I think it had to be cored. Ivory is pretty dense -- almost twice the weight of water of the same volume. Unless the cue maker engineered some kind of reinforcing core, I don't think you would want to play with that cue. Maple and ash are about 60% of water and cocobolo is about 110% according to a table I found.
Every time I read similar posts I wonder if a balsa wood cue would as good as others
You'd need a piezo and wifi to your earbuds to appreciate the diff and they'd specifically disallow that under unfair technology.
I think the fancy woods are for looks and/or natural balance. They seem to flip flop on the priorities a lot.Macassar Ebony forearm and back with a maple grip is my favorite combination. Provides a well balanced cue with great feedback. All my shafts are selected by tone. Blanks are bounced on concrete floor. Hold loosely in the fingers while dropping end about 6 inches. A good shaft provides a high pitch. I believe high pitch shafts transfer energy the most efficiently. Low pitch shafts absorb the energy. Gabon Ebony and lots of rosewoods are great also.
I asked to do this to Revo and P3 cue at my dealer and the guy said...pay for it first and then do what you will
I used to think that way, but don't totally agree anymore after purchasing my last cue. I have 3 McDermott's, 4 Schons, 1 Jacoby, and 1 DZ.
Good info but I would like to add some shaft info for a custom cue. In the making of a wood shaft, it needs to be turned down in several months intervals. Before the final turning, rotate the shaft at various speeds. Put your hands around the middle of the shaft at these speeds to feel the vibrations. If there is very little vibration, it is usually a great shaft. If there are vibrations, the final turning will temporally remove the vibrations but they will eventually return.
I agree with Kim, you can put your shaft onto another butt but it won't have the similar feedbacks which results in different feels on follow through shot
I always think in terms of music instruments as it seems to be easier for the customer to understand then. What woods and techniques used in a guitar or a violin all affect the final product, but if you divide the guitar into its components it can be hard to say how much a single component affect the final product, so its not only the sum of all the parts, but the synergi of the components together create something truly special. Violin makers probably have the most scientific approach to this, some of those instruments are just amazing works of art.
It might feel\sound a tad different but it won't 'play' any different as far as deflection,etc. I have a perfect Jensen shaft with ivory ferrule. I've put it on various butts and it plays exactly the same. Sound\feel is only slightly diff. per butt. The role of the butt is mostly to be a shaft holder. People get way too caught up in minutia like this. You think any of the top pros using their production cues give a shit about what the butt is made from?? Yeah, right.
You are correct here and I agree. It doesn't play different when you use the same shaft. What I said, and will state again is that if you accepted that follow through is important, then the Butt being different will feel and effect it differently. Even if you can customize the weight and the balances to be similar. Otherwise, if follow through feels are not important to you, then please discard and disregard what I just said
No clue what 'follow through feel' entails. IMO its just more techno-babble minutia. I pick up a cue and i can play my normal gear with it in 20minutes, maybe less. So much of this stuff is over-ANAL-ized to the extreme.