The Little Things That Set Cues Apart

Mikey Town

Mikey Town

AzB Silver Member
Silver Member
In the current climate of cue making, with so many people out there producing high quality products, it's the little things that set a pool cue apart from the rest.

Whether it's an uncommon material that is used really well, a particular twist on an inlay design, an unexpected color combo working out really well, or something completely different.

What are a few "little things" that you've seen on cues that took it to the next level, in your eyes? I'll start with a few of mine (no particular order) below.

-An Ivory ring, surrounding the bolt, on the butt of a bumperless Hoppe style cue (have seen this from a few makers).
-The hammered copper joint that Eric Crisp did on one of his Sugartree cues.
-A Prince/Davis cue that had the "shaft ring" actually integrated into the joint (butt end) of the cue. This made it so you could put any plain shaft on it, and it would appear to have matching ringwork when screwed together.
-The more recent BHQ experiment with wrap material in the ringwork.
-Ivory tipped pins (seen a couple of them, though I can't recall who made them).


Cheers,

Mike
 
The cue-maker's demeanor and attitude are equally as important, if not more so IMO, than the cue-maker's creativity.
 
There is only one thing important about a cue. It is not the execution of inlays. It is not how pretty it is. It is how well it plays for me. Materials and looks have little to do with winning at pool.. How the cue performs in my hands is all I care about. I have an old friend that has an old Joss with one shaft might be worth $500. I offered him $2000.00 for it. He declined, guess why???
 
I like the guys who actually know how to select and shape a tip... can't stand big name, big money cues with cheap lump-of-coal looking tips slapped on.

While I'm venting, why does $20 worth of silver add $1000 to the value of a cue over the same work in mother of pearl or abalone, from guys who are still building prolifically?
 
The little things you ask....
I've given this quite a bit of thought, and there are few little things but, overall the one quality that stands above the rest.... a cue maker that has integrity, does what he says! This is by far the most important quality I look for. Currently I will only do business with two cue makers, that's not too say those two are the only ones with that quality, just two I have found (actually one recommended the other).
 
There are a lot of things I LIKE in a cue.

1. Symmetry in design and colors.

2. Matching ring work in all positions.

3. Old school thick veneers in pointed cues.

4. Ivory parts and inlays

5. Exotic wraps.

6. Grade AAA wood types.


There are some things I HATE in a cue.

1. Brown or tan mesh linen ring work especially when you can really see the mesh pattern in the material.

2. Titliest color veneers.

3. Hoppie ring at butt end of cue.

4. Bumperless cues.

5. Nylon wraps or finished over linen wraps - Meucci style.

6. 2 or more different ring work designs within the same cue.

Kevin
 
One of the most significant differences I've noticed,
is when a cue maker has a true understanding
and knowledge about the types of wood they use.
Cues that most people agree play well, often share one similar characteristic. The hit sounds as good as it feels.
I realize the tip can play a major roll.
But, it's not like a great tip will improve the playability
of something that just feels wrong.

Without proper knowledge of density and tonal value,
a beautiful cue could be made that in reality might play like a wet phone book. Just dead.
Might be a nice break cue...
but, you're not going to want to spend hours playing with
something that feels like a cheap shovel handle.
The wood should compliment one another not just in looks,
but also in use.

When a cue maker figures that out, it's like striking gold.
Anybody can get lucky in their first attempts.
Heck, I have some chopped house cue sneaky's that
shoot the lights out!
They feel like a thousand bucks. Lol.
Building a fine instrument with repeated success
takes allot of experience beyond the simple aesthetics.

Most of us also take a cue makers reputation into consideration as our initial impression of their work.
After that, we may feel more inclined to learn more about
them by searching out their work.

