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PostPosted: Fri Jan 23, 2009 1:05 pm 
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Jerry McWorter wrote:
Hi Jerry - big fan of your work...

My questions:

1 - How much time does it take you to come up with a new design?

Sometimes I just sit down and say to myself "OK lets design a cue" and something good comes out. Other times it's a labor intensive process that yields nothing. I have boxes of cues that I have spent alot of time on that truly suck! (at least for my taste) For me that is really what it comes down to, if I don't like it I won't build it.

2 - What are your influences?

People often ask me that. I never really know how to answer it. I see other beautiful cues that I like and I try to not incorporate them in my work. I guess the truth is I try to build something that looks cool that I haven't seen anybody else do.

3 - How many cues do you aim to produce per design?

There's really no "aim." If a cue is wildly successful I may build 20 over years. The Pinnacle is one of my most famous designs and I probably haven't built 25 of them in 10 years in a wide variety of materials. Almost none of them are exactly the same.

4 - What do you really think of Jim?

I try not to. LOL!

(I love him, he's a great guy but don't tell him I said that)

Thanks so much for taking the time to answer each question, Jerry.

As a follow up - how many of your cues are "design" cues that you came up with vs. what people have asked you to make of their design?

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PostPosted: Fri Jan 23, 2009 1:18 pm 
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I love him, he's a great guy but don't tell him I said that)[/quote]
Thanks so much for taking the time to answer each question, Jerry.

As a follow up - how many of your cues are "design" cues that you came up with vs. what people have asked you to make of their design?[/quote]

Thanks for helping me figure out how to do this "posting stuff". Im going to go to the top of the list and start answering. But as for your follow up question. I will talk more about it later but I have never taken other peoples ideas to create a design. I just dont work that way. All my designs are something I've created for better or for worse. Almost exclusively I build cues and offer them to the market. Kind of strange that way.

thx
Jerry


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PostPosted: Fri Jan 23, 2009 1:27 pm 
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tikkler wrote:
Jerry, what do you use in most of the silver inlay work? is it wire or something else

How many cues are you making a year?

I will see you in VF so we can design my new cue.....you ready?
Steve Piesner


Hey Steve,

As we spoke yesterday, I use .010 thick sterling silver bessel wire for most of my silver work.

My cue production is around 70 cues per year these days. More music and family than in the years past. As far as a new design for you, I've got my thinking cap on. See you in VF.

thx
Jerry


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PostPosted: Fri Jan 23, 2009 3:13 pm 
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[quote="ScottR"]Jerry,
First, thanks for taking the time to answer our questions.

- Similar to one of Jim's questions: was there an "aha!" moment or situation that caused you to decide to move your designs away from traditional pointed cues to the style you've developed?

In the early stage of my cue making I had very little equipment (one lathe one cheap milling machine) so I was limited by my equipment in the fancy design department. Which was good because I spent several years learning to make a solid good playing cue. Around 1993 I bought an old Gorton Panograph and started thinking outside of my own little six point box.

As for the "aha" momement: I'm a great seeker of the "Aha" moment. I think all creativity comes in that moment. I design cues with a pencil and paper just doodling. When I come up with something I like that looks different I start working that direction. I'm not that prolific, the ideas don't come as often as I would like but I do know when I've struck Gold. (at least for my eye) I guess the "aha" moment is when I know I've got something good.


- Did you have any formal artistic training, study on your own, or just find that you had a knack for the unique and beautiful designs that you've done?

No formal training. I look for ideas around me (floor tiles. carpet designs, wall paper, clock hands, neck ties etc.) but most of my ides have come out of the thin air just doodling. One of my newest designs "the silver smoke" came from me sitting down trying to create something "freeform-ish" and elegant. I really like that cue. I think that's the direction cue design is going to go.

- What is your favorite part of cue making? Least favorite?
My favorite part is going to shows like Valley Forge and seeing my work through other peoples eyes. It's fun to make something that people admire even if they don't buy. As far as the work goes I enjoy the inlay processes. But only if I know the design is going to look good. I hate doing the hours of work only to toss it in the junk heap because it sucks.

My least favorite part: Sanding. A dirty job.


- At this point in your career, do you come up with most of the designs on your cues or work from designs that customers want?

I only build my own designs. I have never taken someones drawings or ideas and built a cue around it. The only input my customers have is woods, colors and price range. For the most part I build cues and offer them for sale.

- What is your current timeframe to build a fairly elaborate cue?
About 6 mo.

