lets see some andy gilbert cues

zeeder said:
I didn't know that Andy did all his inlay and point work with no CNC. Do most people who do very even v-groove points, like Skip Weston, use CNC to make the grooves more accurately?

I don't know about Skip Weston, I imagine you could call him and he would tell you how he makes them. I do know that most cue makers are using CNC machines and can cut out inlays and points the same every time with very little human intervention. This also allows them to use cheap labor to run the machines and produce more cues. From what I have seen CNC'd cues are not as collectable to a majority of the buyers. I know I don't collect much that was done with a CNC unless they bring something else unique to the table. Give me a hand made G. Szamboti everytime, obviously back when he was making cues CNC's weren't available but I still like the guys who make them the old fashionded way!
 
TheMarsMan said:
I don't know about Skip Weston, I imagine you could call him and he would tell you how he makes them. I do know that most cue makers are using CNC machines and can cut out inlays and points the same every time with very little human intervention. This also allows them to use cheap labor to run the machines and produce more cues. From what I have seen CNC'd cues are not as collectable to a majority of the buyers. I know I don't collect much that was done with a CNC unless they bring something else unique to the table. Give me a hand made G. Szamboti everytime, obviously back when he was making cues CNC's weren't available but I still like the guys who make them the old fashionded way!

I'm not talking about inlays here. I'm talking about points. I was under the impression that most cuemakers used CNC or pantograph ?sp? to cut the pockets and inlays and then sharpened them by hand for the final sharp inlays. I was talking about the evenness of the points, which was my initial question regarding Andy's work.
 
zeeder said:
I didn't know that Andy did all his inlay and point work with no CNC. Do most people who do very even v-groove points, like Skip Weston, use CNC to make the grooves more accurately?

Absolutely no CNC in Gilberts shop for cutting shafts, points, inlays, or anything. All of his inlay templates are even manually done in house using his Gorton pantograph. Many outsource that.

Andy cuts his points on a vertical milling machine, like many cuemakers, and even now had developed a method for cutting full-splice points on the milling machine. They are much, much deeper than his normal method (check out the example TheMarsMan showed).

I'm not privy to Skip's exact method, but I think it's also manual and done on a milling machine...don't think it's CNC controlled. Skip does use CNC for inlays. He is one of the few true master machinists making cues, so it's no wonder they are so nice, even being manually done. As nice is they are, they are not "perfect". Andy's may also show some slight uneveness from time to time, but it's always very minimal and indicative of his manual process.

BTW, that's the kind of work that I gravitate toward....the manual stuff vs. perfect CNC made...just my personal preference, too.
 
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cueaddicts said:
Absolutely no CNC in Gilberts shop for cutting shafts, points, inlays, or anything. All of his inlay templates are even manually done in house using his Gorton pantograph. Many outsource that.

Andy cuts his points on a vertical milling machine, like many cuemakers, and even now had developed a method for cutting full-splice points on the milling machine. They are much, much deeper than his normal method (check out the example TheMarsMan showed).

I'm not privy to Skip's exact method, but I think it's also manual and done on a milling machine...don't think it's CNC controlled. Skip does use CNC for inlays. He is one of the few true master machinists making cues, so it's no wonder they are so nice, even being manually done. As nice is they are, they are not "perfect". Andy's may also show some slight uneveness from time to time, but it's always very minimal and indicative of his manual process.

BTW, that's the kind of work that I gravitate toward....the manual stuff vs. perfect CNC made...just my personal preference, too.

I realize that Skip's points aren't technically perfect, but for being manual they are pretty darned close. I guess I want the points to be spliced/v-groove and still be perfect. I also don't mind the CNC being used for the inlays, as long as the points are sharpened afterwards.

The reason I ask is that while Andy's points are pretty good, ie usually within 3/16" or better, they aren't as even as some others that I've seen, which even spliced/v-groove points ranks pretty high on my list for things that I like to have in a cue. That's one of the reasons I took an almost instant liking to Skip Weston cues! The points are as close to perfect as you can expect for spliced/v-groove points.

Thanks to all who contributed to this side discussion and let's see some more Gilbert cues!!
 
TheMarsMan said:
The third cue from left is his first full splice cue ever and the points are incredible! Andy made a full splice blank that he couldn't use because the spacing was wrong with the points and he also gave me that with my cue. He promised me his first full splice cue so he felt he should also give me his first full splice blank! Andy is a great guy and knows I would never let anyone make it into a cue and it will stay with my collection.

Just for sake of my curiosity, how did Andy put a ring above the wrap on a full splice cue?
 
Jazz said:
Just for sake of my curiosity, how did Andy put a ring above the wrap on a full splice cue?

Jazz, that's a great question.

When he makes them full splice, the point wood does in fact come together in the splice (i.e. butt/point stock is one piece of wood that is glued along with the veneers into the forearm)...you can see that from John's picture. But Andy still connects that union into a maple handle, so the rosewood does not come back through under the wrap and into the butt sleeve.

He and I have had some lengthy discussions regarding this and he feels that the handle is simply the way to go structurally as far as everything staying straight and producing the hit he is known for. That allows him to turn it down there and do a ring set at the handle union or "A-joint" as he calls it. He can also to a "full splice" with ebony points that keeps the weight down.

I don't wish this to be a debate over technically whether this is/isn't a full splice, I'm just reporting to you how he does them.
 
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cueaddicts said:
J
I don't wish this to be a debate over technically whether this is/isn't a full splice, I'm just reporting to you how he does them.

Thanks for the thoughful information Sean.

I don't wanna debate either ... but I guess it's very similar to how most Titlist cues are converted. They start out as a full splice cue but most are cut under the wrap or at the handle.
 
zeeder said:
...reason I ask is that while Andy's points are pretty good, ie usually within 3/16" or better, they aren't as even as some others that I've seen, which even spliced/v-groove points ranks pretty high on my list for things that I like to have in a cue...

We've had a lot of Gilberts in and don't recall seeing one yet that is 3/16" or more off (maybe on a jump/break or 8-pt all tall). His stuff is usually very close on his playing cues.

I agree with everything you say about wanting even spliced points, but I am glad he doesn't paint them in to make them even. There are some out there that do on the black outer veneer.
 
here's my 3hi-3low from 2001.
 

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Design Theft!!!!

I don't know Jimbo I think I've seen that design before on a Reyes cue???
Paul <-- Couldn't resist
 
thepavlos said:
I don't know Jimbo I think I've seen that design before on a Reyes cue???
Paul <-- Couldn't resist


You're funny.

Jim <---Not into DT
 
here is a pic of the Gilbert i had for a a since august.. not very long.. anyways.,. just sold it...
 

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Well mine seems so simple compared to all the other Gilberts lol
 

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