Welcome to my article about RECAMBERING and the Technical and Tonal Optimisation Protocol (TTOP).
Although of primary importance in the craft of bowmaking, the subject of Recambering has rarely been discussed in the public domain, until now. Based on an article which I wrote in 2013, my intention is to provide musicians with the knowledge they need to make the best decisions about their antique bows. If you have a little patience to read it, I believe you may be pleasantly informed! I hope you enjoy it…

 

                                                        The ART of RECAMBERING a BOW

                                                                 Can my bow be improved?

When it comes to antique bows, there is perhaps no subject more deserving of attention than the subject of recambering. There is certainly no other aspect of bow restoration which can have such a profound effect upon the playability of any bow. Yet, due to the cultural devastation caused by WW2 (and much to the detriment of the bowmaker and the string player), some of the deeper elements of fine bowmaking were lost. Arguably the most important of these, was an understanding of the true function and importance of the camber (or curve). Apart from a very few exceptions, an appreciation of this aspect of bowmaking became limited and the subject was shrouded in mystery. The resulting void in knowledge and skill in this area meant that so many musicians have been unknowingly forced to play with bows which, all too often, fall short of their full potential. That said, the renaissance in bowmaking, heralded by the new French school of bowmaking, has certainly deepened the understanding of this subject and there are an increasing number of fine bowmakers, who are capable of excellent camber restoration. This article is intended to empower string players with more knowledge about this important, though neglected subject and, about the possibilities available to them.

 

                                      Neither the fault of the player or their bow-it’s the camber!

On countless occasions, I have restored the antique bows of players who were convinced that the quirks and difficulties which they experienced while playing with their bows were just something which they had to ‘put up with’. Indeed, a fine bow made by a great old master bowmaker will embody such wonderful qualities that to ask for more, would seem unreasonable. For most players it’s inconceivable that such a bow could be improved and yet, the fact is that such a bow was not made with this kind of imperfection. On occasions I have heard players describing their beautiful antique bow as ‘tired’, simply because it does not perform as well as desired. The assumption is that a bow can be worn out through over-use. The fact is, that unless the stick itself has been worn away through having direct contact with the string (which is the fault of a poorly adjusted camber!), in most cases, with knowledge and skill, the difficulties can be removed and thus the bow can be restored to it’s original playing condition. 

 

When we are considering the playing qualities of a bow, we are dealing with a very subjective question and this is precisely what can make things so difficult. In the normal course of stringed instrument study it is very understandable for the player to say ‘it’s me’, when referring to problems of a right-handed nature, and omit to address at least periodically, any possible shortcomings of their bow. This is because no-one has ever told them that the camber of their bow could be at fault. Unfortunately, when the correct adjustment of the camber is overlooked, it is always the player who suffers. When trying to make up for the inconsistencies in his or her bow, minute changes in their bowing technique are made; these are subtle, yet continuous neuromuscular compensations. Such changes may help them to work with a badly adjusted bow, but over a period of years, this can produce chronic tensions and eventually, even more serious physical problems. Later, when a finer tool comes their way, the player may discover parasitical elements in their technique which will have to consciously be dropped. 

 

The good news is that most often, the problems which musicians experience with their bow can be dealt with through the process of re-cambering.

 

                                                                 The perfection of the camber

What is little known among musicians, is that the camber has a direct effect not only on the sound, but also on the technical aspects, as well as the range of expression and even, the sensation of balance which the player feels. All these contribute to the overall ‘feel’ of the bow. Since the bow is a tool which the musician uses not only to draw the sound from their instrument, but also to articulate and express the music, it’s important to realise that only when the camber is perfectly adjusted, that a bow can reach it’s full potential, flawlessly serving the player and their needs. 

 

Of course, there are various factors which decide the quality of a bow, the most important being the choice of wood, combined with the maker’s knowledge and skill in fashioning the stick. Every maker will have their own preferred dimensions and style of camber, yet when we talk of older bows, it is a different story; we will rarely see a bow of more than fifty years old with the maker’s original camber. Given that the average bow is played by a professional musician for many thousands of hours in one lifetime, always under tension whilst being played, and under occasional extremes of temperature, it would be asking a miracle, to expect to find an antique bow with it’s original camber. Such bows do exist, as the rarest of collector’s items and, their uniqueness and value often ensure that they will seldom be played. Thus remains the question of what happened to all our antique bows and their camber, over time? The answer is, that they have been mostly re-cambered (though not always) and unfortunately in many cases, far from satisfactorily. 

 

I have been lucky enough to have made bows for some truly great musicians and have restored the camber of hundreds of antique bows. It’s always a joy to restore a fine old bow back to its original glory; but the work is not complete, without a restoration of the camber, whenever it is necessary. As the contemporary bowmaker Benoit Rolland says, it is like ‘finding the soul of the bow’. When the camber is perfected, only then, will you feel the true character of a bow, as it was born to be. In fact, the more beautiful the bow, the more it’s potential when perfectly cambered.