- Who is your favorite drummer?
Now the questions are getting serius! Levon Helm (from "The Band") Simple, musical, swampy, all heart.


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PostPosted: Fri Jan 23, 2009 5:53 pm 
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cuecaps wrote:
Konichiwa Jerry-san,
Nihojin kanojo boshu-chu.
Watakushi wa otaku.
Rikai suru......
Alton :mrgreen:


Alton-san,
Hisashiburi desu. Hihongo ga sukoshi hanashimaska? Okusan no hihonjin desuka?
Watashi no Nihongo dame desu. Rai gettsu Tokyo ni ikimasu.

Elpharin (from Atlas fiber) Ichiban yo ii. Watashi wa kangairu.
Ja mata
Jerry


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PostPosted: Fri Jan 23, 2009 6:25 pm 
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AndyB wrote:
Jerry, I really like the design of your cues, very modern. My question is why do you use only the one type of joint ring? It seems many of your designs may benifet from fancy rings.

Andy


Hi Andy,
Good question. I spent alot of years building very simple player type cues. Cues that main function was to play good and feel good. My shafts have been the same and interchangeable for over 15 years. I guess I have always thought it important for my shafts to be easily replaced, worked on or exchanged. Even though I am making very fancy cues I still think as a player. I have alot of flexibility to make the customer happy in the shaft department. I have always liked having one or two shafts that I like to play with and I can screw it on any one of my cues. If I need to replace a shaft for a customer/player it's no problem.
Maybe I'm just Lazy.

thanks
Jerry


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PostPosted: Fri Jan 23, 2009 6:47 pm 
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OMG!! I'm feeling warm and fuzzy in all the right places!!

Jeez Louise!! How the F do you do that??!! Even my hubby the amateur (but smart!) woodworker can't imagine!

Talk about giving a flare to the points!!

Barbara

ScottR wrote:
Since Jim broke the ice in picking a favorite McWorter design, here is my choice.

Jerry, was there any specific inspiration for this design?

Scott


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PostPosted: Fri Jan 23, 2009 7:17 pm 
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[quote="pharaoh68"]Hi Jerry-

Ok, one the cuemaking front...

1) Who would you describe as your biggest influence in design AND playability?

Hi Brian,
Influences:(Maybe a better word inspirations): Ernie (Ginacue) for quality and attention to detail. SouthWest for playability. Thomas Wayne for design and clever execution.


2) Many people argue that cue design theft is so hard to avoid as most everything has been done by someone else already. I think you prove all of those people wrong as you constantly find new and creative ways to introduce unique designs. That being said, have there ever been any times where you thought to yourself "Jeez! I go to all these efforts to do something new, and this guy just went and copied it!"

Design theft is something we have come to expect from manufacturers over seas. It really chaps my ass when it comes from American cue makers trying to trade on my work. The ACA and other informed watch dogs are very good at blowing the whistle loud and hard when someone steps over the line even an inch.

I have the benefit of having a look that is hard to copy and easy to recognize. I also am able to knock myself off with complete freedom.


3) I know you probably won't answer this, but I have to ask anyway... are there any cuemakers out there that you have no respect for?

Happy to answer in a round about way: Any cue maker that willfully steals other makers designs or knocks others work for there own self serving reasons.

4) Can I have the amboyna collection... for free? (just kidding - but if 'yes', PM me for shipping info :mrgreen: )

You seem like a nice guy. I'll work out a payment plan with you.

and finally, on a NON-pool related note...

5) Could you name the top 5 drummers (your opinion) of the last 25 years?

OK are you ready?? This might not be the list you would expect.
My favorites:
Levon Helm (The Band) All feel. Very musical
Ringo (I think you know) The most creative in very simple musical terms
Earl Palmer (New Orleans session guy 50's-70's)
Bernard Perty (session guy 50's-80's) The groove master!
John Bonham (Led Zepplin) He had a feel like no one else


Thanks,
Jerry


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PostPosted: Fri Jan 23, 2009 11:13 pm 
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Jerry McWorter wrote:
pharaoh68 wrote:
Hi Jerry-

Ok, one the cuemaking front...

1) Who would you describe as your biggest influence in design AND playability?

Hi Brian,
Influences:(Maybe a better word inspirations): Ernie (Ginacue) for quality and attention to detail. SouthWest for playability. Thomas Wayne for design and clever execution.


