5150 build.

I know the picture may look the same as the above but it isn't.
The back;
IMG_2209.jpeg
Not the right serial number because this is a vintage plate not a repro.
The funny thing about this is if you didn't know the guitar you would just think this is a shitty beat up home paint job but it would have been so much easier just to paint it properly with a buffed and flatted clear coat to a high gloss.
 
How do you find that strap anchor location hangs when compared with the more traditional approach of having it on the horn?
 
Andy I want to thank you for all the information in this thread. Although I’m not in the business (or hobby) of replicas, I’m very interested in the mechanical details and setup of Eddie’s 5150 Kramer. The Floyd setup, and neck angle geometry are very unique when compared with modern guitars. Your documentation allowed me to create my own build that has a very similar setup to Eddie’s, and without your extensive in detail research, I’d never have come to the conclusion of using deep angled neck pockets and removing the tension plates. Also the use of beveled edges on the leading edge of the bridge or the gotoh 1996t.

On another note, it seems you have continued using ash for the body wood, is this because you still believe the original to be ash, or because ash was your preference, or because it’s still a mystery?
 
bruzanhd said:
Andy I want to thank you for all the information in this thread. Although I’m not in the business (or hobby) of replicas, I’m very interested in the mechanical details and setup of Eddie’s 5150 Kramer. The Floyd setup, and neck angle geometry are very unique when compared with modern guitars. Your documentation allowed me to create my own build that has a very similar setup to Eddie’s, and without your extensive in detail research, I’d never have come to the conclusion of using deep angled neck pockets and removing the tension plates. Also the use of beveled edges on the leading edge of the bridge or the gotoh 1996t.

On another note, it seems you have continued using ash for the body wood, is this because you still believe the original to be ash, or because ash was your preference, or because it’s still a mystery?
Click to expand...
I continued to use ash on the relic simply because it is not proved either way. My NOS replica is Basswood and I believe this to be on balance of probability correct but I have both. By sound (when I played is acoustically )I would also say the original was basswood and by the visual evidence in this thread BUT the open pours in the forearm contour are certainly the visual character of swamp ash. Removing the spring plate on the Floyd certainly improves the bridge to body contact and has no detrimental effect on the performance of the fine tuners BUT if you had a D tuna fitted when you depressed the bar completely the d tuna would move (without the spring holding it) and not remain in tune on return. This is not an issues if it's not fitted.
 
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