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| Musicians Hotline® is proud to bring you an exclusive company profile on Kahler USA. I know I can certainly recall the early Kahler models from the 80's, I had an American made Charvel 6, neck thu equipped with an original Kahler. How accurate and smooth as butter, from subtle vibratos to full fledged dive bombs, Kahler trem's are the bomb! Gary Kahler was kind enough to share with us the history, but more importantly, the "Return of a Legend" and how the companies re-launch is the talk of the industry. Don’t forget, you can visit www.kahlerusa.com anytime for more information. |
Kahler International is happy to celebrate its
30th anniversary by relaunching the Kahler
line of tremolos!
Musicians Hotline®: Josh,
congratulations on the "Return of
a Legend" with the new Kahler
USA products. For the record,
please provide us with a
chronological history of the
company, and how the entire
relaunch occurred.
Kahler: During the late 1970s, Gary Kahler of
Kahler Systems International formed a
company called the Brass Factory. That
company built guitar hardware exclusively
of 360 H/H brass, and his first major
customer was Fender. And together they
established the Brass Works line of Fender
hardware, which included the classic
"claw" bridge and standard Fender
bridges. Shortly afterward Gary began
building brass products for Dimarzio’s
guitar and bass lines as well. Still, it wasn’t
until 1981 that American Precision Metal
Works Inc., a division of Kahler Systems
International, unveiled the Kahler tremolo
as we know it today. The timing couldn’t
have been better, since the world was
experiencing a great surge of interest in the
electric guitar. At the music trade show in
1982, we accepted more than $3,500,000 in
orders, which sent us into overdrive in
production. In fact, it took eight months to
fill the backlog from the show alone. But
because of the success of the Kahler tremolo
system, it was soon after that the
counterfeits from Japan began to appear in
the markets as well.
The Kahler tremolo enjoyed tremendous
success during the ‘80s. Almost all major
guitar manufactures were offering Kahlerequipped
models in their lines, and the
numbers of artist endorsements were
astonishing. But there was a demand in the
market for those who still wanted a fulcrumstyle
tremolo system, both from the OEM
and end-user perspectives. To fill that
demand, Kahler introduced the Steeler,
Killer and Spyder models. The business
continued to flourish throughout the
decade, to the extent that Kahler was
producing 450 pieces a day with a staff of
42 employees.
Intellectual patents began to be challenged
relentlessly, and funding earmarked for
R&D was being used to pay legal expenses.
Moreover, by late 1990 electroplating had
become a significant source of business for
American Precision Metal Works, and the
tremolo market began to slow down. It was
at this time that the business split into two
separate entities: Artistic Plating, owned
and operated by Kip Kahler; and Kahler
International Inc., which was under the
direction of Gary Kahler. As the demand for
tremolo systems continued to dwindle,
simultaneously the demand for golf clubs
began to skyrocket. Understandably, the
respective markets of end users for golf
clubs and guitar tremolos may be quite
different, but in actuality the manufacturing
processes are very similar. So, Gary Kahler
joined forces with Scott Miller, an industrial
engineer, to create and market forged golf
club heads and new, innovative guitar
components. From a business standpoint it
was obvious that the manufacture of golf
clubs was a sensible venture, and it quickly
became the major revenue generator for
Kahler International Inc. Eventually, in
2000, Scott and his investment group
picked up the option to purchase Gary’s
share of the business of manufacturing
forged golf clubs and guitar components.
The sale had by 2003 proved less than
successful, however, and by 2004 Gary
Kahler had taken back the company. He
immediately reinvented the company and
began focusing exclusively on guitar
hardware. So, 2004 and 2005 have been
years of re-establishing the business and
laying the groundwork for a new future.
MHL: Tell us about the very first
tremolos offered in the late ‘70s
and how the products became
such an immediate success.
Kahler: Well, it might have seemed like an
overnight success from the customer’s
viewpoint, but as we all know, it doesn’t
quite work that way. For many years before,
Kahler had worked closely with some of the
biggest players in guitar manufacturing. Before
the release of the tremolo, Kahler had been
providing other guitar hardware components to
the industry. And through the relationships
established with Grover Jackson, Bernie Ricco,
Wayne Charvel, Fender and Gibson that the seeds
were planted. In fact, Gibson was the first major
OEM to place an order, and it ordered up 500
pieces! But it is these relationships that prove to
be essential to the growth that was soon to come.
First, we knew that even to be competitive we had
to provide quality and pricing. But to achieve the
right pricing we had to build in quantity. The
tremolo unit would have to retrofit to any and all
electric guitars available on the market previously,
currently and in the future. That meant the
saddles had to be adjustable six ways: front to
back to accommodate intonation, side to side to
accommodate the varying string spacing between
manufacturers, and up and down - not only for
the player’s preferred action but also for any
fretboard radius a manufacture might use. These
last two points--side to side and up and down--
proved to be the most advantageous. For guitar
manufacturers big and small, it meant they
wouldn’t have to change the production and/or
design of their new and existing models. They
didn’t have to build a different neck solely to use
our product. The Kahler tremolo was a simple
addition to any of the product lines they had to
offer.
