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2006 Ovation 1187-247 Lyracord/Unidirectional Carbon Graphite
Thirty years after the introduction of Adamas Guitars, the company released 4 new American-made commemorative models for 2005. Each was released in limited quantities and is sure to be prized in any guitar collection. #47 has been regarded throughout Ovation’s history as being one of the best Adamas guitars ever made, and this 1187-247 reissue is an extremely accurate replica of Charlie Kaman’s personal favorite. It’s not hard to see why he liked it: With an Autumnal aesthetic and tasteful relief carvings, it’s hard not to stop and admire. Add to that a unique, responsive voice, full of pop and big low end thanks to the Unidirectional Carbon Graphite construction and you’ve got an inspirational instrument that will have you discovering new and exciting forms of musical expression.
SOLD Read moreScale Length 25.25 in Nut Width 1.69 in String Spacing 2.19 in Woods Carbon Graphite - Unidirectional, Lyrachord Add to Compare1965 Ovation Josh White Fiber composite/Spruce Owned by Legend Josh White
This Ovation guitar belonged to legendary Folk Artist Josh White. In fact it was built to his specifications early in the Ovation company’s history. Josh White was a historic figure in music from the 1920s-60s and was a prominent player in this country’s race struggles. This very guitar is part of that history, for it was with his guitar that he did so much to help us all. We are honored to have this one of a kind instrument with an extremely collectable provenance. Comes complete with a video of Josh White performing on this guitar.
From Wikipedia.com: White grew up in the Jim Crow South. He later became a 1920s and 1930s star of race records, with a prolific output of recordings in genres including Piedmont blues, country blues, gospel, and social protest songs. He was billed in concert as “The Sensation of the South”.[citation needed] In 1931, White moved to New York and within a decade his fame had spread widely, and his repertoire expanded to include urban blues, jazz, Tin Pan Alley, cabaret, folk songs from around the world, and hard-hitting political protest songs. He soon was in demand as an actor on radio, Broadway, and film. However, his pioneering guitar playing never altered or diminished, while some would even argue it broadened with the expansion of his musical repertoire. White unarguably inspired several generations of guitarists with his new and unique stylings and techniques, and is cited as a major musical and social influence by dozens of future stars, including Blind Boy Fuller, Brownie McGhee, Pete Seeger, Lena Horne, Nat King Cole, Harry Belafonte, Lonnie Donegan, Eartha Kitt, Alexis Korner, Odetta, Ray Charles, Elvis Presley, the Kingston Trio, the Clancy Brothers and Tommy Makem, Merle Travis, Dave Van Ronk, Peter, Paul and Mary, Bob Dylan, Eric Weissberg, Judy Collins, Mike Bloomfield, Danny Kalb, Roger McGuinn, David Crosby, Richie Havens, Don McLean, Roy Harper, Ry Cooder, John Fogerty, and Eva Cassidy. Read more about the Legendary Josh White at http://en.wikipedia.org/wiki/Josh_White.
SOLD Read moreScale Length 25.25 in Nut Width 1.813 in String Spacing 2.188 in Woods xx, Carbon/Graphite Composite Add to Compare2004 Ovation 1769-ADII, Al Dimeola Composite/Spruce
Al Dimeola was a very influential player for many modern guitarist. He pushed the limits of guitar playing both technically and stylistically. The Ovation model bearing his name was designed for his style with a slender, fast neck and configured with a pickup system ready for the stage. This one is absolutely mint and not only is the label signed by Al Dimeola but the back of this guitar is signed by him as well. A true collectible Ovation Guitar.
SOLD Read moreScale Length 25.4 in Nut Width 1.69 in String Spacing 2.13 in Woods Spruce, Carbon Fiber
On the banks of the Farmington River in new Hartford, Connecticut, there’s an old New England brick building that was home to Ovation Instruments and of course, the original acoustic roundback guitars.
Ovation was a subsidiary of the Kaman Corporation, an aerospace company employing more than 2,700 employees, where more than 25% were scientists, engineers and technicians. Charles Kaman, the President and a guitar enthusiast, decided that his company could apply its technology to the age-old art of guitar making.
In 1966, after 18 months of testing and research, the Kaman engineers concluded that the most efficient shape for a guitar back is semi-parabolic (like that of an orchestra shell, amphitheater, radar reflector or even the human ear). The sound such a shape produced from any given energy input was, they found, measurably richer, fuller, deeper and more constant from top to bottom of the scale.
To develop material free of such characteristic disadvantages, Kaman’s engineers first made acoustical studies of many of the exceedingly strong yet lightweight laminar substances they had perfected for use in aircraft rotors, fairings, radomes, missile nose cones and other aerospace components often exposed to high vibrational stress. Encouraged by what they found in these studies, and using them as a base, they then developed and tested many new materials. Finally they found one, the molecular structure of which actually could be “tuned” (chemically and by heat treating) to a precise degree of resonance.
We Call It Lyrachord®