Adamas

However, in 1966, a certain manufacturer overturned this common sense.

This guitar maker did not use wood for the body material, and was born from a background of aviation technology.
The guitars look as if they came from an alien planet, and their construction is so well calculated that it is almost as if they came from another planet.
That is "Ovation.

The name "Ovation" may sound like "an oddity" or "just anotherElectric Acousticand "it looks good on stage, but the sound is just...". Ovation" may give some people the impression that it is a "strange" or "just another" product.
To be honest, I was one of them at first.
If you have ever seen Ovation at a music store, you have probably stopped at least once.
"What is that soundhole arrangement?" "What kind of sound does it make?"
That was my impression when I saw Ovation for the first time.

I was intrigued, but at the time I thought it was somewhat "interesting.Electric AcousticI was intrigued, but at the time, I was only aware that it was somewhat "interesting. However, after encountering one of the films, that notion was instantly overturned.
The name was Ovation's top-of-the-line model, "Adamas.
When I saw it for the first time, I was shocked as if I had seen a star shining in broad daylight.

It is somewhat inorganic, yet has a beautiful appearance that evokes a sense of melancholy and fragility.
I was hesitant to even touch it because of its appearance, but it had an irresistible charm that drew me in the more I gazed at it.
It was an encounter that made me question the definition of beauty.

As I traced the history of Ovation, I realized that it is an integral part of the acoustic guitar story.

Charlie Kaman was not only an aeronautical engineer, but also had a deep love of music from a young age.
As a teenager, he entered guitar contests and played with the Tommy Dorsey Orchestra.
Later, he was invited to become a professional musician as a guitarist with the Tommy Dorsey Orchestra, but he never chose that path.

His choice was strongly influenced by his childhood.
Because his father was an aviator, Charlie was strongly attracted to airplanes even as a young boy, and after high school he graduated cum laude from Catholic University of America with 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 inventions and a little money.
His design of "rotors with servo flaps" was an innovative helicopter control technology at the time.
The company gradually grew, and in the 1950s, he succeeded in developing the world's first gas turbine-driven helicopter, ushering in a new era and establishing a firm position in the aviation industry.

In the 1960s, however, wood was replaced by metal and composite materials for aircraft parts, and the skilled woodworkers in the factory faced the threat of losing their jobs.
In response to these trends, Kaman sought to diversify in order to stabilize its business, and RVs, golf clubs, and even surfboard manufacturing were being considered.

Among these, Charlie turned his attention to guitars.
The story goes that the neck of his Martin guitar was warped, and he went to Martin to have it repaired.

Charlie was invited by C.F. Martin III, the president of Martin, to visit the Martin factory.
There, Charlie noticed something.
At the time of its founding, Kaman was making helicopter rotor blades from Sitka spruce.
There, they used precision tools and sophisticated woodworking machinery to maintain tolerances of 5/1000 of an inch.
Martin guitars, on the other hand, were made with hammers and chisels and used crepe glue.
We could cut the cost in half and produce a much more accurate product."
Charlie felt this way and approached Martin about acquiring the company.
However, the offer was politely turned down because of Martin's emphasis on family ownership.

He continued to consider acquiring other brands, but none of them seemed to be in an environment that would allow him to realize his ideals.

These experiences made him decide to "start from scratch by myself.
In 1966, he established Kaman Music Corporation.
He decided to take up the challenge of making a completely new guitar by applying aviation technology.
This was the birth of the guitar that would later be named "Ovation.

In 1976, Ovation introduced the revolutionary Adamas, the culmination of all that had come before.
The Adamas was the culmination of Ovation's previous work, and was the result of the company's extensive use of its aircraft manufacturing expertise.

The Adamas' most distinctive feature is its ultra-thin top, a sandwich construction of two thin sheets of carbon graphite and 0.79 mm birch wood.
This construction results in a top that is only 1.27 mm thin.
This number is only 1/3 the thinness of a normal acoustic guitar top, yet it is resistant to humidity/temperature, and is the culmination of Kaman Corporation's accumulated technology.

Next, it should be noted that the soundhole is not a traditional center soundhole.