 

                                                The Technical and Tonal Optimisation Protocol 

Over many years I have formulated a step-by-step system, as a kind of a ‘road map’ for myself and other bowmakers who want to learn how to do this meticulous work, so that we can increase the satisfaction of the musician and enhance the performance of the bow. This system and method of making such small, yet impactful adjustments, I have called the Technical and Tonal Optimisation Protocol (TTOP), because it describes perfectly what the work is about. 

Although there’s no excuse for a poor choice of wood, lack in either the bowmaker’s skill or the player’s technique, a badly re-cambered bow can be an unnecessary handicap. An imbalanced camber may produce any of the following effects in a bow:

  • Instability or nervousness in one or more areas of the bow.
  • Difficulty in making spiccato with ease.
  • A sense of ‘jumpiness’ which the player will often be working to control.
  • The bow is too slow or too fast in response to pressure.
  • A lack of articulation (or ‘bite’), either throughout the bow, or in a specific area.
  • A sense of disjointedness, as if the bow is subtly split into different segments.
  • A tone which is ‘held down’ or over-focused.
  • A sound which is lacking in a more colourful, free open and projective quality.
  • A sound which lacks focus or definition.
  • A sense of ‘laziness’, either generally or in a specific area of a bow.
  • A sense of stiffness in one area of the bow.
  • The bow does not cling or grip the strings as well as it could.
  • The bow is too agressive in a particular area. 
  • A lack of presence in the sound produced in one or more sections of the bow.

Can you recognise any of the above problems with your bow?

 

                                                    How the camber affects the balance of a bow

In recent years, I have also discovered that the condition of the camber has also a direct impact on the sensation of balance which the musician experiences. For instance, if the correct amount of camber is missing in the upper segment of the bow, then besides missing contact with the string and fullness of sound, it will tend to feel lighter. In contrast, If there is too much camber then the bow will feel heavier. I have no doubt that these deviations were not the original intentions of the greatest bowmakers, who have left us with so many superlative examples to inspire us. The development and evolution of the bow was made through direct contact with players and their needs and this feedback loop is invaluable in camber restoration of antique bows. 

 

                                                                  Is your bow really straight?

Having discussed the function of the camber, which is the vertical dimension, it’s important to mention the horizontal dimension, which is the straightness of the stick. If the stick is not perfectly straight, from the butt end to the head, then a significant loss of presence in the sound will occur. Not only this, but the player may experience difficulties in controlling the bow, depending on where the deviations occur. It is recommended to have the straightness of your bow periodically checked by an expert bowmaker, who can correct this without affecting the flow of the camber. 

 

                                                                           The ‘sweet spot’

After all the necessary adjustments to the camber have been made, there is one final assessment which is required. This deals specifically with sound; each bow has a unique setting which will ensure that the total amount of camber will produce the desired overtones/harmonics that will bring out the best sound of their instrument. This can vary with every bow and with every instrument and also, it should satisfy as much as possible, the sound ideal of the musician. At this point, the total amount of camber in the bow is being considered and because every bow is unique in terms of choice of wood and dimensions, it varies. Here we are speaking of subtle, incremental shifts which determine the overall character, feel and sound which the bow produces. It is the final setting of the camber and is of utmost importance, being comparable to the final fitting of a bespoke suit, so that it exactly fits the customer. This final adjustment of the bow could be compared to the setting of the bridge and soundpost in a stringed instrument. If the musician plays with a very high level bow, made by one of the greatest bowmakers, it can make the biggest difference of all the adjustments made. It is only when this ‘sweet spot’ has been realised that the stick will vibrate in the most desirable way and that the perfect balance between ‘focus’ and ‘openness’ are achieved. It is the point at which sound, articulation and expression meet. A customer of mine has referred to it as the ‘bloom’ of the sound; I like this analogy, since it perfectly describes what we are aiming for. 

 

In my book ‘Rediscovering the Deepest Secrets of Bowmaking’ I go into a more detailed explanation about it. Ultimately, what we are aiming for is that the bow becomes a perfect tool, which transmits subtlest intentions in the mind of the musician to their instrument. 

 

                                           Technical and Tonal Optimisation: Camber Diagnosis 

If you want to be sure that you are getting the best out of your bow, you are invited to a Camber Diagnosis session, free of charge. What happens in a Camber Diagnosis session? First we make a general assessment of the quality, character and potential of the bow. Next we assess the actual condition of it’s camber-we have a certain vision of it’s final condition of perfection and take note of the deviations from the perfect flow of the camber. There is an idea of perfection that the bowmaker holds in their mind, through extensive previous experience of working with the camber of many antique bows. 

