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The bows

almost bowsFor his bows Helge Netland chooses materials and models based on years of research and experience. He uses only the best pernambuco which he has been traveling to Brazil to select. Himself an accomplished violinist, he is able to achieve the full acoustical potential of each piece of pernambuco he chooses.

 

almost bowsThe parameters in bow making are fairly constricted, and even very subtle changes can make an enormous difference in stability and sound. The sticks should be responsive and have a sensation of great playability over the whole length of the bow. Helge Netland starts playing a bow long before it is finished. He then follows closely the unfolding of the qualities of the wood  by plaining and adjusting the camber until the bow is completed.

 
 


The influence of the early 19th century Parisian bowmakers on Netland’s work is undeniable. Be it the earthliness of a Persoit, subtlety of a D.Peccatte or the projection of a Tourte, these Masters never cease to fascinate

F. Tourte
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F. Tourte
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The Francois Tourte (Ex-Milstein) pictured above remains one of the most impressive bows he has been able to examine closely.

 

 
 
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