Charlie had questioned the existence of a center soundhole.
String vibrations travel through the bridge and ring the body.
However, he thought that a sound hole located close to the bridge would block and weaken that vibration.
In fact, the fact that guitars with 12-fret joints, where the bridge is located further away from the soundhole, get more vibration when compared to guitars with 14-fret joints proved his point.

Thus, his innovative idea of multiple sound holes placed on both sides of the upper body was born.
These sound holes are framed by a wooden "epaulette" (foliate ornament) representing an acanthus leaf.

A wide variety of exotic woods were used, including Burmese teak, Indian rosewood, American bird's eye maple, South American amaranth, Andaman paddock, and African sapele.
As you can see in the image, they have a brightly colored, smooth satin finish that makes you want to reach for them.

Acanthus leaves have been a decorative motif in Greek architecture and interior decorating since ancient times, and Adamas is clothed in a style befitting of Ovation's top-of-the-line models.
This design not only provides both sound projection and aesthetics, but also allows the top to vibrate more freely.
The entire top plate vibrates unimpeded, combining acoustic efficiency with a uniquely pleasing appearance.

Another thing not to be missed on early Adamas pieces is this wood knob.
These knobs are not made of resin or metal, but are carefully carved out of wood.

I feel that this knob has more meaning than just functionality.
The temperature of the wood when you touch it with your fingertips, the subtly different grain expressions, and the way it seems to blend naturally into the body.
I believe that this guitar is made of a man-made material called carbon graphite, and while exploring its sonic possibilities to the fullest, it also pursues "beauty as an acoustic guitar.

Acoustic characteristics that are of interest include a rich yet cohesive bass and excellent overtone extension, in addition to high-frequency range loss and clarity.
Compared to a normal wooden top, the rise time is faster, and the clear sound image, especially through the pickups, has been favored by many professional musicians.
The round-back construction also has a synergistic effect on volume and projection.
There is probably no other acoustic guitar that combines innovation and art to this extent.

Two jacks on the side of the body, "MONO" and "STEREO," allow the user to plug in a stereo plug in addition to the normal mono output for an amazing experience.

By using the special plug for the stereo jack, to our surprise, the 1st, 3rd, and 5th strings and the 2nd, 4th, and 6th strings are output in separate left and right outputs.
This creates a three-dimensional effect, as if two guitarists are talking to each other, and the sound envelops the space, rather than being a "single guitar sound.
This specification was truly a means of expression that anticipated the future of live performance and recording at the time.

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

Piezotransducers are elements that have the property of converting physical pressure and vibration directly into electrical signals.
It senses not only the vibration of the strings, but also the minute movements of the sound board (top), and outputs this delicate sound information electrically. The signal is then sent to a preamplifier composed of F.E.T. (Field Effect Transistor) and is raised to the proper line level while maintaining a natural tone.

It is important to note that this is not a device to simply "increase the volume" of the sound.
The FET preamplifier maintains the guitar's original sound as much as possible, and in particular, it accurately conveys the nuances, overtone components, and airiness that are unique to acoustic guitars.
The existence of the FET preamplifier has been described not as a mere electronic circuit, but as an "interpreter" that transmits the Adamas' sound to the "outside world.
Its ability to deliver the sound to the listener without changing it is a technological achievement in the field of acoustic-electric guitars.

Another characteristic of early Adamas is that "the tops of pre-1984 Adamas are extremely thin," as vintage Ovation aficionados have said.
However, there are few official documents to support the truth of this statement, and it has remained a mere impressionistic theory.

Therefore, I attempted to verify this by measuring several pieces in our collection.
I measured the thickness including the epaulettes (decorative openings) integrally molded with the top material, and subtracted the height of the epaulettes protruding from the top surface.
This is a relatively reliable approach for estimating the actual thickness of the top plate itself.

Using this method, we measured 10 Adamas from 1978 to 1998 and found no clear differences in thickness between years, although there were slight variations due to individual differences (actual measured values are shown in the chronology table below).

In addition, it can be confirmed that the description of the thickness of the Adamas top board has not changed since its appearance in the 1995 catalog for the Japanese market.

