Adamas

However, in 1966, one manufacturer overturned that conventional wisdom.

A guitar maker born from aerospace technology, using no wood for the body.
Its appearance seems as if it came from another planet, and its structure is meticulously calculated.
That is "Ovation."

When you hear the name Ovation, you think "oddball," "just another..."Electric AcousticSome people might have the impression that "it looks great on stage, but the sound is..."
To be honest, I was one of them at first.
If you've ever spotted an Ovation at a music store, you've probably stopped to take a closer look at least once.
"What's the deal with that sound hole placement?" "I wonder what kind of sound it makes."
That was my impression when I first saw the Ovation.

I was intrigued, but at the time it somehow seemed "interesting."Electric AcousticI had always thought that way. But after encountering one particular piece, that belief was instantly overturned.
Its name is Ovation's pinnacle model, the "Adamas."
The first time I saw it before me, it was like seeing a star shining in broad daylight—a shock ran through me.

Somehow inorganic, yet possessing a beautiful form that evokes a sense of melancholy and transience.
Its very presence made me hesitate to even touch it, yet its form held an irresistible charm that drew me in the more I gazed upon it.
It was an encounter that suddenly appeared before me, a wood-grain supremacist at the time, challenging my very definition of beauty.

As if propelled by its very existence, tracing Ovation's history reveals it to be an indispensable presence in any discussion of acoustic guitars.

Charlie Kaman was an aeronautical engineer who had also been deeply involved in music since his youth.
As a teenager, he competed in guitar contests and even performed with the Tommy Dorsey Orchestra.
After that, he was invited to pursue a career as a professional musician as a guitarist for the Tommy Dorsey Orchestra, but he chose not to take that path.

That choice has been strongly influenced since childhood.
Having a father who was a pilot, Charlie developed a strong fascination with airplanes from his childhood. After graduating high school, he earned a bachelor's degree in aeronautical engineering with honors from a Catholic university.
He then began his career as an aeronautical engineer under helicopter designer Igor Sikorsky.

In 1945, Charlie founded Kaman Aircraft (now Kaman Corporation) based on his inventions and limited funds.
His "servo-flap rotor" design represented revolutionary helicopter control technology for its time.
The company gradually achieved growth, and by the 1950s, it had successfully developed the world's first gas turbine-powered helicopter, ushering in a new era in the aviation industry and establishing a solid position.

However, as the 1960s began, aircraft parts shifted from wood to metal and composite materials, putting skilled woodworkers in factories at risk of losing their jobs.
In response to these changing times, Kaman Corporation sought diversification to stabilize its business, exploring ventures ranging from recreational vehicles and golf clubs to surfboard manufacturing.

Among them, Charlie focused on the guitar.
The story that is said to have sparked this was that the neck of his Martin guitar was warped, and he visited the Martin company for repairs.

Charlie visited the Martin factory at the invitation of C.F. Martin III, president of Martin.
Then Charlie realized something.
At its founding, Kaman Corporation manufactured helicopter rotor blades from Sitka spruce.
There, precision tools and advanced woodworking machinery were used to maintain a tolerance of 5/1000 of an inch.
Meanwhile, Martin guitars were crafted with hammers and chisels, using hide glue as the adhesive.
"We can cut costs in half and make more accurate products."
Feeling this way, Charlie approached Martin Corporation about a potential acquisition.
However, Martin Company placed great importance on family management, so the offer was politely declined.

After that, he considered acquiring other brands, but none offered an environment conducive to realizing his vision.

From these experiences, he resolved, "Then I'll start from scratch myself."
And in 1966, he founded Kaman Music Corporation.
We will take on the challenge of creating an entirely new type of guitar by applying aerospace technology.
This marked the birth of the guitar that would later be named "Ovation."

In 1976, Ovation unveiled the Adamas, an innovative model that represented the culmination of its previous work.
The development fully leveraged the company's technical assets as an aircraft manufacturer, resulting in a structure that sets it apart from conventional acoustic guitars.

The defining feature of Adamas is its ultra-thin top, featuring a sandwich construction combining two thin layers of carbon graphite with 0.79mm birch wood.
This structure achieves a top thickness of just 1.27mm.
This material is only one-third the thickness of a standard acoustic guitar top, yet it is highly resistant to humidity and temperature changes, representing the culmination of Kaman Corporation's accumulated expertise.

Next, it is worth noting that the sound hole is not the traditional center sound hole.

