New Guitar: Warped-Neck 1988 Kramer Pacer Imperial

I picked up this guitar when I saw it pop up on Guitar Center’s used listings. Sadly, when it arrived, the action was ludicrously high - nearly 1/2 inch off the fretboard around the 9th fret. After lowering the bridge, it was clear a truss rod adjustment was needed, however the truss nut only had a half turn available before reaching the limit. Even after that turn and adjustment, the neck has a considerable forward bow on the bass side of the neck, however the treble side is nearly flat… classic signs of a severely twisted neck. I have read some processes for potentially recovering this issue and restoring the neck, but since it is considered a “Vintage Instrument” according to guitar center, it is only eligible for return for 3 days, and I will not know if I am able to repair it within that period of time.

The most interesting feature, and the reason why I wanted to hold onto it, is the maple fretboard pointy neck, with a bound headstock but dot inlays on the 12th fret. I have seen this type of neck with a rosewood board, but I have only seen maple necks three ways in the pointy era:

  • Pointy headstock with block or pyramid logo, no binding, dot inlays.

  • Pointy headstock with pyramid logo, bound headstock, 12th fret “kramer” inlay

  • Pointy headstock with pyramid logo, fully bound, dot inlays (extremely rare)

I have never seen this specific combination and for a while, I wasn’t sure it even existed. It’s a very early black F serial number plate, F5412, and while serial number doesn’t exactly identify the year or features of vintage Kramers (since they were used out of order quite often), it still provides a general guideline. It’s not too far off my black Baretta F4821, which has the same neck configuration except with the rosewood fretboard. On the other hand, I have another Pacer F6463 which has the 12th fret “Kramer” inlay instead of dots - this guitar lands right between those two so I think I can reasonably say sometime around this period is when those inlays started to appear at the 12th fret on most models.

Otherwise, I can’t really report much else on it - the pickups sound good as expected, with a JBJ in the bridge and a Jazz in the neck. The 7/8 body shape is comfortable and cool to play as always, and the floyd rose feels as solid as ever. It’s really a shame about the twisted neck because this would be a very nice instrument otherwise, and I hope someone who is able to repair or repurpose this is able to get their hands on it next.

New Guitar: Transition-neck Kramer Pacer Imperial

I saw this one on ebay and was surprised when there was very little bidding action - I won it for a price I would consider to be far less than expected in this era of Kramer collecting. It’s an authentic Pacer Imperial with the original case and hardware, and while the body does have some minor dents and scratches it is in overall good condition aesthetically and extremely good condition in terms of playability.

The neck is the unique draw here, with a rosewood skunk stipe unlike most pointy headstock Kramers which had the 3-piece maple. This neck was still made by ESP, of course, but it has a more classic rounded shape and is thicker than later pointy necks. The story goes that these necks were originally banana headstock necks (there are quite a few skunk stripe banana necks out there) but had their headstocks shaved down from the factory (either ESP or on arrival to Neptune NJ) to match the new pointy shape the company was going with moving forward. I think this must be true - holding this headstock up very closely to a later pointy and there is a tiny bit of a shape difference, but other later pointies are all very uniform in shape. I have seen these transitional necks both with and without the “American” script after the Kramer logo - this one does not have the script and instead looks more like a standard banana neck logo job. My best guess is that the ones that have the “American” script were re-logoed for varying reasons in Neptune.

I’m not really a big fan of blocked Floyds, but this one is set up dive only, and with the great feeling neck with good frets, it’s quickly become one of my most played guitars since it allows me to quickly swap tunings or use Drop D tunings, and I absolutely adore this color.

New Guitar: Kramer Condor all the way from the UK

Picked up this very nice, white Kramer Condor from the kramerforumz classifieds. Shipping from the UK was pricey, and the box was a little damp upon arrival, but luckily there was no permanent damage and the guitar arrived in good condition.

Very desirable to me is the banana headstock with an R2 width neck - as opposed to the seemingly more common, wider, R5’s. This neck is well worth the purchase right on its own, I love the feel and playability, the frets are in great shape, and the R2 width fits my hand very comfortably. The body has a good amount of small dings and scratches and is definitely in player’s condition, but after handling this neck I can see why!

