Ovation's top-of-the-line model, "Adamas"

However, in 1966, a certain manufacturer overturned that conventional wisdom.

A guitar manufacturer that doesn't use wood for its guitar bodies, and whose origins lie in aerospace technology.
Its appearance is as if it came from another planet, and its structure is meticulously designed.
That is "Ovation".

When you hear the name Ovation, you might think of it as something unusual or, ultimately, just...Electric AcousticSome people might have the impression that "it looks good on stage, but the sound is..."
To be honest, I was one of them at first.
If you've ever seen an Ovation guitar in a music store, you've probably stopped and admired it at least once.
"What's the meaning behind the arrangement of those soundholes?" "What kind of sound will it produce?"
That was my first impression when I saw an Ovation.

I was intrigued, but at the time, it was somehow "interesting"Electric AcousticThat was my understanding. However, after encountering a certain product, that idea was completely overturned in an instant.
Its name is Ovation's top-of-the-line model, "Adamas".
When I saw it for the first time, I felt a shock similar to seeing a star shining brightly in broad daylight.

Its beautiful form, while somewhat inorganic, evokes a sense of melancholy and transience.
Its presence made me hesitate even to touch it, but there was an irresistible charm to its appearance, and the more I gazed at it, the more I was drawn in.
At the time, I was a staunch believer in the supremacy of wood grain, and this encounter suddenly appeared before me, forcing me to question my own definition of beauty.

As you trace the history of Ovation, driven by its very existence, you realize that it is an indispensable presence when discussing acoustic guitars.

Charlie Kaman was an aeronautical engineer, but he was also deeply involved in music from a young age.
In his teens, he participated in guitar contests and even had the experience of performing with the Tommy Dorsey Orchestra.
He was later invited to become a professional musician as a guitarist for the Tommy Dorsey Orchestra, but he chose not to pursue that path.

That choice was strongly influenced by experiences from childhood.
Because his father was a pilot, Charlie had a strong fascination with airplanes from a young age, and after graduating from high school, he graduated with honors from Catholic University, earning a bachelor's degree in aeronautical engineering.
He then began his career as an aeronautical engineer under helicopter designer Igor Sikorsky.

In 1945, Charlie founded Kaman Aircraft (now Kaman Corporation) with his own inventions and a small amount of capital.
His design for a "servo flap rotor" was a revolutionary helicopter control technology for its time.
The company gradually grew, and in the 1950s, it succeeded in developing the world's first gas turbine-powered helicopter, ushering in a new era in the aviation industry and establishing a solid position in the market.

However, in the 1960s, the materials used for aircraft parts were replaced from wood to metal and composite materials, putting skilled woodworkers in factories at risk of losing their jobs.
Given these trends, Kaman was exploring diversification to stabilize its business, and was considering manufacturing RVs, golf clubs, and even surfboards.

Among them, Charlie's attention was drawn to the guitar.
The story goes that the trigger for this was when he visited the Martin company to have the neck of his Martin guitar repaired because it was warped.

Charlie was invited by CF Martin III, the president of Martin & Co., to visit the Martin factory.
That's when Charlie realized something.
When Kaman was founded, they manufactured helicopter rotor blades from Sitka spruce.
There, they maintained tolerances of 5/1000 of an inch using precision tools and advanced woodworking machinery.
On the other hand, Martin guitars were made using hammers and chisels, and hide glue was used as adhesive.
"We can cut costs in half and produce more accurate products."
—That's what Charlie felt, so he approached Martin about acquiring the company.
However, since Martin Company valued its family business, the offer was politely declined.

After that, he considered acquiring other brands, but none of them provided an environment where he could realize his ideals.

These experiences led him to decide, "Then I'll start from scratch myself."
Then, in 1966, he established Kaman Music Corporation.
They will be taking on the challenge of creating a completely new type of guitar by applying aerospace technology.
This marked the birth of the guitar that would later be named "Ovation."

In 1976, Ovation released the "Adamas," an innovative model that represented the culmination of their efforts up to that point.
The development fully utilized the technological assets of the aircraft manufacturer, resulting in a structure that sets it apart from conventional acoustic guitars.RecruitIt was done.

The most distinctive feature of Adamas is its ultra-thin top, which has a sandwich structure combining two thin layers of carbon graphite and 0.79mm of birch wood.
This structure allows for a top that is only 1.27mm thin.
This thickness is only one-third the thickness of a typical acoustic guitar top, yet it is highly resistant to humidity and temperature changes, making it a testament to the technology that Kaman Corporation has cultivated.

