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| Semi-OT: Ode to an Ovation [message #88609] |
Sun, 29 July 2007 08:19  |
Bill L
Messages: 766
Registered: August 2006
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Senior Member |
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I have owned a medium bowl, non-cutaway Ovation since about '77, and it
has always been my favorite practice, composition and noodling guitar.
The frets are way past shot, the top is scarred (but not the bowl or
neck), and over the last couple of years it has developed a nasty split
in the top, below the bridge, causing it to buzz on certain pitches. I
treat it shabbily, sometimes even making short car trips sans case.
Recently I read a trade article about overcoming the shortcomings of
Ovation guitars in a recording scenario. The engineer was quite put upon
that he had to work with such a poor sound source (and that was the high
end Adamas model)! I knew it was not considered one of the primo
acoustics on the market, but I never realized just how low its
reputation had sunk. Still, I like mine so a few weeks ago I treated it
to a glue job for the split top at my local luthier's and now I once
again really enjoy playing it.
Just today it dawned on me what I admire about it and why I have never
been more than tempted by the host of "beautiful", all-wood acoustic
flat tops out there. It sounds warm. You could even say it has a "jazz"
tone, or in a rock environment a "brown sound". Many acoustics have a
twangy, grating upper midrange that sounds garish to my ears. My Ovation
has a sophisticated, mellow voice, like Lauren Bacall or Sigourney
Weaver. It responds pluckily to my jaded, but witty pick strokes, and
while its countenance is traditional, its rounded backside is pliant and
accommodating in a way no boxy, all-wood "instrument" could ever be.
Now that I have come to terms with the "forbidden love" of my "vintage"
Ovation, I think I'll get her a fret job. The old girl deserves it.
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| Re: Semi-OT: Ode to an Ovation [message #88613 is a reply to message #88609] |
Sun, 29 July 2007 12:05  |
steve the artguy
Messages: 308
Registered: June 2005
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Senior Member |
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Bill, that's all well and good, but how do you keep it from sliding off your
lap?
-steve, who never met an Ovation that wouldn't slide off his lap
Bill L <bill@billlorentzen.com> wrote:
>I have owned a medium bowl, non-cutaway Ovation since about '77, and it
>has always been my favorite practice, composition and noodling guitar.
>The frets are way past shot, the top is scarred (but not the bowl or
>neck), and over the last couple of years it has developed a nasty split
>in the top, below the bridge, causing it to buzz on certain pitches. I
>treat it shabbily, sometimes even making short car trips sans case.
>
>Recently I read a trade article about overcoming the shortcomings of
>Ovation guitars in a recording scenario. The engineer was quite put upon
>that he had to work with such a poor sound source (and that was the high
>end Adamas model)! I knew it was not considered one of the primo
>acoustics on the market, but I never realized just how low its
>reputation had sunk. Still, I like mine so a few weeks ago I treated it
>to a glue job for the split top at my local luthier's and now I once
>again really enjoy playing it.
>
>Just today it dawned on me what I admire about it and why I have never
>been more than tempted by the host of "beautiful", all-wood acoustic
>flat tops out there. It sounds warm. You could even say it has a "jazz"
>tone, or in a rock environment a "brown sound". Many acoustics have a
>twangy, grating upper midrange that sounds garish to my ears. My Ovation
>has a sophisticated, mellow voice, like Lauren Bacall or Sigourney
>Weaver. It responds pluckily to my jaded, but witty pick strokes, and
>while its countenance is traditional, its rounded backside is pliant and
>accommodating in a way no boxy, all-wood "instrument" could ever be.
>
>Now that I have come to terms with the "forbidden love" of my "vintage"
>Ovation, I think I'll get her a fret job. The old girl deserves it.
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| Re: Semi-OT: Ode to an Ovation [message #88614 is a reply to message #88613] |
Sun, 29 July 2007 12:14 |
Neil
Messages: 1645
Registered: April 2006
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Senior Member |
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Double-sided carpet tape.
:D
"steve the artguy" <artguy@somethingorother.net> wrote:
>
>Bill, that's all well and good, but how do you keep it from sliding off
your
>lap?
