Oscar Schmidt First Hawaiian Conservatory of Music c 1923 | HOLD | (v2159) As we reported in a number of previous listings for these guitars, the First Hawaiian Conservatory of Music was a mail order study course with a mailing address in the Woolworth Building on Broadway, NYC. The Schmidt-owned business advertised heavily in periodicals of the day such as Popular Mechanics, with the hook "Free genuine Hawaiian Guitar". A student enrolled for a years worth of lessons for $30, and at the end of the term they could keep the guitar. The campaigne must have been successful because a good number of FHC guitars have surfaced over the years, and are quite popular for there 'country blues' tone.
The FHC promotion appears to span the entire 1920s, with construction and appointments on the guitars remaining fairly consistent. Although some were offered in Hawaiian koa, most are solid birch construction, concert size, and stained an reddish tone. There is some variation in color .. some in a bright orange-red, some in a more somber burgundy .. and in bridge type, which could be pyramid, retangular, or 'mustache' such as this example. The 'mustache' bridge is seen in a variety of Schmidt offerings, and is likely a nod to the influence of the Italian labor force who made the guitars in the Jersey City factory.
This particular example has the 'mustache' bridge (Brazilian rosewood), which in quite uncommon compared to other examples that have surfaced. The color on this one leans toward the deep burgundy. Top, back and sides are slab-sawn birch. The neck is poplar, carved in a full-feeling 'C' shape, and fitted with a painted maple fingerboard with two position dots. The top and sound hole are bound in white celluloid. The tuners are the original plated, reverse-gear, three-on-a-strip type commonly seen on guitars of this era. The bridge pins are likely maple painted black with a pearl or celluloid dot.
The body measures 13 1/2" across at the lower bout. Scale length is 24 3/4". The neck measures 1 13/16" across at the nut, and string spacing is 2 1/4" across at the saddle.
When we received this guitar, it was in original condition, which means that it still had its gold-foil paper glued to the fingerboard which marked notes and playing position for students using the Hawaiian slide. We removed the neck, then the fingerboard, the frets (too low to salvage) and the paper. We painted the bare maple board black, and gave it a slight 'relic' to match the age of the guitar. We routed the neck and installed two carbon fiber rods for stiffness, reglued the board and refretted with new frets. The neck angle was reset, and the neck reattached to the guitar. A few braces were glued. Two top cracks were glued and cleated: one along the fingerboard extension and one on the edge of the lower bout. The lifting bridge was removed and reglued. The frets were leveled and dressed. The original 'ebonized' nut was the tall Hawaiian type, so it was lowered and refit as a standard nut. The finish is original and shows only a few nicks and dings from age and use. The original FHC label inside the guitar appears to have served as a meal for some hungry silverfish! The guitar is now in tip-top shape, beautiful to look at and a pleasure to play!
With action set at 6/64", new frets and the comfy short scale the guitar plays like a dream. But better yet, it's among the best sounding of its ilk. It's very responsive to the touch, with great separation and depth of tone. A Blind Willie Johnson approved vintage blues guitar!
Comes with a new hard case.
Check the sound clip!
The FHC promotion appears to span the entire 1920s, with construction and appointments on the guitars remaining fairly consistent. Although some were offered in Hawaiian koa, most are solid birch construction, concert size, and stained an reddish tone. There is some variation in color .. some in a bright orange-red, some in a more somber burgundy .. and in bridge type, which could be pyramid, retangular, or 'mustache' such as this example. The 'mustache' bridge is seen in a variety of Schmidt offerings, and is likely a nod to the influence of the Italian labor force who made the guitars in the Jersey City factory.
This particular example has the 'mustache' bridge (Brazilian rosewood), which in quite uncommon compared to other examples that have surfaced. The color on this one leans toward the deep burgundy. Top, back and sides are slab-sawn birch. The neck is poplar, carved in a full-feeling 'C' shape, and fitted with a painted maple fingerboard with two position dots. The top and sound hole are bound in white celluloid. The tuners are the original plated, reverse-gear, three-on-a-strip type commonly seen on guitars of this era. The bridge pins are likely maple painted black with a pearl or celluloid dot.
The body measures 13 1/2" across at the lower bout. Scale length is 24 3/4". The neck measures 1 13/16" across at the nut, and string spacing is 2 1/4" across at the saddle.
When we received this guitar, it was in original condition, which means that it still had its gold-foil paper glued to the fingerboard which marked notes and playing position for students using the Hawaiian slide. We removed the neck, then the fingerboard, the frets (too low to salvage) and the paper. We painted the bare maple board black, and gave it a slight 'relic' to match the age of the guitar. We routed the neck and installed two carbon fiber rods for stiffness, reglued the board and refretted with new frets. The neck angle was reset, and the neck reattached to the guitar. A few braces were glued. Two top cracks were glued and cleated: one along the fingerboard extension and one on the edge of the lower bout. The lifting bridge was removed and reglued. The frets were leveled and dressed. The original 'ebonized' nut was the tall Hawaiian type, so it was lowered and refit as a standard nut. The finish is original and shows only a few nicks and dings from age and use. The original FHC label inside the guitar appears to have served as a meal for some hungry silverfish! The guitar is now in tip-top shape, beautiful to look at and a pleasure to play!
With action set at 6/64", new frets and the comfy short scale the guitar plays like a dream. But better yet, it's among the best sounding of its ilk. It's very responsive to the touch, with great separation and depth of tone. A Blind Willie Johnson approved vintage blues guitar!
Comes with a new hard case.
Check the sound clip!