Charlie questioned the existence of the center soundhole.
String vibrations travel through the bridge and resonate the body.
However, I wondered if the sound hole, located right next to the bridge, might block and weaken those vibrations.
In fact, the guitars with a 12-fret joint, where the bridge position is farther from the soundhole, demonstrated greater vibration compared to guitars with a 14-fret joint, proving his argument.

Thus, through his innovative thinking, the multi-sound holes positioned on both sides of the upper body were born.
This sound hole is edged with a wooden "epolette" (leaf-shaped ornament) depicting acanthus leaves.

A wide variety of exotic woods are used, including Burmese teak, Indian rosewood, American bird's-eye maple, South American amaranth, Andaman padauk, and African sapele.
As shown in the image, it features a vibrant, smooth satin finish—a beauty that makes you want to reach out and touch it.

The acanthus leaf has long been a motif in Greek architecture and interior decoration, lending Adamas the dignified presence befitting Ovation's flagship model.
This design achieves both sound projection and aesthetic appeal while allowing greater freedom of movement for the top.
It achieves both acoustic efficiency and visual uniqueness without hindering the vibration of the entire top plate.

Another feature you can't miss on early Adamas models is this wood knob.
Instead of resin or metal, meticulously carved wooden knobs are used.

I feel this knob holds meaning beyond its function.
The warmth of the wood when touched by your fingertips, the subtly varying expressions of the grain, and its presence that seems to naturally blend into the body.
This guitar, constructed from the artificial material carbon graphite, seems to pursue the "beauty of an acoustic guitar" while simultaneously exploring the fullest potential of its sound.

Notable acoustic characteristics include clear and well-defined high frequencies, rich yet cohesive bass, and a tone with excellent harmonic sustain.
Compared to standard wooden tops, it produces a faster attack and a distinctly defined sound image, especially when amplified through a pickup, making it a favorite among many professional musicians.
Furthermore, the synergistic effect with the round-back structure also delivers excellent volume and projection.
There may be no other acoustic guitar that blends innovation and artistry to this extent.

The body side features two jacks labeled "MONO" and "STEREO." In addition to standard mono output, inserting a stereo plug enables an astonishing experience.

Using a dedicated plug in the stereo jack separates the output of strings 1, 3, and 5 from strings 2, 4, and 6 into left and right channels.
Rather than sounding like a single guitar note, it creates a three-dimensional quality as if two guitarists were conversing, filling the space with an enveloping resonance.
This specification was a truly forward-thinking means of expression for live performances and recording sessions at the time.

The Adamas features a system commonly referred to as an "FET preamp."
This preamp receives signals captured by six individual piezo transducers built into the saddle and is responsible for amplifying and shaping them appropriately.

A piezoelectric transducer is a device that directly converts physical pressure or vibration into an electrical signal.
It detects not only the vibration of the strings but also the minute movements of the soundboard (top), electrically outputting this delicate tonal information. This signal is sent to a preamp constructed with FETs (Field Effect Transistors), where it is amplified to an appropriate line level while preserving the natural timbre.

The crucial point is that it is not merely a device for "making sounds louder."
FET preamps preserve the natural character of the guitar's sound as faithfully as possible, accurately conveying the unique nuances, harmonic components, and even the airy quality characteristic of acoustic guitars.
The existence of this FET preamp has been described not merely as an electronic circuit, but as an "interpreter" that conveys the sound of Adamas to the "outside world."
The process of shaping the sound to ensure it reaches the listener clearly without altering its character represents a significant technological achievement in the field of acoustic-electric guitars.

Another characteristic of early Adamas guitars is that "the tops on Adamas models made before 1984 were extremely thin"—a fact long passed down among vintage Ovation enthusiasts.
However, there was little public documentation to substantiate its veracity, and it remained nothing more than a matter of perception.

Therefore, I attempted to verify this through actual measurements using multiple specimens held in our collection.
The measurement method adopted involves measuring the thickness including the epaulette (decorative opening) molded as one piece with the top material, then subtracting the height of the epaulette protruding from the top surface.
This is a relatively reliable approach for estimating the actual thickness of the top board itself.

Using this method, measurements of ten Adamas from 1978 to 1998 showed slight variations due to individual differences, but no clear thickness differences based on age were confirmed (actual measurements are listed in the chronology below).

Furthermore, the description of the thickness of Adamas' top plate in the 1995 catalog for Japan remains unchanged since its initial appearance.

Nevertheless, when actually played, the early models clearly possess a light and open sound, and one can feel that their acoustic character differs from that of the later models.

