of Music has noted, Tourte established the standard "modern" type of bow with just a few changes over the ensuing years. Tourte also had a favorite construction material: a rare Brazilian hardwood known as pernambuco. In this special focus section, Strings reports on the status of this treasured hardwood and a new international conservation effort launched by bow makers determined to save pernambuco for future generations. Associate editor Heather K. Scott and a panel of string players also survey 11 state-of-the-art carbon-fiber and hybrid bows that offer a relatively inexpensive alternative to pernambuco. Whatever your preferenceöhi-tech or naturalöwe think these articles will resonate with string players.

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 weightöand 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.

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 worldöoften ignored and underappreciated. But more recently, makers have come to recognize the usefulness of nontraditional fibersöand 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 outsideöas well as the necessity of amplification, 18,000 people, a difficult pieceöand 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 madeöor 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 soundöat extremely affordable prices.

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 makersömany 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.

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 surprisedöI'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 ColoursöI 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.

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