 

                                                              Broken Head? A frequent cause

Over the course of my career, I have seen (and repaired) many beautiful master bows which have had their heads detached from the stick. This is so unfortunate and, unless it is caused by accidentally dropping the stick,  the main reason it happens is almost invariably due to an unbalanced camber. The area just behind the head is subject to a great amount of pressure and after many years of playing, if the camber has been lost in this area, then it can cause the stick to break. If you notice that the shape of the camber in this area has become excessively convex, especially under normal playing tension, it is advisable to have the camber checked and restored in this area. Unfortunately, there are few bow restorers who will alert you to this danger before the disaster happens. That’s why having your bow checked by someone who really understands the function of the camber is not only a preventative measure; it will also improve the overall playability of the bow.

 

                                                                                Safety first!

In the past, such adjustments were made with a spirit lamp. However,  nowadays these adjustments are made with a special small hot air blower. This makes the procedure safer and more controllable. Before beginning the work, a thorough check for hidden cracks or repairs is made of the entire stick, with a UV light. If such defects are found, the work is not possible. A full insurance of the bow is obligatory, from both the bow’s owner as well as the bowmaker. 

 

Next, we make an assessment to see if any improvements could be made and calculate the gains, if the correct adjustments would be made; at the highest level of performance, every part of the bow will feel ‘right’ in the hand of the player. If, after this assessment has been made, the player decides to commission the work, then after completion, there is always a final check with the player to verify whether corrections made to the bow feel right, function well and that the playing qualities have improved. 

 

                                                                Certificate of TTOP: a guarantee

After the work is completed and the musician is completely happy with the results, a certificate of Technical and Tonal Optimisation (TTOP) is given, as evidence that the camber has been restored and that the intrinsic playing qualities of the bow have been restored and optimised. This certificate holds a guarantee on the work for one year, which means that any further adjustments necessary in the camber first year, are made without charge. The player is welcome to revisit me at any time in the first year for any further adjustment(s) which may be necessary. In this work, customer satisfaction is paramount and this guarantee ensures that the changes made, are lasting. When harmoniously cambered, all the wonderful qualities of the bow will become available for the player to experience. In general,  the musician will feel a greater homogeneity in the stick; that it’s more easily controllable. The bow might also feel somewhat stronger. In most cases, the sound notably improves and the musician will feel a greater presence and increased overtones. The player should feel as if the bow is an extension of their arm and that the subtlest of intentions can be transmitted through the bow to the string.

 

                                                                      Not all bows are the same

It must be noted that antique bows have significant variations in design, depending on the period in which the bow was made and thus, the music for which it was designed to be used. These differences will to some extent, affect the shape of the camber. An early romantic bow will require a slightly different style of camber than a later romantic bow, in order to fulfil the characteristic demands of the music of that specific period for which the bow was intended to be used. Similarly, a classical bow will require a different camber. 

 

In conclusion, we must realise that the subject of re-cambering has been surprisingly neglected, considering its effect on both the technical and tonal possibilities of a bow. It is a subtle and complex matter, calling for the kind of experience and insight which a bowmaker/restorer obtains through extensive study, experimentation, and contact with the musician. From the humblest to the most sophisticated of bows, it is a matter worthy of any player’s consideration.

 

                                    For more information please contact: keith@sleemanbows.com

Welcome to my article about RECAMBERING and the Technical and Tonal Optimisation Protocol (TTOP).
Although of primary importance in the craft of bowmaking, the subject of Recambering has rarely been discussed in the public domain, until now. Based on an article which I wrote in 2016, my intention is to provide musicians with the knowledge they need to make the best decisions about their antique bows. If you have a little patience to read it, I believe you may be pleasantly informed! I hope you enjoy it…

        The ART of RECAMBERING a BOW

                  Can my bow be improved?

When it comes to antique bows, there is perhaps no subject more deserving of attention than the subject of recambering. There is certainly no other aspect of bow restoration which can have such a profound effect upon the playability of any bow. Yet, due to the cultural devastation caused by WW2 (and much to the detriment of the bowmaker and the string player), some of the deeper elements of fine bowmaking were lost. Arguably the most important of these, was an understanding of the true function and importance of the camber (or curve). Apart from a very few exceptions, an appreciation of this aspect of bowmaking became limited and the subject was shrouded in mystery. The resulting void in knowledge and skill in this area meant that so many musicians have been unknowingly forced to play with bows which, all too often, fall short of their full potential. That said, the renaissance in bowmaking, heralded by the new French school of bowmaking, has certainly deepened the understanding of this subject and there are an increasing number of fine bowmakers, who are capable of excellent camber restoration. This article is intended to empower string players with more knowledge about this important, though neglected subject and, about the possibilities available to them.

