>> CIVILIANS WILL WATCH THE WORK OF TWO MASTER LUTHIERS WHO MANAGED TO COMBINE OLD WORLD CRAFTSMANSHIP AND MODERN MUSIC TO CREATE THE PERFECT GUITAR, AND WE FIND OUT ABOUT THIS GENTLEMAN'S ATHLETIC TALENT AS HE EXPLORES THE LEAST IMPORTANT ASPECTS OF THE GAME OF BASKETBALL, AND CARTOONIST BRUCE HAMMOND WILL SHARE SOMETHING OF HIS LIFE AND WORK AND INTRODUCE US TO A COUPLE OF CLOSE FRIENDS.

>> WELCOME TO "CROSSROADS."

THE IMAGE MAY NOT BE THE MOST APPEALING TO A MUSIC HISTORIAN, BUT THE INVENTION OF THE GUITAR PROBABLY CONSISTED OF NOTHING MORE THAN PERIMETER ACTIVE MAN TWANGING WITH HIS TEETH AND LIKING THE SOUND.

OVER THE MILLENNIUM, SCORES OF CONTRAPTIONS HAVE INVADED OUR EVER-EVOLVING MUSICAL CULTURE, ONE OF THE MOST FASCINATING IS THE GUITAR.

IN THE 1600s THE LUTHIER WHO IS MADE THE MOST FAMOUS VIOLINS ALSO MADE THE PRECURSOR OF TODAY'S GUITAR.

UP UNTIL THE 20th CENTURY, ONLY THE SIZE CHANGED, BUT IN THE EARLY 1900s, ORVILLE GIBSON, WHO INCIDENTALLY CAME FROM NEARBY NEW YORK, TOOK THE VIOLINS ARCHED BODY AND F HOLES AND APPLIED THEM TO GUITAR DESIGN.

THE STAGE WAS SET FOR THE DEVELOPMENT OF TODAY'S JAZZ GUITAR AND IT'S ROLE AS THE INSTRUMENT OF CHOICE FOR MOST APPLICATIONS.

LATER IMPROVEMENTS BY JOHN ANJELICO, AND HIS APPRENTICE BROUGHT THE JAZZ GUITAR INTO THE ELECT ARE RICK ERA WHERE IT HOLDS COURT.

BURLINGTON'S ROGER BORYS AND CHIP WILSON ARE AMONG A HANDFUL OF MODERN LOSIERS WHO IS ADHERENCE TO THE LEGACY HAS MADE THEIR INSTRUMENTS AMONG THE MOST SOUGHT AFTER IN THE WORLD.

AS YOU ARE ABOUT TO SEE, IT TAKES MORE THAN A BOW STRING IT MAKE GOOD MUSIC.

>> THE AESTHETICS OF PERFORMANCE DICTATE TWO SENSES BE SERVED EQUALLY, FROM MUSICIANS AND INSTRUMENT-MAKERS, GOOD CRAFTSMANSHIP MUST BE HEARD AS WELL AS SEEN.

LAST APRIL MARKED THE TENTH ANNIVERSARY OF THE PERFECT UNION OF BEAUTY AND SOUND KNOWN AS BORYS GUITARS.

¦ >> THE CREATION OF MASTER LUTHIERS ROGER BORYS AND CHIP WILSON, THE BORYS GUITAR IS CONSIDERED ONE OF THE FINEST JAZZ ELECTRICS AVAILABLE TODAY.

>> IN THE OVER TEN YEARS THAT ROGER HAS BEEN DEVELOPING THE BORYS GUITARS, IT HAS REALLY BECOME THE ROLLS-ROYCE OF GUITARS DE TO THE PLAYABILITY AND THE PRESIDENT TINALITY IT HAS AND THE CARE PUT INTO THE INSTRUMENT.

>> WHAT WE HAVE DON'T IS EVOLVED THE DESIGNS THAT ARE BASED ON ACCEPTED MODELS OF GUITARS THAT WE TRY TO BUILD ON A HIGH PRIORITY LEVEL THAT THE FACTORY CAN PRODUCE.

[APPLAUSE] >> THANK YOU.

THANK YOU VERY MUCH.

