This reminds me of a bit from that upcoming Tina Fey movie where she has someone carry her baby cause she isn't fertile. In the trailer a mom grabs her kid and asks him is that chocolate or poop and then licks his arm and smiles and say chocolate. Tina Fey then asks what if it had been poop and then they cut to the next scene of the trailer.
Rob
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Freakzilla
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Freakzilla
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Freakzilla
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Freakzilla
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Ibanez has been around longer than me...
But it's a 1986 Kramer Baretta American:
The Kramer Baretta
This page is designed to help you identify and/or better distinguish between different era models of Barettas. We go into many details on this page that cross model lines for Kramer, but the Baretta is a good basis to start off with when identifying mid-80's Kramers. Please take all the information with a grain of salt below, Kramer is notorious for not having many standards so many options vary from each era of Baretta. Email us if you have a questions about your particular Baretta. The Baretta is truly the guitar that defines the Kramer brand, and is probably the most recognizable model name throughout the Kramer model line. Many people refer to Kramer models as Barettas that are Pacers, etc, but a Baretta is generally known as "that single pickup guitar."
One of the most, if not THE most sought after Kramer, the Baretta is probably one of the most underated guitars that influenced rock history. The Baretta was introduced sometime in 1983 when Kramer wanted an Edde Van Halen signature model. Edward had made many homemade guitars before endorsing a Kramer, and his influence when making those guitars governed the look of what would be the Baretta. It should also be noted that, down the line in the history of all electric guitars, Edward Van Halen's influence is vastly misunderstood and unknown to the industry. Without the Baretta, Floyd Rose, Banana or "Hockey Stick" headstock, slanted pickup (which later led to F-spacing in pickups), and many of the other innovations that Kramer and Edward came up with, the industry as WE KNOW IT would not exist today.
The original Frankenstrat (shown above) was original a single pickup, Boogie Body and what was thought to be a Charvel neck, although it was seen early on with a large headstock Fender Strat type neck. Ed had painted this body himself with black and white stripes, added the pickguard, and used an old Gibson PAF pickup from a 50's Les Paul, and modified with additional windings. Additionally, Ed only used a volume knob, he didn't feel Tone knobs were very important (as do many guitarists), and this design started the original influence for the Kramer Baretta. Later on, this white and black guitar became the Frankenstrat, after Ed cut down the pickguard, added a single coil pickup that wasn't wired in, and added some other character elements that made this guitar truly one of a kind (see picture - right). After the Floyd Rose tremolo was added in the early 80's, it became necessary to tilt the humbucker to make the pole pieces better line up with the tremolo. It was this move to slant the pickup that influenced Kramer in the pickup design for the Baretta. Why all the explanation of his black/white original Frankenstrat? That guitar influenced the Baretta heavily in addition to many other models in the Kramer line.
One other fact is that before Kramer had designed and introduced the first Baretta, Edward wanted a signature model from Kramer that was identical to his Frankenstrat. He was adamant that every detail be exact down to the year of the quarter being installed behind the tremolo. After Kramer realized they couldn't mass produce in essense what was a "peice of crap" looks wise and detail wise for a reasonable price, they opted for the Baretta. Interestingly enough, Eddie's endorsement deal with Fender/Charvel may actually lead to an exact Frankenstrat copy from the Fender Custom Shop. The price of these has not been officially set, but there are rumblings that these could go anywhere from $5k-15k retail for these collector peice instruments. However, you will probably still be able to create you own that is just as exact if you do your research.
Eddie never endorsed the Baretta in terms of playing it on stage, his 5150 was the closest thing to a Baretta that he ever played (unless you count the Kramer Ripley).
The items discussed on this page can related to other models in the Kramer line, so some items in here may not be exclusive features to the Baretta only.
