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Frank Allen on the left

I have moulded some knobs both plain and fluted in black and cream if you need any Ray. They would need drilling for shafts.

I have moulded some replica knobs fluted and plain in black clear and cream if of any help. They would need drilling for shafts.

Bill,

I still have the small plate (just hope I can detach it safely from the present large plate).

Only one of the six original knobs seems to be left, and it is broken

Your replicas would be just the job, but after drilling for the shaft, how would they be held in place?
The originals had a brass collar and fixing screw.

Ray

Ray
I have drilled some of these to be used as push fit a bit like the later Artists. It would be to difficult to get the brass inserts. I have the brass inserts on my black plate one. Too difficult / expensive for me to consider doing. But you are welcome to have what I've got if any use.
I have seen Eddie today and yes he can make a plate and has a template. He can get white or black material but will check to send if cream shades available. I think it would be better to discuss finer details through email or PM. For future

Bill,

That band photo is wonderfully reminiscent and redolent of that era- early '60's UK music scene (semi-pro).

Framus Star bass, Grimshaw SS and Burns Vibra artist(e)....only needs a Hofner, a Dallas tuxedo, a Futurama and a Guyatone/Antoria LG to complete the typical UK band gear lineup back then! Plus Selmer, Vox, and Watkins amps of course!

Bill, I think you'll find that Frank Allen's actually over on the far RIGHT in this shot of The Skyways. One guitarist is proudly clutching a very early Burns Artiste, this example being minus the vibrato tailpiece that Burns would soon add to transform it into the Vibra version. In fact the Burns/Skyways connection continued, because this band was chosen to help launch the revised design. In the May 28th 1960 issue of Melody Maker, an advert for the London-based Besson shop reads: “Demo June 4th - Burns Vibra Artist & Bass with The Skyways & Mr. Ormston Burns”.

Ray, to play safe I strongly suggest using your original scratchplate to construct a suitable template for Eddie Cross. Bill says Eddie already has one, but there were numerous variations on the shape (surprise, surprise!) and of course yours is off one of the earliest examples of this Burns six-string, so chances are it differs in various important little places.

dusty fretz wrote:
Ray, to play safe I strongly suggest using your original scratchplate to construct a suitable template for Eddie Cross. Bill says Eddie already has one, but there were numerous variations on the shape (surprise, surprise!) and of course yours is off one of the earliest examples of this Burns six-string, so chances are it differs in various important little places.

Huge cosine- the upper bout is longer on Ray's than Bills for a start.

I wouldn't bother Eddie Cross with this tbh- it's just 3mm 'ivory' acrylic, seems a bit of overkill to pay someone else to do it if you're at all handy- as you seem to be Ray.

RE: sourcing the stuff- I've definitely had it off Ebay in the past, but can't remember who off! The last batch I got was a little transparent, so I can definitely state that 'trent plastics' haven't got the right material.

RE: The crazed finish, regardless of what the advertising material of the time said, I'd bet it was originally finished in nitro, not polyester. Not that it matters too much if you're after the uncrazed look of course, but thought I'd mention it...As it happens I'm rebuilding one of these early ones myself at the moment and I'm going to be finishing it with nitro, then hitting it with compressed air to get the cracks on purpose!

Will is absolutely correct, the early Burns instruments were indeed finished in cellulose, NOT polyester. The latter wasn't used until 1962 and on the 'next generation' of designs, i.e. the 3-pickup Bison, Vista-Sonic, Jazz etc. That said, the advert in the Dec 19th 1959 issue of Melody Maker, announcing the original Burns 'Short Scale De-Luxe Artistes' model, states that this is finished in "New translution cherry red plastic finish. Virtually indestructable." Such a description suggests Jim had possibly opted for the then very new polyester alternative, but perhaps this proved problematic, or more likely, too expensive, so he speedily reverted to less costly cellulose, as subsequent production instruments confirm.

Paul,
You make a very good point about variations in plate size. I'll take your suggestion and have mine used as a template.

'Problematic polyester', eh? That sounds like the finish that I had.

Will,
Yes, I've made several plates in the past - perspex, trafolite, even aluminium. They all took ages to do and of course I didn't have all the tools that would be used by someone doing it full-time. In the same way I used to change the engine oil in my car because it saved a few bob. Now that I can afford some modest pleasures even in these thin and piping times, it's worth having the plate made, in the same way that it's worth having the garage change the engine oil.
Ray