>> IN THE COMPACT INDUSTRIAL LOFT THAT THEY HAVE OCCUPIED FOR THE PAST TEN YEARS, CHIP AND ROGER BEGAN THE EXACTING PROCESS OF GUITAR BUILDING WITH RAW INGREDIENTS STRAIGHT FROM VERMONT'S GREEN MOUNTAINS.

>> WHEN WE GOT OUR WOOD FROM THE LUMBERYARD, ONE OF THE FIRST THINGS WE DO IS THROW IT UP INTO THE RAFTERS AND AIR DRY THEM THE SAME WAY THAT THEY DID 300 YEARS AGO WHEN MAKING VIOLINS.

WE REALLY WANT THE BEST POSSIBLE WOOD, AND ALSO THIS WOOD IS THE MOST STABLE OF A WAY TO CUT WOOD SO THAT THE GUITAR, ITSELF, WILL REMAIN STABLE.

>> WE DO OUR PRELIMINARY ROUGH TIME ON THIS BAND SAW, WHICH IS A TEMPERAMENTAL OLD TOOL MADE IN THE 1900s, AND SOMETHING THAT YOU HAVE TO NURSE ALONG AND BE RESPECTFUL OF, TOO.

AS I PREPARE THE WOOD TO BE SAWN, I MAKE SURE THE GRAIN IS THE WAY I WANT IT AND LINE IT UP CAREFULLY.

ONCE YOU GET STARTED THERE IS NO SECOND TRY WITH SOMETHING LIKE THIS.

I CARE FOR IT EVERY INCH OF THE LINE BIT BY BIT UNTIL I HAVE CUT IT OPEN.

>> YOU TAKE ONE PIECE OF WOOD AND SAW IT IN HALF AND OPEN IT UP LIKE A BOOK, AND THAT'S CALLED A BOOK MATCH.

AND WHAT YOU HAVE IS EACH PIECE, THE LEFT AND RIGHT SIDE ARE VIRTUALLY SIDEICAL.

THEY HAD THE SAME CHARACTERISTICS.

THE GRAIN PATTERNS WILL BE THE SAME, THE STRESSES ARE THE SAME, AND ON THE GUITAR, EVERYTHING IS MADE TO BE JUST BARELY STRONG ENOUGH TO HANDLE ALL OF THE STRESSES, SO THE FACT THAT THE PARTS ARE BALANCED IS VERY IMPORTANT.

SO WE USE A BOOK MATCH GLUED TOGETHER IN THE CENTER, AND CUT IT OUT IN THE SHAPE, AND I DO THE ROUGH CARVING, AND CARVE THE MISDEMEANINSIDE OF THE GUITAR F.

>> AND AFTER I DO THIS, I WILL TAKE THIS, IT'S MUCH SMALLER AND MUCH MORE ACCURATE, AND CARVE THE GUITAR ON THE INSIDE FIRST, AND FINISH THE SOUNDS.

AFTER THE GUITAR TOP IS CARVED TO THE PROPER THICKNESS, THE NEXT JOB IS TO HIT THE INSIDE OF THE GUITAR TOP, MATCH THE CURVATURE OF THE INSIDE OF THE GUITAR TOP SO THAT YOU HAVE TO FIT THEM PERFECTLY.

A LOT OF PEOPLE DON'T KNOW THE BRACES ARE IN THE GUITAR, BUT THEY ARE VERY IS, A VERY IMPORTANT PART.

WHAT THEY DO IS DISTRIBUTE THE SOUND OF THE STRINGS, AND THE GUITAR THROUGHOUT THE TOP OF THE GUITAR, AND THAT MAKES THE BODY RESONATE.

IF YOU LOOK AT SAY A CHOIR, OR YOU HAVE CHOICES IN THE CHOIR, ALL OF OUR GUITARS ARE JAZZ TYPE OF GUITARS, BUT THEY ARE VOICED, EACH ONE HAS A VOICE IN THE CHOIR.

THE WOOD WE USE ON THE SIDE IS BOOK MATCHED THE SAME AS THE TOP AND BACK.

IT COMES FROM ONE PIECE OF WOOD, USUALLY, I WILL PICK A PAINTBRUSH WITH WATER, AND JUST WET THE SURFACE THAT I AM GOING TO BE PUTTING ON THE TOP OF THE PIPE SO IT DOESN'T BURN IT.

BASICALLY, THE WOOD DRIES.