Secondly, the concept of fine-tuning was one that
Gary had been working on. Gary’s education is in
music: He had performed professionally for years
and taught as well. All other instruments had finetuning
systems, but not the guitar. It only made
sense that if violins, cellos, violas, percussion and
horns could benefit from fine-tuning, then the
guitar should too.
Third, with a fulcrum-style tremolo system the
resistance of pressure in the arm increases as the
note drops in pitch. There had to be a way to take
away the resistance and provide the artist with a
free-floating device that was sensitive to playing
style and technique. Eventually it became clear
that a cam-operated device could offset the spring
tension and provide a smooth, comfortable feel.
These concepts were put through exhaustive
testing over a period of two years. Through an
introduction by Grover Jackson, Gary Kahler met
with Dave Storey at San Francisco International
Airport. Dave was not only a guitar player but also
a person with a deep understanding of
mechanics. He too had sought to overcome the
issues of a fulcrum-style tremolo and created his
own cam-operating system. Together with Dave’s
concepts, Kahler Systems International eventually
brought the product to market, and today we
have what is familiar to us all as the Kahler
tremolo system.
Because we were able to implement all these
characteristics into the design, we enjoyed
tremendous success not only with the OEM’s but
in the aftermarket business as well.
MHL: In the early ‘80s Kahler tremolos
were seen in use by many of the most
influential guitar icons. Tell us how
some of the early artist endorsements
assisted in propelling the Kahler brand.
Kahler: With the release of his album, "The Twang
Bar King" in 1983, Adrian Belew’s endorsement set
a lot of the Kahler success in motion.
Simultaneously, we had Phil Collen of Def
Leppard using our tremolos on everything and
being seen on MTV all day long. Then you had
Steve Vai incorporating the Kahler on his Loch
Ness green JEM, effectively making the Kahler
tremolo required hardware for any guitar virtuoso.
Additionally, on the bass side there was the
endorsement of Billy Sheehan. These players,
along with Neal Schon and Jeff Beck, really laid
the groundwork. All these players were--and still
are--very much at the top of their game.
MHL: Guitars of the early ‘80s that
featured original Kahlers are now
highly collectable, due in large part to
the Kahler itself. Tell us about some of
the guitars of that generation and why
they’ve become so desirable.
Kahler: One of the best things to come out of this
whole deal was that you could now get a Gibson
Les Paul, or even a Gibson Explorer, with a real
tremolo system. That was pretty significant, and
the only tremolo system you could get on those
models was Kahler’s. Ours was the only tremolo
system that could work with a tune-o-matic type
of bridge.
The guitars coming out of B.C. Rich were also
significant. Those instruments had great designs
and craftsmanship. But Kahler was also prominent
on Fender, Peavey, Charvel, Jackson, Dean,
Hamer, Washburn and Carvin. We were in great
company. Being associated with these companies,
offering a new and innovative product and
recognition from topnotch artists really helped
ensure our success.
MHL: Tell us about the relaunch of
Kahler’s product line. Have any
modifications been made to the
original designs?
Kahler: There are over 1,382,000 Kahler tremolos
out there right now. So, first and foremost, we
want to be sure that the players receive the service
and support they deserve. After all, that adds up
to more than $300,000,000 at retail value. We
owe it to the players and the manufactures to be
here for them.
What we’re really focusing on right now is the
production and marketing of Kahler cam-operated
tremolo systems. The modifications have come
about in offering the end user a variety of
different metals to help the artist create his or her
own unique sound.
For guitars we offer the 2200 stud-mount series
and the 2300 flat-mount series. The 2200 is
designed to work with the tune-o-matic style
tailpieces, and the 2300 is for the flat-plate
bridges. Both models have available options such
as the Profiler with a steel cam and stainless-steel
saddles, which is some really serious equipment.
It delivers sustain for days. The Vindicator
combines an aluminum cam and brass saddles for
a lightweight alternative that won’t sacrifice tone.
The Special, as used by Kerry King, employs a
brass cam and stainless-steel saddles so you can
rip the heads off the competition. The Classic
kahler offers brass on brass for tone-savvy players in the elite who demand
ultimate control. Both types of models—the 2200 and the 2300--
offer onboard fine tuners and six-way saddle adjustment: front to
back for precise intonation, up and down for ultimate string action,
and side to side for perfect string spacing.
The 2400 bass tremolo systems come in four-, five- and six-string
models. And to accommodate all the designs of the many bass
manufactures, we offer both rearward and forward facing saddles.
The bass tremolos also have the six-way adjustable saddles.
We even offer fixed-bridge models for both bass and guitar, with
saddle sets that have the same features and benefits as the tremolos.
MHL: Are Kahler trems currently being offered as
standard OEM upgrades to existing guitar lines?
