Faith Signature 000 - PJE Limited Edition

Only 10 of these Patrick James Eggle Limited Edition Faith 000 models were made. And they became available to the guitar buying public from July 2009. The guitar comes with a 'Faith' logo, Hiscox, ABS, light flight case.

This is a 12 fretter, which gives a shorter, stiffer neck, that apparently sends more energy through the bridge, rather than through the neck, itself. The 12th fret join allows for a longer body too, which produces a stronger, fuller tone. Loosely based on the Martin 000-28VS and designed by Mr Eggle himself, this 000 was handmade in the Czech Republic.

The specs are as follows:
Top Wood - Solid AAA-Grade Sitka Spruce
Back Wood - Solid AAA-Grade Indian Rosewood
Side Wood - Solid AAA-Grade Indian Rosewood
Binding - Selected Solid Koa
Bracing - Spruce (Piano Grade)
Rosette - Paua-Shell Abalone
Neck - Solid Mahogany
Neck Finish - Satin
Neck Joint - Bolt on at 12th Fret
Fingerboard - Ebony
Fingerboard Radius - 310mm – 12.2 inches
Fingerboard Inlays - M.o.P. 'F', at the 12th Fret, only
Fret Qty. - 17
Machine Heads - Gotoh SEP 700 06MN
Truss Rod - with Carbon Reinforcement
Nut/Saddle - TUSQ / TUSQ
Nut Width - 45 mm – 1.77 inches
Bridge - Ebony
Bridge Pins - Ebony with MOP Dot
Strings - Elixir PB Nanoweb 12-53
Finish Type - AC Lacquer Body / Satin Neck
Case - 'Faith' HIscox UK Hard Case
Upper Bout - 275mm – 10.8 inches
Waist - 224mm – 8.82 inches
Lower Bout - 384mm – 15.1 inches
Depth - 80mm – 3.15 inches (front) – 104mm – 4.1 inches (rear)
Scale Length - 654mm – 25.7 inches
Body Length - 521mm – 20.5 inches

Not being that well versed in all the shapes and sizes, originated by the Martin company, when I first set eyes on this guitar, I thought it must be a 00 model. I thought 000s were similar to OMs. Wrong! On closer inspection, I realised the body size is a fair bit larger than the 00s I had seen/played. This however is a vintage styled, slot-head 000. And a very cool one, at that.

I’ve been a fan of the usual, low-mid priced Faiths, for some years now, having owned three of them. But these Signature models are a very different breed. The level of finishing and material quality, which was already very good on the standard models, has taken a number of steps, upward. The spec may seem conventional, with the sitka spruce/Indian rosewood combo but these are both AAA grade and you can hear, feel and see the difference. Add to this, the koa binding, with sympathetic purfling and it all comes together to create a lovely guitar.

When I first played all 3 of the Signature models, I was impressed by the all-round tone of the cutaway-OM but immediately gravitated toward the maple/spruce jumbo. Probably, because it was very much like my Northwood mini-jumbo. In some ways, by it’s looks but particularly, in it’s tone.

The first time I played the 000, I thought, what a great fingerstyle guitar. It’s warmth and presence felt so smooth, with that style of playing. On my next visit, unplanned, I played the 000 with my plectrum. And wow! what a sound. It didn’t have the massive bottom end or expansive tone of the jumbo but it managed to be ringing and very warm, both at the same time. An intimate tone, that was still very vibrant, with plenty of volume. Far fuller than most of the 000s and OMs, I have played and owned, over the years. This 000 is slightly more controlled somehow, than both my Northwoods, yet to my surprise, it not only finger and flat picked a treat, it also strummed out chords wonderfully.

When I got this guitar home, I realised I had made the novice’s error of not checking the guitar was tuned to concert pitch, in the shop. Which I always do, normally. I realised I’d been testing it, tuned down a semi-tone. Alarm bells rang. It had been many years since I’d made that mistake. It may sound like an over reaction but years ago, when I played low-end stuff, I’d been caught out, once or twice by guitars than sounded and felt great, tuned down a fret or 2, but things went horribly wrong, in concert pitch. But thanks goodness, brought up to pitch, with only the tiniest increase in string tension, everything sounded and played as it had. Phew!

I have had 12-fretters before and rather appreciate the tonal benefits they bring. But there is no doubt that that 2 fret difference in neck length, from the body to the nut, can feel slightly constricting, when you’ve not played one, for a while. Having said that, adjustment doesn’t take long at all, and in all my songs, I think I only go above the 12th fret in one of them. And I’d already found a very workable, alternative chord, when I owned a, now much missed,

Cosmetically, there is a slight shade difference, between the 2 sides of the rather lovely, golden coloured soundboard. But the only thing I don’t actually like cosmetically, is the Patrick James Eggle signature on the headstock. It’s not overly large but it’s just not necessary, as he’s already signed it on the internal label and to my view just the Faith “f” logo is all that was required.

On the internal label, it states that my guitar is number 4 from 10. Which is nice. I can’t help thinking though that Mr Eggle may think twice about making any more signature models. Because to my mind, they at least match the equivalent models in his own range, but at less of a financial outlay. But it has to be said that the combination of Faith, Eggle and that mysterious, Czech guitar company, has produced a top value, top quality guitar.

To my ears, some guitars one buys, sound a certain wa, in the shop but sound very differently, back home. Not this one though. It’s tone is quite individual. It almost has the warmth and body of a classical guitar, yet with the sparkle you get from steel strings. To my eyes, it has a really classic look. With the slightly elongated body, golden spruce top, closely grained rosewood B & S and gorgeous koa binding, it really is a winner.