Neither the fault of the player or their bow

           -it’s the camber!

On countless occasions, I have restored the antique bows of players who were convinced that the quirks and difficulties which they experienced while playing with their bows were just something which they had to ‘put up with’. Indeed, a fine bow made by a great old master bowmaker will embody such wonderful qualities that to ask for more, would seem unreasonable. For most players it’s inconceivable that such a bow could be improved and yet, the fact is that such a bow was not made with this kind of imperfection. On occasions I have heard players describing their beautiful antique bow as ‘tired’, simply because it does not perform as well as desired. The assumption is that a bow can be worn out through over-use. The fact is, that unless the stick itself has been worn away through having direct contact with the string (which is the fault of a poorly adjusted camber!), in most cases, with knowledge and skill, the difficulties can be removed and thus the bow can be restored to it’s original playing condition. 

 

When we are considering the playing qualities of a bow, we are dealing with a very subjective question and this is precisely what can make things so difficult. In the normal course of stringed instrument study it is very understandable for the player to say ‘it’s me’, when referring to problems of a right-handed nature, and omit to address at least periodically, any possible shortcomings of their bow. This is because no-one has ever told them that the camber of their bow could be at fault. Unfortunately, when the correct adjustment of the camber is overlooked, it is always the player who suffers. When trying to make up for the inconsistencies in his or her bow, minute changes in their bowing technique are made; these are subtle, yet continuous neuromuscular compensations. Such changes may help them to work with a badly adjusted bow, but over a period of years, this can produce chronic tensions and eventually, even more serious physical problems. Later, when a finer tool comes their way, the player may discover parasitical elements in their technique which will have to consciously be dropped. 

 

The good news is that most often, the problems which musicians experience with their bow can be dealt with through the process of re-cambering.

 

                                                      The perfection of the camber

What is little known among musicians, is that the camber has a direct effect not only on the sound, but also on the technical aspects, as well as the range of expression and even, the sensation of balance which the player feels. All these contribute to the overall ‘feel’ of the bow. Since the bow is a tool which the musician uses not only to draw the sound from their instrument, but also to articulate and express the music, it’s important to realise that only when the camber is perfectly adjusted, that a bow can reach it’s full potential, flawlessly serving the player and their needs. 

 

Of course, there are various factors which decide the quality of a bow, the most important being the choice of wood, combined with the maker’s knowledge and skill in fashioning the stick. Every maker will have their own preferred dimensions and style of camber, yet when we talk of older bows, it is a different story; we will rarely see a bow of more than fifty years old with the maker’s original camber. Given that the average bow is played by a professional musician for many thousands of hours in one lifetime, always under tension whilst being played, and under occasional extremes of temperature, it would be asking a miracle, to expect to find an antique bow with it’s original camber. Such bows do exist, as the rarest of collector’s items and, their uniqueness and value often ensure that they will seldom be played. Thus remains the question of what happened to all our antique bows and their camber, over time? The answer is, that they have been mostly re-cambered (though not always) and unfortunately in many cases, far from satisfactorily. 

 

I have been lucky enough to have made bows for some truly great musicians and have restored the camber of hundreds of antique bows. It’s always a joy to restore a fine old bow back to its original glory; but the work is not complete, without a restoration of the camber, whenever it is necessary. As the contemporary bowmaker Benoit Rolland says, it is like ‘finding the soul of the bow’. When the camber is perfected, only then, will you feel the true character of a bow, as it was born to be. In fact, the more beautiful the bow, the more it’s potential when perfectly cambered.

 

The Technical and Tonal Optimisation Protocol 

Over many years I have formulated a step-by-step system, as a kind of a ‘road map’ for myself and other bowmakers who want to learn how to do this meticulous work, so that we can increase the satisfaction of the musician and enhance the performance of the bow. This system and method of making such small, yet impactful adjustments, I have called the Technical and Tonal Optimisation Protocol (TTOP), because it describes perfectly what the work is about. 

Although there’s no excuse for a poor choice of wood, lack in either the bowmaker’s skill or the player’s technique, a badly re-cambered bow can be an unnecessary handicap. An imbalanced camber may produce any of the following effects in a bow:

  • Instability or nervousness in one or more areas of the bow.
  • Difficulty in making spiccato with ease.
  • A sense of ‘jumpiness’ which the player will often be working to control.
  • The bow is too slow or too fast in response to pressure.
  • A lack of articulation (or ‘bite’), either throughout the bow, or in a specific area.
  • A sense of disjointedness, as if the bow is subtly split into different segments.
  • A tone which is ‘held down’ or over-focused.
  • A sound which is lacking in a more colourful, free open and projective quality.
  • A sound which lacks focus or definition.
  • A sense of ‘laziness’, either generally or in a specific area of a bow.
  • A sense of stiffness in one area of the bow.
  • The bow does not cling or grip the strings as well as it could.
  • The bow is too agressive in a particular area. 
  • A lack of presence in the sound produced in one or more sections of the bow.

