Choosing a Bow
As players ourselves, we aren't too caught up with the maker or origin of a bow. All that matters for us is the playability, condition, and sound, in that order.
Many expensive bows from famous bowmakers are virtually unplayable, and don't sound particularly great either. Some bows from famous makers are inconsistent too, with one prominent example being James Tubbs.
The most important thing is to try many, many bows with your own violin. Be patient, as choosing a bow will be harder than choosing a violin.
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Matching a Bow to Your Violin
As a rule of thumb, always buy your violin before you buy your bow. A terrific sounding and playing bow, when played on your current violin, may not work as well on prospective violins.
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It has to be said, however, that often a bow 'upgrade' provides more bang-for-your-buck.
Understanding Tradeoffs
Playability
Tone and versatility should be the first tradeoffs (least important), as it is different with every violin. Look for bows that play well. If you can't play a piece, how can it sound good?
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You will keep using your old bows after buying better bows for outdoor gigs, teaching, or col legno, for example.
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Condition
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Make sure the bow is in good condition. Reliability is essential for both students and professionals. You don't want a bow breaking before an audition do you?
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Contrary to popular belief, bows that had undergone repairs *CAN* be just as reliable as bows that have not been damaged, depending on the area of breakage and quality of repair. The value of it, however, is significantly lowered.
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Spectrums
Stiffness: How much can or do you 'press'. Chords will be impossible to play on bows that are too soft.
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Balance point: determines where you play spicato
Other Considerations
Type of sound
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Workmanship
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Resale value: looks, age, origin, restorations, certification
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Clout: French