One of the more unique things about this particular guitar is that it is a Condor drilled from factory for a wider spaced “E” serial number plate. This was during the transition era where the banana headstock shape was about to be phased out for the pointy shape, but some early E plates like this one still had the old shape. Due to the position of the lettering on the newer style plates, the old method of drilling the strap button hole directly through the plate was not used on this guitar - instead the strap button was added just above it, and it’s a later black Schaller straplock style.

New Guitar: (Project finished) 1985-6 Kramer Condor

I’m a little behind posting this, but I’ve finally finished assembling and setting up my Kramer Condor. A while back, I traded some parts around with a friend over on the kramerforumz. I ended up with a transparent blue Condor body, D-series serial number plate (roughly correct for the body), and a case for it (which is HUGE by the way).

The hard part was finding the correct neck for a guitar like this - it should have an angled banana headstock neck - but those are just so hard to locate. Perhaps someday I’ll find one and swap the neck, but for now I went with an early ‘86 neck I had extra with a pointy headstock. I think the pointy look of the neck works really well with the pointy Condor body and with the black hardware gives it a really awesome look. Here are some pictures of the completed project:

New Guitar: 1988 Carvin DC200 Koa

I am always paying attention to used Carvin listings, specifically hoping to see some from 1988-89 with the “jackson” style pointy headstock, so when this popped up for sale I just had to have it.

It’s a DC200, which means it has the usual DC series features of this era (neck through body construction, ebony fingerboard, mother-of-pearl inlays, Carvin M22 pickups) but with a few special additions like standard block inlays, and a unique control layout. The default configuration has both volume and tone for each pickup (like a Les Paul), a 3-way pickup selector switch, and a separate coil tap switch per pickup. The last switch closest to the input jacks, which are stereo outputs, is a phase switch. The phase switch is only really noticeable when both pickups are in use, but it gives some really unique tones especially when combined with the coil splitting of either one or both pickups.

This particular DC200 Koa was ordered with gold hardware (an additional $40) and with the Kahler Pro tremolo. Since I currently have another DC125 with an Original Floyd Rose, it’s pretty cool to have both of the tremolo bridge options (a fixed bridge was also available). This would’ve been priced at $819 back in ‘88 and the most amazing thing I noticed out of all of this is that the UPS Shipment cost for this guitar, in a case, was $10. Wow!

Of course, the highlight feature is the Koa wood body wings on either side of the one-piece maple neck through design. Even better, the beautiful, glossy clear finish really showcases the fine grain of these woods and the unplugged tone is exceptional. Here are some pictures, and of course many more on this guitar’s page over in the collection gallery here:

My Love-Hate Relationship With Guitar Center

First things first, thanks for everyone who helped me reach 1000 subscribers on Youtube. That’s pretty cool.

Now… let’s talk about Guitar Center, and specifically their used department. I purchase a LOT of used gear from GC and while I never expect a perfectly pristine piece, I do expect the bare minimum as far as packaging, testing, and descriptions - as well as honesty and transparency when something goes wrong.

To date, I have placed 110 orders with GC since 2016 and totaling… a lot of money. I have gotten some great deals, I’ve splurged on a few things I really wanted - but the most notable thing is that out of those orders, 34 of them had a MAJOR problem, and yet another 26 had a minor issue. That’s 55% of orders that required either a return, partial refund, or some other extra step to make it right. I’m very go with the flow - not too anal about anything - and I’m not afraid to pick up a soldering iron or do my own little tweaks, setups and repairs, so for me to say there is an issue with only 55% is probably on the low side compared to many other buyers.

I want to define those categories - here are some examples of “major” problems I’ve had with GC orders: Shipping damage, broken headstocks, broken tubes, missing tubes, amp missing fuses (?!?!), broken bridge, trem arm bent into the socket, missing footswitches, missing case, other items listed in the description not included, electrical issues. “Minor” problems I’m more forgiving - that is for things like the broken caster wheel on my 4x12, shipping damage that was the fault of the carrier and not the packaging job, missing power cable, minor dings/dents damage not disclosed etc. I used to only classify things as a major problem if it resulted in a return, partial refund, or professional repair but lately - I’ve also been including any time I get an order cancelled without notification as a major problem. Maybe I’m getting old, but if I spent $1000+ on an item, and it’s cancelled 8 days later and all I get is an automated email telling me “sorry that YOU cancelled your order” I’m not going to be pleased, and it’s become such a pattern that what was previously a small thing has become a major problem.