Can you recognise any of the above problems with your bow?

 

How the camber affects the balance of a bow

In recent years, I have also discovered that the condition of the camber has also a direct impact on the sensation of balance which the musician experiences. For instance, if the correct amount of camber is missing in the upper segment of the bow, then besides missing contact with the string and fullness of sound, it will tend to feel lighter. In contrast, If there is too much camber then the bow will feel heavier. I have no doubt that these deviations were not the original intentions of the greatest bowmakers, who have left us with so many superlative examples to inspire us. The development and evolution of the bow was made through direct contact with players and their needs and this feedback loop is invaluable in camber restoration of antique bows. 

 

Is your bow really straight?

Having discussed the function of the camber, which is the vertical dimension, it’s important to mention the horizontal dimension, which is the straightness of the stick. If the stick is not perfectly straight, from the butt end to the head, then a significant loss of presence in the sound will occur. Not only this, but the player may experience difficulties in controlling the bow, depending on where the deviations occur. It is recommended to have the straightness of your bow periodically checked by an expert bowmaker, who can correct this without affecting the flow of the camber. 

 

                                                                                    The ‘sweet spot’

After all the necessary adjustments to the camber have been made, there is one final assessment which is required. This deals specifically with sound; each bow has a unique setting which will ensure that the total amount of camber will produce the desired overtones/harmonics that will bring out the best sound of their instrument. This can vary with every bow and with every instrument and also, it should satisfy as much as possible, the sound ideal of the musician. At this point, the total amount of camber in the bow is being considered and because every bow is unique in terms of choice of wood and dimensions, it varies. Here we are speaking of subtle, incremental shifts which determine the overall character, feel and sound which the bow produces. It is the final setting of the camber and is of utmost importance, being comparable to the final fitting of a bespoke suit, so that it exactly fits the customer. This final adjustment of the bow could be compared to the setting of the bridge and soundpost in a stringed instrument. If the musician plays with a very high level bow, made by one of the greatest bowmakers, it can make the biggest difference of all the adjustments made. It is only when this ‘sweet spot’ has been realised that the stick will vibrate in the most desirable way and that the perfect balance between ‘focus’ and ‘openness’ are achieved. It is the point at which sound, articulation and expression meet. A customer of mine has referred to it as the ‘bloom’ of the sound; I like this analogy, since it perfectly describes what we are aiming for. 

 

In my book ‘Rediscovering the Deepest Secrets of Bowmaking’ I go into a more detailed explanation about it. Ultimately, what we are aiming for is that the bow becomes a perfect tool, which transmits subtlest intentions in the mind of the musician to their instrument. 

 

Technical and Tonal Optimisation: Camber Diagnosis 

If you want to be sure that you are getting the best out of your bow, you are invited to a Camber Diagnosis session, free of charge. What happens in a Camber Diagnosis session? First we make a general assessment of the quality, character and potential of the bow. Next we assess the actual condition of it’s camber-we have a certain vision of it’s final condition of perfection and take note of the deviations from the perfect flow of the camber. There is an idea of perfection that the bowmaker holds in their mind, through extensive previous experience of working with the camber of many antique bows. 

 

                                                                                             Safety first!

In the past, such adjustments were made with a spirit lamp. However,  nowadays these adjustments are made with a special small hot air blower. This makes the procedure safer and more controllable. Before beginning the work, a thorough check for hidden cracks or repairs is made of the entire stick, with a UV light. If such defects are found, the work is not possible. A full insurance of the bow is obligatory, from both the bow’s owner as well as the bowmaker. 

 

Next, we make an assessment to see if any improvements could be made and calculate the gains, if the correct adjustments would be made; at the highest level of performance, every part of the bow will feel ‘right’ in the hand of the player. If, after this assessment has been made, the player decides to commission the work, then after completion, there is always a final check with the player to verify whether corrections made to the bow feel right, function well and that the playing qualities have improved. 

 

                                                                        Certificate of TTOP: a guarantee

After the work is completed and the musician is completely happy with the results, a certificate of Technical and Tonal Optimisation (TTOP) is given, as evidence that the camber has been restored and that the intrinsic playing qualities of the bow have been restored and optimised. This certificate holds a guarantee on the work for one year, which means that any further adjustments necessary in the camber first year, are made without charge. The player is welcome to revisit me at any time in the first year for any further adjustment(s) which may be necessary. In this work, customer satisfaction is paramount and this guarantee ensures that the changes made, are lasting. When harmoniously cambered, all the wonderful qualities of the bow will become available for the player to experience. In general,  the musician will feel a greater homogeneity in the stick; that it’s more easily controllable. The bow might also feel somewhat stronger. In most cases, the sound notably improves and the musician will feel a greater presence and increased overtones. The player should feel as if the bow is an extension of their arm and that the subtlest of intentions can be transmitted through the bow to the string.

