That reminded me of the fragility of traditional constructions in the pub atmosphere and I bought my second Ovation. Each in turn was destroyed in short order. After my first one was destroyed I played a pair of acoustic-electric F-5s. For me its been the ideal instrument for 15 years.
In the long run the upsides outweigh the downsides for me.Īs long as the unique voice of the Ovation suits your music and the unconventional shape suits your eye, I can think of no reason to dislike it. And since the bridge doesn't move you can easily take off all the strings at once and give everything a good cleaning every time you change stings. I can change my Ovation in less than half the time it takes for any of my other instruments with conventional loop-end tailpieces with none of that slip-off-the-tab aggravation. The ball end strings, whether purchased or modified, make for very easy, fast string changes. If you're after a Bluegrass cannon, look elsewhere. I ruined one, but it was an extraordinary circumstance. It's simply so rugged that you can take it anywhere.
Its electronics provide a surprisingly broad tonal pallet (for a mandolin), and its amplified tone is one of the more pleasing mandolin voices.įor use as a beater, it's hard to beat. It is, for all intents and purposes, feedback proof under even the most extreme conditions. That's what it was designed for and that's where it shines. I always recommend listening to as many recordings as you can find if you can't try before you buy.Īcoustically the instrument is pretty loud, but it is really intended to be plugged in. It's not a bad voice, just a different one. The avid Bluegrass player would not look to the Ovation any sooner than he might go for a classical bowlback. Their tone is often criticized by Bluegrass traditionalists, and there's no getting around it: There is no high lonesome quality to the Ovation. The instrument itself is a type of guitar/mandolin hybrid, so that's not too surprising. It's something of a cross between a bowl-back mandolin and the flat-top instruments popular in Celtic music. For my needs (Irish folk music) I find the tone ideal. They have a tone that's a bit different from other styles of mandolin. Unless I break a string, I can play a four hour show without touching the tuners. Maybe one string will need a tiny touch up. It's not at all uncommon for me to play three or four shows without a major retuning. Their mandolin, as with almost all Ovation instruments, has a tuning stability that's legendary. My first instrument went 10 years (before meeting an untimely end in an accident) under hard road use and never needed any sort of adjustment beyond the first set up. The bridge cannot move out of place, and the neck is entirely immobile, never needing adjustment. Once set up properly (as any mandolin must be), there is nothing to fool with.
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I own two MM-68 models and they have been my primary stage instruments for the past 15 years of full-time professional play. They make excellent beater instruments owing to their nearly (!) indestructible design, but they are full-fledged performance instruments in their own right. It's made overseas to the same fundamental specs as the more costly US made model, although slightly dressed-down. As you may know, the MCS148 is the 'Celebrity' version of Ovation's MM-68.
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