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. This bass comes from the collection of John Ciambotti of Clover, the band on Elvis Costello's 1st record.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. None of these affect the functionality, but the case definitely shows more wear-and-tear than the instrument inside (which is a good thing – it has done its job well). There are also stickers and duct tape on it. The tolex covering has several long scuffs and a couple of torn areas. The handle, hinges and clasps are all in very good condition. Because of this instrument’s unusual dimensions, it’s particularly valuable to find an original case. The original hardshell case is structurally sound. They're only noticeable if you're actually looking for them, otherwise, this bass is pretty clean specimen. There are some nondescript small marks on the top of the bass - almost like watermarks from dried up droplets. On the lower edge/side of the neck, you can see some minor wear where the fretboard meets the side binding. There is some very slight corrosion on the tuning pegs. The onboard piezo pickup and 3-band electronics work well – with a very pronounced high-end response, especially when used with roundwound strings (this bass is currently sporting roundwounds).Ĭosmetically, this bass is in very nice shape, as you can see in the photos. This instrument sounds great unplugged – the Kramer Ferrington has a well-earned reputation as one of the better-sounding acoustic bass guitars ever made. The top shows no warping or humping, and the bridge is solidly mounted. Structurally, the bass is in great shape and plays very well. It’s all-original, in very good condition and comes with the original hardshell case. Thanks for looking at this Kramer Ferrington KB-1 acoustic electric 4-string bass.
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