YOU DON'T HAVE TO SOAK IT FOR DAYS OR ANYTHING.

YOU HEAT THE WOOD UP, AND YOU KEEP MOVING IT OVER THE IRON, AND THEN ALL OF A SUDDEN YOU FEEL IT START TO BE MORE FLEXIBLE.

WHEN YOU DO IT THIS WAY, IT STAYS.

>> EACH JAZZ GUITAR-MAKER HAS HIS OWN CAREFULLY GUARDED THEORY REGARDING BODY CONFIGURATIONS.

THE SHAPE OF A PARTICULAR GUITAR IS A MAJOR DETERMINANT OF BOTH BEAUTY AND TONE.

IN ORDER TO MAINTAIN ABSOLUTE UNIFORMITY AMONG THE EIGHT MODELS, BORYS EMPLOYS AN ARSENAL OF MOLDS.

THE MOLD PROVIDES BOTH FORM AND A WORKING PLATFORM ON WHICH TO COMPLETE THE WORK ON THE GUITAR SIDE.

>> BECAUSE THE SIDES ARE .32 OF AN INCH THICK.

THERE IS NOTHING THERE TO HOLD IT, SO WE TAKE A STRIP OF MAHOGANY AND PUT CUTS INTO IT, A QUARTER OF AN INCH, GLUE IT INTO THE INSIDE EDGE OF THE GUITAR, AND THAT HOLDS THE TOP ON.

AFTER THE TOP IS GLUED ON, THE LAST THING I DO BEFORE I GLUE ON THE BACK IS SIGN EACH GUITAR.

THIS IS SOMETHING THAT, YOU KNOW, YOU CAN'T GET ON THE MANUFACTURED GUITAR, AND BASICALLY, TELLS THE PERSON THAT OWNS IT THAT SOMEBODY REALLY MADE THE GUITAR.

♪ >> THE SOUND OF THE GUITAR COMES OUT OF THE BODY, AND THE TYPE OF VOICE YOU GET OUT OF THE GUITAR, BUT THE ACTUAL PHYSICAL PLAYING OF THE GUITAR IS WHERE THE NECK COMES IN.

WHEN WE MAKE THE GUITAR NECKS, WE USE MAPLE.

WE CUT A SLAT INTO THE NECK GOING ONE WAY FOR THE TRUSS RUN.

THE ROD IS 3/16 STAINLESS STEEL ROD IT'S PUT INTO THE NECK, AND ACTUALLY IT'S DEEPER IN THE CENTER OF THE ROD THAN ON EITHER END SO WHEN YOU TIGHTEN IT, IT BENDS THE NECK TO COMPENSATE FOR STRING TENSION, AND IT'S VERY IMPORTANT BECAUSE SOME PLAYERS WILL USE A HEAVY GAUGE STRING, AND OTHERS WILL USE A LIGHT GAIN STRING, AND YOU CAN COMPENSATE FOR THE AMOUNT OF STRING TENSION THAT'S ON THE GUITAR WITH THE ROD.

♪ >> EACH GUITAR HAS TO BE PERFECT FOR THE MUSICIAN TO PLAY, BUT ALONG WITH THOSE CONSIDERATIONS COME THE INDIVIDUAL COSMETIC CONSIDERATIONS, SUCH AS THE INLAYS OR THE TYPE OF FINISH.

ONE OF THE HARDEST THINGS FOR US WAS TO COME UP WITH SOMETHING THAT WAS REALLY DISTINCTIVELY OUR OWN, SO THAT'S WHY I STARTED MANIPULATING VARIOUS TYPES OF MATERIALS AND TRYING TO GET VARIOUS COMBINATIONS OF THINGS TO GET A BORYS LOOK.

I TAKE THE RAW MATERIALS FOR THE INLAYS, FOR THE PEARL, AND ABALONE, AND A LITTLE EBONY STRIPS THAT I HAVE MADE UP, AND USING THE SUPER GLUE, AND A PIECE OF PAPER, TO HOLD EACH INDIVIDUAL PIECE, I SLOWLY WIND THEM UP SO THAT THEY ARE, ACTUALLY, A LITTLE OVERSIZED, AND THEN I WILL THEN TRIM IT DOWN TO EXACTLY THE SIZE THAT IT HAS GOT TO BE.