Kramer Baretta - 1983
In 1983, after discussions with Edward were completed on his signature model, the Kramer Baretta was introduced. These Baretta's are considered to be the "Holy Grail" not only within the Baretta realm, but also within the entire Kramer line. This model was what really got Kramer cookin in terms of guitars en masse'. The guitar features a non-angled headstock, larger in nature compared to the later models that featured the angled banana head. The headsstock itself was modeled closely after an Ibanez Destroyer. The headstock has a funny story in that it was invented when the boys at the Kramer factory (Paul Unkert) developed a Destroyer "like" guitar one fateful evening. You can read more about this within former Kramer employee Steve Z's story, in addition to checking out some photos from the fateful evening. However, the guitar that surfaced out of that evening was the Kramer Ad Franky, a close twin of the original Frankenstrat. The "Ad Franky" headstock is slightly different shaped than a Destroyer and the production run Baretta, however, the 1983 Baretta head is almost identical to the Ibanez design.
The guitar has standard Baretta features; Original Floyd Rose, Reverse Zebra Schaller Humbucker (Golden 50), Gotoh 90 degree tuners, and many that have been witnessed have maple bodies so they tend to be heavy, but Poplar has been witnessed as a wood type too. It has been said by a few former employees that around 250 or less of these models were produced in 1983 and 1984 before the move to the angled headstock. They were offered in Black, White, and Creme and featured ONLY Rosewood fretboards. Some say there were maple board 1983 Barettas, however, it has been researched by an experienced Kramer collector (Mike Mojabi - www.kramermaniaxe.com) that none of those were production run Barettas. Those that are out there are mostly transition necks between the non-angled and angled era, or possibly early prototype runs.
If the headstock is not oversized and is non-angled, then typically it is considered to be a transition necked Baretta, or an overseas produced instrument. The neck itself was produced by ESP just like the majority of the classic head necks, and featured an oil finish. It must be noted as well, the 1983/1984 Baretta was the only guitar in the Kramer line to use this larger type of non-angled headstock. Another interesting note about these headstocks, they match the ESP George Lynch signature guitar headstocks perfectly on the models that feature banana headstocks (even though they are of a reverse design). ESP sold similiar headstocks on replacement necks around the same timeframe, but they tend to be a ad different in shape compared to the production run Barettas. They also have finishes on them generally, the Baretta necks DO NOT HAVE A FINISH.
The bodies around this era were constructed by Sports in Connecticut, a sporting goods maker that produced items such as duck decoys and baseball bats. The bodies were of the smaller type, which will be explained later within this page. Additionally, these early Baretta bodies will have interesting characteristics like a small route in the backside trem cavity for better spring movement, along with a sharp arm scarf. 1983/1984 non-angled Barettas existed within the C3000-C5000 range.Neckplates were of a standard Strat sized design. The Floyd Rose on early Barettas had more of a "flat" black finish than later models which were more glossy.
Identifying Characteristics
Neck Oil Finished, large non-angled banana headstock, ESP construction, R5 nut width (1 3/4"), rosewood fretboard only
Body Poplar or Maple, Sports construction, sharp arm scarf, extra spring route in back cavity, truss rod notch
Tuners Black, Gotoh 90 degree tab tuners
Floyd Rose Early Flat black finish, older style retainer bar (rounded), R5 nut
Pickup Schaller Reverse Zebra Golden 50 Humbucker (non trem spaced)
Neckplate and Serial Range Serial Range C3000-C5000, Strat spaced neckplate layout, black neckplate.
Hardware and Finishes All black hardware, Schaller Strap locks, Black Barrel output jack.
http://vintagekramer.com/baretta1.htm
But it's a 1986 Kramer Baretta American:
The Kramer Baretta
This page is designed to help you identify and/or better distinguish between different era models of Barettas. We go into many details on this page that cross model lines for Kramer, but the Baretta is a good basis to start off with when identifying mid-80's Kramers. Please take all the information with a grain of salt below, Kramer is notorious for not having many standards so many options vary from each era of Baretta. Email us if you have a questions about your particular Baretta. The Baretta is truly the guitar that defines the Kramer brand, and is probably the most recognizable model name throughout the Kramer model line. Many people refer to Kramer models as Barettas that are Pacers, etc, but a Baretta is generally known as "that single pickup guitar."
