Fatboy said:
Pretty Wood or More Inlays?
- Thread starter Fatboy
- Start date
Fatboy said:
Yep.. depends on who made the cue and the condition, obviously. No inlay will help you sink a ball. Although a lot of inlays will make you a very instyled misser.
Szams and Bushkas, same situation. Get them while they are still there. I foresee these premiums going up even further than they are now.
JV
i have one cue I used probably more than any cue ever, its a 4pt 4 lament cue with one ring above the butt cap, my friend was building cues for a while he probably only made 30 cues. his wife left him he got depressed and opened a poolroom and stopped making cues, he was just getting good at it, this was in 1989. I paid him $650 for it about half what a Motty would have cost, then we checked it out- he took all the dimensions off his Szam for his cues and they played almost as good-real close. I used it until some adhesive in it let go in the splices and it started to sound funny. I then bought a Tad in 92 that I put alot of miles on. Because my friend wasnt well known I got a great deal on that cue, i heard he is back to building cues some now. his name is Bill Teeter he is a good player in N. Ca, Bay Area.
Joe,Fatboy, Harvey Martin ascribed to the no inlay player theory. Have either one of you played his work? Does it compare to Szamboti or Balabushka?
That is a nice cue there classiccues and go ahead and send the case out for a refinnish cause the bottom is shot. I know you don't want that cue to fall out on the ground.--Leonard
poolcuemaster said:
LOL Thats just the case that came with it.. I don't use that case.
JV
poolcuemaster said:
The Felinni bottom is solid. The lizard embossed leather is peelin back,thats all.
I really like nice woods. I love traditional cues, so a sharp set of points/veneers is hard to beat. I also think that some cuemakers have better eyes for inlay/wood combinations than others do. Here is an example. This wrapless Jensen has some dynamite curly, nicely figured ebony, and some contrasting cocobolo/ivory rings, but no points, yet it is one of the most visually striking cues that I have seen, IMO. Believe me, the pictures don't come anywhere close to an accurate depiction of the woods and contrast in this cue.
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I don't like anything fancy on a playing cue... just nicely figured wood. I believe fancy and inlays and art should go on collectible cues, JMO.Fatboy said:
hangemhigh said:
I have hit with a few Martins and they were all very solid. But I am not a big supporter of the flat faced, big pin cues. In my experiences with cues, once you have it in your head that you don't like something, a cue with that characteristic will hardly ever appeal to you. I don't like Bacote, so a big pin bacote cue will never appeal to me, except for resale. But someone else may love it.
You ever see a good player miss a specific ball, then every time he gets to that ball in another set, he might miss it again. Keeping that first miss in the back of his mind for whatever reason. Happens, I think it happens with cues also.
JV
How important is lineage in regards to cue maker status? Does a connection to great cue makers of the past add to the value of a new cue by the connected maker?
Sometimes... but not always. Joel Hercek cues stand on their own merits. But it helps cuemakers like Mike Wheeler, who has worked for such makers as Stroud, Black, and Schick.hangemhigh said:
hangemhigh said:
Of course its important, but its not everything. If you were Harvey Martins son and you were building garbage, you would not only be dogging your name, but bringing down your dads name to. I think in a way, with a direct relation like that, it might add more pressure to make good cues and do good work.
Adding value? Depends on the cuemaker. Someone with Bushka yes, anyone associated with Horn probably not. Each situation would have to be analyzed on its own independent standing.
JV
I know my questions allowed for alot of generalizations,but the answers I was looking for were found. Thanks.
if money was no object, i would bet that if most had the choice of a plain cue with gorgeous wood and the same cue with a tasteful design loaded with beautiful inlay work executed to perfection, they would choose the inlaid cue every time. "it's the eye that buys" and the fancier cues will win out every time. the gorgeous wood will still be present and look fantastic but will be highlighted by the artist's work. on the other hand i think if money is an object as with most people then they may have to settle for what they can afford and their desire to acquire such extravagant cues is forced into finding something in their price range. i happen to love beautiful wood in cues but i love the wood better when it's used as the canvas for an artist's work. as for the choice of either or i would rather have a great inlayed cue in a decent peice of wood than a plain cue made with a great peice of wood. my .02
Last edited:
Foolurself
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Check out David Tice
If you like beautiful woods,incredible ringwork,and precision workmanship like you have never seen check out the work of David Tice.He doesnt make a lot of cues but the quality and playabilty is out of this world.
If you like beautiful woods,incredible ringwork,and precision workmanship like you have never seen check out the work of David Tice.He doesnt make a lot of cues but the quality and playabilty is out of this world.