This sensation is precisely why it is described as having a "thin top." It is natural to consider that it is not the actual thickness, but the impression of resonance that has been described using the word "thinness."

In conclusion, we were unable to physically prove the claim that "Adamas prior to 1984 had a thin top."
It is not that "it rings because it is thin," but rather that "it feels thin because it rings well"—this conclusion was reached based on both actual measurements and performance experience.
We will continue to unravel the history and appeal of Adamas through the verification of individual pieces.

A single bottle that perfectly encapsulates the essence of Adamas.
The body side features a wood knob and stereo output, while the side of the body back has a maintenance hole.
The abundance of glitter scattered throughout is also characteristic of this season. As if capturing the stars of the universe, the body shimmers when it catches the light, radiating a presence where innovation and glamour coexist in perfect harmony.
The label inside the body features Charlie Kaman's handwritten signature, powerfully conveying that Adamas represents the culmination and pride of Ovation.

And above all, it is the sound that evokes the deepest emotion.
Pushing design to its limits = The sheer thinness of the body top delivers a powerful, resonant body sound that's nothing short of spectacular.
The thin plate vibrates intensely, producing a rich resonance unmatched by other models.
That resonance can only be experienced with Super Adamas.

We are truly delighted to be able to present these exceptionally rare early models, which miraculously came into stock simultaneously.
This one features a beautiful beige color with soft tones.
The sparkling glitter evokes a mystical beauty, like the sight of new buds glistening in the sunlight.

Try playing an E chord once.
The powerful low strings and delicate high strings intertwine exquisitely.
The resonance is as grand as a majestic orchestra blending into one, unleashed from the soundhole and body.

As introduced thus far, Super Adamas has sparked an innovative whirlwind with its new materials, appearance, and sound character.
It captivated top artists, became a favorite for live stages and recording sessions, and instantly became the guitar that every guitarist aspired to own.

However, at a time when the starting salary for university graduates was said to be around ¥100,000 to ¥150,000, the Super Adamas had a list price of about ¥1,000,000.
As its price indicated, it was truly a high-priced item, one that only a select few could afford to possess.
To bring its innovative structure and sound to more guitarists, refinement and cost reduction were the challenges.

Therefore, Ovation developed the Adamas II as a more cost-effective model while retaining the appeal of the Super Adamas.
The Adamas II is said to have debuted in 1981, but this particular unit's serial number indicates it was manufactured in 1980.
In other words, it is a valuable specimen created in the earliest stages.

The headstock and bridge have been redesigned for greater practicality, and the neck is constructed from a five-piece maple and mahogany joint.

Looking at the background of its introduction might lead to misunderstanding, but it's not simply a budget model designed to keep costs down.
It boasts a presence that rivals Super Adamas, along with rich and brilliant sound.

Adamas II brought its innovation to many people.
Its very existence further solidified Ovartion's position as an instrument that continues to demonstrate an evolution beyond the boundaries of the acoustic guitar.

Adamas II, inheriting the DNA of Super Adamas while embodying the aspiration of "a dream within everyone's reach," continues to capture the hearts of countless guitarists to this day.

This is a particularly rare nylon-string model within the Super Adsamas lineup.
Inside the body, a label clearly remains intact, displaying the date of manufacture and the words "Adamas Classic."
Though unique even among Adamas, the exquisite carvings on its rod cover and bridge make it unmistakably a Super Adamas at a glance.

Even with the passage of time, it retains the vividness of its epaulets, the luster of its clear guard, and the brilliance of its body top, embodying the dignity of a timeless masterpiece.
While sensing a certain melancholy aura in its appearance, I feel drawn to its beauty, as if gazing upon trees dyed in autumn colors.

And when plucked, its Mid Depth body fills the space with surprisingly rich volume.
"How does such richness and depth come to be?"—that question slowly fills my heart.

As I surrender to that resonance, I fall into a sensation where sound and stillness intertwine, the axis of time blurring—as if playing Erik Satie's "Gymnopédie" in a room where the sound of rain beating against the window echoes.
Raindrops trickling down the window blend with the music, just as my own figure, bowed over the strings, merges with the tones I play. Each moment feels like a faint, fleeting dream.

The Super Adamas Classic is a truly special instrument that reminds us that musical instruments are more than just tools.

Precision aluminum die-cast neck
A unique neck construction integrating the fingerboard, frets, and neck core. This unified structure prevents neck warping, lending it the dignified presence of a sculpture imbued with unwavering resolve.

