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 EVH Frankenstrat (before the red)

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.

1983/1984 Non-Angled Baretta "Holy Grail" - Signed by EVH

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.

Large, non-angled Headstock	Oil finished, 90 Degree Gotoh Tuners	Flat black Floyd, rev Schaller Zebra Humbucker

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

Kramer Baretta - 1984/1985

Sometime within 1984, the headstock was changed to an angled banana design. Bodies and necks changed often, with quite a few manufacturers being in the mix. Starting out, Sports constructed the angled banana necks. These necks featured the notorious "luthier joint" problem. Some of these necks even fell right off after shipment to the factory. Some were usuable, some were not. At this time, Kramer started looking elsewhere for necks, including LaSiDo out of Canada. LaSiDo "supposodly" had the same problem as well, so some of these necks which feature an elongated headstock also had issues. All of that being said, the necks that did make it are of sound construction and are thought of by some as the most comfortable playing necks among the Kramer line. Necks were available in R2, R3, R4, and R5 configurations. The backshape tended to be fairly slender compared to classic "beak" necks. Additionally, color models such as the red, creme and white colors had matching headstocks. Maple fretboard models are considered to be uncommon. In 1984 and 1985, Kramer switched to Duncan pickups, and the Baretta was included for the change. The Seymour Duncan JB became the standard, still featured in the Zebra color scheme. The majority of Barettas featured reverse Zebras, but there were some Schallers and Duncans that were installed as standard zebra, with the creme coil being closer to the Floyd.

Also, somewhere within 1984/1985, the switch from Gotoh 90 degree tuners were switched off to black M6 Schallers. On the majority of the Barettas during this time, an Allen Wrench holder was installed on the back of the neck. Some necks were shipped out of the factory without retainer bars on the headstocks and sometimes without allen wrench holders. This is thought to be the high demand for Kramers and when stock fell short, just ship the guitar without certain parts. Additionally, just as in other early angled headstock Kramer models, the model name was seen next to the Kramer logo on the headstock, but this is only on early models (see picture of Edward with the Baretta below). The label for each model eventually appeared on the truss rod cover for all Kramer models. Necks were generally of the rosewood variety, with maple as more of a custom or less constructed wood type of model. Necks may also have a stamp on the heel with a date applied to them, with most having dates within 1985. Maple fretboard necks are considered to be uncommon, but not rare.

The bodies up until around 1985 had been built by Sports. A change occurred in 1985 where the bodies became somewhat "larger" between the armrest and where the jack is placed. It is thought that these bodies were made by ESP. For a time, there was a mixture of these two body types, and the easiest way to identify the Sports bodies is to compare them to an overseas Focus body, which they sometimes more closely resemble. Bodies were typically constructed out of Maple or Poplar. When the move to the angled headstock occurred, it became no longer necessary to have the truss rod cutout at the neck pocket on the body since truss rods were now featured at the headstock. However, many Barettas went out the door with the notches still in place even though truss rod adjustment was located at the head. This was probably just a product of trying to burn up excess stock on older bodies. You'll notice on some early models of the angled headstock era, the body "edge radius" may be slightly sharper on some bodies, but it is not known how many of these actually went out the door like this. You'll also see older bodies on later model Barettas sometimes, as Kramer notoriously mixed and matched bodies at different timeframes.

Finishes were available in Candy Red, White, Creme, and Black. ALL Barettas featured the cannon or barrel input jack, a standard 1-10 volume knob, Schaller strap locks, and black Original Floyd Roses (although some were in chrome).

Serial numbers for angled banana headstock Barettas started around C5000 (with transition necks in between) and ended at some point within the case neckplate E2500 range. Flat metal neckplates varied in size, with there being a mix beteween a more slender type neckplate vs the Strat spaced neckplate layout. Custom order serial number plates which do not display a letter prefix are generally considered to be uncommon, with many of those featuring maple fretboard necks.

The banana necks went through many transitions before finally ending into the pointy era as noted in the next section. Necks sometimes will be found to have different finish types on the back of the neck, sometimes feature skunk stripes, have many many luthier joints for the headstocks, or are 3 peice glue ups. For more detailed information on necks for the entire Kramer line, go HERE. Some necks also featured a brown stain-line around the headstock for a faux binding type look. Some necks additionally have aluminum inlayed side dots.

At some point within the banana era, graphics were an option on all Kramers within the product line. Generally, Dennis Kline painted the majority of these, but some were painted by other graphic artists. For more information on graphic model Kramers of this timeframe, go HERE.