One of the most, if not THE most sought after Kramer, the Baretta is probably one of the most underated guitars that influenced rock history. The Baretta was introduced sometime in 1983 when Kramer wanted an Edde Van Halen signature model. Edward had made many homemade guitars before endorsing a Kramer, and his influence when making those guitars governed the look of what would be the Baretta. It should also be noted that, down the line in the history of all electric guitars, Edward Van Halen's influence is vastly misunderstood and unknown to the industry. Without the Baretta, Floyd Rose, Banana or "Hockey Stick" headstock, slanted pickup (which later led to F-spacing in pickups), and many of the other innovations that Kramer and Edward came up with, the industry as WE KNOW IT would not exist today.
The original Frankenstrat (shown above) was original a single pickup, Boogie Body and what was thought to be a Charvel neck, although it was seen early on with a large headstock Fender Strat type neck. Ed had painted this body himself with black and white stripes, added the pickguard, and used an old Gibson PAF pickup from a 50's Les Paul, and modified with additional windings. Additionally, Ed only used a volume knob, he didn't feel Tone knobs were very important (as do many guitarists), and this design started the original influence for the Kramer Baretta. Later on, this white and black guitar became the Frankenstrat, after Ed cut down the pickguard, added a single coil pickup that wasn't wired in, and added some other character elements that made this guitar truly one of a kind (see picture - right). After the Floyd Rose tremolo was added in the early 80's, it became necessary to tilt the humbucker to make the pole pieces better line up with the tremolo. It was this move to slant the pickup that influenced Kramer in the pickup design for the Baretta. Why all the explanation of his black/white original Frankenstrat? That guitar influenced the Baretta heavily in addition to many other models in the Kramer line.
One other fact is that before Kramer had designed and introduced the first Baretta, Edward wanted a signature model from Kramer that was identical to his Frankenstrat. He was adamant that every detail be exact down to the year of the quarter being installed behind the tremolo. After Kramer realized they couldn't mass produce in essense what was a "peice of crap" looks wise and detail wise for a reasonable price, they opted for the Baretta. Interestingly enough, Eddie's endorsement deal with Fender/Charvel may actually lead to an exact Frankenstrat copy from the Fender Custom Shop. The price of these has not been officially set, but there are rumblings that these could go anywhere from $5k-15k retail for these collector peice instruments. However, you will probably still be able to create you own that is just as exact if you do your research.
Eddie never endorsed the Baretta in terms of playing it on stage, his 5150 was the closest thing to a Baretta that he ever played (unless you count the Kramer Ripley).
The items discussed on this page can related to other models in the Kramer line, so some items in here may not be exclusive features to the Baretta only.
Kramer Baretta - 1983
In 1983, after discussions with Edward were completed on his signature model, the Kramer Baretta was introduced. These Baretta's are considered to be the "Holy Grail" not only within the Baretta realm, but also within the entire Kramer line. This model was what really got Kramer cookin in terms of guitars en masse'. The guitar features a non-angled headstock, larger in nature compared to the later models that featured the angled banana head. The headsstock itself was modeled closely after an Ibanez Destroyer. The headstock has a funny story in that it was invented when the boys at the Kramer factory (Paul Unkert) developed a Destroyer "like" guitar one fateful evening. You can read more about this within former Kramer employee Steve Z's story, in addition to checking out some photos from the fateful evening. However, the guitar that surfaced out of that evening was the Kramer Ad Franky, a close twin of the original Frankenstrat. The "Ad Franky" headstock is slightly different shaped than a Destroyer and the production run Baretta, however, the 1983 Baretta head is almost identical to the Ibanez design.