>
>-steve, who never met an Ovation that wouldn't slide off his lap
>
>
>Bill L <bill@billlorentzen.com> wrote:
>>I have owned a medium bowl, non-cutaway Ovation since about '77, and it
>
>>has always been my favorite practice, composition and noodling guitar.
>>The frets are way past shot, the top is scarred (but not the bowl or
>>neck), and over the last couple of years it has developed a nasty split
>
>>in the top, below the bridge, causing it to buzz on certain pitches. I
>>treat it shabbily, sometimes even making short car trips sans case.
>>
>>Recently I read a trade article about overcoming the shortcomings of
>>Ovation guitars in a recording scenario. The engineer was quite put upon
>
>>that he had to work with such a poor sound source (and that was the high
>
>>end Adamas model)! I knew it was not considered one of the primo
>>acoustics on the market, but I never realized just how low its
>>reputation had sunk. Still, I like mine so a few weeks ago I treated it
>
>>to a glue job for the split top at my local luthier's and now I once
>>again really enjoy playing it.
>>
>>Just today it dawned on me what I admire about it and why I have never
>>been more than tempted by the host of "beautiful", all-wood acoustic
>>flat tops out there. It sounds warm. You could even say it has a "jazz"
>
>>tone, or in a rock environment a "brown sound". Many acoustics have a
>>twangy, grating upper midrange that sounds garish to my ears. My Ovation
>
>>has a sophisticated, mellow voice, like Lauren Bacall or Sigourney
>>Weaver. It responds pluckily to my jaded, but witty pick strokes, and
>>while its countenance is traditional, its rounded backside is pliant and
>
>>accommodating in a way no boxy, all-wood "instrument" could ever be.
>>
>>Now that I have come to terms with the "forbidden love" of my "vintage"
>
>>Ovation, I think I'll get her a fret job. The old girl deserves it.
>
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| Re: Semi-OT: Ode to an Ovation [message #88615 is a reply to message #88613] |
Sun, 29 July 2007 12:23 |
Bill L
Messages: 766
Registered: August 2006
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Senior Member |
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Steve,
They say a guitar is like a woman. They don't slide off my lap either.
steve the artguy wrote:
> Bill, that's all well and good, but how do you keep it from sliding off your
> lap?
>
> -steve, who never met an Ovation that wouldn't slide off his lap
>
>
> Bill L <bill@billlorentzen.com> wrote:
>> I have owned a medium bowl, non-cutaway Ovation since about '77, and it
>
>> has always been my favorite practice, composition and noodling guitar.
>> The frets are way past shot, the top is scarred (but not the bowl or
>> neck), and over the last couple of years it has developed a nasty split
>
>> in the top, below the bridge, causing it to buzz on certain pitches. I
>> treat it shabbily, sometimes even making short car trips sans case.
>>
>> Recently I read a trade article about overcoming the shortcomings of
>> Ovation guitars in a recording scenario. The engineer was quite put upon
>
>> that he had to work with such a poor sound source (and that was the high
>
>> end Adamas model)! I knew it was not considered one of the primo
>> acoustics on the market, but I never realized just how low its
>> reputation had sunk. Still, I like mine so a few weeks ago I treated it
>
>> to a glue job for the split top at my local luthier's and now I once
>> again really enjoy playing it.
>>
>> Just today it dawned on me what I admire about it and why I have never
>> been more than tempted by the host of "beautiful", all-wood acoustic
>> flat tops out there. It sounds warm. You could even say it has a "jazz"
>
>> tone, or in a rock environment a "brown sound". Many acoustics have a
>> twangy, grating upper midrange that sounds garish to my ears. My Ovation
>
>> has a sophisticated, mellow voice, like Lauren Bacall or Sigourney
>> Weaver. It responds pluckily to my jaded, but witty pick strokes, and
>> while its countenance is traditional, its rounded backside is pliant and
>
>> accommodating in a way no boxy, all-wood "instrument" could ever be.
>>
>> Now that I have come to terms with the "forbidden love" of my "vintage"
>
>> Ovation, I think I'll get her a fret job. The old girl deserves it.
>
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