 

  Not all bows are the same

It must be noted that antique bows have significant variations in design, depending on the period in which the bow was made and thus, the music for which it was designed to be used. These differences will to some extent, affect the shape of the camber. An early romantic bow will require a slightly different style of camber than a later romantic bow, in order to fulfil the characteristic demands of the music of that specific period for which the bow was intended to be used. Similarly, a classical bow will require a different camber. 

 

In conclusion, we must realise that the subject of re-cambering has been surprisingly neglected, considering its effect on both the technical and tonal possibilities of a bow. It is a subtle and complex matter, calling for the kind of experience and insight which a bowmaker/restorer obtains through extensive study, experimentation, and contact with the musician. From the humblest to the most sophisticated of bows, it is a matter worthy of any player’s consideration.

 

                                    For more information please contact: keith@sleemanbows.com 

Welcome to my article about RECAMBERING and the Technical and Tonal Optimisation Protocol (TTOP). I recommend reading this on desktop, but if that’s not possible, take a good coffee, relax and read on…


Although of primary importance in the craft of bowmaking, the subject of Recambering has rarely been discussed in the public domain, until now. Based on an article which I wrote in 2016, my intention is to provide musicians with the knowledge they need to make the best decisions about their antique bows. If you have a little patience to read it, I believe you may be pleasantly informed! I hope you enjoy it…

 

 

        The ART of RECAMBERING a BOW

                  Can my bow be improved?

When it comes to antique bows, there is perhaps no subject more deserving of attention than the subject of recambering. There is certainly no other aspect of bow restoration which can have such a profound effect upon the playability of any bow. Yet, due to the cultural devastation caused by WW2 (and much to the detriment of the bowmaker and the string player), some of the deeper elements of fine bowmaking were lost. Arguably the most important of these, was an understanding of the true function and importance of the camber (or curve). Apart from a very few exceptions, an appreciation of this aspect of bowmaking became limited and the subject was shrouded in mystery. The resulting void in knowledge and skill in this area meant that so many musicians have been unknowingly forced to play with bows which, all too often, fall short of their full potential. That said, the renaissance in bowmaking, heralded by the new French school of bowmaking, has certainly deepened the understanding of this subject and there are an increasing number of fine bowmakers, who are capable of excellent camber restoration. This article is intended to empower string players with more knowledge about this important, though neglected subject and, about the possibilities available to them.

 

    Neither the fault of the player or their bow

                           -it’s the camber!

On countless occasions, I have restored the antique bows of players who were convinced that the quirks and difficulties which they experienced while playing with their bows were just something which they had to ‘put up with’. Indeed, a fine bow made by a great old master bowmaker will embody such wonderful qualities that to ask for more, would seem unreasonable. For most players it’s inconceivable that such a bow could be improved and yet, the fact is that such a bow was not made with this kind of imperfection. On occasions I have heard players describing their beautiful antique bow as ‘tired’, simply because it does not perform as well as desired. The assumption is that a bow can be worn out through over-use. The fact is, that unless the stick itself has been worn away through having direct contact with the string (which is the fault of a poorly adjusted camber!), in most cases, with knowledge and skill, the difficulties can be removed and thus the bow can be restored to it’s original playing condition. 

 

When we are considering the playing qualities of a bow, we are dealing with a very subjective question and this is precisely what can make things so difficult. In the normal course of stringed instrument study it is very understandable for the player to say ‘it’s me’, when referring to problems of a right-handed nature, and omit to address at least periodically, any possible shortcomings of their bow. This is because no-one has ever told them that the camber of their bow could be at fault. Unfortunately, when the correct adjustment of the camber is overlooked, it is always the player who suffers. When trying to make up for the inconsistencies in his or her bow, minute changes in their bowing technique are made; these are subtle, yet continuous neuromuscular compensations. Such changes may help them to work with a badly adjusted bow, but over a period of years, this can produce chronic tensions and eventually, even more serious physical problems. Later, when a finer tool comes their way, the player may discover parasitical elements in their technique which will have to consciously be dropped. 

 

The good news is that most often, the problems which musicians experience with their bow can be dealt with through the process of re-cambering.