Next, it's worth noting that the soundhole is not a traditional center soundhole.

Charlie questioned the existence of a center soundhole.
The string vibrations travel through the bridge and cause the body to resonate.
However, I wondered if the soundhole, located so close to the bridge, might block and weaken those vibrations.
In fact, guitars with a 12-fret joint, where the bridge is further away from the soundhole, were found to produce more vibration compared to guitars with a 14-fret joint, which proved his claim.

Thus, his innovative idea led to the creation of the multi-soundhole design, with multiple holes positioned on both sides of the upper part of the body.
This soundhole is bordered by a wooden "epaulet" (leaf-shaped ornament) depicting an acanthus leaf.

A wide variety of exotic woods are used, including Burmese teak, Indian rosewood, American birdseye maple, South American amaranth, Andaman Islands padauk, and African sapele.
As you can see in the image, it has a vibrant color and a smooth satin finish, making it so beautiful you'll want to reach out and touch it.

The acanthus leaf has been a motif in Greek architecture and interior decoration since ancient times, and it imbues the Adamas with a style befitting Ovation's top-of-the-line model.
This design balances sound projection and aesthetics, while also allowing the top to vibrate more freely.
This design avoids hindering the vibration of the entire top plate, achieving both acoustic efficiency and a unique appearance.

Another feature of early Adamas models that shouldn't be overlooked is this wooden knob.
Instead of resin or metal, it uses carefully carved wooden knobs.

I feel that this knob holds a meaning beyond its function.
The warmth of the wood when you touch it with your fingertips, the subtly different grain patterns, and the way it blends naturally into the body.
Perhaps this guitar, constructed from the artificial material carbon graphite, is exploring the full potential of sound while simultaneously pursuing "the beauty of an acoustic guitar."

Notable acoustic characteristics include clear and crisp high frequencies, rich yet cohesive bass, and a tone with excellent harmonic extension.
Compared to a standard wooden top, it has a faster attack, and the clearly defined sound image, especially when played through a pickup, has been favored by many professional musicians.
Furthermore, thanks to the synergistic effect with the round back structure, it also excels in both volume and projection.
I doubt there's another acoustic guitar that so perfectly blends innovation and art.

The body features two jacks, "MONO" and "STEREO," allowing for a surprising experience in addition to the standard mono output by plugging in a stereo plug.

When a special plug is used with the stereo jack, the 1st, 3rd, and 5th strings and the 2nd, 4th, and 6th strings are separated and output to the left and right channels.
Rather than simply the sound of a single guitar, a three-dimensional quality is created, as if two guitarists were having a dialogue, and a resonant sound that envelops the space spreads out.
This specification was truly a forward-thinking means of expression for live performances and recording sessions at the time.

Adamas is equipped with a system commonly known as a "FET preamplifier."
This preamplifier receives signals acquired by six individual piezo transducers built into the saddle and is responsible for amplifying and shaping them appropriately.

A piezo transducer is a device that has the property of directly converting physical pressure and vibration into electrical signals.
It senses not only the vibrations of the strings but also the subtle movements of the soundboard (top), and electrically outputs that delicate sonic information. This signal is sent to a preamplifier composed of FETs (Field Effect Transistors), where it is raised to the appropriate line level while maintaining a natural tone.

The important point is that it's not simply a device for "making" sound louder.
FET preamps are characterized by their ability to preserve the guitar's original tonal expression as much as possible, accurately conveying even the nuances, harmonic components, and sense of air that are particularly unique to acoustic guitars.
The existence of this FET preamplifier has been described not merely as an electronic circuit, but as something like an "interpreter" that conveys the sound of Adamas to the "outside world."
The ability to refine the sound without altering it, yet ensuring it reaches the listener effectively, represents a pinnacle of technical achievement in the field of acoustic-electric guitars.

Another characteristic of early Adamas guitars, a fact passed down among vintage Ovation enthusiasts, is that "the tops of Adamas guitars from before 1984 are extremely thin."
However, there was little official documentation to support the veracity of this claim, and it remained merely an impression.

Therefore, I attempted to verify this through actual measurements using several specimens held in our store.
The measurement method involves measuring the thickness including the epaulets (decorative openings) molded integrally with the top wood, and then subtracting the height of the epaulets protruding from the top surface.Recruitdid.
This is a relatively reliable approach for estimating the actual thickness of the top plate itself.

