Kramer 610 Restoration | Part Four

Part One | Part Two | Part Three | Part Four

Finally, it was time to install the electronics, put the 610 back together again, slap on a fresh set of 009s, take care of action and intonation; and set up the VS100N for optimum performance.

The electronics consisted of a CRL five-way switch, three DiMarzio EP1201 500K pots, a Sprague 0.022uF cap, and a DiMarzio EP1301 mono jack. The original brass "football" output jack plate was retained, as it looked rather spiffy after derusting and polishing. After a lengthy discussion with the owner, we decided to go with the "Jimmy Vaughan Wiring Scheme." 

This scheme provides a master volume and separate tone controls for the neck and bridge pickups. However, the middle pickup is "wide open" as it's not connected to any of the two tone pots. I'm rather fond of this wiring scheme because (1) you get a dedicated tone control for the bridge pickup, and (2), you're not loaded down by two tone pots when using the neck and middle pickups together (switch position 2).

Pickup-wise, a used DiMarzio DP155 Tone Zone humbucker was installed in the bridge position, the stock "Made in Korea" middle pickup retained; and the gnarly neck pickup replaced with an old Ibanez Blazer SB single coil. After juggling around with various pickup heights, I was able to achieve a pleasing balance between the three. Last of all, a new back cover, strap buttons; and Gibsonesque speed knobs were installed. Although it took a really long time to complete this restoration; I'm happy with the results.

Kramer 610 Restoration | Part Three

Part One | Part Two | Part Three | Part Four

As mentioned previously, the owner of this Kramer 610 intended to replace the stock Floyd Rose II trem with a Wilkinson VS100N. Lo and behold, he turned up one day with his dream trem -- minus the pivot posts, bushings, trem claw screws and hex keys that should have been part of the package. Suspecting that he'd gotten a raw deal, I urged him to contact the seller and demand that the missing items be sent to him ASAP. However, being the mild-mannered Clark Kent type, he never got around to doing that. Instead, he asked that I do my best with what I already had; meaning the Floyd Rose II pivot posts and bushings had to be reused.

And so the old bushings were removed and the holes filled with wooden dowels. As a locking nut was not part of the deal, I laid out plans for a non-floating trem setup, i.e. it would lie flat against the body when not in use.

The existing trem cavity was filled with a carefully-positioned block of nyatoh. It was a case of measuring 10 times and cutting once, so to speak. The nyatoh block was glued in with Titebond III and clamped for a day. After sanding the block flush with the top of the body, it was time to drill the holes for the bushings and cut a slot for the trem block. I'm sorry that I forgot to take pics of the slot cutting process. 

In any case, you might like to know that Cremel (China-made Dremel clone) mini circular saw and resin cutting wheel attachments were used to do the job. Having taken care of the drilling and cutting, the VS100N was installed for a test run. I'm glad to say that despite my reservations about reusing the old bushings and pivot posts; the new trem worked as it should. In Part Four, you'll see pics of the completely restored Kramer 610; ready to be delivered to its owner. 

 

Kramer 610 Restoration | Part Two

Part One | Part Two | Part Three | Part Four

Cleaning up this guitar was a back-breaking task, to say the least. The silver paint made a right royal gooey mess, as you can see in the pics. Finally, after removing all that gunk, I made three major discoveries: (1) the original color was black, (2) the body was plywood, and (3), there was a Kramer logo on the headstock. My suspicions were confirmed --- this was indeed a Kramer 610, manufactured in Korea between 1988 - 1990. 

After a thorough sanding down, I shielded the pickup and control cavities with carbon paint. Following this, the body was sprayed with a silver undercoat, black color coat and clear coat to top it off. After about a month of hang time, the body was wetsanded, polished and waxed. Meanwhile, I'd already taken care of fret leveling/dressing and fingerboard conditioning. I should mention that prep work for the Wilkinson VS100N trem installation, as will be seen in Part Three; was carried out prior to painting the body. 

 

Kramer 610 Restoration | Part One

Part One | Part Two | Part Three | Part Four

Where do I begin? Okay, let's start with the headstock of this silver beast, on which is boldly stickered the word "muthaf***ka." No prizes for guessing what that means. It's got to go, for sure.

I don't think that silver is the original color of this guitar. Seems like a previous owner simply sprayed it on without bothering to remove the hardware, most noticeably the neck plate. Speaking of neck plates, this guitar has a maple neck with 22 jumbo frets on a rosewood fretboard (25.5" scale length, 16" radius). Both the frets and fretboard are in bad shape. No worries, a fret dress, lemon oil, and a good going over with a toothbrush should set things right again.

Although this guitar came with a Floyd Rose II double-locking trem, the current owner plans to install a Wilkinson VS100N instead. He says he doesn't want to mess with fine tuners or locking nuts. Fair enough, methinks.

The downsized Strat-style body has been routed for an HSS pickup configuration. The bridge humbucker is missing, leaving only two single coils in the neck and middle pup cavities. Electronics are straightforward: plastic five-way switch, three mini pots (volume, neck pup tone and middle pup tone), coil tap switch, and plastic output jack. The control cavity has also been shielded with aluminum foil.

At this point, I  believe that this guitar is a Kramer 610; thanks to information sourced from Ed Roman Guitars and Vintage Kramer. Well, that's about it for this post. In Part Two, we'll be taking a look at the cleanup, shielding and paint job aspects of this restoration.