About Us

Our workshop handles the full range of sales of string instruments and their accessories, as well as their expert repair and maintenance.

In our work we pay particular attention to understanding individual needs, whether we are dealing with beginner, advanced or professional musicians.

We carry out our repair and maintenance work with great precision, a reliable professional background and careful craftsmanship.

Our aim is to provide our clients with quality solutions at affordable prices.

The master

Károly Gáspár

master violin and bow maker

Carlo Gaspar (Károly Gáspár) is a master violin and bow maker with international experience, whose work is defined by the tradition of classical instrument making, refined craftsmanship and a deep understanding of musicians' needs. He gained his professional foundations in Hungary and Western Europe, and his teachers include such formative figures as Károly Tóth, Sándor Radics, Josef Fedra and Alexander Miholics.

Over the course of his career he has worked with prestigious international orchestras. At the invitation of the Korean Philharmonic Orchestra in Seoul he restored the orchestra's string instruments and bows, and later, as head master at Mari Musical Instrument Co. (Daejeon) in South Korea, he directed the work of the string instrument making and restoration laboratory. In Europe he maintained a professional relationship with the Prague Philharmonic Orchestra for several years and regularly worked for orchestras in Vienna and Innsbruck.

One of the most formative periods of his professional development was the years he spent in Cremona (2015–2018), where he was able to study at first hand the instruments of Stradivari, Guarneri del Gesù, Amati and the later masters of the Italian school. This living connection with historical masterpieces still shapes the character of his instruments and his approach to restoration.

In 2012 his work was recognised with a special prize at the violin making competition held in honour of Leopold Auer. His instruments and restoration work are currently available in Budapest, London and Italy, primarily for musicians and institutions seeking uncompromising quality and a long-term professional partnership.

Ars poetica

"Always to give and offer the very best."

– Károly Gáspár

– whether it is building a new instrument or carefully repairing a music school instrument. For me, instrument making is not merely a trade but a vocation, one that calls for lifelong learning and immersion.

The old masters are particularly close to my heart, above all the makers of the Italian school. I like to study their works, to imagine how they held their tools, what their workshops were like, how they lived and worked. In truth, I have learnt the most from them. At the same time I experiment continuously, look for new paths, and have developed my own techniques in varnishing and restoration. Alongside studying old varnish recipes and various models, my main aim is the consistent shaping of my own style.

I always begin building a new instrument with humility and respect: first I pay attention to the wood, feel its vibrations, study its lines, and try to imagine, to dream up, the sound that will be born. For me this is the essence of the art: when one creates something that takes on a life of its own in the hands of musicians and may outlive its maker by centuries.

A truly good instrument, however, can only be made from the soul. Only with soul can work be born that is genuinely valuable and lasting.

Our team

In love with instruments

Gáspár Károly

master violin and bow maker

Kiss Vilmos Tibor

Assistant, violinist

Artists

Those who chose us

Rodolfo Girelli

Stefano Montanari

Balázs Barnabás

Szabó Gábor

Balázs István

Tóth Gabriella

Baráti Kristóf

Bruno Tripoli

Czenke Csaba

Donatella N. Colombo

Our values

Frequently Asked Questions

How often should a bow be rehaired?
It depends on use. For musicians who play regularly it is generally worth having the bow hair replaced every two to three months, to maintain proper grip and sound quality.
My instrument has an open seam. How long does it take to repair?
In the case of an open seam the gluing work can be completed within 24 hours. Open seams are usually caused by extreme weather conditions, such as changes in humidity or temperature.
Will my instrument sound better if the bridge and/or the soundpost is replaced?
A properly chosen and shaped bridge and soundpost significantly influence an instrument’s sound. With our many years of experience and carefully selected woods, the instrument’s sound can be developed in a positive direction.
What cleaning product should I use on my instrument?
When choosing a cleaning product it is important to consider the type of varnish, which can be established during a consultation. How often you clean depends on use; once a month is generally sufficient.
How can I clean the strings?
We recommend a product made specifically for cleaning strings. Used correctly, oil-based preparations can also extend the life of the strings.
Can polishing restore the instrument's original shine?
Strong sunlight can damage the top layer of the varnish, affecting both its protective quality and its appearance. Polishing can repair this kind of damage and refresh the instrument’s colour and shine. The work usually takes four to five days.
Can the character of a bow be changed?
Yes. Without changing its weight, the right cambering technique can significantly influence a bow’s character and playability. This can bring a noticeable improvement even with less professional bows.
How long does it take to build a new instrument?
Building a new instrument takes at least one month, and more often several. The time required depends on current repair work and on the details of the commission. Károly Gáspár’s instruments are made with close attention to individual requirements and with great professional and artistic care.
My fingerboard is grooved. What can be done about it?
With proper planing the fingerboard can be made smooth and even again. After that, adjusting the nut and the bridge keeps the string height correct as well. The procedure can only be carried out if the fingerboard is still thick enough.