Violin bow sound production comparison

[Tommy]

Dominic Peccatte, Joseph Henry, and Charles Espy:  I recently had the chance to play, and record on the phone, all three.  The Peccatte pulls out more higher frequencies than the other two, which were more or less equal.  My question is:  I can't decide from listening to what I recorded whether the additional higher frequencies are in the end a good or not so good thing.  Any thoughts on what is generally considered to be preferable, and why, would be appreciated.  Thank you.

[martin swan]

I would say tonal emphasis isn't too important - how the bow helps you to articulate musical ideas and get them across to an audience is paramount in my view.

If you're a soloist, one bow may be marginally brighter or louder than another, but people will lean in to listen to a performance that's worth hearing.

If you're a concertmaster then audibility is everything.

If you're an orchestral player, then control in delicate passages and a blending sound are important.

Most players choose a bow which succeeds in modifying aspects of their violin's tone that they don't like ... 

 

[Victor Roman]

20 hours ago, Tommy said:

Dominic Peccatte, Joseph Henry, and Charles Espy:  I recently had the chance to play, and record on the phone, all three.  The Peccatte pulls out more higher frequencies than the other two, which were more or less equal.  My question is:  I can't decide from listening to what I recorded whether the additional higher frequencies are in the end a good or not so good thing.  Any thoughts on what is generally considered to be preferable, and why, would be appreciated.  Thank you.

For a large hall higher frequencies are always good. I am no expert in testing bows but I doubt you can get a good impression ( accurate...) from any short term "chance to play". Personally, I would need to be comfortable with the bow otherwise a new bow will help in some areas and hinder in others. In a large hall you do not want a "sweet" bow or violin. High frequencies decay quickly and what's left is syrupy and unconvincing, musically. Personally, I found the 1st Movment of Beethoven to be the most telling before testing in a classical quartet setting. If you are a soloist, things will surely differ. In particular, if you are a staunch quartet player, you should avoid either a bow or a violin which sounds "short". 

[Victor Roman]

5 hours ago, martin swan said:

If you're a concertmaster then audibility is everything.

It depends. Personally, I agree with you but it is worth mentioning that some cm's might want a very calm bow. Good when you suddenty have to wake up during Swan Lake....

[GeorgeH]

7 hours ago, martin swan said:

Most players choose a bow which succeeds in modifying aspects of their violin's tone that they don't like ... 

Seriously?

[Jwillis]

Yes, you find the bow that compliments the violin…..Some of of my favorite bows sound dull on other violins 

[Ernee]

One potential problem: you can get something that sounds pleasing and complements the violin but puts you in the wrong spot.  I bought a nice antique once that was really very nice, and had real potential as a solo bow.  Except that I couldn’t hear myself in the orchestra.

[reedman]

Deleted. Wrong thread.

[Altgeiger]

2 hours ago, reedman said:

William Primrose used a violin bow.

People say that, but the photographs where I can make out the bow don't bear that out. They all show a typical rounded viola bow frog.

[Alto Ego]

Can’t violin bows can have rounded frogs?

[GeorgeH]

3 hours ago, Alto Ego said:

Can’t violin bows can have rounded frogs?

Yes, and viola bows can have squared frogs.

[Altgeiger]

Both exist. It's indicative, though. And did Sartory make violin bows with rounded frogs? That's supposed to have been the maker of Primrose's elusive violin bow.

[Stephen Fine]

On 3/29/2026 at 10:21 AM, Altgeiger said:

And did Sartory make violin bows with rounded frogs? That's supposed to have been the maker of Primrose's elusive violin bow.

I think the violin bow was a heavy gold-mounted Voirin according to a few people over the years.

But the Voirin wasn't his only bow he played.  And I bet he had more than the 2 used most.  

[Stephen Fine]

On 10/24/2025 at 7:30 PM, Tommy said:

Dominic Peccatte, Joseph Henry, and Charles Espy:  I recently had the chance to play, and record on the phone, all three.  The Peccatte pulls out more higher frequencies than the other two, which were more or less equal.  My question is:  I can't decide from listening to what I recorded whether the additional higher frequencies are in the end a good or not so good thing.  Any thoughts on what is generally considered to be preferable, and why, would be appreciated.  Thank you.

"More higher frequencies" only tells you so much, I fear.  As others have pointed out, it's about what suits your instrument and your technique.  Some instruments really respond well to certain bows and without hearing it, it's hard to say whether "more higher frequencies" is necessarily good although my guess is that gives me more timbre to play around with.

Are you in the enviable position of being in the market for a Peccatte?  

[martin swan]

On 3/29/2026 at 3:21 PM, Altgeiger said:

 And did Sartory make violin bows with rounded frogs? That's supposed to have been the maker of Primrose's elusive violin bow.

Yes, pretty rare but not unheard of ...