 

               The perfection of the camber

What is little known among musicians, is that the camber has a direct effect not only on the sound, but also on the technical aspects, as well as the range of expression and even, the sensation of balance which the player feels. All these contribute to the overall ‘feel’ of the bow. Since the bow is a tool which the musician uses not only to draw the sound from their instrument, but also to articulate and express the music, it’s important to realise that only when the camber is perfectly adjusted, that a bow can reach it’s full potential, flawlessly serving the player and their needs. 

 

Of course, there are various factors which decide the quality of a bow, the most important being the choice of wood, combined with the maker’s knowledge and skill in fashioning the stick. Every maker will have their own preferred dimensions and style of camber, yet when we talk of older bows, it is a different story; we will rarely see a bow of more than fifty years old with the maker’s original camber. Given that the average bow is played by a professional musician for many thousands of hours in one lifetime, always under tension whilst being played, and under occasional extremes of temperature, it would be asking a miracle, to expect to find an antique bow with it’s original camber. Such bows do exist, as the rarest of collector’s items and, their uniqueness and value often ensure that they will seldom be played. Thus remains the question of what happened to all our antique bows and their camber, over time? The answer is, that they have been mostly re-cambered (though not always) and unfortunately in many cases, far from satisfactorily. 

 

I have been lucky enough to have made bows for some truly great musicians and have restored the camber of hundreds of antique bows. It’s always a joy to restore a fine old bow back to its original glory; but the work is not complete, without a restoration of the camber, whenever it is necessary. As the contemporary bowmaker Benoit Rolland says, it is like ‘finding the soul of the bow’. When the camber is perfected, only then, will you feel the true character of a bow, as it was born to be. In fact, the more beautiful the bow, the more it’s potential when perfectly cambered.

 

The Technical and Tonal Optimisation Protocol (TTOP)

Over many years I have formulated a step-by-step system, as a kind of a ‘road map’ for myself and other bowmakers who want to learn how to do this meticulous work, so that we can increase the satisfaction of the musician and enhance the performance of the bow. This system and method of making such small, yet impactful adjustments, I have called the Technical and Tonal Optimisation Protocol (TTOP), because it describes perfectly what the work is about. 

Although there’s no excuse for a poor choice of wood, lack in either the bowmaker’s skill or the player’s technique, a badly re-cambered bow can be an unnecessary handicap. An imbalanced camber may produce any of the following effects in a bow:

  • Instability or nervousness in one or more areas of the bow.
  • Difficulty in making spiccato with ease.
  • A sense of ‘jumpiness’ which the player will often be working to control.
  • The bow is too slow or too fast in response to pressure.
  • A lack of articulation (or ‘bite’), either throughout the bow, or in a specific area.
  • A sense of disjointedness, as if the bow is subtly split into different segments.
  • A tone which is ‘held down’ or over-focused.
  • A sound which is lacking in a more colourful, free open and projective quality.
  • A sound which lacks focus or definition.
  • A sense of ‘laziness’, either generally or in a specific area of a bow.
  • A sense of stiffness in one area of the bow.
  • The bow does not cling or grip the strings as well as it could.
  • The bow is too agressive in a particular area. 
  • A lack of presence in the sound produced in one or more sections of the bow.

Can you recognise any of the above problems with your bow?

 

  How the camber affects the balance of a bow

In recent years, I have also discovered that the condition of the camber has also a direct impact on the sensation of balance which the musician experiences. For instance, if the correct amount of camber is missing in the upper segment of the bow, then besides missing contact with the string and fullness of sound, it will tend to feel lighter. In contrast, If there is too much camber then the bow will feel heavier. I have no doubt that these deviations were not the original intentions of the greatest bowmakers, who have left us with so many superlative examples to inspire us. The development and evolution of the bow was made through direct contact with players and their needs and this feedback loop is invaluable in camber restoration of antique bows. 

 

                 Is your bow really straight?

Having discussed the function of the camber, which is the vertical dimension, it’s important to mention the horizontal dimension, which is the straightness of the stick. If the stick is not perfectly straight, from the butt end to the head, then a significant loss of presence in the sound will occur. Not only this, but the player may experience difficulties in controlling the bow, depending on where the deviations occur. It is recommended to have the straightness of your bow periodically checked by an expert bowmaker, who can correct this without affecting the flow of the camber. 

                                                                                                          The ‘sweet spot’

After all the necessary adjustments to the camber have been made, there is one final assessment which is required. This deals specifically with sound; each bow has a unique setting which will ensure that the total amount of camber will produce the desired overtones/harmonics that will bring out the best sound of their instrument. This can vary with every bow and with every instrument and also, it should satisfy as much as possible, the sound ideal of the musician. At this point, the total amount of camber in the bow is being considered and because every bow is unique in terms of choice of wood and dimensions, it varies. Here we are speaking of subtle, incremental shifts which determine the overall character, feel and sound which the bow produces. It is the final setting of the camber and is of utmost importance, being comparable to the final fitting of a bespoke suit, so that it exactly fits the customer.