Despite this, when actually playing the instrument, it is clear that the early version has a light and open sound, and that its acoustic character is different from that of the later version.

This feeling is the reason why the top is described as "thin," and it is natural to think that the word "thinness" has been used to describe the impression of the sound, rather than the actual thickness.

In conclusion, we have not been able to physically verify the discourse that "pre-1984 Adamas have thin tops.
The result obtained from both actual measurements and performance experience is not that "thinness makes them sound thinner," but rather that "they sound better and therefore feel thinner.
We would like to continue to unravel the history and appeal of Adamas through the verification of individual pieces in the future.

The charm of Adamas is condensed in all its glory.
It has wood knobs and stereo outputs on the body side, and maintenance holes are located on the side side of the body back.
The body, which shimmers in the light as if it were trapped stars in the universe, is a perfect combination of innovation and glamour.
The label inside the body is signed by Charlie Kaman, a strong indication that Adamas is one of the culmination and pride of Ovation.

The most impressive thing about Adamas is its sound.
The design that challenged the limits = the extreme thinness of the top of the body, which realizes a powerful body sound full of drive, is one of the most impressive features.
The thin board vibrates violently, creating a rich sound that cannot be experienced with other models.
This sound can only be experienced with the Super Adamas.

Miraculously, we have these extremely rare early models in stock at the same time, and we are very happy to be able to introduce them to you in this way.
This one has a beautiful beige color with a soft hue.
The shimmering lame is like a landscape of new sprouts shining in the sunlight, giving it a mysterious beauty.

One shot of E code is sounded to try it out.
The power of the bass strings and the delicacy of the treble strings cross each other exquisitely.
The sound is magnificent, as if a massive orchestra is melded into one and released from the soundhole and body.

The Suoer Adamas has created a whirlwind of innovation with its new materials, appearance, and sound character.
It attracted top artists, was used on live stages and for recording, and quickly became one of the most coveted guitars by guitarists.

However, at a time when the starting salary for a college graduate was said to be 100,000-150,000 yen, the list price of the Super Adamas was about 1 million yen at the time.
As its price indicated, it was a rare instrument that only a limited number of people were allowed to own.
In order to bring its innovative structure and sound to as many guitarists as possible, the challenge was to improve and reduce costs.

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 been introduced in 1981, but the serial number on this unit indicates that it was made in 1980.
In other words, this is a valuable piece made in the first period.

The head and bridge have been changed to a more practical design, and the neck is made of 5 pieces of maple and mahogany.

It is not simply a low-priced model with a reduced price, although the background of its appearance may lead you to misunderstand.
It boasts a presence that rivals that of the Super Adamas, and a richness and sparkle of sound.

Adamas II has delivered its innovation to many.
Its presence further solidified Ovartion's position as a guitar that continues to demonstrate evolution beyond the boundaries of the acoustic guitar.

The Adamas II continues to win the hearts of many guitarists today as a model that embodies the "aspiration that anyone can have" while inheriting the DNA of the Super Adamas.

This is one of the rarest Super Adamas with nylon strings.
Inside the body, the label with the date of manufacture and "Adamas Classic" remains neatly intact.
It is unique among the Adamas, but the beautiful engravings on the rod cover and bridge make it easy to tell at a glance that it is unmistakably a Super Adamas.

Even with the passage of time, it has not lost the vividness of the epaulettes, the luster of the clear guard, or the brilliance of the body top, and it still has the appearance of a masterpiece that has transcended time and space.
The appearance of the instrument is somewhat lonely, and one feels a sense of being drawn to its beauty, as if one were gazing at trees tinted in autumn colors.

And when you play it, its surprisingly mellow volume fills the space despite its mid-depth body.
How does such richness and depth come about? --Such a question slowly spreads in your mind.

As you lose yourself in the sound, you feel as if you are in a room with the sound of rain beating outside the window and Erik Satie's "Gymnopedie" is playing, as sound and tranquility intertwine and the axis of time blurs.
Just as the raindrops on the window meld together with the music, the image of himself stroking the strings while looking down and the tone he plays meld together, making each moment feel like a faint and fleeting dream.