Identifying Characteristics

* - chrome plates are found on cast plate era Barettas



Kramer Baretta Standard and Baretta II - Large Soloist Body Era - 1986/1987

Somewhere around early to mid 1986, Kramer decided to change their headstock design for the entire Kramer line. The Baretta was included within this change with really no other noticeable changes in parts or hardware other than the headstock and the neck profile are observed. The guitar itself remained a JB equipped, Schaller hardware with Floyd Rose type guitar. You'll notice on pointy headstock necks, the back profile seems to be modified a bit farther into the E serial range, where the backshape became more thin, and the finishes changed. This is mainly due to Kramer switching to ESP for full time parts construction on the entire product line. The necks had gone from being gathered from 3-5 manufacturers, into one standardized supplier. Many, many transitions occurred with the necks during this period including some necks only displaying a single block Kramer logo or the majority featuring a block logo with American script subtext. Additionally, it has been found by some collectors that Kramer may have infact cut down many banana headstocks to the pointy shape before receiving actual production pointy necks in stock. This era also featured the switch from the old flat metal neckplate design to the cast neckplate design which encompassed a change throughout the entire Kramer product line.

The pointy era models start sometime in the E1000-E2000 range, with a mixture of banana headstock models and pointy models being within that serialized time slot. Another change around the pointy era is the move to shallower (less deep) neckpockets, thus making a Floyd "float" above the body for sharp vibrato. However, there were not recess routes installed in the bodies (on top) until later in the production stream, as seen in the next section. Additionally, some bodies will have a countersunken route for the tremolo cavity plate on the backside, but it is not known as to why this was not standardized on all models, and seemed to only exist for a short period of time.

Another interesting feature that started in this era was the use of a "trem block" type device. The unit prevented the Floyd from being pulled up, or it could be completely locked for no movement at all. A special type of Floyd block was installed that had the ability for two allen screws to be used for mounting a portion of the unit. Additionally, routes were made in the tremolo cavity on the back side for the stop peice. This device and the body modifications for it were used on both the Baretta I, Baretta II, and Pacer models from Kramer. It was also used on other models, but was not always a standard. At some point, Kramer abandoned the idea to use this, as they aren't seen on later model Barettas post 1987.

It should be noted as well, Kramer started offering more colors in their Baretta line in the 1986 range. Other colors offered included FF Blue, FF Red, FF Pink, FF White, and many others.

Identifying Characteristics - Baretta 1986-1987

Probably the biggest addition in this time frame was the introduction of the Baretta II.

The Baretta II model was to be more of a competitive market introduction to compete with Charvel/Jackson. Additionally, it is thought that Kramer switched the headstock design to the pointy variety in order to make themselves "More Jackson-like". It is ironic that, Kramer had built its reputation based on a banana or hockey-stick headstock design, and then changed their identify to be something they were far from being. Many customers were upset with this change, and requested banana headstocks during this era. To this day, the banana/pointy dividing line among collectors seems to be a way of labeling themselves as found of one era or the other.

The Baretta II body consisted of the same wood types as the original Baretta, maple or poplar. The original II's feature a large, soloist type body that are similiar to today's ESP Kamikazi models endorsed by George Lynch. These bodies ran across the Kramer product line into the Pacer models, and are easily distinguished from later "Dinky Soloist" bodies that will be discussed farther down in this page. To see more on Kramer bodies in detail, go HERE.

Hardware and electronics wise, the guitars were essentially the same as the original Baretta design with minor exceptions. The Baretta II usually would feature a metal dome knob versus the volume labeled knobs as used on earlier models.

The Baretta II with Large Soloist Body lasted well into 1987, and have been seen with not only standard block logos with the American Script, but also with the newer Pyramid logo that surfaced in early 1987. These are inter-mixed with the second run of Baretta II's with the Smaller "Dinky" Soloist shape which will be discussed in the next section. The Baretta II Large Soloist body stopped sometime within the Late E plate serial numbers. Any large body thats seen in the F plates should be questioned, but not necessarily written off as a "mutt". Close inspection is key on all Kramer models to identify legitimacy or not.

Identifying Characteristics - Baretta II Large Soloist Body

Kramer Baretta I and Baretta II - 1987-1991

The 1987 era of Barettas proved to be quite a change in the body shapes (including the entire Kramer line) concerning the Baretta II, and some changes to the overall features of the Baretta I body. More neck design options were offered throughout the Kramer line, including the addition of the Kramer "Shark Headstock Inlay" Necks or sometimes referred to as "claw" necks. Many other neck types were installed, more info can be found on these neck types on the necks page, since these encompass more than just the Baretta line.

The first and biggest change that should be noted is that, the model name of the Baretta changed for both models to be labeled I and II. The Baretta was no longer just simply known as "The Baretta" but it now had numerical identification between the two models offered.

The Baretta I changes were fairly simple to the body. At some point, the lower horn scoop was added. Additionally, a recessed tremolo route was added, however, there are some transitional models that do not feature the recessed route, but have the lower horn scoop. Sometime in 1987/1988, Kramer started changing around volume knobs as well, sometimes you'll find the plastic standard volume knobs, and sometimes the black dome knob was used. You may also see bell knobs from time to time. It should be noted as well, Kramer was migrating itself away from the zebra and reverse zebra pickups around this timeframe, and started using solid black. However, the standard pickup of choice for the bridge humbucker remained the Duncan JB.

