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Going back to the posted topic, I'd have thought that the image of the Burns company's product that has formed most within the guitar market is not that of the Marvin / Shadows Bass and not even that of the Double Six. It is centred around all those intermediate models (later than the original Sonic and Artist) such as the Vista Sonic, the Split Sound (6-string) Bass, the Jazz Split Sound and the Jazz (short-scale) and even the Nu-Sonic, plus the bass versions. These are the guitars which have circulated around the secondhand market since the mid-1960s and which are most familiar to players, even now. I suppose one could add the (original type of) Bison, pre-Rez-o-Tube. Most potential buyers don't even know the model names from that period, but they recognise the guitars.

Of course, the snag is that anything approaching the status of a reissue of these models would need a bespoke reverse-engineered version of the bridge/tremolo system, though perhaps just one type could be fitted to all except the Nu-Sonic. Wimping out and fitting something clearly derived from the Stratocaster unit (no matter whether operated via the fulcrum screws or a version of the knife-edge) just would not cut it.

Everyone who really wants a Marvin either has one or could get one. Burns have already re-made the Jazz Split Sound body shape and neck. It's only the bridge that needs to be rediscovered.

I wonder if Burns guitars have a continuing attraction beyond the Shadows world. I hope I don’t offend fans, but even in 1964 the design felt dated to me, like Elvis Presley‘s white sequined suits. The scroll head did not help.

Hi Andres,
I tend to agree with you about the burns and the head stock i have a Burns marquee which is very similar to the Fender Stratocaster in shape but the contours
of the body are not as sleek as the Fender and it feels more bulky even though it plays really good, I remember reading a quote from Keith Richards of the
Rolling Stones Saying the Stratocaster was as strong as a mule , as sleek as a race horse and the body of a beautiful woman, well put in that context the
Fender in my eyes would be a trim size 8 and the burns a 10/12 ( is that a sexist comment now )

Chris.

JimN wrote:...... Everyone who really wants a Marvin either has one or could get one. .........

The same could be said of the Strat, Tele, Les Paul etc. The market is flooded with them, but still the new ones sell. It's all down to marketing to my mind: The new owners need to make them appealing to new, younger players - get them into the hands of some indie bands with some "street cred" (whatever that may be!). Sadly though, I don't see any evidence of that happening, in which case it's all down to ageing Shadows fans, and the statement above then becomes a harsh reality. I really think the best days of Burns are in the past, but would love to be proved wrong .

abstamaria wrote:I wonder if Burns guitars have a continuing attraction beyond the Shadows world. I hope I don’t offend fans, but even in 1964 the design felt dated to me, like Elvis Presley‘s white sequined suits. The scroll head did not help.

I'm a big fan of the Marvin design (and it's derivatives Apache; Dream etc) and I'm certainly not offended . For the longest time, I really didn't like the Marvin design - I thought it over fussy, cumbersome, and hated the headstock. Once I bought one however, (an Apache Anniversary edition), my views started to change and I now rarely play my Strat. I even love the headstock - so much more character that the conventional Fender designs. I think it's just that we're so accustomed to the "standard" guitar designs (be it Fender; Gibson etc) that anything else can look a little odd. It also doesn't help that the Fender Strat is such an all round great design to start with. I think the new owners have a hill to climb if they're to make the brand attractive to the mainstream player and I suspect the brand will simply continue with the current budget priced Chinese models going forward. Nothing wrong with those guitars of course, but it just seems a shame give Burns history (as so neatly outlined by JimN in his earlier post).

Cliff

I only started playing the music of The Shadows just over a year ago but I had been playing guitar for many years and I already had a couple of Stratocasters (but that didn’t stop me from buying more!). Chatting with a guitarist friend around that time he asked if I would be getting a Burns and inspired by something I'd heard on The Simpsons I replied along the lines of “no way, they are as ugly as the southern end of a north-bound mule”.

But that simple exchange had sowed the seed and within a couple of weeks I found a 2004 anniversary model on a well known auction site being sold supposedly as unplayed and with all of the original case-candy including most importantly the certificate of authenticity. And sure enough that’s exactly how it appeared when I received it. The cellophane was still on the plastic parts and the fretboard had no signs of being played.

I had to do a complete set-up on it but it now plays like a dream. I’m still not a fan of the looks but it is great to play and I particularly like the neck.

I bought the Burns from what was described as an “audio” shop and I later found what appeared to be the same guitar being sold from an auction house (in Bath) that specialises in musical equipment in 2018.

I don’t know how many previous owners my Burns has had but being unplayed I can only assume people were buying it as an investment. That is not the case with me. Guitars are for playing!

Teflon wrote:It's all down to marketing to my mind: The new owners need to make them appealing to new, younger players - get them into the hands of some indie bands with some "street cred" (whatever that may be!). Sadly though, I don't see any evidence of that happening, in which case it's all down to ageing Shadows fans, and the statement above then becomes a harsh reality. I really think the best days of Burns are in the past, but would love to be proved wrong
… Cliff

I agree with Cliff’s assessment. As I said earlier in this thread, the maker of a new instrument would have to come up with a feature that made people shopping today want to buy it. The last successful band with “cred” (in its day) that used Burns guitars - to my knowledge - was Orange Juice, formerly known as the Nu-Sonics! In the clip below we see their lead singer Edwyn Collins, by now a solo artiste, and his bass player using what look like Shads instruments. What great sounds they get! But this is 1994, 29 long years ago. Subsequent performances by them to this day have featured other guitars,

A new video from Anderton's - Looks like a 2024 launch!

https://www.youtube.com/watch?v=_hOhMwSYB74