The Super Adamas Classic is one of those special instruments that reminds us once again that instruments are more than just tools.

Precision die-cast aluminum neck
The unique neck construction integrates the fingerboard, frets, and inside of the neck. The integrated structure prevents the neck from warping, and the neck is as imposing as a sculpture with a rigid will.

The neck is made of formed polyurethane foam, to which a polyester finish is applied to create a mahogany-like luster.

The soundhole protector (rosette) and pickguard are also integrated, giving the Applause the look of something from the future.
"This is not a guitar, but an acoustic device with an innovative mechanism."
It is truly a presence that transcends the boundaries of a musical instrument.

The guitar was made about 50 years ago, and the retro atmosphere is certainly there, but every time you pick it up, a strange sense of elation strikes you, as if you are touching the cutting edge of the times.

The birth of Adamas was a direct challenge to the tradition that a good acoustic guitar should be made of quality wood.
The use of graphite and composite materials instead of wood for the top, multiple sound holes, round back construction, and other design concepts all broke with the conventional wisdom/tradition of the acoustic world.
This is believed to have influenced the subsequent introduction of new technologies by Taylor, Godin, and others.

Even in the TV era, Adamas' stage-worthy visuals are also a major strength.
With its iconic soundhole layout and gradient paint job, the Adamas was a "looker" in the age of TV color broadcasts, when a performer's impression depended on his or her "look.

Glen Campbell, a country/pop singer who was deeply involved with the Adamas from the prototype stage
Campbell used the early Ovation "Balladeer" and his signature model "Glen Campbell Artist 1127".
Through his influence, Ovation guitars were embraced by many musicians and established themselves in the acoustic-electric guitar field.
In particular, his appearance with Adamas became the talk of the town among viewers, creating a new wave in the guitar industry at the time.

In Japan, in 1978, Kosetsu Minami used a blue Super Adamas on stage for a live performance of the reunited Kaguyahime.
Matsuyama Chiharu also played the blue Super Adamas, and when he saw them play, he asked himself, "Is that an acoustic guitar? The music fans were wondering, "Is that an acoustic guitar? Shogo Hamada plays a red 6-string Adamas, and Yutaka Ozaki plays a 12-string blue one.
The sound and visuals of the guitars became a symbol of their stage presence and were vividly etched in people's memories.
For musicians who wanted to believe in their own sound, it was "a weapon to face the times" and "a partner to unleash their expression. And in other fields such as jazz, Katsumi Watanabe proved its potential in the crossover world with Ovation and Adamas, including a collaborative work with Mike Mainieri.
Char has chewed on the charms of Adamas before finally introducing his own signature model to the world. Even now, Adamas continues to be used at the forefront of music.

Adamas" is the fruit of a fusion of different fields, created by engineers who used to make helicopter rotors, and dedicated to the world of music.
The position of the sound hole, bracing based on vibration analysis, and materials that are both durable and lightweight.
These innovations have changed common sense, changed the way people play, and even changed the way people see the world.

Tens of thousands of viewers were moved by the sight of Glen Campbell holding them in his hands via television.
Tens of thousands of viewers were moved by the sight of Glen Campbell holding a guitar in his hand, murmuring in their hearts, "I've never seen or heard a guitar like this before.

What reached their ears was not just a sound.
It was neither the sound of wood nor the trembling of steel.
It was a vibration that was "unknown" to the people of that time, as if it shook somewhere deep in the air.

The vibration that reached deep into my heart was dazzling, like light from the future.
This was the sound of the next page of music being opened.
I am sure that there must have been people who felt this way.

The appearance of Adamas was a challenge to the conventional wisdom of what a guitar should be,
The arrival of Adamas was a challenge to the conventional wisdom of what a guitar should be, and it stimulated the hearts and minds of the musicians who received its sound, leading to the creation of new music.

The collector from the player who now has Adamas on hand.
Or perhaps you yourself, having been drawn to this page by its existence, have already begun to walk in the continuation of this history.

And now, we, Advance Guitars, are also standing on the extension of this history.
We are a bridge from instruments born of passion and innovation to the next generation of players.
Connecting sounds, connecting music, connecting lives.