Ben Beilman's INCREDIBLE Stradivarius violin and Tourte bow! 

Thank you! I'm surprised to hear about your instruments.Your instruments really shouldn't be cracking. Mine is 400 years old and exposed to a constantly changing environment. They are designed to survive, not crack. Have you consulted with any luthiers?

@@masumirostad I think it really depends on the quality of the instrument- if you have a German factory-made instrument from 1850 with the most awful quality of varnish, it won't be nearly as protected as something made a hundred years earlier brushed with better stuff.

@@kushgroover54 I suppose that might be possible but, I believe the most important factors are that the wood is stable (old) and that there is just the right amount of hide glue which is designed to split before the wood cracks. Too much glue might cause the wood to crack. Too little and the instrument will fall apart. Regarding varnish, only one side of the plates and ribs are covered. The inside of the instrument is exposed to air and should breathe with it. So, as long as the instrument isn't getting shocked, it should be, more or less, ok...

@@kushgroover54 But that factory made violin also survived 80 to 100 years before. I have one that must have been in its case from about 1937 to 2000 and had no cracks or other problems.

Scherzo from kreislers recitactivo

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MSoBWRmmKac.html

@@masumirostad ah its the player not the instrument.. noted lol unless you were suggesting something else

@@nasrsheikh7217 I don't believe it is a technical malfunction. His bow is perfectly straight in the middle when it needs to be there, such as at the double stops. In the beginning when he kinda slides it towards the fingerboard, I assume it is to lighten the sound on that note. Otherwise, even if that slide was just due to a moment of carelessness, it did not impact the impression because it worked for that note.

Actually, high-power instruments like strads will punish you exponentially more than student-level instruments will.

You’re absolutely correct, especially when considering a finished piece. However, I think Ben is referring more to the decision making process of the maker. Depending on the wood itself and the intent of the maker, cutting a bow round or octagonal affects the flexibility and “firmness” of the finished product.

​@@masumirostad It shocks me (as both professional recording artist, performer, AND luthier/bowmaker) how many musicians think the appearance of a bow (octagonal/round/light-coloured or dark-coloured) makes a difference.... they've had something odd drilled into their heads! It really doesn't actually matter... octagonal or round.... from the maker's point of view in terms of producing a bow that works. One thing that *is* for certain is that creating a beautiful octagonal bow is slightly harder than making a round bow. Round bows can hide little imperfections in the contours on the stick. Most modern award-winning bows are round. Feel free to look it up and discuss it with modern makers. The sound/playability, however, is irrelevant.

I've made two rounds bows and two octagonal bows in the last 8 months. Gosh, how I love the appearance of the octagonals - AND they took a month longer to make..... however all musicians (myself included) prefer the way the round ones handle. I gave each stick MY ALL so I could produce the best bows I could. Consensus is that the round ones are better and I personally think that that is because of the camber in the stick, the age, and the type of wood. I didn't use a lesser type of wood for the octagonals or give them less time in the making process!

I’m not sure I understand what you’re saying...