As for things I feel set certain makers apart from others-
Bert Schrager, Ed Prewitt, Ariel Carmeli, Eddie Cohen,
Ned Morris, Kent Davis, Pete Tonkin, Tom Coker,
Dan Gallegos, and my old friend Gary Allen.
This is my Cali Dream Team line-up.
These guys have(had) an uncanny understanding of how to
make amazing playing cues.
Their knowledge of materials are 2nd to none.
They know how the cue will sound,
and perform, before it's even assembled.
Or, at least a very firm approximation of what to
expect. You'd be hard pressed to find a cue from any one of them that was anything short of fantastic playability.

Someone else I'd like to mention is Jake Hulsey.
I know he's not a full time cue maker, but the work he's
displayed thus far is a unique twist on classic looks.
His splicing techniques, and veneer work, are very
interesting.

Anything past that, I feel like we're getting into the territory
of Samsara; in which they exist in a universe all their own.
 
Cues that reach a higher level are produced by cue makers who are both experienced and creative.

below that level there are cue makers who are good technicians who lack creativity and others might have some great ideas but don't have the expertise to execute them.

Mikey Town said:
In the current climate of cue making, with so many people out there producing high quality products, it's the little things that set a pool cue apart from the rest.

Whether it's an uncommon material that is used really well, a particular twist on an inlay design, an unexpected color combo working out really well, or something completely different.

What are a few "little things" that you've seen on cues that took it to the next level, in your eyes? I'll start with a few of mine (no particular order) below.

-An Ivory ring, surrounding the bolt, on the butt of a bumperless Hoppe style cue (have seen this from a few makers).
-The hammered copper joint that Eric Crisp did on one of his Sugartree cues.
-A Prince/Davis cue that had the "shaft ring" actually integrated into the joint (butt end) of the cue. This made it so you could put any plain shaft on it, and it would appear to have matching ringwork when screwed together.
-The more recent BHQ experiment with wrap material in the ringwork.
-Ivory tipped pins (seen a couple of them, though I can't recall who made them).


Cheers,

Mike
Click to expand...
 
Last edited:
The Little Things That Set Cues Apart?

CUES WITH TOMAHAWK FERRULES. :cool:
 
I knew from seeing some of Kevin's cues that we had simlliar tastes in cue designs.
After reading his post citing dislikes, I'm certain we have a lot more in common than
I previously imagned. One thing that distinguishes a cue is a high quality ivory ferrule.
Nothing plays as sweet, or sounds as acoustically pleasing, as an ivory ferrule....IMO.
 
gotta line the wood grain up guys, on segmented handles the grain has to line up . As well as the grain in the forarm and butt. A bad signature or logo is a deal breaker for me
 
Jon Manning said:
The little things you ask....
I've given this quite a bit of thought, and there are few little things but, overall the one quality that stands above the rest.... a cue maker that has integrity, does what he says! This is by far the most important quality I look for. Currently I will only do business with two cue makers, that's not too say those two are the only ones with that quality, just two I have found (actually one recommended the other).
Click to expand...

This is it pretty much for me. I will deal only with someone that is honest, and has integrity. If a cue maker makes a commitment, and doesn't follow thru, he will never get my business, no matter what the excuse may be. There are a lot of good cues out there, so in my view, a cue maker should value their integrity and reputation more than anything. If they don't, I won't even look at their cues, end of story.
 
Kevin Lindstrom said:
There are a lot of things I LIKE in a cue.

1. Symmetry in design and colors.

2. Matching ring work in all positions.

3. Old school thick veneers in pointed cues.

4. Ivory parts and inlays

5. Exotic wraps.

6. Grade AAA wood types.


There are some things I HATE in a cue.

1. Brown or tan mesh linen ring work especially when you can really see the mesh pattern in the material.

2. Titliest color veneers.

3. Hoppie ring at butt end of cue.

4. Bumperless cues.

5. Nylon wraps or finished over linen wraps - Meucci style.

6. 2 or more different ring work designs within the same cue.

Kevin
Click to expand...
I agree with virtually everything in this post on positive and negative aspects except a cue doesn't have to have ivory in it.
In addition, I like cues that have even points. I am also not a general fan of wrapless cues to play with. I like genuine lizard and elephant ear.
 
