Bows

The double bass bow comes in two distinct forms. The "French" or "overhand" bow is similar in shape and implementation to the bow used on the other members of the orchestral string instrument family, while the "German" or "Butler" bow is typically broader and shorter, and is held in a very natural hand shake position.

These two bows provide for different ways of moving the arm and distributing force on the strings. The French bow, because of the angle the hand holds the bow, is touted to be more maneuverable. The German bow is claimed to allow the player to apply more arm weight on the strings. The differences between the two, however, are minute for a proficient player trained in using his/her respective bow. Both bows are used by modern players, and the choice between the two is a matter of personal preference.

German bow

The German bow (sometimes called Dragonetti bow) is the older of the two designs. The bowing style was handed down from when the bows of all stringed instruments had to be held in that fashion (middle two fingers between the stick and the hair) to maintain tension of the hair before screw threads were used. Proponents of the use of German bow claim that the German bow is easier to use for such bow strokes as staccato, spiccato, and detaché

The German bow has a taller frog, and is held with the palm angled upwards, as used for the upright members of the viol family. When held in correct manner, the thumb rests on the side of the stick. The index finger balances the bow at the point where the frog meets the stick. The index finger is also used to apply an upward torque to the frog when tilting the bow. The little finger supports the frog from underneath, while the ring finger and middle finger are used to apply the force to move the bow across the strings.

French bow

The French bow was not widely popular until its adoption by 19th-century virtuoso Giovanni Bottesini. This style is more similar to the traditional bows of the smaller string family instruments. It is held as if the hand is resting comfortably by the side of the performer with the palm facing toward the bass. The thumb rests on the shaft of the bow, next to the frog while the other fingers drape on the other side of the bow. Various styles dictate the curve of the fingers and thumb, as do the style of piece- a more pronounced curve and lighter hold on the bow is used for virtuosic or more delicate pieces, while a flatter curve and sturdier grip on the bow provides more power for rich orchestral passages.

Bow construction and materials

Pernambuco is regarded by many players as the best stick material, but due to its scarcity and expense, other materials are used in less expensive bows nowadays. Less expensive student bows may be constructed of solid fiberglass, or of less valuable varieties of brazilwood.

Snakewood and carbon fiber are also used in bows of a variety of different qualities. The frog of the double bass bow is usually made out of ebony, although Snakewood and buffalo horn are used by some luthiers. The wire wrapping is gold or silver in quality bows, and the hair is usually horsehair. Some of the lowest-quality student bows feature synthetic fiberglass "hair". Double bass bows vary in length, but average around 24" (60 cm).

The double bass bow is strung with either white or black horsehair, or a combination of the two (known as "salt and pepper"), as opposed to the customary white horsehair used on the bows of other string instruments. The slightly rougher black hair is believed by some to "grab" the heavier strings better; similarly, some bassists and luthiers believe that it is easier to produce a smoother sound with the white variety. Red hair is also used by some bassists.

Rosin

String players apply rosin to the hair of their bows so that the hair will "grip" the string and make it vibrate. Double bass rosin is generally softer and stickier than violin rosin to allow the hair to grab the thicker strings better, but players use a wide variety of rosins that vary from quite hard (like violin rosin) to quite soft, depending on the weather, the humidity, and the preference of the player. The amount used generally depends on the type of music being performed as well as the personal preferences of the player. Bassists may apply more rosin in works for large orchestra (e.g., Brahms symphonies) than for delicate chamber works.^{[citation needed]} Some brands of rosin, such as Pop's double bass rosin, are softer and more prone to melting in hot weather. Other brands, such as Carlsson or Nyman Hartz double bass rosin, are harder and less prone to melting.^{[citation needed]}