1972 Ovation Typhoon V
Ovation built its reputation in the late ‘60s and ‘70s on
guitars that maintained a reasonably good acoustic tone when plugged into an
amplifier or PA system. The piezoelectric pickups they used were not new
technology – Gibson had experimented with them as far back as 1929 – but no
brand had successfully marketed them as a way to achieve an acoustic tone
before. (Even many of the “contact microphones” sold in the 1960s were actually
electromagnetic pickups, as was Valco’s “Silver-Sound” unit). However, despite
being remembered almost entirely for acoustic-electric guitars, Ovation did
actually produce electric instruments for well over a decade.
This bass is representative of the first series of
Ovation electrics. They are collectively known as the “Electric Storm” series
due to their model names: the Typhoon bass, Thunderhead, Tornado, Eclipse and
Hurricane guitars rounded out the lineup. Two Typhoon models were introduced in
July of 1968: the Typhoon I featured a single pickup while the II had two, and
the III (introduced a year later) had two pickups and no frets. These featured
hollow bodied made by Hofner with double cutaways and short horns, with Ovation
necks bolted on. By 1970 it was obvious that none of these basses were taking
the market by storm, and the line was revamped. The existing models were
replaced by the Typhoon IV (fretless) and V (fretted), both featuring two
pickups and slightly different Hofner-built bodies. Both would last until 1973,
and would eventually be replaced by the slightly more successful Magnum bass
series (1974-1982).
This Typhoon V
demonstrates that Ovation were nothing if not innovative. The body appears to
have been purchased from Hofner with all the routing completed, since the
control layout is identical to Hofner’s
model 4572 guitar. The finish was almost certainly applied by Ovation, since
it not only imitates the textured fiberglass of their round-back acoustic
guitars but also covers the binding. That’s right, up close you can actually see
the lines where the binding goes around the body and f-holes. While these
basses were available in conventional
nutmeg and red finishes that left the binding visible, this black finish is
closer to an epoxy than a conventional lacquer. While it may not be as visually
appealing, it does have to advantages: it doesn’t check, as the other finishes
were prone to doing, and it is exceptionally durable. This bass is not far from
mint cosmetic condition as a result.
The bass has an unusual wiring scheme as well – the
toggle switch will surprise players expecting a conventional 3-way pickup
selector. The first setting engages both pickups, but out of phase; one or the
other can be selected by itself by turning down one of the volume knobs. The
middle position features both pickups in phase, and either volume control works
as a master volume in this position. The third position engages only the bridge
pickup, but with a capacitor in place that produces a sound heavy on the
mid-range. Curiously, these are very different options described in a brochure
for the Typhoon IV; I don’t know if Ovation chose different settings for the
fretless model or if they simply changed their minds at some point.
Either way, the bass has a wide range of sounds
available. These are further enhanced by the spring-loaded mute, which can be
engaged by holding the palm down on the bridge cover while playing. It’s a
slightly awkward arrangement that produces a sound with limited uses, but that
could describe any number of contemporary instruments. The bass is very easy to
play due to the 30” scale and medium-profile neck. My example is mostly
original, the exception being the posts and thumbwheels under the bridge. It
originally featured a screw that adjusted the angle of the neck; this has been
removed for unknown reasons, but has been replaced by a couple of shims.
