1932 Gibson HG-22
Gibson’s HG-22 was a very short lived “Hawaiian” model only built in 1932. We used quotes as, unlike later Hawaiian models, the HG-22 (like the HG-20 and HG-24) was actually factory set-up for Spanish style playing, with the same 14 fret, soft V, 1-3/4” nut neck and compensated saddle as any Gibson 14 fret flat top from later in 1932 and beyond. The “Hawaiian” elements were simply the guitar’s unique body design, and a riser nut.
The HG-22 is a rare model by most any standard. It was, essentially, the same guitar as the HG-20, (which is only a little less rare), but featured back binding, a sunburst finish, and a firestripe pickguard. The differences between the HG-22 and HG-20 are akin to those between the L-1 and early L-00 in 1932. Joe Spann lists only 4 FON batches of HG-22s in his catalogue, and although others might exist, there can’t be many.
Like the other first “Hawaiian” models of the 1932 series, the HG-22 features four F-holes along the perimeter of the top and a smaller 3-1/4” soundhole. There is a secondary set of sides that hang from the top on the inside margin of the F-holes; but these extra sides don’t extend all the way to the guitar’s back. There is a gap of about 1” between them and the inside of the back. The sides act as a baffle, creating a secondary resonating chamber designed to add volume and focus the sound directionally out from the front of the guitar, much the way a resonator does something similar on a banjo.
The top is otherwise built quite similar to a 14 fret L-00, but with X bracing that ends at the baffles, rather than at the guitar’s edges. The back and sides are maple, the neck is mahogany, and the guitar’s voice is something of a flat-top-meets-archtop kind of thing, with bold, rounded trebles, full and supportive midrange, and articulate bass that’s in the back seat, tonally speaking. With the overtones and overall warmth of a 14-3/4” flat-backed Gibson, and the midrange of a 12” X braced Gibson, this guitar sounds quite unique, but in a surprisingly pleasing way. It loves single notes and melodic leadwork, quick arpeggiated chords, and has a great ‘chop’ for chordal rhythm. The maple combined with the damping effect of the extra sides, imparts some compression that will benefit those with a lighter touch, too.
The guitar is in great playable shape and has had some well executed repairs over the years. There are minor cracks along the top’s bass edge and to the sides that have been repaired, but no major cracks. The back was once removed to (we suspect) glue loose brace ends, and to add a cross-support to the guitar’s waist, which must have been deforming under string tension. There is a maple dowel supporting the sides now that seems to be doing what it was intended to do. The back was reinstalled, the back binding was convincingly replaced, with well executed localized finish repair. The neck has been reset, the frets and nut replaced, and the tuning machines are older replacements. The guitar’s original bridge is gorgeous, with the classic rounded 1932 profile and original factory lacquer. The new aged saddle and set-up were done in our shop. The guitar plays perfectly with 5-7 64ths action and 12-53 strings.
Soft V neck carve, 1-3/4” nut, 1st fret neck depth of .935”. The neck feel is heavenly. 2-3/8” string spread at the saddle, 24.75” scale.
With modern hardshell case.
The HG-22 is a rare model by most any standard. It was, essentially, the same guitar as the HG-20, (which is only a little less rare), but featured back binding, a sunburst finish, and a firestripe pickguard. The differences between the HG-22 and HG-20 are akin to those between the L-1 and early L-00 in 1932. Joe Spann lists only 4 FON batches of HG-22s in his catalogue, and although others might exist, there can’t be many.
Like the other first “Hawaiian” models of the 1932 series, the HG-22 features four F-holes along the perimeter of the top and a smaller 3-1/4” soundhole. There is a secondary set of sides that hang from the top on the inside margin of the F-holes; but these extra sides don’t extend all the way to the guitar’s back. There is a gap of about 1” between them and the inside of the back. The sides act as a baffle, creating a secondary resonating chamber designed to add volume and focus the sound directionally out from the front of the guitar, much the way a resonator does something similar on a banjo.
The top is otherwise built quite similar to a 14 fret L-00, but with X bracing that ends at the baffles, rather than at the guitar’s edges. The back and sides are maple, the neck is mahogany, and the guitar’s voice is something of a flat-top-meets-archtop kind of thing, with bold, rounded trebles, full and supportive midrange, and articulate bass that’s in the back seat, tonally speaking. With the overtones and overall warmth of a 14-3/4” flat-backed Gibson, and the midrange of a 12” X braced Gibson, this guitar sounds quite unique, but in a surprisingly pleasing way. It loves single notes and melodic leadwork, quick arpeggiated chords, and has a great ‘chop’ for chordal rhythm. The maple combined with the damping effect of the extra sides, imparts some compression that will benefit those with a lighter touch, too.
The guitar is in great playable shape and has had some well executed repairs over the years. There are minor cracks along the top’s bass edge and to the sides that have been repaired, but no major cracks. The back was once removed to (we suspect) glue loose brace ends, and to add a cross-support to the guitar’s waist, which must have been deforming under string tension. There is a maple dowel supporting the sides now that seems to be doing what it was intended to do. The back was reinstalled, the back binding was convincingly replaced, with well executed localized finish repair. The neck has been reset, the frets and nut replaced, and the tuning machines are older replacements. The guitar’s original bridge is gorgeous, with the classic rounded 1932 profile and original factory lacquer. The new aged saddle and set-up were done in our shop. The guitar plays perfectly with 5-7 64ths action and 12-53 strings.
Soft V neck carve, 1-3/4” nut, 1st fret neck depth of .935”. The neck feel is heavenly. 2-3/8” string spread at the saddle, 24.75” scale.
With modern hardshell case.