Oscar Schmidt First Hawaiian Conservatory of Music Guitar c 1928 | $1200 | (v2403) 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 campaign must have been successful because a good number of FHC guitars have surfaced over the years, and are quite popular for their 'country blues' tone (Blind Willie Johnson is believed to have played a FHC).
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 a reddish tone, some with a sunburst effect. 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-style'. 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 is likely from the latter part of the '20s, since examples from this era, in our experience, appear to have sported the painted-maple rectangular bridge.
The top, back and sides are slab-sawn solid birch, finished in a deep, red mahogany stain with the top featuring a subtle sunburst. The top is ladder braced and bound in white celluloid along with the sound hole. The neck is likely poplar topped with a maple fingerboard, painted black. The neck is carved in a soft 'V', and sports a FHC foil decal on the headstock. There is a gold-foil FHC label inside the body, too. The tuners, bridge pins and end pin are original.
Prior repairs include a rather ham-fisted attempt at removing and reseating the original frets, leaving some chipout and marks, and there were some remnants of the original gold-foil fingerboard template which guited students when playing lap-style. Recent repairs include: removing the old frets, planing the board flat, painting it black and refretting with modern frets; neck reset; install a finger brace on each side of the sound hole for stiffness; install a new saddle; clean and lube the tuners. The finish is original and shows nicks and dings from nearly 100 years of use. The action is set at a slinky-smooth 4 & 5/64".
The guitar plays really well with its new fret and board setup. We've never been disappointed in the tone of the FHCs that have come through our shop, and there have been quite a few. It may be the birch, or maybe the depth of the body .. but they always sound good. Perfect for fingerstyle country blues with or without a slide.
Comes with a gig bag in good condition.
Check out 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 a reddish tone, some with a sunburst effect. 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-style'. 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 is likely from the latter part of the '20s, since examples from this era, in our experience, appear to have sported the painted-maple rectangular bridge.
The top, back and sides are slab-sawn solid birch, finished in a deep, red mahogany stain with the top featuring a subtle sunburst. The top is ladder braced and bound in white celluloid along with the sound hole. The neck is likely poplar topped with a maple fingerboard, painted black. The neck is carved in a soft 'V', and sports a FHC foil decal on the headstock. There is a gold-foil FHC label inside the body, too. The tuners, bridge pins and end pin are original.
Prior repairs include a rather ham-fisted attempt at removing and reseating the original frets, leaving some chipout and marks, and there were some remnants of the original gold-foil fingerboard template which guited students when playing lap-style. Recent repairs include: removing the old frets, planing the board flat, painting it black and refretting with modern frets; neck reset; install a finger brace on each side of the sound hole for stiffness; install a new saddle; clean and lube the tuners. The finish is original and shows nicks and dings from nearly 100 years of use. The action is set at a slinky-smooth 4 & 5/64".
The guitar plays really well with its new fret and board setup. We've never been disappointed in the tone of the FHCs that have come through our shop, and there have been quite a few. It may be the birch, or maybe the depth of the body .. but they always sound good. Perfect for fingerstyle country blues with or without a slide.
Comes with a gig bag in good condition.
Check out the sound clip!