FROM THERE, I GLUE IN USING AN A EPOXY, INDIVIDUALLY MADE INLAYS FOR EACH POSITION ON THE NECK, AND LET IT SIT FOR 24 HOURS.

>> WITH MOST OF THE NECK AND BODY WORK OUT OF THE WAY, THE TWO MAJOR INSTRUMENT SECTIONS CAN NOW BE JOINED.

THE PROCESS OFFERS YET ANOTHER GLIMPSE INTO THE UNCOMPROMISING BORYS WORK ETHIC.

>> ONE OF THE BIG DIFFERENCES BETWEEN A MANUFACTURED GUITAR AND A GUITAR MADE IN THE SHOP LIKE THIS IS THE WAY THAT THE NECK IS ATTACHED.

>> THE WAY I PUT THE NECK ON AND GLUE THEM IN IS SORT OF A TRADITIONAL WAY OF DOING IT.

>> THIS IS A TEMPLATE, AND I MARK WHERE I AM GOING TO CUT THE DOVETAIL INTO THE GUITAR BODY.

AND THEN I USE A HAND SAW AND I CUT THE SIDES OF THE SLOT.

I TAKE CHISELS AND A STRAIGHT EDGE AND REMOVE MOST OF THE WOOD IN THE SLOT.

AFTER I HAD THE MORTIS CUT OUT AND THE SURFACES ARE STRAIGHT AND FLAT AND THE ANGLES ARE PROPER, I TAKE THE NECK, AND I FIT THE NECK INTO THE MORTIS, AND I HAVE TO, BASICALLY, FIT IT IN THERE AND ROCK IT BACK AND FORTH AND UP AND DOWN AND SEE WHERE IT IS MAKING CONTACT AND WHERE IT IS NOT.

YOU CAN SEE THE NEAREST SHIMS TO PUT ON ONE OR BOTH SIDES OF THE DOVETAIL, ITSELF.

WHEN YOU PUSH IT IN, WITHOUT ANY GLUE, YOU CANNOT GET IT ALL THE WAY DOWN.

WHAT YOU ARE TRYING TO ACHIEVE IS HAVING THE NECK AND THE BODY OF THE GUITAR BE AS CLOSE TO BEING ONE THING AS THEY CAN BE WITHOUT HAVING A LOT OF EXTRA AIR SPACES AND HOLES, AND YOU WANT A TIGHT, SOLID CONTACT.

WHAT YOU END UP HAVING IS SUCH A GOOD CONTACT THAT THE WOOD SURFACE IS TOUCHING AND IT IS PREDICTION IS REALLY WHAT HOLDS THE NECK ON, AND YOU DO PUT GLUE ON IT, AND IT'S GLUED TOGETHER, BUT THE GLUE REALLY DOESN'T -- ISN'T WHAT HOLDS THE NECK ON.

YOU DON'T REALLY RELY ON THE GLUE FOR KEEPING THE NECK FROM COMING OFF.

IT'S THE CONTACT FROM THE SURFACES, THE SQUARE INCHES OF THE SURFACES THAT ARE MESHED TOGETHER, AND THE DOVETAIL, ITSELF, IS A FUNCTIONAL JOINT THAT HOLDS THINGS TOGETHER.

AFTER THE NECK IS GLUED ON, IN TERMS OF SANDING THE BODY, YOU START WITH SORT OF A MEDIAN COURSE GRIT SAND PAPER.

THE FIRST SANDING LEVELS EVERYTHING AND THE SECOND AND THIRD SANDING ALL REDUCE THE SURFACE DOWN TO A SMOOTHER SURFACE, SO THE LACQUER WILL STICK TO IT.

IT TAKES ABOUT A WEEK OR SEVEN WORKING DAYS TO SPRAY ALL THE FINISH ON, AND IT TAKES ABOUT THREE WEEKS FOR THE FINISH TO HARDEN UP.

>> THE ACTUAL PROCESS OF LACQUERING AND TINTING IS A WELL CALCULATED AND LENGTHY ONE.

IN ALL, 18 COATS WILL BE APPLIED WITHIN THE SPAN OF A WEEK OR MORE.

