Cello, Vik Vandamme – Roeselare 2025
Vandamme personal model
It is truly inspiring to see a young violin maker working on his own personal cello model, and this is the first time this has been presented in Norway. Vik Vandamme worked in my workshop in 2019, and during the winter/spring of 2025, he made this cello for me. The cello was built in Vik’s workshop in Belgium under close supervision by the undersigned. The materials are first-class: Italian Alpine spruce in the top, back, sides and neck/snail in beautiful European flame maple. He has also varnished the cello with my own oil varnish in addition to rigging it up ready to play.
The fingerboard is made from a sustainable alternative to ebony, Corene . The base is made of titanium, which ensures optimal transmission of the frequencies to the substrate. The cello is rigged with Spirocore Wolfram C+G and Larsen Soloist A+D, which are easily adjusted with Knilling Planetary tuning screws. Forget pegs that lose their grip or chatter. That time is over.
This is the instrument for anyone who wants a top cello at a very nice price. Five Norwegian cellists already enjoy cellos made by Vik every day. See the previous cello Vik made in 2024. A certificate from the maker is included, and the cello is numbered internally 25.3, meaning his third instrument in 2025. A beautiful custom-made bag for the cello is included.
The cello can be tried out in peace and quiet for two weeks on loan, it is also insured during this period. Contact jacob@vonderlippe.com or call 90019140 if you would like to try this cello without obligation.
Pictures from the construction process
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I have extensive experience with musicians at all levels. Whether you are a music student, freelancer, orchestra musician or soloist, I understand and listen to your wishes. You can always borrow with instruments and bows on home loans up to two weeks, insurance is taken care of.
Sculpted Sound
NEW RELEASE • VINYL • CD • DIGITAL
Sound is the true reason for making instruments. In this recording the focus is on sound itself. Can a characteristic of sound be heard among instruments created by the same log of spruce and the hands of one specific violin maker, even if played by different instrumentalists? How do vastly different venues highlight various aspects of the same instruments? And how about the development of one violin maker through a span of twenty years?
Sculpted Sound
Listen on Spotify and all digital platforms