The guitar has standard Baretta features; Original Floyd Rose, Reverse Zebra Schaller Humbucker (Golden 50), Gotoh 90 degree tuners, and many that have been witnessed have maple bodies so they tend to be heavy, but Poplar has been witnessed as a wood type too. It has been said by a few former employees that around 250 or less of these models were produced in 1983 and 1984 before the move to the angled headstock. They were offered in Black, White, and Creme and featured ONLY Rosewood fretboards. Some say there were maple board 1983 Barettas, however, it has been researched by an experienced Kramer collector (Mike Mojabi - www.kramermaniaxe.com) that none of those were production run Barettas. Those that are out there are mostly transition necks between the non-angled and angled era, or possibly early prototype runs.
If the headstock is not oversized and is non-angled, then typically it is considered to be a transition necked Baretta, or an overseas produced instrument. The neck itself was produced by ESP just like the majority of the classic head necks, and featured an oil finish. It must be noted as well, the 1983/1984 Baretta was the only guitar in the Kramer line to use this larger type of non-angled headstock. Another interesting note about these headstocks, they match the ESP George Lynch signature guitar headstocks perfectly on the models that feature banana headstocks (even though they are of a reverse design). ESP sold similiar headstocks on replacement necks around the same timeframe, but they tend to be a ad different in shape compared to the production run Barettas. They also have finishes on them generally, the Baretta necks DO NOT HAVE A FINISH.
The bodies around this era were constructed by Sports in Connecticut, a sporting goods maker that produced items such as duck decoys and baseball bats. The bodies were of the smaller type, which will be explained later within this page. Additionally, these early Baretta bodies will have interesting characteristics like a small route in the backside trem cavity for better spring movement, along with a sharp arm scarf. 1983/1984 non-angled Barettas existed within the C3000-C5000 range.Neckplates were of a standard Strat sized design. The Floyd Rose on early Barettas had more of a "flat" black finish than later models which were more glossy.
Identifying Characteristics
Neck Oil Finished, large non-angled banana headstock, ESP construction, R5 nut width (1 3/4"), rosewood fretboard only
Body Poplar or Maple, Sports construction, sharp arm scarf, extra spring route in back cavity, truss rod notch
Tuners Black, Gotoh 90 degree tab tuners
Floyd Rose Early Flat black finish, older style retainer bar (rounded), R5 nut
Pickup Schaller Reverse Zebra Golden 50 Humbucker (non trem spaced)
Neckplate and Serial Range Serial Range C3000-C5000, Strat spaced neckplate layout, black neckplate.
Hardware and Finishes All black hardware, Schaller Strap locks, Black Barrel output jack.
http://vintagekramer.com/baretta1.htm
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Freakzilla
- Lead Singer and Driver of the Winnebego
- Posts: 18449
- Joined: 05 Feb 2008 01:27
- Location: Atlanta, Georgia, USA
- Contact:
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orald
- Posts: 3010
- Joined: 28 Feb 2008 14:48
- Location: Maximum Security Mental Hospital
OMG. This is the longest article I've ever seen regarding a piece of metal and plastic.Freakzilla wrote:Ibanez has been around longer than me...
But it's a 1986 Kramer Baretta American:
The Kramer Baretta
This page is designed to help you identify and/or better distinguish between different era models of Barettas. We go into many details on this page that cross model lines for Kramer, but the Baretta is a good basis to start off with when identifying mid-80's Kramers. Please take all the information with a grain of salt below, Kramer is notorious for not having many standards so many babble options vary from each era of Baretta. Email us if you have a questions about your particular Baretta. The Baretta is truly the guitar that defines the Kramer brand, and is probably the most recognizable model name throughout the Kramer model line babble. Many people refer to Kramer models as Barettas that are Pacers, etc, but a Baretta is generally known as "that single pickup guitar."
One of the most, if not THE most sought after Kramer, the Baretta is probably one of the most babble underated guitars that influenced rock history. The Baretta was introduced sometime in 1983 when Kramer wanted an Edde Van Halen signature model. Edward had made many homemade guitars before endorsing a Kramer, and his influence when making those guitars governed the look of what would be the Baretta. It should also be noted that, down the line in the history of babble all electric guitars, Edward Van Halen's influence is vastly misunderstood and unknown to the industry. Without the Baretta, Floyd Rose, Banana or "Hockey Stick" headstock, slanted pickup (which later led to F-spacing in pickups), and many of the other innovations that Kramer and Edward came up with, the industry as WE KNOW IT would not exist today.
