When I talk to people about the history of the violin bow, the conversation usually focuses on the transition between baroque bows and modern bows.  By this, we are typically referring to the direction and degree of camber – baroque bows being straighter or having the stick camber away from the hair, modern bows having a camber towards the hair of the bow.  The “inward” camber of the modern bow is part of what gives it greater strength, making it better suited for more modern repertoire and technique.

While there have been advances in materials science over the past 100 years, bringing us various new stick materials – fiberglass, carbon-fiber, alternate woods – the basic design of a violin bow hasn’t changed much in at least that long.  While his ideas are currently far from being embraced as mainstream, Gilles Nehr proposes some bold changes to some of the most cherished aspects of traditional bow making.  Collectors and bow experts devote entire volumes to the “head” of the bow, describing with fetishistic detail every curve and line.  In his new bows, Gilles dispenses with the traditional head altogether.  Looking at the downsides of a traditional frog, Gilles also offers a new and fresh alternative.

Take a look!  https://www.gillesnehr.com/tete-beche