Using this method, we measured 10 Adamas guitars from 1978 to 1998. While slight variations due to individual differences were observed, no clear differences in thickness due to the year were found (actual measurements are listed in the timeline below).

Furthermore, it can be confirmed that the description of the Adamas' top plate thickness in the 1995 catalog for the Japanese market has remained unchanged since its introduction.

Nevertheless, when you actually play them, you realize that the early models have a distinctly lighter and more open sound, and that their sonic character is different from the later models.

This feeling is precisely why it's described as having a "thin top," and it's natural to assume that the impression of the sound, rather than the actual thickness, has been described as "thin."

In conclusion, it was not possible to physically prove the claim that "Adamas models prior to 1984 had thin tops."
Based on both measurements and playing experience, the conclusion reached is that it's not that "it resonates because it's thin," but rather "it resonates well, which makes it feel thin."
I will continue to explore the history and appeal of Adamas through individual specimen analysis.

This is a single bottle that perfectly encapsulates the charm of Adamas.
The body sides feature wooden knobs and a stereo output, while a maintenance hole is located on the side of the back of the body.
A characteristic of this period is the abundance of glitter scattered throughout, and the body, which sparkles in the light as if it has captured the stars of the universe, exudes a presence where innovation and glamour coexist in perfect harmony.
The label inside the body features Charlie Kaman's handwritten signature, strongly indicating that the Adamas represents a culmination and source of pride for Ovation.

And what is most moving is the sound.
Designed to push the limits, the extremely thin body top delivers a powerful, resonant body sound with incredible drive—it's simply breathtaking.
The thin panels vibrate intensely, producing a rich sound unlike anything found in other models.
That sound is something you can only experience with Super Adamas.

I am truly delighted that we were able to miraculously have these extremely rare early models in stock at the same time, and that I can introduce them to you in this way.
This one comes in a beautiful, soft beige color.
The shimmering glitter evokes a mystical beauty, like a scene of new sprouts shining in the sunlight.

Try playing an E chord once.
The power of the bass strings and the delicacy of the treble strings intersect in a perfect harmony.
The sound is magnificent, as if a powerful orchestra has merged into one, releasing its full power from the soundhole and body.

As described above, Suoer Adamas has created a revolutionary sensation with its new materials, appearance, and sound character.
It captivated top artists, was a favorite on live stages and in recordings, and quickly became a coveted instrument for guitarists.

However, at a time when the starting salary for a university graduate was said to be around 100,000 to 150,000 yen, the retail price of Super Adamas was around 1 million yen.
As its price suggests, it was truly an unattainable luxury, something only a select few could afford.
To bring its innovative structure and sound to more guitarists, the challenges were improvement and cost reduction.

Therefore, Ovation developed the Adamas II as a more cost-effective model while retaining the appeal of the Super Adamas.
While the Adamas II is generally believed to have been introduced in 1981, this particular unit's serial number indicates it was manufactured in 1980.
In other words, it is a valuable specimen from the very earliest period.

The headstock and bridge have been redesigned for greater practicality, and the neck is made from five pieces of maple and mahogany.

Looking at the background of its introduction might lead to the misconception that it's simply a low-priced, budget model.
It boasts a presence that rivals Super Adamas, along with a richness and brilliance of sound.

Adamas II delivered its innovativeness to many people.
Its existence further solidified Ovartion's position as a guitar that continues to evolve beyond the boundaries of the acoustic guitar.

Inheriting the DNA of the Super Adamas, the Adamas II continues to capture the hearts of many guitarists as a model that embodies the "aspiration that everyone can have."

This particular Super Adsamas model features nylon strings, making it especially rare.
Inside the body, the manufacturing date and a label that reads "Adamas Classic" are still clearly visible.
While it's a unique model even within the Adamas lineup, the beautiful carvings on the truss rod cover and bridge immediately reveal it to be an unmistakable Super Adamas.

Even after all these years, the vibrancy of the epaulets, the luster of the clear guard, and the shine of the body top remain undiminished, giving it the aura of a timeless masterpiece.
While its appearance evokes a sense of melancholy, its beauty is captivating, much like gazing at trees dyed in autumn colors.

And when you strum it, despite its mid-depth body, it fills the space with an astonishingly rich volume.
"How does that richness and depth come about?" — This question slowly spreads in my mind.