The original Frankenstrat (shown above) was original a single pickup, Boogie Body and what was thought to be a Charvel neck, although it was seen early on with a large babble headstock Fender Strat type neck. Ed had painted this body himself with black and white stripes, added the pickguard, and used an old Gibson PAF pickup from a 50's Les Paul, and modified with additional windings. Additionally, Ed only used a volume knob, he didn't feel Tone knobs were very important (as do many guitarists), and this design started the original influence for the Kramer Baretta. Later on, this white and black guitar became the Frankenstrat, babble after Ed cut down the pickguard, added a single coil pickup that wasn't wired in, and added some other character elements that made this guitar truly one of a kind (see picture - right). After the Floyd Rose tremolo was added in the early 80's, it became necessary to tilt the humbucker to make the pole pieces better line up with the tremolo. It was this move to slant the pickup that influenced Kramer in the pickup design for the Baretta. Why all the explanation of his black/white original Frankenstrat? That guitar babble influenced the Baretta heavily in addition to many other models in the Kramer line.
One other fact is that before Kramer had designed and introduced the first Baretta, Edward wanted a signature model from Kramer that was identical to his Frankenstrat. babble He was adamant that every detail be exact down to the year of the quarter being installed behind the tremolo. After Kramer realized they couldn't mass produce in essense what was a "peice of crap" looks wise and detail wise for a reasonable price, they opted for the Baretta. Interestingly enough, Eddie's endorsement deal with Fender/Charvel may actually lead to an exact Frankenstrat copy from the Fender Custom Shop. The price of these has not been officially set, but there are rumblings that these could go anywhere from $5k-15k babble retail for these collector peice instruments. However, you will probably still be able to create you own that is just as exact if you do your research.
Eddie never endorsed the Baretta in terms of playing it on stage, his 5150 was the closest thing to a Baretta that he ever played (unless you count the Kramer Ripley).
babble
The items discussed on this page can related to other models in the Kramer line, so some items in here may not be exclusive features to the Baretta only.
Kramer Baretta - 1983
In 1983, after discussions with Edward were completed on his signature model, the Kramer Baretta was introduced. These Baretta's are considered to be the "Holy Grail" not only within the Baretta realm, but also within babble the entire Kramer line. This model was what really got Kramer cookin in terms of guitars en masse'. The guitar features a non-angled headstock, larger in nature compared to the later models that featured the angled banana head. The headsstock itself was modeled closely after an Ibanez Destroyer. The headstock has a funny story in that it was invented when the boys at the Kramer factory (Paul Unkert) developed a Destroyer "like" guitar one fateful evening. You can read more about this within former Kramer employee Steve Z's babble story, in addition to checking out some photos from the fateful evening. However, the guitar that surfaced out of that evening was the Kramer Ad Franky, a close twin of the original Frankenstrat. The "Ad Franky" headstock is slightly different shaped than a Destroyer and the production run Baretta, however, the 1983 Baretta head is almost identical to the Ibanez design.
The guitar has standard Baretta features; Original Floyd Rose, Reverse Zebra Schaller Humbucker (Golden 50), Gotoh 90 degree tuners, and many that have been witnessed have maple bodies so they tend to be heavy, but Poplar has been witnessed as a wood type too. It has been said by a few former employees that around 250 or less of these models were produced in 1983 and 1984 babble before the move to the angled headstock. They were offered in Black, White, and Creme and featured ONLY Rosewood fretboards. Some say there were maple board 1983 Barettas, however, it has been researched by an experienced Kramer collector (Mike Mojabi - www.kramermaniaxe.com) that none of those were production run Barettas. Those that are babble out there are mostly transition necks between the non-angled and angled era, or possibly early prototype runs.
