One of the most enticing features of the violin is the variety of sounds it produces.  

This color palette is controlled by archery techniques.  

The main variables are the speed of the bow, the downward pressure of the bow on the string, and the contact point between the bow hair and the string. (To a lesser extent, the number of bowhair in contact with the string also plays a role.)

This situation basically occurs in a three-dimensional space.  

A two-dimensional projection of the three-dimensional bow space is displayed on the right.  

Playing with a gentle bow technique between the fingerboard and the keyboard produces the softest sound, while a quick, heavy bow produces the loudest note at a similar point of contact.  

Most of the changes in speed and pressure can be found in the middle range.  

This is also the maximum range of possible contact points. The bow may produce sharp and piercing sounds near the keyboard, while the bow produces soft, fluffy, and blurry sounds near the fingerboard contact point.  

By adjusting these three variables, the violinist not only changes the dynamics of the music, but also the timbre of the sound.  

An obvious question is, what would happen if you went outside the "allowed" area of the bow transport space?  

You either produce an annoying scraping sound or an equally unpleasant whistling sound.  

The edge of this bow space is given by the Helmholtz type "stick slip" motion boundary, as discussed in the introduction.  

The preferred violin should have a large bow space.  

This type of instrument allows concert artists to achieve maximum sound color and dynamic range.  

On the contrary, cheap violins have a small bow space.