Kahler: Yes, from the big OEM’s we have Fender, Gibson, B.C. Rich
and Jackson placing orders. We’ve also become very involved with
many of the custom luthiers such as Moser, Big Head Guitars and
Wayne Guitars. Plus, on the bass side of the business we’ve been
working with Fodera and Warwick.
MHL: Kahler trems are legendary for their smooth feel
and operation. What is it about the unique design of
a Kahler trem that truly differentiates it from other
designs?
Kahler: The design and function of the Kahler tremolo is truly
unique; it’s unmatched by anything out there. The cam-operated
design came about through many years of experience in mechanical
engineering. The cam design helps offset the tension of the springs
against the strings and smoothes out the feel allowing the guitarist
a very articulate and sensitive interaction with his guitar. Another
important component in that overall feel is the use of two R2ZZ
precision ball bearings, which enhance that smoothness and ensure
a precise return to pitch.
By using the ball bearings and cam design along with integrated
roller saddles, we’ve created a device that maintains a consistent
relationship between the string and the saddle. It creates the critical
contact point, which is crucial in the instrument’s tone and the
harmonic value of each note. By maintaining a consistent witness
point between the string and the saddle, there is no loss in tone or
harmonics. The Kahler design allows for the string to cast forward
when the bar is depressed, so it never loses contact, and to recede
when returned to zero or the bar is pulled upward. Again, contact is
always maintained. By contrast, if you were to depress a fulcrum
bridge you’d essentially be tipping the bridge forward. That allows
the strings to lift up off the saddles, so that the critical contact point
is lost. Along with that, you lose the tone and harmonics of a given
note.
Another point that is critical to the overall tone the player achieves
is the amount of routing that’s required for the installation of a
Kahler unit. There is very minimal routing needed to install a Kahler
tremolo, and it’s nowhere near the amount needed for a fulcrumstyle
bridge. The excessive routing required to install a fulcrum takes
away from the base of what is contributing another part of your
tone: the wood. By allowing the instrument to maintain its mass in
wood, you maintain your tone and have the added flexibility of a
tremolo device.
MHL: The January NAMM Show is a coming-out party
of sorts for Kahler USA. What can we expect to see at
the show?
Kahler: Yes, it’s very much a coming-out party. The NAMM show is
going to be a major part of our being back. We’ll be opening up the
show with a press conference 10 a.m. Thursday morning for all the
media and industry people. We’ll use that opportunity, along with
the show, to reintroduce ourselves to the OEMs and retailers. Plus,
there are new faces in the business now that we didn’t have the
opportunity to work with in the past, and they’re of great
importance as well. Kahler has benefited from a great reputation
with previous OEM’s, retailers and endorsees, but there’s a new
generation that I feel will also be able to benefit from Kahler
products. We’ve worked very hard in order to bring in new price
points, promotions and product that we all can benefit
from...so, we can’t wait for the show.
MHL: Kahler still carries incredible brand equity in
today's marketplace. In the era of custom-shop
guitars, what role do you see Kahler providing?
Kahler: Thank you for the compliment. The custom-shop luthiers are
definitely a major part of today’s market. Fortunately, the customer
at the custom shop is the exact same customer that requires and
demands a product of Kahler’s caliber for a tremolo system. We’re
an uncompromising company, and we’re very proud of our heritage
and product. These are values that the custom shop and customer
share as well.
We also value the significance of artist endorsements. We’ve had the
pleasure of working with some wonderful musicians in the past, and
we’ll continue to do so in the future. Two prominent endorsers that
we’re currently working with come from extreme ends of the
musical spectrum. But that’s what is so great about the product: It
caters to all styles. We’re honored to be working with the amazing
Victor Wooten, who’s an absolute genius and a monster on the bass.
In addition we’re working with Slayer guitarist Kerry King. Kerry has
been defining a genre of music for years with his killer riffs, and
we’re proud to be a part of it.
MHL: In closing, Josh, what is the company vision at
this point, and what factors are most attributable to
the company’s success?
Kahler: Being American-made is still of great importance to us, just
as it is to our customers. We take great pride in still being able to
stamp "MADE IN USA" on our product. This is something we can
still bring to the table when many others simply can’t or won’t.
We’ve always focused on giving the end user the highest-quality
product possible. From the finish of the bridge to the method in
which the components are manufactured and assembled, we ensure
that the Kahler tremolo system will be the best it can be.
Kahler truly can offer the end user the highest-quality product. For
the OEM’s and luthiers they’re products that are innovative, and for
the retailers they’re profitable. We have the willingness to take the
instrument manufacturer, retailer and end user into account when
making decisions on our products.
Moving forward, it’s comforting to know we have brand equity, but
we can’t rest on that alone. That’s why we’ll continue to be
innovative and aggressive in accommodating the needs and wants
of the U.S.A. and offshore OEM’s, luthiers, distributors, retailers and
end users.
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