Here’s a video I made discussing this very issue:

For those who don’t know, this is how GC’s used section works. Anyone can bring a used piece of gear to GC and trade it in, where GC will give you roughly 40% of the value of the item. This value is based on the knowledge of the GC employee you are working with, looking at their system - which means if you have something rare, special, or boutique… or worse, damaged, barely functioning, etc, they may not know how to properly price or test the item. This is why I’ll see high end USA Kramers listed for $500, and other times you’ll see a Striker worth 200 bucks listed for $1200, incorrectly called a Pacer in their system. Sadly this also creates an environment where the disingenuous will do a shoddy repair or trade in whatever they can in poor condition, and there are no strings attached once the item is traded in.

To top it off, GC sometimes lists items without pictures, and since the prices can sometimes be extremely aggressive, it means a lot of times you have to do a “buy first, I’ll return it later” kind of attitude if you are hunting for a piece of gear and it pops up online. That is the one saving grace for GC right now - their 45 day return policy. Usually, this return policy also refunds the shipping cost if the item is damaged in transit or otherwise not as described, but sometimes you have to make an argument for it.

There is also a problem with the shipping - guitars and amps from certain stores are well packed and tested before shipping out. Others don’t really put much care into it and will ship you a guitar or amp with a single layer of bubble wrap around it in an oversized box so it rattles around with 6 inches of room around it for a cross country trip - even if UPS gave it the white glove treatment it would still be likely to get damaged when packed like that!

There is also a trend - and I don’t want to sound paranoid - but it’s happened multiple times where I order something that is a very good deal and it either gets cancelled with no communication, and if I do call the store I get some kind of flimsy excuse. I have heard on three separate occasions that an amplifier “caught on fire” before they could ship it to me. I’m not saying it’s impossible, but in all my years of gear collecting and all the amps I’ve owned, I’ve never once seen an amp catch fire that wasn’t a simple fuse replacement. It’s just very suspicious… I once ordered a Splawn Nitro for $724 and had it cancelled for this reason. I find it hard to believe that the amp wasn’t sold to an employee or a local at the last minute and they just lied to me.

Here’s a highlight reel of guitar center mishaps - and these are only the ones I remembered to take photos of and doesn’t include anything that I plugged in and found out was broken later (like the Mark IVA I got last week):

I’m not saying I’m going to stop buying from GC by any means. Sometimes it is the best way to get a killer deal on a unique piece of equipment, and their shipping charges are inexpensive and returns mean there is always a safety net. I just hope someday to see even the bare minimum of effort put in - it would solve a lot of these issues. Just remember - when ordering from GC - always take screenshots and pictures when it arrives, don’t be afraid to ask for a full refund including shipping, and never depend on them for anything you truly NEED, for example if you are a touring or gigging musician, never expect used gear to work out of the box from GC. It’s just the reality of the situation right now.

New Video: "New Gear Episode 1: Kramer Baretta, Mesa Mark IV, Peavey XXX"

A few things lined up recently and several things I purchased all happened to arrive on the exact same day - so I took this opportunity to start a new series of videos. They will probably be a bit inconsistent since it depends on when/how often I get new gear, but I think it’ll be cool to do a more casual video whenever I get some cool new piece of gear and talk about it briefly before doing a comparison video or deep dive review.

Of course, this is a lot at once this time as I got both a guitar and two amps all at once. Here’s the video, but keep scrolling for some pictures and some other thoughts on the gear.

First item: a 1987 Kramer Baretta. This one sat on Reverb for a long time and had a few price drops, and I have to give the seller a lot of credit for an accurate representation of the guitar. It is playable, but the frets have been leveled and it is probably due for a refret job very soon. The body has some surface scratches made very clear by the black finish but no major damage, and the neck is really sharp. Sadly, the original JB is missing and replaced with a very cheap pickup from Amazon or similar, and the original floyd rose is missing too - but luckily it was just replaced with a more recent German made OFR. The pickup was wired very strangely - sounded like a single coil or like it had a short - so I swapped that out for a black/white SH-10 Full Shred that I’ve had waiting for a guitar just like this for a while now and it sounds fantastic.

