Imagine a bow that enables you to play all your music with improved ease and precision. A bow that pulls the most beautiful sound from your instrument. A bow that you never need to worry about and which reduces the strain on your bow arm substantially.
Both our Arcus and our Müsing carbon fiber bows are completely and carefully handcrafted in our workshop in Würzburg (Germany). With our videos we intend to answer all your questions about bows, e.g. how to find the perfect bow for your instrument and your playing needs, why there is a difference between the series and classes of our bows, how to properly care for your bow and many other exciting topics that might interest you.
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I bought an s6 French model after trying it for 5 days it was simply so much better than my pernambuco bow, you are right about the effortlessness being a major factor for bassists. When I played it and felt the way it related to the string vibration and instrument sound I thought, yes this is how it should be, or rather how it’s supposed to be. It changed my bowing technique because I felt for the first time that the bow had no weak spots and I could trust it more than my other bows. Hard to explain.
Ich kenne das Problem sehr gut... habe als Edelbratschen-Frau erst mit 17 angefangen... gleich ne 41er Bratsche... im Studium dann ne 42er Bratsche... habe kleine dicke aber sehr kurze Fingerchen. 😂 ... egal... der 4. Finger ging nie drauf, Quinten dafür super 😅 Nun tüftle ich seit 3 Jahren über verschiedene Geigenbauwerkstätten... Es hat nie jemand die Fingerchen angeguckt... außer Frau Conradi in Augsburg. Nun habe ich mir nach sehr langer Suche endlich meine erste, passende Bratsche gekauft. Es war sooooo wichtig, zuvor viele Instrumente auszuprobieren... (die armen Geigenbauer... ständig kam ich mit WehWehchen)... Saitenabstände, Stegkrümmung, Mensur... Habe mir nun nach langem Selbstforschen ein absolutes Wohlfühl- und für mich Schönklinginstrument geschmiedet. 🎉
J’ai fait l’achat d'un c3 il y a quelques mois. Il m’à vraiment aidée même si j’ai un petit niveau, avec mon violon d’étude. J’ai du mal avec la corde de sol... mais moins avec le c3. J’avais les cordes warchal ambre et maintenant j’ai monté des larsen tzigane. Je pense ça fonctionne bien avec le musing c3. Merci pour les vidéos et pour ces beaux archets
I recently purchased a Muesing C4 viola bow after watching these videos (15.5 inch viola). I tried a variety of muesing and Arcus bows and found that for my instrument, the ease of playability for an instrument that has inherent accoustic issues made the Muesing C4 the choice to go for. I found the bow allowed for the most responsiveness of any bow I've had (which is amazing). It also eliminated some hand tension because of the lower weight and ease of playing and the bow doesn't bottom out like many others. Although the sound isn't as warm as the Arcus bows I tried (only a marginal difference) I can produce an equal sound due to the effortless playability, which in turn can help me project further. It also felt great in the hand. I'm not sure if the Arcus line has a marginally thicker stick around the winding/thumb pad area, but I felt I didnt have the finger/hand dexterity on the Arcus compared to the Muesing bow due to what felt like a slightly thicker stick. I'm very happy with the muesing, and for me (like my choice in strings), I like to put ease of playability before sound production if sound isnt compromised too much. Thanks for making these awesome bows!
Thank you so much, we are really happy to hear that the C4 works so good for you. For my own playing I always have an Arcus and a Müsing bow in my case and love switching back and forth, depending on my mood and the piece.
@@juliejules7780 Which bow have you tried, brand and model? Which instrument do you play? Which strings do you prefer and which ones do not work for you?
Oh, that's just an amateur orchestra, but one with some pretty good players in it and a fantastic conductor. Currently we play Dvorak 8. Symphony, which is great for viola. In our last program we played Beethoven 8th and that was mainly a lot of work for the violas. :)
Thank You so much. I have a Stainer copy, and it has a very thin neck, it's excelent for my small hands. It's neck is thinner than the 3/4 Stainer I also have. I think my large Stainer is 130 years old. I World like you to talk about violins for small persons. Thank you!
