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SteinbergerHack

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Posts posted by SteinbergerHack

  1. Honestly, I may be the odd man out on this view, but I absolutely DETEST hearing a recording that has been sped up or slowed down. It's like fingernails on a chall board for me.

     

    The poster child for worst of this was a particular chain of radio stations back in the late 80s that sped up nearly everything they played and cut down the intros and outtros to get "more songs per hour" while keeping just as much ad time.

     

    I remember hearing Aerosmith's "Rag Doll" played about 15% faster than normal and wanting to throw the radio across the room.... angry02:angry47::barf:

    • Like 1
  2. Seems like "an Ovation" isn't a single unique animal. Mine doesn't have that hole in the back and appears to be a bolt-on neck (as we discussed), whereas some apparently have a backdoor (so to speak) and some have a glued-on neck.

     

    Right. The Adamas-style tops get the service port on the back, because they don't have a single large soundhole to work through.

     

    In the meantime, It's probably about the best sounding guitar that I've got (from among Ric, Gibson, PRS... but all apples to oranges

    comparisons).

     

    Set up properly, they can sound very good, particularly amplified. Here's a quick direct-to-board recording that shows the sound of mine (pardon the weak playing....). No, it doesn't sound like an old Martin or J-200, but it sounds really good for certain things, IMO.

     

    https://www.soundclick.com/html5/v4/...songID=4628171

     

    Mine's also in a non-cataloged color (as far as I know), and I don't know what exactly to make of that...

     

    It seems that they did a lot of small-batch builds back in the day. In fact, I believe that they at one time did an annual short run of oddballs that they called a "collector's series" or something like that. Just because it isn't in the catalog today doesn't mean it isn't a "real" instrument - and it might mean that it was one of their top-tier hand-built specials.

  3. The action moved, but mainly from the top bowing outward where it cracked, thus lifting the back of the bridge. I don't see any of the other humidity tell-tales, but that doesn't mean it wasn't the cause (and I suspect that it was - I live in Wisconsin in a 150 year old farmhouse, so winters are unavoidably dry).

     

    I'll probably take it by Denny Rauen's shop and see what he says about it. Everything of mine he has touched has come back better than before, so I trust his judgment.

  4.  

     

    I happened to be reading a book on guitar technology last night and there was a picture of the back of some model of Ovation with a big circular cover in the center. It looked like it might be held on with a single screw in the middle. My guess is that it is access to the insides of a guitar for the electronics . It might be possible to do something like that which would allow the crack to be glued, clamped and cleated.

     

    Yes. The single screw is attached to a round 4-prong clamp that is loosely attached to the round plate with compressible foam. By loosening the screw, you let off the pressure on the clamp which allows you to slide the whole contraption to the side and open the access port. If you loosen it enough, you can wrangle the whole thing out, leaving a large round hole that would appear to be easy to work from.

     

    And it is almost impossible for me to repair finishes like I see on yours - I usually tell my customers that a repair will be structurally sound but might not be cosmetically perfect,

     

    That's what I would expect. Trying to re-do a complete finish would likely change the instrument fairly comprehensively.

  5.  

     

    Too bad about the damage. Plus those extra issues be a lot to solve on an old piece... but I was just looking at that old parts catalog...

     

    The top isn't listed as a separable part... but there's a "top and bowl assembly". I wonder if Ovation could do an "off with the old, on with the new" top and at the same time deal with electronics and frets. If they even still do repair work of various sorts.

     

    Can't guess whether cost would be worth it.... but I'd guess if you like the sound and setup as is, a new top of the same material and (Adamas) design would maybe preserve that. First compare to the cost (including effort) of an exact replacement, I guess...

     

    -D44

     

     

    Good thoughts - thanks.

     

    My shopping trip yesterday showed me that a new replacement I would be happy with is going to cost more than I thought, so the likely cost of trying to get it fully restored is looking more reasonable in comparison. I can say, though, that the new parts for the "Elite" series are not the same as what was on mine. This is one of the very earliest super-shallow Elites from the '80s, when the series was intended as a spruce-top Adamas, not an entry-level bedroom beater. It's certainly worth calling them up, though, to see if they would have any interest in a restoration project.

     

    Like most players, I have some fairly specific specs in terms of neck, sound, playability, etc., and the basic entry-level boxes just don't do it for me. Interestingly, when I really started working my way through a bunch of guitars, the ones that seemed to get me to where I want to be all cost about the same, and it's almost exactly what the old one cost new, inflation adjusted (go figure). I was also very surprised at which guitars worked well for me - a Maton and a Breedlove came the closest to what I like.

     

    There is some work ahead to figure out how to move forward. Thanks for the input, it's very helpful.

  6. That is the classic low humidity winter top crack - unfortunately I get to fix a few each year. Usually it can be fixed, however I'm guessing that is an Ovation with the little holes in the upper bout and no sound hole - in that case it can't. Even if I could get inside to clamp and cleat it would be almost impossible to repair it cosmetically.

     

    The guitar will probably still play and sound fine, but I'll bet you have other issues.

     

    Probably all correct, including the little secondary issues with the electronics and needing a fret job. All in all, trying to get everything done properly by the luthier whom I trust is going to be more than it's worth. I may eventually fix her up anyway for sentimental reasons, but I think that last weekend was her last gig.

  7. Well, it looks like my shopping will be for a replacement 6, not a 12. I opened my case this morning to find this:

     

    [ATTACH=JSON]{"data-align":"none","data-size":"full","data-attachmentid":32494791}[/ATTACH]

     

    The crack runs from bridge to binding, and is only on the seam anout 2/3 of the way. Looks terminal, and I guess after 35 years of heavy playing I got my money's worth out of it....but it still sucks.