ACCORDING TO THE WISHES OF THE BUYER, CHIP AND ROGER APPLY A CLEAR NITRO CELLULOSE SEALER SPRAY OR A WOOD TINT TO ENHANCE THE GRAIN OF THE BOOK MATCH GUITAR.

AFTER THE WET SANDING PROCESS, I BUFFED THE GUITAR OUT ON AN INDUSTRIAL BUFFER THAT GOES ABOUT 800 RPMs, AND USING A COMBINATION OF AN ABRASIVE POLISH AND A WAX POLISH, I ULTIMATELY BRING THE GUITAR TO A HIGH GLOSS.

>> AFTER THE GUITAR IS ALL BUFFED, THE FINISH IS CURED, THE NEXT PROCESS IS LITERALLY STRINGING UP THE GUITAR AND SETTING IT AND ADJUSTING IT FOR THE PLAYER.

GENERALLY WHAT WE DO IS WE WILL STRING THE GUITAR UP AND LEAVE IT STRUNG FOR A WEEK TO TWO WEEKS BECAUSE THERE IS A LOT OF STRESSES IN THE GUITAR, AND WHEN YOU FIRST PUT THE STRINGS ON IT, IT TAKES A WHILE FOR EVERYTHING TO BALANCE OUT.

FROM THERE, WE HAVE TO EVALUATE THE INSTRUMENT AND SEE WHAT WE HAVE, SO I SIT DOWN WITH THE INSTRUMENT, AND I PLAY ALL TYPES OF THINGS ON IT, AND MAKE SURE THAT EVERYTHING IS ABSOLUTELY IN TUNE.

WHEN WE SEND THE INSTRUMENTS OUT THE OWNER WANTS TO TAKE IT OUT OF THE CASE AND PICK IT UP AND JUST PLAY IT AND HAVE IT BE PERFECT.

>> YOU ARE CERTAINLY ALL FAMILIAR WITH THE BASKETBALL LEGEND KNOWN AS DOCTOR JAY, BUT HAVE YOU HEARD OF THAT UNSUNG HOOP HERO FROM COLCHESTER, VERMONT, MR.

D.?

IT WAS ONLY A MATTER OF TIME UNTIL OUR SPORTS SCENE CRITIC JIM DONNED COURT DAINTIES AND LAUNCHED INTO A REVIEW OF HIS FAVORITE ATHLETIC PAST TIME.

♪ ANOTHER JIM D. FLIPPY AUTOGRAPH MODEL.

THE HALL OF FAME BUGS FOR ONE OF THOSE FROM TIME TO TIME.

I DID A SPOT LAST YEAR ON HOW TO LOOK GOOD WHILE CHOPPING WOOD.

THE VIEWER RESPONSE WAS PHENOMENAL.

THERE WERE NO NEGATIVE LESSER AT ALL.

THERE WERE NO LETTERS.

SO THIS YEAR, I DECIDED TO DO ONE ON HOW TO LOOK GOOD WHILE PLAYING BASKETBALL.

THE FIRST RULE IS A VERY IMPORTANT ONE, WHEN YOU ARE OUT THERE ON THE COURT, AT ALL TIMES, YOU MUST BE AWARE OF THE RELATIONSHIP BETWEEN YOU AND THE BASKET.

LET ME TELL YOU A TRUE STORY TO ILLUSTRATE THAT POINT.

I WAS IN A GAME IN THE AIR FORCE.

I STOLE THE BALL AT HALF COURT, AND I AM GOING IN FOR AN UNCONTESTED LAYUP.

THE TROUBLE IS, I AM ONE OF THESE GUYS WHO HAVE TO LOOK AT THE BASKETBALL WHILE I AM DRIBBLING, SO I AM DRIBBLING DOWN THE COURT ALL BY MYSELF, AND I TAKE THE BALL, GO IN FOR THE LAYUP, AND I AM IN THE LOBBY, SO REMEMBER, ALWAYS KNOW THE RELATIONSHIP BETWEEN YOU AND THE BASKET.

THE NEXT TRICK IS ONE USED BY EVERY SCHOOLYARD PLAYER EVER TO SUIT UP.

LET'S SAY THAT YOU MISS A SHOT.

IF A SHOT YOU -- IT'S A SHOT YOU MISS ALL THE TIME.

THE TRICK IS TO CONVINCE THE FANS THAT YOU USUALLY MAKE THAT SHOT.

