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Since the name was usually on the pickguard, this meant cutting out the Burns name and gluing a piece of pickguard material engraved with the Baldwin name over it.Once the existing Burns parts were used up, the Baldwin logo was incorporated into the parts, as normal. B.66 Deluxe, Bison, Baby Bison, Hank Marvin, Jazz Split Sound, Vibraslim, Double Six (12-string) and Virginian.Spurned by Fender, Baldwin dispatched treasurer Richard Harrison to England to negotiate with Jim Burns about purchasing his floundering company.Harrison recalls that Burns was pleasant enough, but that he spent most of the next several weeks in talks with Burns’ attorney trying to sort out the terrible state of affairs at the guitarmaker.In the early ’70s he became involved with the Hayman brand, and later in the decade (when the Baldwin fiasco was long over), resuscitated the Burns name on some interesting new designs, including the Flyte and the Scorpion.
In any case, the amount didn’t matter much because, as Harrison recalls, very little cash was involved in the deal. In September ’65, Baldwin Piano and Organ took over the assets of Ormston Burns Ltd., a.k.a. Jim Burns remained on with his old company for about a year in a consulting capacity, fairly typical in this sort of deal.In the late ’50s he was part of Burns-Weill, making some of the earliest production guitars in England.In ’60 he founded his own company, Ormston Burns Ltd., which began selling guitars branded “Burns London.” Among his most endearing guitar designs were the pointy, horned Bison and a guitar made for Hank Marvin, England’s answer to the Ventures.Burns guitars were generally well designed and produced, with feather-touch vibratos, a unique “gear-box” truss rod adjuster (which ended up on many Baldwin-era Gretsches), and nifty electronic features like the “Wild Dog” setting on the Jazz Split Sound (basically an early out-of-phase tone).Since most of Burns’ guitars ended up in the Baldwin line, there’s no need to go into them at length.