The neck is made of molded urethane foam, finished with polyester to create a mahogany-like sheen.

The soundhole protector (rosette) and pickguard are molded as a single unit, giving the Applause a futuristic appearance as if it arrived from the future.
This is not a guitar, but an acoustic device with an innovative mechanism.
It truly radiates a presence that transcends the boundaries of an instrument.

This guitar was crafted roughly 50 years ago, and while it certainly possesses a retro charm, every time I pick it up, a strange sense of exhilaration strikes me—as if I'm touching the very cutting edge of its era.

The birth of Adamas was a direct challenge to the tradition that "good acoustic guitars should be made from high-quality wood."
Design philosophies like using graphite or composite materials instead of wood for the top, multi-sound holes, and rounded back construction have shattered the conventions and traditions of the acoustic guitar world.
This is thought to have influenced the subsequent introduction of new technologies by Taylor, Godin, and others.

Even in the TV era, Adamas's stage presence and striking visuals remain a major strength.
With its iconic soundhole placement and gradient finish, the Adamas was highly valued as a "photogenic guitar" during the era of color television broadcasts, when a performer's visual appearance significantly influenced their impression.

Country/pop singer Glen Campbell, who was deeply involved from the prototype stage of Adamas
Campbell used Ovation's early model "Balladeer" and his signature model "Glen Campbell Artist 1127".
Thanks to his influence, Ovation guitars gained acceptance among many musicians and established their position in the acoustic-electric guitar field.
His appearance with the Adamas in particular sparked buzz among viewers asking, "What is this?" and brought a breath of fresh air to the guitar industry at the time.

In Japan in 1978, Minami Kōsetsu used a blue Super Adamas on stage during a live performance by the reunited Kaguya Hime.
Matsuyama Chiharu also played the Blue Super Adamas solo, and seeing them perform sparked murmurs among music fans: "Is that instrument an acoustic guitar?" Hamada Shogo favored the red 6-string Adamas, while Ozaki Yutaka loved the 12-string Blue.
Their sound and visuals became the hallmark of their stage performances, etching themselves vividly into people's memories.
For musicians striving to believe in their own sound, it was both a weapon for confronting the times and a partner for unleashing expression. And in other fields like jazz, Kazumi Watanabe masterfully wielded Ovation and Adamas guitars, proving their potential in the crossover world—including collaborations with Mike Mainieri.
Char, for his part, had fully grasped its appeal by the time he finally released his signature model to the world. To this day, Adamas continues to be used at the forefront of music.

The engineers who built helicopter rotors dedicated this cross-disciplinary fusion masterpiece, "Adamas," to the world of music.
Soundhole placement, bracing based on vibration analysis, and materials that balance durability and lightness.
These innovations have changed common sense, transformed the way music is performed, and even altered the landscapes people see.

Tens of thousands of viewers were moved by the sight of Glen Campbell receiving it on television.
"I've never seen or heard a guitar like this," he muttered to himself.

What reached my ears was not just sound.
It is neither the resonance of wood nor the tremor of iron.
It was an "unknown vibration" to the people of that time, one that seemed to shake the very depths of the air.

The vibration that reached deep within my chest was dazzling, like light arriving from the future.
This is the sound of the next page of music being turned.
There must have been people who felt that way too.

The arrival of Adamas challenges the conventional wisdom of "this is how a guitar should be,"
The sound stirred the hearts of the musicians who received it, becoming a catalyst for creating new music.

From players to collectors who currently have Adamas in their possession.
Or perhaps you yourself, drawn by its very existence, have already begun walking the continuation of this history.

And now, we at Advance Guitars stand on the extension of that history.
Passing on instruments born of passion and innovation to the next generation of players.
Connecting sounds, connecting music, connecting lives.

Written by:Mochizuki (Advance Guitars Staff)

In his personal life, he primarily plays electric guitar. He channels his boundless love and interest in the instrument—so deep that he continues playing guitar even during work breaks—into showcasing the appeal of acoustic guitar with his exceptional strumming technique, among the finest at Advance Guitars.

One word: Ovation made me rethink what an acoustic guitar truly is.
This guitar breaks with the tradition of "wood construction," redesigned to prioritize sound and stage performance above all else.
Its very origins are already steeped in romance.

Qualifications and Experience: 4 years as an instrument appraiser

▶︎Articles I've written can be found here

The Secret of Ovation Adamas
Terry Nakamoto's Legend: Yamaha's Four Heavenly Kings