  8. If it helps, I've got an Ovation LEGEND 12-string that sounds really good.

     

    It's in the queue for a setup, now that I've learned a bit more about how that works (thanks to Freeman)... but it plays pretty well off the shelf anyway. And it sounds really good (did I mention that?). Dunno what, if anything, Ovation makes now (got this one used several years ago) but the LEGEND line is a bolt-on neck, apparently unlike some of the other models with glued-on necks. Might be similar to the Elite models. Round soundhole, not the "buckshot" look. Old catalog suggest it was pretty expensive when new, in the $1800 range (MSRP) at the time, circa 2007 or so I think...

     

    I'm not a fan of the round back; can't play the thing, even sitting down, without a strap.

     

    Yeah, they sound really nice once you learn to EQ them. I have a similar feeling about the larger bowls - the only one that feels right to me is the super-shallow bowl. Trouble is, they don't make a super-shallow 12 anymore.

     

    Tried a guy's new Taylor 12-string recently. Don't know what model, but it was pretty grim... strings seemed to be about an inch and a half off the neck... so difficult to play I didn't even pay much attention to the sound.

     

    I wonder about setups. I found the ones at GC were all over the map - including a $2,500 model that was truly unplayable - the strings were literally laying on the frets. How can ANY business have that sitting on the floor as a "high end" model? :facepalm:

     

     

    I've just about given up on my desired price range. I can't find anything in stock anywhere to play that isn't either the low-range models or a lot more than I want to spend.

     

    FWIW, I have zero interest in buying an instrument sight unseen. If' I can't go play it in a local store to see how it sounds and feels, I am not interested. "Local" for me includes Chicago, so it's not like I'm expecting the local reed-and-string shop to carry a wide range of guitars just for me to play.....:idk:

  9.  

    The B side - the "live side" - is amazing. The title track in particular, as well as "Envelopes" contain some astonishing writing and arrangement.

     

    Agreed. Whenever I think of that album, I hear the "game show" xylophone runs from the title track run through my head......:lol: That song puts a grin on my face every time!

    • Like 2
  10. When it comes to "rock" music, I think this is the longest run of consecutive great albums of all.

     

    The Grand Wazoo

    [...]

    Joe's Garage Acts 2 & 3

     

    By the mighty Frank Zappa!

     

    :lol:

     

    You left out Ship Arriving Too Late to Save a Drowning Witch. Yes, Valley Girl was a shameless sell-out by Zappa standards, but the rest of the album was pretty good.

    • Like 1
  11. I don't know if this counts but...

     

    The Gist Of The Gemini - Gino Vanelli

    Long Misty Days - Robin Trower

    Hideaway - America

    Wired - Jeff Beck

     

    ... are all albums, released in 1976, that Geoff Emerick was somehow involved in recording

     

    Hmmmm..... not sure I would have picked any of those as top examples for the artist, except maybe Wired.

     

    Brother to Brother?

    Bridge of Sighs?

  12. Understood. Trouble is, I would also have to buy a larger rack to accomodate it (yes, it's that tight, and intentionally so). Given that the one it's in is less than a year old, it's more than a bit annoying.

     

    angry02:bangheadonwall:

     

    I guess that this is the penalty for buying Brand B. Poor design quality....you get what you pay for.

     

     

  13. I use a XR12 in my guitar rack to pre-mix all of my various instruments (electric, steel-string, mandolin, etc.). I use my phone to connect to it with the xAir app, which has always worked just fine. I do the same thing with my X32, and have never had a problem with it.

     

    Last night, I showed up at the gig and the WiFi refused to connect. After a couple of resets, I finally got the WiFi to connect, but halfway through the app connecting to the console, it disconnected again and refused to reconnect. After multiple rounds of power cycling and resetting to no avail, I finally gave up. Trouble is, I had my mandolin channel muted and had no way to turn it on. angry02

     

    The show was sold out, so I assume that there were a lot of devices in the audience...but that's no different than in many previous gigs.

     

    Two questions:

     

    1) Any idea of the root cause, and is there a way to fix it?

     

    2) Does anyone have a work-around? Once the show starts, I cannot dig into the back of the rack and try to make repairs, and without a physical interface I am backed into a corner if I need to make an adjustment. (I do a lot of theater work, so I cannot just stop and take a break or delay the start of the performance.)

     

    HELP!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

  14. The books call for something that sounds like a 12-string acoustic, right? For the most part, the audience doesn't care. That said, have you played a Line 6 Variax, one of the older acoustic models? It might be convincing enough and its bolt-on solidbody construction would eliminate many of the typical issues with 12-strings.

     

    :barf:

     

    Not a fan, just like I'm not a fan of the pedals that try to emulate acoustics guitars from a solidbody. If it doesn't sound right acoustically and vibrate right in my hands, I have trouble playing it, no matter what is coming out of the PA. In any case, for the price of a Variax I can get a real guitar.

  15. A few more thoughts:

    Used, you might be able to find a USA Guild JF30-12 (there are also Asian made JF30's from the discontinued GAD line so do your homework) or a Taylor 355 in your price range but all the usual caveats that apply to a used guitar apply doubly to a 12-string.

     

    Good options to try and find!

     

    Second, have you tried a 6-string in Nashville tuning? Not a 12-string but some of the properties of one, especially if you play along with another guitarist.

    Finally, does it need to be acoustic? You could find a 12-string electric, say a Danelectro, in your price range fairly easily.

     

    Not an option. The point is that the books I get handed often call for 12 string acoustic. I have never seen a theater book call for nashville tuning or electric 12....yet. That said, I jist finished tech rehearsal for a show where I am playing electric solidbody, steel string, nylon string, mandolin, and ukelele. It calls for 12, too, but I'm covering with a 6. Typical theater book.

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