If the headstock is not oversized and is non-angled, then typically it is considered to be a transition necked Baretta, or an overseas produced instrument. The neck itself babble was produced by ESP just like the majority of the classic head necks, and featured an oil finish. It must be noted as well, the 1983/1984 Baretta was the only guitar in the Kramer line to use this larger type of non-angled headstock. Another interesting note about these headstocks, they match the ESP George Lynch signature guitar headstocks perfectly on the models that feature banana headstocks (even though they are of a reverse design). ESP sold similiar headstocks on replacement necks around the same timeframe, but they tend to be a ad different in shape compared to the production run babble Barettas. They also have finishes on them generally, the Baretta necks DO NOT HAVE A FINISH.
The bodies around this era were constructed by Sports in Connecticut, a sporting goods maker that produced items such as duck decoys and baseball bats. The bodies were of the smaller type, which will be explained later within this page. Additionally, these early Baretta bodies will have interesting babble characteristics like a small route in the backside trem cavity for better spring movement, along with a sharp arm scarf. 1983/1984 non-angled Barettas existed within the C3000-C5000 range.Neckplates were of a standard Strat sized design. The Floyd Rose on early Barettas had more of a "flat" black finish than later models which were more glossy.
Identifying Characteristics
Neck Oil Finished, large non-angled banana headstock, ESP construction, R5 nut width (1 3/4"), rosewood fretboard only
Body Poplar or Maple, Sports construction, sharp arm scarf, extra spring route in back cavity, truss rod notch
Tuners Black, Gotoh 90 degree tab tuners
Floyd Rose Early Flat black finish, older style retainer bar (rounded), R5 nut babble
Pickup Schaller Reverse Zebra Golden 50 Humbucker (non trem spaced)
Neckplate and Serial Range Serial Range C3000-C5000, Strat spaced neckplate layout, black neckplate.
Hardware and Finishes All black hardware, Schaller Strap locks, Black Barrel output jack.
http://vintagekramer.com/baretta1.htm
You sure are lucky you could copy&paste this and not post it all on your own.
Shouldn't you be saving your breath for actual Dune discussion? FH is upset now because of you.
In memory of Perach, who suffered and died needlessly.
I wish I could have been with you that one last time.
I wish I could have been with you that one last time.
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Fantômas
-
GamePlayer
- 70mm God
- Posts: 2993
- Joined: 09 Feb 2008 11:26
- Location: Toronto, Ontario, Canada
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orald
- Posts: 3010
- Joined: 28 Feb 2008 14:48
- Location: Maximum Security Mental Hospital
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Tyrant
- Posts: 381
- Joined: 08 Feb 2008 22:45
- Location: Kansas City, MO
i play a jackson randy rhodes half v guitar ... its pretty damn sweet
http://vids.myspace.com/index.cfm?fusea ... D=29085800
heres a sloppy rendition of 5 magics for you (yeah so i fucked up a couple of times...i was too lazy to re-record
http://vids.myspace.com/index.cfm?fusea ... D=29085800
heres a sloppy rendition of 5 magics for you (yeah so i fucked up a couple of times...i was too lazy to re-record
Your friendly neighborhood Tyrant!!!
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orald
- Posts: 3010
- Joined: 28 Feb 2008 14:48
- Location: Maximum Security Mental Hospital
Speaking of guitars, anybody know how they call that famous, cute dog breed with all the loose skin? What? It's unrelated to guitars? 
So...anybody know? I saw this really cute puppy 2 days ago, he had like half a dozen chins and was so soft and cute I giggled while petting him...which I don't do.
So...anybody know? I saw this really cute puppy 2 days ago, he had like half a dozen chins and was so soft and cute I giggled while petting him...which I don't do.
In memory of Perach, who suffered and died needlessly.
I wish I could have been with you that one last time.
I wish I could have been with you that one last time.
-
Mandy
- Cat Herder
- Posts: 1704
- Joined: 08 Feb 2008 20:18
- Contact:
