Making bespoke double basses is an extensive process. Made with care for tradition and history, the basses built in our atelier are each unique pieces. From historical copies to modern interpretations, in antiqued or crisp look, there is a line to be made for each particular model and musician. Since every instrument is firstly designed to sound, every personal change can be discussed beforehand. Furthermore, we offer the possibility to make a bench copy of an existing instrument from your own collection, or any 6-string, 5-string, 4-string, 3-string bass, for classical or jazz use.

Just make an appointment to discuss the options, our coffee is warm and waiting.

Double basses are fragile and subject to a high and constant tension. They are susceptible to cracking or deformation and due to their large size are often unprotected against impact. However, there is rarely a state from which a double bass cannot be restored. The restoration of old instruments is a daily continuum in our workshop; from arching corrections to neckgrafts, from crack repair to varnish retouch. In order to correctly assess the damage and the ideal restoration procedure per instrument, you are invited to make an appointment. 

The operation of each musical instrument is affected by changes in relative humidity, temperature and pressure. These parameters, in combination with the normal fluctuations of a double bass, can have a negative impact on both sound and playability. Adjustments to the bridge, bassbar and soundpost, as well as strings, tailpiece, endpin etc., provide many options for optimizing the sound for each specific double bass in order to use the instrument at its maximum potential.

We have a wide range of carefully selected products for use in these processes, per application depending on the instrument. 

Bram De Man was born in Belgium, where he received his first training as a double bass player.  At the age of 18 he was admitted to the Ghent Conservatory to study musical instrument making, graduating with a first class distinction and receiving an honorary bequest for his research into D-violones and the early double bass. After these studies, he traveled throughout Europe to expand his knowledge and experience; from observing the Hungarian Tamburaški bass to studying historical instruments in Brescia, Cremona, Paris, Oslo, London, etc.,  working and learning in ateliers in Vienna, Berlin and Brussels.

After these years, he decided to move back to Belgium to open his shop in Brussels, keeping a close connection to Vienna as a second home and working place.