SO WHAT YOU DO IS YOU LOOK AT DISBELIEF THAT YOU MISSED IT.

YOU MIGHT WANT TO START CUSSING TO YOURSELF AS YOU WALK DOWN THE COURT.

YOU MIGHT EVEN WANT TO CALL TIMEOUT AND HAVE THE REF MEASURE THE HEIGHT OF THAT HOOP.

THE NEXT THING THAT YOU WILL.

TO DO IS DEVELOP A SIGNATURE MOVE THAT'S UNIQUELY YOUR OWN.

ALL OF THE GREAT ONES HAVE IT.

KAREEM ABDUL JABAR HAS THE SKY HOOK.

MICHAEL JORDAN HAS THE FANTASTIC DUNKS.

I, TOO, HAVE DEVELOPED A SIGNATURE MOVE, AND I WILL SHARE IT FOR YOU NOW.

IT'S NOT ACTUALLY A SHOT, BUT IT'S AN OUT OF BOUNDS PLAY.

LET'S SAY THAT THERE IS A GUY HERE ON THE OTHER TEAM, AND WE BOTH HIT THE BALL OUT OF BOUNDS.

AND YOU ARE TRYING TO CONVINCE THE REF THAT IT WAS OFF HIM.

HERE'S WHAT I DO.

NOW, DID YOU NOTICE THAT?

IT WENT BY PRETTY QUICK SO LET ME RUN IT AGAIN IN SLOW MOTION.

THE BALL GETS KNOCKED OUT OF BOUNDS.

YOU TAKE A STEP, AND YOU REALIZE YOU WON'T BE ABLE TO CATCH IT, SO YOU JUMP BACK, AND OKAY.

LET'S BREAK THE MOVE DOWN INTO ITS ELEMENTS.

THE HANDS AND WRISTS ARE PULLED AWAY FROM THE BALL.

THE KNEES ARE LOCKED TOGETHER AS IF YOU FORGOT TO GO TO THE BATHROOM.

THE FACE IS A COMBINATION BEGGING AND PLEADING LOOK AT THE REF, AS IF TO SAY, IT WAS NOT OFF ME.

NOW, YOU MAY BE WONDERING WHAT DO FACES HAVE TO DO WITH THE BEING A GREAT BASKETBALL PLAYER?

YOU HAVE TO DEVELOP A GAME FACE.

ALL OF THE GREAT PLAYERS HAVE IT.

MICHAEL JORDAN.

ISAIAH THOMAS.

AND, OF COURSE, THE GREAT LARRY BYRD.

THE BALLPLAYERS ALSO LIKE TO POSE FOR ACTION SHOTS SO THAT THEY CAN HAVE POSTERS IN THE SPORTS STORES.

I AM THINKING OF COMING OUT WITH ONE IN THE NEXT SEASON, AND THOSE OF YOU WHO HAVE BEEN FOLLOWING MY CAREER KNOW THAT I ALMOST NEVER STEP ONTO THE BASKETBALL COURT WITHOUT BREAKING MY FOOT, SO MY ACTION PHOTO IS GOING TO LOOK LIKE THIS.

FINALLY, ONE LAST HINT ON HOW TO LOOK GOOD IN THE BASKETBALL COURT.

IT'S SOMETHING THAT THE OLD TIMERS USE, WHEN YOU SHOOT THE BALL, YOU SHOUT OUT THE NAME OF A GREAT BASKETBALL PLAYER OF THE PAST, ALMOST LIKE IT'S ON THE PAVEMENT SYSTEM.

OLD TIMERS GENERALLY SHOUT OUT, WHO, AFTER BOB KOOSY, A BOSTON CELTIC.

I AM A NEW YORK NICK FAN SO I USUALLY USE THE NAME OF HAWTHORNE WINGO, A GREAT ONE FROM THE PAST.

LIKE THIS, WINGO!

LET ME HAVE ANOTHER SHOT.

LET ME HAVE ONE MORE SHOT.

I THINK THE SUN GOT IN MY EYES.

IT MUST HAVE BEEN THE WIND.

GIVE ME ONE MORE SHOT, ONE MORE TAKE.

>> FOR MORE CLASSIC PROGRAMS, VISIT VERMONTPBS.ORG/FROMTHEAR