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 1687-8 Reissue
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SMT |
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Joined: December 2011 Posts: 3 | Does anyone know how many 1687-8 30th Anniversary models were produced or where I can find the answer to this question? Thanks! | ||
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| Tony Calman |
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Joined: August 2003 Posts: 4619 Location: SoCal | I believe there were 100 -8's; there were also 4 -2's (red) of which I have two. | ||
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| Tony Calman |
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Joined: August 2003 Posts: 4619 Location: SoCal | In reference to the 1687-8 reissue, Jerome's great website [ ovationtribute.com ] states: "...100 pieces produced in 2005 for the 30th anniversary of Adamas." | ||
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| SMT |
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Joined: December 2011 Posts: 3 | Thanks Tony. That's what I heard too but I was never able to confirm that through the company. I did e-mail them and got a reply that they didn't keep records on how many were produced which I found strange. When I placed my order I heard there were 100 units produced with 88 offered to the general public. Apparently the other 12 units went straight to individual collectors with direct connections to the company. I placed my name on the waiting list in early 2005 through a good friend that was the manager of a Guitar Center in Atlanta at the time. He actually knew a guy at the company and called him. He was told that all of the units were already spoken for even though production had not even started. He told my friend that if one became available he would call him. About 8 months later he called my friend back and advised that one of the checks holding one of the units didn't clear and that it might be available. I immediantly placed the order and about a week later he called and said it was mine. They ran the bad hold check a second time and again it didn't clear. It was pure luck that I got this guitar. He said I got number 87 0ut of the 88 available. I started playing guitar in the early 70s but it wasn't until 1975 that I happened to play an original 1687-8 and realized that an acoustic guitar could sound pretty good with a pickup through a PA system. The action was really sweet too. That guitar was the reason that I got serious about playing in a band so it was really special to me. I was actually in England when I read in a guitar magazine that the 30th anniversary 1687-8 was being reissued. I called my friend in Atlanta from there that day. Had I not made that call I wouldn't have had a chance of getting the guitar. Thanks to playing that original 1687-8 in 1975 I now have over 20 acoustic guitars. I don't know if that's a good thing or a bad thing! Congratulations on owning 2 of the 4 red units produced. How did you pull that off?? Thanks again for the info. It is much appreciated. Marty | ||
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| Tony Calman |
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Joined: August 2003 Posts: 4619 Location: SoCal | Well, Al always looks out for us and when he was able to buy the final inventory, there were four red (-2) that I believe were supposed to go to Europe. I am sometimes known as an ADOPTION AGENCY to keep guitars available as they often disappear to collections or overseas. As to the 1687-2, I took two of them - one or both are available to an OFC'er down the road. From my observation, the -2's are superior to the -8 (not by a lot but discernable). I was given the opportunity to obtain #50 (-7, a/e) of the original pre-production slotheads. It has the tendancy to spoil you and gets far more play than #003 of the 47 reissue, the first OFC slothead #007, several early 1687's, a 1687-8 reissue, the 1687-2 reissues, U681T, 1688-8 12-str (w/OP-50 and XLR),and the Millenium. I will keep #50 and the 47RI as there (IMHO) is no comparison when #50 is available. My go-to Ovation is the 1719-30CM of which I have one extra still in the case (long story) and the 2009C of which I have #001 (thanks Al), originally had two others, now just one extra as an OFC'er got one. At the right time I plan to sell all four of the Storm series, early 1969 GC Artist, shiny bowl Dlx Balladeer, shiny bowl of the small centerhole 12-str Balladeer, Lennon reissue (not FRG), one or two Country Artists, 1984C, 1997C, 2001C, 2005C, 2006C, 1718-X Garris Prototype, and the 1537 (pre-production). A MM68 Mandolin will even be available. Takamine - hard to beat the EF-75 (Brazilian), #002 of the 45th Anniv, TVN360SC, New Yorker, Miyabi 2010 Ltd, and the Iki 2011 Ltd. The New Yorker and and two extra Miyabis will be available. Including a couple of Martins (D-25K2, HD-28VS, and D12-45), a Les Paul, Fender Strat, and a Wurlitzer 12-str, I will still have about thirty guitars, a banjo, couple of ukes, etc. Frustrating part is finding the time to enjoy them. | ||