Identifying Characteristics - Baretta I

The body changes for the Baretta II were drastic. The large soloist body shape used post 1986 was converted over to more of a Jackson like soloist shape, or "Dinky" as it is referred to in the Jackson crowd. Additionally, a lower horn scoop was added for higher fret access, and recessed tremolo routes became a standard on all Baretta II models. This design was also used in the Pacer, Sustainer, and other models. At this point in the game, Kramer was probably the most consistent of all eras, mainly because ESP was making just about everything concerning necks and bodies for the Baretta line in addition to all American Series Guitars (most anyway). This body shape was used across the product line into the Pacer Series as well, and remained their main body design for the Baretta II and the Pacer Series until the end of Kramer's tenure.

As far as the necks go on both models, generally, Kramer varied the necks between three basic styles - The standard "pointy" pyramid logo with dot inlays, "pointy" pyramid logo with 12th fret Kramer inlay, and the "pointy" pyramid logo shark tooth inlay neck. There were other variations such as headstock binding, full neck binding, reverse headstocks, and other transitional or more uncommon necks that were used. Some of these necks do vary in backshape and nut size, but most commonly, they were R2 (1 5/8") widths at the nut. Other nut sizes do exist, but this is the most common neck nut size used.

Identifying Characteristics - Baretta II Dinky Soloist Body

Kramer Baretta III - 1990-1991

The Baretta III is a bit of a mystery. From what we have gathered from research, the Baretta III was built overseas somewhere either shortly before or after the bankruptcy sale. Several have made assumptions that Schaller constructed and sold these guitars, however, it has not been proven yet. Most of these models feature Schaller pickups, Schaller "Floyd II" type trems, and usually do not have an "American" logo after the Kramer pyramid logo on the headstock. The body shape resembles that of a Baretta II shape (Dinky Soloist) with a single coil added as the biggest change from the Baretta I and II lines.

The electronics featured one Schaller Humbucker with a slanted neck Schaller single coil. Additionally, the control layout is one volume knob, one tone knob, and two on/off switches per pickup. More information will be posted as it is discovered on this mysterious model.

Identifying Characteristics - Baretta III

Wireless Baretta II

An option on many Kramer models was the ability to add a wireless pack to the back of the guitar body. These models are extremely rare, and was probably more of a gimmick that never took hold. Nevertheless, these models are superb with Samson Wireless devices built in. A Baretta II implemenation is displayed below.

Kramer 1985 Baretta Reissue - 2006

Early in 2004, the Gibson/Epiphone owned version of Kramer prototyped a new Baretta reissue that would model itself out of one of the more popular Baretta designs from the 80's - the 1985 Baretta banana headstock model. Engineers with Epiphone (Richard Akers) did heavy research into every detail possible about the old model to come up with designs to make every vintage collector happy. Vintage Kramer was consulted on many key design aspects, as well as other diehard collectors. What transpired is a true reproduction of one of the most underrated guitars that influenced rock history and an entire industry. It should also be noted, the Baretta reissue is a 100% Made in USA guitar, aside from the German constructed Floyd and Schaller tuners.

he Baretta reissue consists of a maple body, modeled to the shape of an original 1985 Baretta. The guitar also features a banana headstock, modeled directly from a non-luthier joint, 1 5/8" nut (R2) thin profile Kramer neck. The neck also features one upgrade not found on earlier vintage models, abalone dot inlays in the rosewood fretboard. The nut assembly features a top mounted Floyd Rose locking nut, instead of the rear mounted like vintage models. This was a primary concern for many in the collector's market as many old Kramers were too thin at the nut, and would either split, or crack from moisture and long term playing abuse. The neck also has an added plus of an oil based finish with the infamous brown stain line around the headstock, in addition to 6150 sized frets.

Additionally, the Floyd Rose inserts are of the bushing installation variety, mainly because this is an improvement over the old Floyd Rose screw in stud assembly. The bushings are recessed below the face of the body, for a really detailed approach. The pickup is Gibson's JS-91T used in the Jersey Star reissue model as well. The combination of that pickup with the maple body results in a lush, chunky, and very clean distorted sound that truly sends you back to the old days.

The model has a planned release date of sometime in 2006, and should be available for sale at local music retailers and Musicyo.com

Identifying Characteristics - 1985 Baretta Reissue

Kramer Baretta - Other models

Some import models have been created in various forms my the Epiphone owned Kramer. Most all of these guitars are either of Korean or Asian origin, and are assembled overseas as well. For the money, these are very quality instruments, but do not confuse these guitars with their American Series of the past or Reissue counterparts.

Baretta VT-200 - Asian Construction and Assembly

Baretta II Pro with Original Floyd Rose - Asian Construction/US Pickups

Baretta Infinity Sustainer - Asian Construction and Assembly

Baretta FR404SD - Asian Construction and Assembly

Baretta FR404SN - Asian Construction and Assembly

Baretta FR404SX - Asian Construction and Assembly

Baretta Bass 522SP - Asian Construction and Assembly

Some Famous Kramer Barettas