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What is the perfect receipe of a soulful and considerable restored instrument? What is the ideal cooperation between the musician and the new double bass? Let me have the pleasure to introduce and interpret the perspective.


The original idea of a double bass luthier workshop was founded by Nicolaus Rácz, my double bassist father – according to his musician family roots (his father was a violinist).

Beside playing, my father became interested in instrument making, especially scroll fabricating, so for me, born to such a family, was no questionable to get involved - I kept the rhythm very soon. 


Sound, which is probably the most important in our philosophy - we are searching for the impressive tone: from deep dark orchestra sound to characteristic bright solo – what response. 

From the beginning of the ’90s I’ve been working out with my workshop of an irrespective tendency of restoration – which is a current and worldwide expandation aspect now, known all over the continents from Austria through Spain, France, Norway Germany, the Czech Republic, the Netherlands, Osaka till the USA.

A few years ago after 35 years practice, 25 years teaching, a master degree, the American founded TOYP’s award Hungarian version, the Hungarian Republic Silver Order of Merit, and the Silver Wreath Honor of Artificer Craftsman.

The Barnabass Method of restoration and instrument creating is managed at my workshop in Hungary.

In our theory, the secret of a pleasureful and successful workmanship is in our family tradition concept – which is continuing from generation to generation.



  • Crafting new double bass models, from orchestra to professional solo instruments

  • Building and creating custom double basses to meet individual needs

  • Complete restoration of old or damaged double basses

  • Replacement of instrument components that cannot be repaired with period units and period finish

  • Restoring unworkmanlike repairs and repairing aesthetic damages such as extraneous lacquer layers, lacquer retouching, and conservation of worn surfaces

  • Tuning of fine instruments for optimal acoustics and touch

   We are committed to providing high-quality workmanship and          personalized service to each and every one of our clients.


We take great pride in using only the finest quality natural drying wood for our instruments. Our wood has been carefully selected and has been drying for 25 years, ensuring that it has reached the optimal level of stability and tonal quality. We also have a truly special and rare type of wood available that is 100 years old. This wood has been carefully preserved and is an exceptional choice for those who want a truly unique and beautiful instrument. We believe that using the best possible materials is the key to creating an instrument that will sound beautiful and last for generations

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