2) Many people argue that cue design theft is so hard to avoid as most everything has been done by someone else already. I think you prove all of those people wrong as you constantly find new and creative ways to introduce unique designs. That being said, have there ever been any times where you thought to yourself "Jeez! I go to all these efforts to do something new, and this guy just went and copied it!"

Design theft is something we have come to expect from manufacturers over seas. It really chaps my ass when it comes from American cue makers trying to trade on my work. The ACA and other informed watch dogs are very good at blowing the whistle loud and hard when someone steps over the line even an inch.

I have the benefit of having a look that is hard to copy and easy to recognize. I also am able to knock myself off with complete freedom.


3) I know you probably won't answer this, but I have to ask anyway... are there any cuemakers out there that you have no respect for?

Happy to answer in a round about way: Any cue maker that willfully steals other makers designs or knocks others work for there own self serving reasons.

4) Can I have the amboyna collection... for free? (just kidding - but if 'yes', PM me for shipping info :mrgreen: )

You seem like a nice guy. I'll work out a payment plan with you.

and finally, on a NON-pool related note...

5) Could you name the top 5 drummers (your opinion) of the last 25 years?

OK are you ready?? This might not be the list you would expect.
My favorites:
Levon Helm (The Band) All feel. Very musical
Ringo (I think you know) The most creative in very simple musical terms
Earl Palmer (New Orleans session guy 50's-70's)
Bernard Perty (session guy 50's-80's) The groove master!
John Bonham (Led Zepplin) He had a feel like no one else


Thanks,
Jerry



Awesome! Thanks so much for taking the time to respond. Its cool to be able to take a sneak peek into the mind of someone who so many respect. One of the main reasons I love these "Ask the cuemaker" threads.

And thanks for the answer to the drummer question, but I'd have to add Danny Carey to the list. And maybe Josh Freese (though he's a lot lesser known and his resume isn't that long yet).

Thanks again Jerry.
Brian

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PostPosted: Fri Jan 23, 2009 11:29 pm 
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[quote="Cornerman"]What's the toughest part about making your cues? Cutting the decals or pasting them down straight?

To be honest with you it has always been pasting them on. I always end up eating more paste than I should.

Jerry


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PostPosted: Fri Jan 23, 2009 11:41 pm 
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johnbo wrote:
hi, it seems like just yesterday when we met in pheonix.

i just wanted to say keep up the good work.

and was wondering if you could share any storys of jerry franklin.


Hi John,

Jerry Franklin was a very friendly and open guy. I met him very early in my cue making. He was very open about anything I would ask him. But to be honest, was not much. I didnt want to be that pesty kid with too many questions. When we first met and I told him I was a cue maker and he did a very funny thing (now when I look back at it). He controled the conversation by asking ME a million questions about how I did things. I was never sure if he was just blocking me from asking too many questions or just trying to size me up. Probly both.

Jerry


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PostPosted: Sat Jan 24, 2009 12:01 am 
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Murray Tucker wrote:
How do you dye your epoxy to match the wood so well? Looking at your cues I can hardly see the glue line.


In a conversation between a few famous cue makers I heard one make a cutting but funny Quib about his competition. He said: "That guy has turned glue lines into a design element".

Funny

Jerry


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PostPosted: Sat Jan 24, 2009 12:14 am 
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Hey Jerry - I just thought of a few more questions that are pretty important/close at heart to the members here....

1: What do you think of dealers? (Would you prefer to sell direct to the end user or utilize a dealer?)
2: Provided you are selling directly to an end user, how do you feel about people reselling your cues? (either at profit or loss, they both have good and bad....)

Thanks, and you can forget about calling Pharaoh68 a "good guy" because he's not. :mrgreen:

By the way, your "Texas" cue is without a doubt one of my favorites.... along with TW's "Lone Star" cue...

-Ross
wants one of these...

Image

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[pharaoh68] 11:04 am: sure!


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PostPosted: Sat Jan 24, 2009 12:46 am 
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Hello Jerry,
I used to talk to you (bother you) during the Reno tournaments at the Sands and you were always willing to chat and share your knowledge, thank you for that!
If a custom order requires about 6 months lead time, how many blanks do you have doweled and ready to create forearms? Shafts? How long do you hang shafts before final cuts? Thanks for sharing your time and thoughts with us. Patrick


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PostPosted: Sat Jan 24, 2009 10:02 am 
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Jerry:
No questions (I'm never good at these things), but a comment on your beautiful and imaginative work. One need go no further than to see your logo on the home page of your web-site to know what's in store beyond. Your work is stunningly gorgeous.
Roger


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