Generally, the ratio of basses to guitars produced was about 4:1, primarily because bass players were more willing to experiment. Kramer's "alumi-neck" line lasted roughly until 1982. 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. 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. Gary Kramer's inserts, set in epoxy, were usually walnut or maple. Other features of the necks included aluminum dots, and a zero fret. Introduced in 1976, 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. He was to sell back his interests and receive royalties then represent the company out west but none of this seems to have happened. The rest of the account is murky: Kramer says he was supposed to increase production but was too inexperienced in that area so he wanted to move back to the West Coast. Other involved parties were Henry Vaccaro, a real estate businessman who invested money in the venture and Peter LaPlaca, who had experience with Norlin, the company that owned Gibson Guitar Corporation from 1969 to 1986. By 1975 he had hooked up with a friend from New York, Dennis Berardi and the two founded BK International, which engaged luthier Phil Petillo to make prototypes for them. Kramer's improvement consisted of two wooden inserts in the back of the neck. Kramer then founded the company that still bears his name, improving on the Bean design-Bean's necks were heavy and the material felt cold to the touch. Bean and Gary Kramer started the Travis Bean guitar company in 1974, in Sun Valley, and while their guitars did well, Bean lost interest and left most of the business aspects to Kramer and so the two parted ways. Sweet results.There is some dispute over the company's early history but it begins with Travis Bean, a California luthier who was building guitars with aluminum necks. Never recorded with this one, exception made by a couple of times with my 4 track tape personal studio for demos.
#KRAMER FERRINGTON EXPLORER FULL#
As simple as that.įor the record, I checked this babe out with several rigs during five years, including a Marshall Acoustasonic, a Valvestate 80 (old model), 1981 full stack, 1987 half stack, 25th anniversary full stack as well as through a Mesa/Boogie Dual Rectifier rackmountable, my ADAs MP2 and MP1 with an ADA MicroTube 100, both through Fender HMs, Crate and ADA Cabinets mono and stereo. Di Franco might have a ball with this, S. This one is the electric players acoustic. As soon as you plug it in, the least problem youll have is cutting through any mix. Unplugged produces a spiced up acoustic tone, with not much bottom end but with an aggressive midrange presence. I did record and performed in the past with several acoustics, including Martins and Yamahas, and nowadays I still own a Washburn EA36 and some Yamahas APX. Somebody said that by this standard, the ferrington's timbre is unique and pretty much unduplicated. As a matter of fact, the REAL beauty of this guitar is that sounds trashy, harsh, punkish with harmonics jumping all over the fingerboard. If you want or need a warmer, rounder, acoustic tones, theres a plentiful of offers in the market nowadays, at any price range. But why this should be something undesirable?. Sounds a little tinny, thin, and twangy unplugged?. What you can and cant do with this is crystal clear since the first strum, so your ears will easily lead you to the right choice. The tone and timbre of this guitar fools no one. I read carefully previous interviews and therefore I feel like starting these lines putting things into (personal) perspective.
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