I'm a long-time Arcus user, with a 2002 model violin bow of the type from which I had to strip the glossy black paint as you described in one of your videos. This Bow and String video explains a lot about the role of resonance and damping in the string, bridge and instrument, but does not properly connect them to resonance in the bow stick, on the basis of which you calibrate your bows. I'm trialling a lovely T8 right now and its playability hardly differs (in my hands) from that of the 2002 model, although it certainly differs from an M-series bow that I tried. What I'm hearing, though, is a far greater clarity and purity of tone (less untuned whoosh) from the T8, which obviously has a much more uniform and resonant stick than the 2002 bow, which is itself far better than any cheap CF bow. What bothers me about this video, though, is the absence of any discussion of how the properties of the stick itself (which you use when calibrating and pricing it) get to interact with the string -- obviously, it has to be through the hair, and I'd assume through *longitudinal* (tension/relaxation) waves in the individual hairs, contrasting with the mainly lateral movements of the string. So what are the typical damping properties of horsehair, and how do they affect the ability of the stick to modulate the sound generated at the contact point, which of course varies greatly in position along the length of the hair? Also, how fast does sound travel in horsehair, relative to carbon-fibre, and is this relevant? My guess would be that sound would travel very roughly at 1400 m/s in the stick material, as in most plastics and woods, i.e. much faster than sound in air. A bow is roughly 70 cm long, so such a wave might travel the full length of either the hair or the stick in about 1/2000 sec, which puts this dimension well into the range of musical sounds. The physics of this would also be highly relevant, I'd imagine, to why different bows sound different. Any thoughts on this? By the way, I think you're wrong, Bernd, in your comments about bow direction changes, not because of the physics but because of human perception. When I edit a recording, there's a limit of perception at roughly 15ms, below which the human ear/brain combination just doesn't detect a break or cross-fade. If the circular motion of the stick-slip cycle reverses direction faster than that in a smooth bow change, it will be inaudible, so that's "all" the player has to aim for, not some theoretically impossible instant change. But otherwise, GREAT STUFF!
Hi Jeremy, I'm glad to hear you are happy with my bows. First of all let's get one fact out of the way - the velocity of sound along our bows is around 7,300 m/s, a lot faster than in most other materials. Pernambuco for example goes to maximum 6,500 m/s. You can find the reason why the T8 offers a significant cleaner sound than the 2002 Arcus bow simply by cutting both sticks up. :) Well, actually, I will tell you. You will find that the stick of the T8 looks a lot smoother on the inside. You probably know that our sticks are very thin hollow tubes. Getting the walls perfectly even and flat is a lot harder than you might think and we have honed our skills (and tools and processes) year over year just a little further. And while you can hardly tell bows apart that were made a in successive years, you can certainly easily tell bows apart that are 10 or 20 years younger resp. older. What the more even walls and the more regular direction of the carbon fibers bring is a reduction in damping. And that is something you can actually check quite easily, for example with your ears. :) Violin makers do that same by knocking on pieces of wood, as the resonance it will return tells us a lot about how well the instrument built from it will eventually sound. Regrading inaudible bow changes, this is something I will look into again whether it is audible or not. You spiked my curiosity and I will run a few tests...
Great to see you in another video again! :) I'm a violinist with an Arcus S5, and it's the best bow that I've ever played with - I thoroughly enjoy playing with it, and really enjoy its lightness, playability, vibrance, brilliance. It is indeed like wearing a piece of jewellery, or a ring, whenever it play with it, with its silver, etc! :D Thanks for your work,
Thank you. Maybe you'll find it interesting to know that my father was an English teacher. When I was 12 years old and my marks in English were really bad he tried to teach me, which was a complete disaster (the traditional way of learning vocabulary and grammar....) and declared me to have no talent for language whatsoever! Later in life I travelled to England which helped but most importantly I started reading books. Just reading, not translating. I'm still doing it, still learning and using the language like all kids do in all cultures around the world.
You really should have more subscribers than you currently do. I subbed and look forward to seeing and hearing your uploads. Thanks for your professional work !! -Mark, Australia.
That's true. But there is very little music on my skill level that requires anything above an octave. So it's not really an advantage. But the size of the fingertips is something that is overlooked so badly up to now... Just recently discusses this topic with a couple more luthiers and they had a really hard time coming to grips with this. The other problem is that most people with wide finger tips stop playing rather early without leaving a note behind and telling everybody why (simply because most are not even aware that this is their problem), so neither their teacher nor the luthiers will take note. Usually it is talked down to being a "puberty" issue. As if girls would not go through puberty...
@@ARCUSMuesing I have tiny hands so even the violin is too big for me. If I move the bridge closer to the fingerboard will it make the intervals smaller? I would think someone with larger hands could benefit from playing cello or Viola.
Obschon mich dieses Video eher skeptisch gemacht hatte, bin ich kurz darauf zufällig sehr günstig an einen gebrauchten Bratschenbogen der M-Serie geraten. Einen Vergleich habe ich nicht, aber dieser M-Bogen ist perfekt für meine eher kleiner Bratsche (Spielmensur 36,5 cm) und mir gefällt vor allem die Elastizität. So gesehen könnte es passen, wobei ich dennoch denke, dass die Saitenwahl und persönliche Art zu spielen einen größeren Einfluss haben dürfte als die Bratschengröße. Insgesamt fühlt sich der Bogen sehr dick und gleichzeitig aber auch sehr leicht an. Von einer Umgewöhnungszeit kann ich nichts berichten. Mir gefiel er gleich 😉
Kann man ja eigentlich nicht verallgemeinern, dass bei einer Bratsche mit größerer Spielmensur die Saite automatisch stärker gespannt ist, denn man wird ja die Saiten passend zum Instrument wählen und bei sehr großer Mensur eher dünnere (bzw. "weichere" Saiten auswählen schon allein aus klanglichen Gründen...
I'm led to believe by people around me that one shouldn't buy a bow that doesn't match one's ability. OK that's understandable. I used to ride horses and it's very true there. However, riding horses "too good" for you helps one progress. Is the same not true for bows? That said, an intermediate rider tried to ride my jument (she was looking to buy her.) She lasted about 10 minutes. The horse was frantic. It took a few days for me to settle her back down and I don't think the girl ever rode again! Can a better quality bow help one progress? Or would it "break" the player?
I wouldn't say that an exceptionally good bow "breaks" a player who hasn't yet realised his full potential. It is probably more the case that it is more enjoyable to play with a beautiful sounding bow and can therefore also increase the overall fun of playing. We've had many cases where musicians didn't want to put their new bow down because they could produce such a beautiful sound and playing itself was much easier. Which in turn led to more frequent playing and practising. With the Arcus bows, however, it is true that the full potential of a very high categorised bow can only be experienced and utilised once you have a certain level of skill in bow technique.
Great videos! I've watched 3 this morning. However, still not found an answer to my question of what do the numbers and letters mean exactly. I guess it's to do with quality-but only because of the price differences. Yes, I've read the answer to a similar question from "vincentp*" a month ago but there's no full answer about the numbers and nothing about the letters (unless I'm more stupid than my wife tells me!)
Hahaha, no it's quite a good question actually. The answer is that the letters mainly refer to the "tuning" or "timbre" of a bow - whether a bow itself sounds rather bright, warm or dark (and nuances in between). The resiliency (and the weight and other features) of the stick are also related to this, as they have an influence on the tuning. Consequently, the tuning of the bow must match the tuning of the instrument, i.e. complement it. This means that a bright sounding bow matches an instrument with a darker sound and vice versa. You can see how Bernd Müsing compares different series on the same instrument in this video ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-41goSR9227A.html. The numbers within the individual series in turn provide information about the quality of the sound. The higher the number, the better and more evenly the bow stick vibrates and the better the sound quality. If you have ever heard a 9-bow compared to a 4-bow, you can actually understand the difference. I hope this explanation was easy to understand. If you have any further questions, please feel free to ask again.
Congrats Sir - amazing video - I am not a violin player but you have perfectly explained stuff I have been working on - You say at one point that this is 'your' opinion , I totally agree with what you said - Fantastic video
Sure, we test the resonance quality of the sticks, how easy they start to vibrate, how long the vibrate, how evenly and whether they feel "relaxed" or "tight", if they vibrate smoothly or if they have a wah-wah. We do this by hand and ear and in a team of three people, discussing our results and opinions on "difficult" sticks. Usually I have the last word. :D
my middle and ring fingers are both 19mm wide and my index finger is 18mm. So a little bit wider than yours. I began playing double stops and had always to press one string up or down so I can make room for the other strings to vibrate. Luckily I found your video and now I will for sure go and visit a luthier. Thank you very much for this video! Usually people on the internet tell stuff like "get better or cut your fingernails" , which might be often the case but ( as I know now) not always.
@@ARCUSMuesing The luthier installed a new nut with wider grooves(maximum of what was possible on my violin) and that way was able to increase the string width from 14,5mm to 18,5mm(costed me only 50 Euros). For me it made an astronomical difference. Before I had to press my finger forcefully into an another string, as for example: If I had my finger on the D-String and wanted to play it together with the A-string, I had to press my finger hard aganist the G-string. Now I can just comfortably roll over the finger , still touching the other string but not pressing against it anymore. So all the cramping and pressing is basically gonne. Therefore thank you again for the tip!
Fascinating. This is the most in-depth video on this topic I have found. This discussion of the nuances in bow construction and the differences in sound produced is very helpful for a noobie like me. However, one nuance that I would have liked more information on is the reaction to changes in humidity and temperature: I live in Florida, so having a bow that can withstand our swings in climate is important in the swamp state.
Climate? Well, that's an easy one. Properly made carbon fiber bows are not affected at all by humidity or changes in temperature. Sure the hair changes length a bit, but the stick retains in camber, never warps and most importantly does not change in its resiliency/elasticity the slightest bit. This is by the way a quality that many players have found to be extremely helpful when playing in a pub our outdoors.
Two frage: -How is it that the Müsing bow with thicker walls is not as stiff as the Arcus bow with thinner walls? -Since stiffness is the goal, could aluminum or titanium provide the proper functionality, with a more reliable manufacturing yield? (I presume you have been asked that many times.) One more: -Is stiffness all about keeping the hair off the stick or is there some other need for stiffness?
The stiffness of composite parts depends for a large part on the resin content and fiber orientation. Both is very different in the two types of bow. We don't strive for maximum stiffness, but the right one. The stick is like a spring and its elasticity in combination with the form and depth of its camber and the hair thickness determine the playing characteristics. So no, it's not only about keeping the stick away from the strings. Of course you could use titanium or aluminum for bow sticks. They could be made the just the right elasticity, but they would be much too heavy. Which instrument do you play and have you tried some Arcus and/or Müsing bows?
Hi @@nickiemcnichols5397, no actually not, we left them on purpose without color because we found out that a layer of laque/color has a bad influence on the acoustic resonance and therefore on the sound of the bow. It kind of dampens the sound.
@@nickiemcnichols5397 As a matter of fact 25 years ago when we started making the Arcus bows we painted them all. Not brown, kind, but we experienced lots of problems. Besides the paint damping the sound somewhat and adding weight and cost, the worst problem is that the paint would wear off. We even had soloists scraping off so much paint during a concert, blending in with the rosin on the strings, that it caused some serious problem. Then there is the question of "col legno", which no paint survives in the long run. We make our bows to last for decades or maybe centuries, so no, definitely no paint on any Arcus or Müsing bows.
You can find important information regarding the rehair of Arcus bows on our website in the section "service and care". There you can find the ideal hair thickness, which is important for the playing characteristics. Good bowmakers (archetiers) know about that, but interestingly there was no hair gauge on the market to check this, so we have developed one. If can be obtained through us directly or though our distributors. Regarding the plugs and wedges - there are no standards in our industry, so for our bows just like for any wooden bow they must be cut and fitted individually. One thing that is very different from "normal" bows is that our hair last muuuuch longer. Professional player that normally need a rehair every couple month play with our bows for 1 to 4 years. The relatively weak stick of a "normal" bow tends to crush the hair between its (collapsing) stick and the strings when playing chords or forte. The much stiffer / more resilient stick of a Müsing or Arcus bow prevents this damage almost completely.
The length of the string is key to the sound, so if you shorten the string by more than a few millimeter, the sound will change significantly. The other problem would be that playing in higher position would become much more difficult. If playing a 4/4 violin is not comfortable for you I would suggest trying a properly built 7/8 or even a 3/4 violin.
Usted está en lo cierto. También sucede que manos "normales" pero con dedos finos, no pueden quintar correctamente. Gracias por difundir este tipo de información que explica causas de malas ejecuciones, y el hecho de buscar adaptar el instrumento a las manos individuales hace que sea más inclusivo el estudio y el abordaje de estos instrumentos. Esto serían parte de problemas opuestos. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ul3ZLl8g0Dg.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-B2CttkvgW2c.html Bravo, felicitaciones y gracias Maestro!!!
Very interesting , scale lenth of instrument also has its effect my shorter scale basses 30 1/2 " has a greater fundemental tone verses my longer scale basses 34" and 35" have a richer overtones . I have noticed that the string wave travels back and forth from the nut to the bridge , I think that the string also rotates right and left at the same time in the core as stike slip fault does during an earthquake. I enjoyed this topic very much.😊
Hello Michael, indeed, every component of the instrument and the bow has an influence on the sound. Normally a longer string should provide a stronger fundamental and a shorter string more overtones, but there are so many other elements at play here, for example the size of the bass bar, the wall thickness and material properties of the plates, the neck angle, the position of the sound post,...
Thats why i play the electric bass , when i buy a regular guitar i have to really play many to find a neck that is comfortable . The nuts on my basses vary , thinist is 38mm largest is 46mm
The same applies for classical and steel guitars. I just can't play most steel guitars as their neck is narrower and the narrow string spacing makes it impossible for me to play some clean chords, while the classical guitar is just okay.
I’ve recently started to double on both violin and viola, but need a better viola bow. Was looking into getting an Arcus bow that I could use for my 15.5 inch viola, so I was thinking of going M-Series. That said, Could the arcus viola bow work well on violin given that it essentially weighs the same as pernambuco bows?
Contrary to general wisdom the weight of the bow is of secondary importance. The elasticity of the stick and the thickness (volume) of the hair are much more important. Sure you can play the viola with a violin bow and vice versa, just as you could swap bass and cello bows, but would it work good enough for performances? You can easily find out by trying, but like all players before you, you will find that our bows are clearly optimised for their purpose. The viola M-bows for example have 9 mm² hair, while our violin bows have 7.5 mm² in average.
I'm a middle-aged guy with big hands (think XL work gloves) and I had toyed with the idea of learning violin for almost 30 years. Recently when I decided to get serious about it, I went with viola (although I may eventually try both) and this was a big reason why. I didn't want to be frustrated and give up.
There are also many violas out there with rather narrow fingerboards and tight string spacing, so make sure that your fingertips can stop the middle strings without touching the strings right and left. If you prefer the sound of the violin, ask a violin shop or two or three if they can provide you with a violin with wide string spacing. This may also help other male players in the future and can bring this question to attention.
Rehairing a bow is never easy if you want to do it properly. The Arcus bows handle and sound quite different from the Müsing bows as I have tried to explain in the video. It is not all about "better". Almost all professional players prefer the Arcus bows as they allow for a more nuanced play, while many amateur players prefer the easier control of the Müsing.
@@AVToth my violin is from Guy How howviolins In Finland. You need to Google it your self RU-vid dont let me make a link for it. If you live In USA there is Fiddlerman In Florida.
@@kirsitahtinen9968 Thank you. Great coincidence, I love Fiddlerman. I bought both my violins there. They are extremely knowledgeable, helpful and so trustworthy. I bought the concert series and they are beautiful and sound beautiful. I will contact them. I have another questionn. First, I'd heard of 7/8ths violin but didn't find any place that advertised them. I'm on a ranch in Texas so physically going to check out different places is a very long drive. Is your bow full size? I've heard of a "lady's bow". I've got rheumatoid arthritis and even small amounts of weight are beginning to be of consequence. I tried my granddaughter's 3/4 bow. It was good for a laugh. I see men playing and the bow looks about half the size of when a woman is playing. A woman looks like she's wielding a broomstick whille a man looks like he's bowing with a toy broomstik. I see men playing whose hand is the width of first position and they really don't have to stretch or move their hand up or down. While I wish I could do that, I would look very stupid with my arms but man size hands! Thank you again.
Glad to know the thickness variations of the Arcus bow stick wall are minimal. I was trying to do my due diligence before spending the money on one of your bows. I’m glad you did not take offence from my questions. Are you guys using the best hair? This one violinist thought the Musing C5 imparted the slight hair rubbing sound on top of the note. She went with a Maquise instead. If I order a new Musing C5, will your improved process which minimizes thickness variations eliminate this “bow sound”? Would an Arcus T5 beat the Musing C5? Arabic music does not require all the intricate speed handling and such. And a slightly heavier bow may be preferred. I am an engineer and instrument maker and an (experimentalist). Thanks for giving me the benefit of the doubt. And for your patience.
Sure we use only the very best hair for our bows. If any "bow" noise occurs, then that is a problem with rosin, either too much of it, a rosin that is too sticky or mix that doesn't work. With other carbon bows that have a lot of high frequency damping such bow noise is not audible, but our bows (and other high quality bows) will bring that out. What you can do is comb the hair carefully to mix and distribute the rosin perfectly or wash it out with alcohol. I have made a special video about it. We recommend to use a relatively hard (light) rosin for our bows, like Melos light, Bernadel or Pirasto Gold.
I asked about the variation in stick wall thickness, not the warranty. The warranty can be 100 years. I know most people don’t register their products. My core concern is having a bow fail during a show and the associated pain and humiliation. What is Arcus doing to ensure a more uniform thickness of their bow stick walls? 0.7mm is thin! And then you have thinner pockets! When is a stick considered failed? Epoxy is plastic, I’m not too impressed. New resin? New method of application? Don’t get me wrong, I love German engineering and their work ethic. I feel everyone in the world should tighten thei mass production standards to minimal German standards and we won’t have all the mass produced trash in the market. I make violins and ouds. Talk about inconsistent Arab workmanship in ouds, or darbuka. I have to redo a bunch of stuff to make something back into decent category.
The variation in the wall thickness of our bows is almost nothing. It took us a long time to get there and the even walls are highly important for the sound quality of the stick. The early Arcus bows did not sound so good as the walls were less even. They were just as strong though. 10 to 20 times are strong as wooden bows, by the way. Chances that an Arcus bow fails compared to wooden bows are 1:100. Musicians who suffered from broken wooden bows, often in the middle of a concert, make up a large group of customers for us and they are really happy that they can perfectly rely on their Arcus. But let's have some fun with some questions for you: Why do you think do they make planes from carbon fiber and not wood? (The entire structure of the new Boeing 787 and the Airbus A350 is made from carbon fiber). Why do you think every bike that is ridden at the Tour de France is almost completely built from carbon fiber? Why don't they have wooden frames, handlebars and wheels? How comes that nowadays Formula1 driver who crash their cars high speed, survive? Their cars are almost entirely built from carbon fiber. Why not wood?
I’m not doubting the strength of carbon fiber. It’s even used to stiffen/repair concrete bridges. You misunderstand my inquisitiveness. Do you really want to answer all your questions about the use of carbon fiber? I am a firm believer in technology and in the German innovation, mind, and work ethic.
Hello George, I have not deleted any of your replies or posts. Don't know what the problem is. I'm happy to reply to every post and we delete posts only then they have inappropriate content or are completely irrelevant.
The musing C5 compares if not identical to the Codabow Marquise price wise. Put them side by side, for the same money, which one would a customer pick? You’re definitely shooting yourself in the foot there. The Marquise looks like a handsome/presentable product while the C5 gives the appearance of a scruffy someone in blue jeans… why?
Many players have compared Müsing and Codabow. The usual result is that the C2 is usually better than all the Diamond bows including the GX. The Marquise is a little better, maybe on par with a C3 or C4. The Marquise that I have in my show (taken in from a player when he purchased an Arcus bow) sounds very much like a C4. All the Codabows have the weight of "traditional" wooden bows, which for my taste is way too heavy and makes my shoulder ache after half an hour of playing, while I can play with any Arcus or Müsing bow for hours. The three GX violin bows we have (all from players) are all over the place in terms of elasticity and balance, which is maybe why the players were not happy with them, besides their rather dull sound. I also find them rather difficult to play. Every now and then we rehair, recamber and rebalance some Codabows, which improves playability quite a bit, but I we could still never reach a level of performance that would pass the quality control of a Müsing bow. The thick brown paint on the Marquise that you appear to like very much acts like a damper that I would not apply to any of our bows. If you think our Müsing bows look like blue jeans, well I think I actually like that. I wear blue jeans almost every day. :D
Thick brown paint on a marquise? Oh no! That’s a turn off! I had no idea! Do carbon fiber bows have to be re-cambered? Do their sticks lose shape with time? Recommend me a decent bow which will be better than a $1500 pernambuco bow. Where do I order your latest / freshest (timewise) in the US? Gewa?
@@GeorgeWWakim Some carbon bows can be re-cambered, like for example our Müsing bows, but some can not, like our Arcus bows. I have straightened and/ or re-cambered a number of Chinese carbon bows in an attempt to make them halfway playable, but some just I just couldn't get to hold a decent line. I have no idea how well the Chinese carbon bows will do over time. I guess there's a reason why none of them come with any kind of warranty. A decent bow that's better than a 1,500 $ pernambuco bow? Sure, the Müsing C3 should be a on par or above in pretty much every way at about half the price. If you spend a little more on a C4, you are already in a higher league. Yes, GewaMusicUSA is the right address for supply of our bows. They have a rather high turnaround of our bows, so all their stock is very recent.
Thank you! As far as recambering, the Arcus bow would not need it, right? The musing stick would yield with time but not the Arcus! Am I right! That’s good to know. If that’s the case, I will definitely go for an Arcus then. After watching your video again, I realized that the Arcus bow construction does not employ the injection of resin like the Musing. I misunderstood and asked my questions earlier. Please feel free to delete my messages if you want. Forgive me please.
@@GeorgeWWakim The Arcus bows can't lose their camber because they are made with lots of unidirectional fibers and those can't be compressed or elongated at all. The Müsing bows are all woven fibers, so they run at an angle to the centreline. They sill can't be compressed or elongated, but "moved" a tiny bit in the epoxy matrix. It requires a good dose of heat and force, but should not ever become necessary. Wooden bows are cut straight and their camber is "unnatural" forced upon them. That is why they tend to lose their camber. All carbon fiber bows are moulded with the curve, so that is their normal state.