Second: Mesa Mark IV… again. I’ve been really missing my Mk IV head, so I’ve been on the prowl for another. This was listed on Guitar Center used as a head, but sadly it is a combo on arrival - I’m a bit disappointed by that but in a rare act of customer service, the person shipping the amp at GC actually called me and let me know that it was a combo in advance and asked if I wanted to cancel the order! I really appreciate that but I went through with it anyway, since it was described to be in excellent condition.

And wow! That was not a lie either - it is in truly impeccable shape with the original cover too. Sadly the footswitch is missing - that’s very disappointing because they are pretty expensive to replace but we’ll see what I can do about that. This is the “short” combo which means some controls are on the rear panel (like the mid gain/harmonic mode switch) and the factory speaker is a Celestion Black Shadow. I’ve heard lots of praise for this speaker but never tried one - my initial impressions are very positive though. This particular amp also has a very high serial number, much newer than the head that I had, and puts the date closer to the 2008 end of things (likely this was made 2006-2007 or so). Mark IV production ended in 2008 so it’s nice to have one that is a full decade newer than the one I had before, as far as component life goes.

Last: I’ve been looking for a Peavey Triple X or JSX for a little while but waiting for the right deal to come up - these amps were regularly available for 250-350 bucks or so for years so I found it hard to justify paying the current prices of 500+ for them. Luckily, I spotted this one online for only $299, which is about as good as it is going to get amp shopping in 2022, especially for a USA made tube amp like this. I’ve only played it a little bit, but it is super gainy and sounds really great so far. Bang for the buck, this is hard to beat, and I’d argue that in the right hands a skilled player with an amp like this could sound just as good as any expensive boutique amp (within the limitations of what the amp is designed to do of course - high gain). The active EQ really broadens the range of the amp as well, and even though it’s super cheesey, the front panel “girls” grille has grown on me in more of an ironic/nostalgia kind of way (these amps were all over the place when I was first learning to play guitar).

New Video: Charvel Predator

I was sad to let this one go, but it just wasn’t getting a lot of play time. It was the last guitar I owned with the great sounding Jackson J200R (Rails) version of the single coil pickup, and the 5-way switching really made this a great, versatile guitar. I’m attempting to thin down the collection though and ultimately, I like my Model 4’s a bit more and sent this one on to a new owner. Still, it’s a great guitar and I talk about it more in this video.

New Guitar: 1987 Robin Medley

I picked up this early Robin recently for a great deal. I’ve been on the lookout for some early Robins - I really have the hots for an RH-1 or RH-2 right now (early Tokai made models) but for now, this ESP-made Medley will have to do. The body shape is a bit smaller than USA made Medleys that came later, but this has the same cool reversed-pointy headstock as those, painted black as was the style of the time, with a bold white logo.

Despite the body having a rear trem spring route, these guitars came stock with a Kahler 2700 series tremolo mounted on the top, similar to ‘86 Charvel model series guitars. It’s quite strange to have the trem route and see the underside of that Kahler bridge but it doesn’t get in the way at all - just unique. This is my first 2700 bridge and I like the ease of adjustment to saddle height and even string spacing it allows without too much effort, unlike a double locking bridge.

The pickups sound great, although the bridge humbucker appears to be wired in parallel instead of series - and attached to a push-pull coil tap on the tone pot (probably not factory). After moving around a few wires, it’s back in action and sounding as full as ever. The pickups are Japanese made OEM pickups - not any familiar Dimarzios or Duncans to compare to, but it’s very middy and high output as expected for a more “shred” oriented guitar like this one.

The neck also shares the same 3-piece maple configuration as Kramer necks of the time (also made by ESP) but this one is well worn in and not as glossy - but it’s hard to say if there was any difference since I don’t have any other Robins from this era to compare to. Either way, a great feeling neck with a familiar shape to me as a Kramer collector and a great change of pace with the Kahler bridge. I hope to find a few more to add to the collection!