Mikey Town said:
In the current climate of cue making, with so many people out there producing high quality products, it's the little things that set a pool cue apart from the rest.

Whether it's an uncommon material that is used really well, a particular twist on an inlay design, an unexpected color combo working out really well, or something completely different.

What are a few "little things" that you've seen on cues that took it to the next level, in your eyes? I'll start with a few of mine (no particular order) below.

-An Ivory ring, surrounding the bolt, on the butt of a bumperless Hoppe style cue (have seen this from a few makers).
-The hammered copper joint that Eric Crisp did on one of his Sugartree cues.
-A Prince/Davis cue that had the "shaft ring" actually integrated into the joint (butt end) of the cue. This made it so you could put any plain shaft on it, and it would appear to have matching ringwork when screwed together.
-The more recent BHQ experiment with wrap material in the ringwork.
-Ivory tipped pins (seen a couple of them, though I can't recall who made them).


Cheers,

Mike
Click to expand...

I think I understand where you're coming from with your question and I could add a few early ones like:

Steel or aluminium bushing used in piloted Ivory joints and butt caps - Tascarella

G-10 pin - Cognoscenti

Decorative embossed lines on top and bottom of a leather wrap - Ginacue

(The Ivory toped pin you saw could have been Bill Schick.. There are others that did it after him but I believe he was the first to make it a "thing")

As to where others are taking this discussion, it's the things you can't see that can set cues apart from others but if attention to EVERY detail is not addressed and executed as to what CAN be seen, then chances are those other details you can't weren't either. So it's everything as a whole in those discussions that "set" some cues apart from others.
 
Mikey Town said:
-A Prince/Davis cue that had the "shaft ring" actually integrated into the joint (butt end) of the cue. This made it so you could put any plain shaft on it, and it would appear to have matching ringwork when screwed together.
Click to expand...

This is great. Definitely going to have this done on my next cue.
 
I thought I was going to read a long poem.

Franky4Eyes said:
One of the most significant differences I've noticed,
is when a cue maker has a true understanding
and knowledge about the types of wood they use.
Cues that most people agree play well, often share one similar characteristic. The hit sounds as good as it feels.
I realize the tip can play a major roll.
But, it's not like a great tip will improve the playability
of something that just feels wrong.

Without proper knowledge of density and tonal value,
a beautiful cue could be made that in reality might play like a wet phone book. Just dead.
Might be a nice break cue...
but, you're not going to want to spend hours playing with
something that feels like a cheap shovel handle.
The wood should compliment one another not just in looks,
but also in use.

When a cue maker figures that out, it's like striking gold.
Anybody can get lucky in their first attempts.
Heck, I have some chopped house cue sneaky's that
shoot the lights out!
They feel like a thousand bucks. Lol.
Building a fine instrument with repeated success
takes allot of experience beyond the simple aesthetics.

Most of us also take a cue makers reputation into consideration as our initial impression of their work.
After that, we may feel more inclined to learn more about
them by searching out their work.

As for things I feel set certain makers apart from others-
Bert Schrager, Ed Prewitt, Ariel Carmeli, Eddie Cohen,
Ned Morris, Kent Davis, Pete Tonkin, Tom Coker,
Dan Gallegos, and my old friend Gary Allen.
This is my Cali Dream Team line-up.
These guys have(had) an uncanny understanding of how to
make amazing playing cues.
Their knowledge of materials are 2nd to none.
They know how the cue will sound,
and perform, before it's even assembled.
Or, at least a very firm approximation of what to
expect. You'd be hard pressed to find a cue from any one of them that was anything short of fantastic playability.

Someone else I'd like to mention is Jake Hulsey.
I know he's not a full time cue maker, but the work he's
displayed thus far is a unique twist on classic looks.
His splicing techniques, and veneer work, are very
interesting.

Anything past that, I feel like we're getting into the territory
of Samsara; in which they exist in a universe all their own.
Click to expand...
 
You must log in or register to reply here.
Back
Top