Drawing upon the expertise of Art of Music’s Paul Schmidt in collaboration with select artists internationally, carefully conceived series’ of guitars, drums, and other instruments that exhibit the characteristics of aesthetic sensitivity and artful rendering make for some of the most beautiful and collectible instruments ever available.

Paul Schmidt is perhaps best known internationally for his literary contributions regarding America’s musical instrument history. His book about master luthiers John D’Angelico and James D’Aquisto - “Acquired of the Angels” (Scarecrow Press, 1991) was the first book ever published recounting the lives and works of perhaps the most celebrated guitar makers of the 20th century.

His “The History of the Ludwig Drum Company” (Centerstream Publications, 1991) was the first book ever published devoted exclusively to the documentation of percussion instruments and their development in 20th century America.

Schmidt’s book “Art That Sings” Doctorow Communications, 2003) features the guitar artistry of Steve Klein - one whom many feel is among the most inventive guitar designers of the last two centuries.

In addition to being an internationally-published author, Paul’s other experiences/ventures/contributions include:

• co-founder of the National Music Center - educational component of the Rock and Roll Hall of Fame and Museum
• received grants from the National Endowment for the Humanities and the Selmer Corporation
• released five albums of original songs
• performed and guest-lectured at concert halls, colleges, universities, and museums throughout the U.S.
• served as curator and consultant for various museums and private instrument collectors internationally
• appeared as an artist/scholar in the media internationally (print, radio, television)
• earned advanced degrees in both music and theology

(related to literature and original music)

“Paul Schmidt writes with exceptional clarity, elegance, and that special grace”
Jonathan Kellerman, best-selling novelist

“Schmidt does a fine job”
Smithsonian Institution

“... intelligent ... a remakable wordsmith ... rivals the elegiac verses of the 17th century poets”
Cleveland Plain Dealer

“... guitar expert, Paul Schmidt”
Acoustic Guitar Magazine

“... this is really interesting work!”
CKLN public radio, Toronto

“... musically very graceful, well constructed form, excellent guitar playing and tasteful use of ancially instruments ... reflective and loving poetry, at times almost ethereal - sincere and accomplished work "
Tri-C JazzFest - America’s Premier Educational Jazz Festival

“... great singing, and I love the songs”
Keith Barrow, CBS Records

“fantastic performance”
Guild of American Luthiers

"My experience has been that beauty is a deep revelation of the Divine.

As a musician I was always interested in musical instruments and how certain instruments spoke to me both musically and visually. Like most musicians, I was drawn to specific instruments, and I pondered what it was that stirred me musically - the tone colours, sensitivity to nuance, how it invited ideas; and how it struck me sensually and visually - the lines, textures, colours, and the atmosphere it created. Some things were obvious and some reamain(ed) a mystery, but I was always quite aware of what worked and how it affected me.

My personal experiences with instrument makers like Jimmy D’Aquisto, Bill Ludwig, and Steve Klein, (among others) nourished my enthusiasms, and I began pondering ‘what ifs?’ to those makers, some of which made for new discoveries for all of us. I had a drum invention in 1981 that solved a musical problem for me (wanting a tom-tom that produced a deep full tone with natural decay and dissipating-quickly overtones), and several years later it appeared in “Modern Drummer Magazine” as a ‘try this’ sort of invitation to experiment. I ordered a guitar from the Martin custom shop when it first opened in 1983 and had fun piecing together aspects of certain instruments to create something ‘new’.

Other projects like those occurred over the years until I thought it might be really interesting to do this with more focus and vigour. I’m not a collector (and I’m not rich!), so I didn’t want to keep making instruments just for myself. Spending much time pondering “what would be really lovely and exciting”, The Art of Music was born.”