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Primary menu skip to date! He was to sell back his interests and receive royalties, and then represent the company out west, but none of this seems to have happened. Introduced in , early models featured the trademark "tuning fork head" aluminum -reinforced necks with a fretboard made of Ebonol —material similar to one used in bowling ball production.
Other features of the necks included aluminum dots, and a zero fret. Gary Kramer's inserts, set in epoxy , were usually walnut or maple.
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The bodies were usually made of high grade Walnut or Maple, with the earliest instruments made of exotic tonewoods including Koa , Afromosia , Swietenia , Shedua , and Bubinga. The hardware was also from a known quality brand: Schaller tuning keys and bridges ; Schaller and DiMarzio pickups ; custom-made strap pins; aluminum cavity covers. Kramer's "alumi-neck" line lasted roughly until Generally, the ratio of basses to guitars produced was about 4: By , Kramer had the tools, and the experience, to take guitar mass production to a new level. Switching to wooden-necked instruments both held the promise of keeping production costs low as well as being able to appeal to traditionally-minded guitar players.
Kramer first released wooden-necked guitars in late , following Charvel 's lead on producing instruments that essentially copied the stratocaster headstock shape from Fender , in violation of Fender's US trademark and design patent. After only a thousand or so instruments were built, in May , Kramer received a cease and desist order from Fender to halt the production of strathead guitars. The earliest beak guitars were in fact stratheads with a lopped off headstock; these can be identified by prominent sanding marks on the curve of the headstock.
Wooden-necked instruments represented Kramer's first foray into offshoring the production of guitar components to Eastern Asia. Tuning keys and vintage fulcrum tremolos were made by Gotoh in Japan, while the necks were made by Japan's ESP Guitars and shipped to New Jersey for fretting and finishing. Kramer executives saw that the guitar techniques of the early s demanded a high-performance tremolo system.
Kramer partnered with a German inventor named Helmut Rockinger , and installed his bulky tremolos, precursors to Floyd Rose systems, on its instruments. A chance encounter between Dennis Berardi and Eddie Van Halen 's managers on an airplane flight set the foundation for Kramer's meteoric rise in the s. Eddie was interested in a tremolo that stayed in tune, which the Rockinger system offered. At the meeting, he reportedly quipped that he would help make Kramer the " 1 guitar company in the world. In addition, Kramer once again offered Schaller tuners on their guitars, tapping Schaller to produce Floyd Rose tremolos as well.
Kramer was the only guitar company offering Original Floyd Rose tremolos stock on their production guitars, a competitive advantage of Kramer over other guitar manufacturers of the period. In late Kramer switched from the "beak" headstock design to the Gibson Explorer-like "banana" headstock design. This distinctive look also helped rank Kramer highly with guitar enthusiasts.
One notable Kramer guitar was the Baretta model, which was a single- humbucker instrument similar to guitars Eddie Van Halen used on stage. The Kramer Baretta was the flagship of the Kramer line and helped popularize the single-pickup s superstrat guitar design. By late Kramer began installing Seymour Duncan pickups in its guitars, in preference to the more vintage-sounding Schaller pickups.
When the sales figures came in, Kramer was the best-selling guitar brand of Schaller tuners, Floyd Rose tremolos, Seymour Duncan pickups and exciting graphics by talented factory artists such as Dennis Kline helped propel Kramer to become the best-selling guitar brand of