As you surrender yourself to the sounds, you get the feeling that sound and tranquility intertwine, and the axis of time blurs, as if you were listening to Erik Satie's "Gymnopédies" in a room where the sound of rain hitting outside the window can be heard.
Just as raindrops trickling down the window blend with the music, my own figure stroking the strings with my head bowed and the sounds I produce blend together, making each moment feel like a fleeting, ephemeral dream.

The Super Adamas Classic is a special instrument that reminds us once again that a musical instrument is more than just a tool.

Precision die-cast aluminum neck
The unique neck structure integrates the fingerboard, frets, and the inside of the neck into a single unit. This integration prevents the neck from warping, giving it a dignified presence like a sculpture imbued with unwavering determination.

The neck is made of molded urethane foam, which is then finished with polyester to give it a mahogany-like sheen.

The soundhole protector (rosette) and pickguard are molded as a single piece, giving the Applause a futuristic look.
"This is not a guitar, but an acoustic device with an innovative mechanism."
It truly possesses a presence that transcends the boundaries of a musical instrument.

This guitar was made about 50 years ago, and it certainly has a retro feel to it, but every time I pick it up, I'm struck by a strange sense of exhilaration, as if I'm touching the cutting edge of a new era.

The birth of Adamas was a direct challenge to the tradition that "a good acoustic guitar should be made from high-quality wood."
From top materials made of graphite or composite materials instead of wood, to multi-soundholes and a round back structure, every design concept challenged the conventions and traditions of the acoustic world.
This is thought to have influenced the subsequent adoption of new technologies by companies such as Taylor and Godin.

Even in the age of television, Adamas's visually striking stage presence remains a major strength.
With its iconic soundhole placement and gradient paintwork, Adamas guitars were highly valued as "eye-catching guitars" in an era where "looks" significantly influenced the impression a performer made on television.

Country/pop singer Glen Campbell was deeply involved with Adamas from the prototype stage.
Campbell uses early Ovation models such as the "Balladeer" and his own signature model, the "Glen Campbell Artist 1127."
Thanks to his influence, Ovation guitars were embraced by many musicians and established their position in the field of acoustic and electric guitars.
His appearance, especially with an Adamas guitar, sparked curiosity among viewers, who wondered, "What is that?", and created a sensation in the guitar industry at the time.

In Japan, in 1978, Kosetsu Minami used a blue Super Adamas guitar on stage at a live performance by the reunited Kaguyahime.
Chiharu Matsuyama also performed a song with a blue Super Adamas guitar, and the sight of them playing sparked a buzz among music fans, with many wondering, "Is that instrument really an acoustic guitar?" Shogo Hamada favored a red 6-string Adamas, while Yutaka Ozaki used a blue 12-string.
Their sound and visuals became symbolic of their stage presence, leaving a vivid impression on people's memories.
For musicians who believe in their own sound, it was a "weapon to confront the times" and a "partner to unleash their expression." And in other fields such as jazz, Kazumi Watanabe, using Ovation and Adamas, proved its potential in the crossover world, including his collaborations with Mike Mainieri.
Char, in particular, has fully grasped the appeal of Adamas guitars, eventually releasing his own signature model. Even today, Adamas guitars continue to be used at the forefront of music.

"Adamas" is a culmination of interdisciplinary collaboration, created by engineers who previously manufactured helicopter rotors, and dedicated to the world of music.
The soundhole placement, the bracing based on vibration analysis, and the materials that balance durability and lightness.
These innovations have changed common sense, transformed the way music is performed, and even altered the way people see the world.

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 before," I muttered to myself.

What reached my ears wasn't just any sound.
It's neither the sound of wood nor the vibration of iron.
It was a vibration that seemed to shake the very depths of the air, an "unknown vibration" to the people of that time.

The vibration that reached deep into my chest was as dazzling as a light that had arrived from the future.
"This is the sound of turning the next page in music."
I'm sure there were others who felt that way.

Adamas's emergence was a challenge to the conventional wisdom of "this is what a guitar should be,"
The sound inspired the musicians who heard it, and it became a catalyst for creating new music.

From players who currently own an Adamas to collectors.
Or perhaps, you yourself, who were drawn to this page by its existence, have already begun walking the continuation of this history.

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

Author of this article:Mochizuki (Advance Guitars staff)

In his personal life, he mainly plays electric guitar. Leveraging his boundless love and interest in instruments—which leads him to continue playing even during work breaks—he showcases the charm of acoustic guitar with Advance Guitars' top-notch strumming technique.

Qualifications and experience: Four years of experience as a musical instrument appraiser.

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