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| SMT |
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Joined: December 2011 Posts: 3 | Yes, it is flustrating trying to find the time to enjoy all of the toys. I also have 30 plus guitars including the electrics and a Michael Kelly mandolin. Just keeping fresh strings on them and keeping them tweeked is a part time job. The only Ovation I own is the 1687-8 reissue. I would like to own an Ovation mandolin so keep me in the loop on that. I'm not a collector, just a player that enjoys variety and all of the different sounds each guitar produces. I'm mainly a Gibson acoustic guy but I do have a 57 Gold Top Les paul reissue and a couple of Strats. The most unique guitars I own are a couple of Sho-Buds that were built by Shot Jackson. I was able to buy his personal prototype solid body electric as well as a custom acoustic he built for his good friend and fishing lure ledgend Jim Bagley. Long stories short my uncle was a hunting guide for Shot Jackson in the 70s and he traded him an old Gibson pedal steel for his personal electric guitar. After many years I was able to finally convince my uncle to sell it to me. I bought the custom acoustic Shot Jackson built for Jim Bagley from Brian Willard, Shot Jackson's grandson, who inherrited the insturment and offered to sell it. Shot built it for Jim Bagley and gave it to him as a birthday present. It's a parlor sized guitar with Brazilian rosewood back and sides and really nice inlay work. It even has Jim Bagley's initials in mother of pearl on the headstock. They are both very unique guitars and I'll be glad to send you photos if you want to check them out. With the exception of the 1687 and the Sho-Buds I play all of my guitars hard. I only play the 1687 and Sho-Buds around the house and in the studio. I have played the 1687 out live twice but only on a couple of songs in each set. So far all 3 have zero fret wear and show no signs of being played. Lucky for me Shot had just finished building his electric when he traded it to my uncle for the Gibson pedal steel. My uncle wanted to learn to play the guitar but never found the time so the guitar sat in his closet unplayed in it's case for over 30 years. Jim Bagley was a uke player (that's why Shot built it with a parlor size body) and didn't play the guitar. Per his grandson he treasured the guitar as a gift and was so proud of it that he never played it because he wanted to keep it in pristine condition. So........two one of a kind Sho-Buds built in the early 70s that were never played. What a fluke. Buy the way I've recorded quite a few Ovation guitars over the years and the best sound I've ever gotten from them was by going straight from the guitars pickup into a Joe Meek VC6Q Brittish Channel rack mounted pre-amp and then straight to the recording console. That's also how I play my 1687 live too. I just run the VC6Q straight into the mixing board. The sound is just hard to believe and long time players have asked me what in the world I've done to the guitar to get that sound. When I tell them they just can't believe it. The VC6Q is a fairly inexpensive preamp that includes phantom power, great eq, and great compression all in one unit. You can probably pick up a VC6Q at a really good price on e-bay. I've used about every other preamp out there on acoustic guitars and the VC6Q sounds better on Ovation products than 10K tube preamps. The VC6Q also sounds really good on a lot of vocals with an AKG C414 or Shure KSM32 mic. Just goes to show that high priced mics and preamps aren't always the best sounding choice. If you pick up a VC6Q I'll be glad to give you the settings I use. The sound is just hard to describe, thick, crisp, tight, clear, bright with just the right amount of bass, and it just fills the room. Flat picked or finger picked you just won't believe it. It reminds me of the ovation sound Heart got in the studio on their early albums but even better. If you really want to have some fun get 2 VC6Qs and use the stereo output from the Adamas!!!! Again thanks for the info you've provided. I'm glad I ran across this site and I'll visit it often. What part of the country do you live in? I'm from Atlanta but for the past 9 years I've resided in a small town in south west Virginia. I have a project studio here in the mountains and enough land that I have no neighbors close enough to be bothered by music if it happens to be a little loud. Much different than Atlanta. If you ever want to contact me at my personal e-mail it's 69j50deluxe@earthlink.net. I you have any good tips or sound tricks, and I'm sure you do, please pass them on! Thanks, Marty | ||
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