 

This final adjustment of the bow could be compared to the setting of the bridge and soundpost in a stringed instrument. If the musician plays with a very high level bow, made by one of the greatest bowmakers, it can make the biggest difference of all the adjustments made. It is only when this ‘sweet spot’ has been realised that the stick will vibrate in the most desirable way and that the perfect balance between ‘focus’ and ‘openness’ are achieved. It is the point at which sound, articulation and expression meet. A customer of mine has referred to it as the ‘bloom’ of the sound; I like this analogy, since it perfectly describes what we are aiming for. 

 

In my book ‘Rediscovering the Deepest Secrets of Bowmaking’ I go into a more detailed explanation about it. Ultimately, what we are aiming for is that the bow becomes a perfect tool, which transmits subtlest intentions in the mind of the musician to their instrument. 

 

            Technical and Tonal Optimisation:

                         Camber Diagnosis 

If you want to be sure that you are getting the best out of your bow, you are invited to a Camber Diagnosis session, free of charge. What happens in a Camber Diagnosis session? First we make a general assessment of the quality, character and potential of the bow. Next we assess the actual condition of it’s camber-we have a certain vision of it’s final condition of perfection and take note of the deviations from the perfect flow of the camber. There is an idea of perfection that the bowmaker holds in their mind, through extensive previous experience of working with the camber of many antique bows. 

 

           Broken Head? A frequent cause:

Over the course of my career, I have seen (and repaired) many beautiful master bows which have had their heads detached from the stick. This is so unfortunate and, unless it is caused by accidentally dropping the stick,  the main reason it happens is almost invariably due to an unbalanced camber. The area just behind the head is subject to a great amount of pressure and if after many years of playing, the camber has been lost in this area, then it can cause the stick to break. If you notice that the shape of the camber in this area has become excessively convex, especially under normal playing tension, it is advisable to have the camber checked and restored in this area.

Unfortunately, there are few bow restorers who will alert you to this danger before the disaster happens. That’s why having your bow checked by someone who really understands the function of the camber is not only a preventative measure; it will also improve the overall playability of the bow.

                                                                                                            Safety first!

In the past, such adjustments were made with a spirit lamp. However,  nowadays these adjustments are made with a special small hot air blower. This makes the procedure safer and more controllable. Before beginning the work, a thorough check for hidden cracks or repairs is made of the entire stick, with a UV light. If such defects are found, the work is not possible. A full insurance of the bow is obligatory, from both the bow’s owner as well as the bowmaker. 

 

Next, we make an assessment to see if any improvements could be made and calculate the gains, if the correct adjustments would be made; at the highest level of performance, every part of the bow will feel ‘right’ in the hand of the player. If, after this assessment has been made, the player decides to commission the work, then after completion, there is always a final check with the player to verify whether corrections made to the bow feel right, function well and that the playing qualities have improved. 

                                                                                             Certificate of TTOP: a guarantee

After the work is completed and the musician is completely happy with the results, a certificate of Technical and Tonal Optimisation (TTOP) is given, as evidence that the camber has been restored and that the intrinsic playing qualities of the bow have been restored and optimised. This certificate holds a guarantee on the work for one year, which means that any further adjustments necessary in the camber first year, are made without charge. The player is welcome to revisit me at any time in the first year for any further adjustment(s) which may be necessary. In this work, customer satisfaction is paramount and this guarantee ensures that the changes made, are lasting. When harmoniously cambered, all the wonderful qualities of the bow will become available for the player to experience. In general,  the musician will feel a greater homogeneity in the stick; that it’s more easily controllable. The bow might also feel somewhat stronger. In most cases, the sound notably improves and the musician will feel a greater presence and increased overtones. The player should feel as if the bow is an extension of their arm and that the subtlest of intentions can be transmitted through the bow to the string.

 

                 Not all bows are the same

It must be noted that antique bows have significant variations in design, depending on the period in which the bow was made and thus, the music for which it was designed to be used. These differences will to some extent, affect the shape of the camber. An early romantic bow will require a slightly different style of camber than a later romantic bow, in order to fulfil the characteristic demands of the music of that specific period for which the bow was intended to be used. Similarly, a classical bow will require a different camber. 

 

In conclusion, we must realise that the subject of re-cambering has been surprisingly neglected, considering its effect on both the technical and tonal possibilities of a bow. It is a subtle and complex matter, calling for the kind of experience and insight which a bowmaker/restorer obtains through extensive study, experimentation, and contact with the musician. From the humblest to the most sophisticated of bows, it is a matter worthy of any player’s consideration.

 

      For more information please contact:

                    keith@sleemanbows.com