14/09/2009

Patrick James Eggle, guitar maker - Interview

---

Patrick James Eggle has been fascinated with guitars since the age of fifteen when he built his first. Luckily for us he didn't stop there. Since that time Patrick has as built himself an extraordinary reputation as a luthier with impeccable standards whilst designing, building and repairing all types and styles of guitar.

He became well known for his high-end solid body and archtop guitars but he wanted to fanfare the new flattop acoustic models he had designed. With this in mind Patrick, his wife and young sons moved to a new home and workshops in North Carolina on a two year mission to market the Patrick James Eggle name and set up bespoke dealerships in strategic locations throughout the US.

He quickly gained a reputation in America amongst collectors and players for uncompromising quality and tasteful design. Now his guitars are stocked by world renowned dealers such as Gruhn Guitars in Nashville, Tennessee and Gryphon instruments in Palo Alto, California, amongst many others.

Following the success, Patrick and the family returned to England and opened large new purpose built workshops in Oswestry. All design and production is now completed in this beautiful area of Shropshire.

Patrick's current highly unique range of handmade acoustics are now a rival to any made in the world, not just in build quality but for their playability and awesome tone. I know, I've tried them!

Hi Patrick. You've been back in this country for a little while now haven't you?

We were in America for nearly two years and back here for four years.

In that short space of time your acoustics have really caught the spotlight haven't they?

Well we started building them in America and we were sending a few back to America but maybe only six a year. So, since I've moved back most of the production is ending up with instruments that stay in this country, which is good.

Where are you based now?

Oswestry, on the Welsh border, an hour out of Liverpool.

Did you know that area before you came back?

No I didn't have a clue. I was in America and planning to move back. Then I had a call from the then sales director of Barns and Mullins, Brian Cleary, who suggested I move into their premises as I was already doing some work with them on the Faith guitars. The idea was I could be more closely involved with the Faith instruments and I said yes. So my next question was - where's Oswestry? But it's lovely there.

Your range seems to be developing in different ways now you are back. Is that the case?

Yes. I think it was four models when we first moved back here. In those days, well three years ago, all a model was, was a body, size and shape and it was customizable around that. Then, one of the things we did when we got back, we actually made a model of a pre-specified instrument. Basically, we started building different models for different purposes. For instance we have a Saluda which is a sixteen inch, small jumbo. Very curvy and made of spruce and maple. So that's a more bluesy funky kind of instrument, sort of like a J200, I guess. Then there's the Etowah, Rosewood, Spruce, triple ooo, short scale length and twelve frets to the body, wider fretboard, more of a fingerstyle instrument.

* For other models see the link below

So we have different models based around people playing different music on them. Not to say that's a hard and fast rule, you can play anything you like on any guitar and people often do. But we do try and give a purpose to each guitar rather than just here's another model with another name.

I know you've been giving your Skyland model a different look lately. Can you tell us about that?

We gave it a sunburst and herringbone and it's looking very nice.

And some different tonewoods?

Originally the Skyland was spec'ed with an Adriondack top, which added a far bit to the price, but didn't seem to be much of a draw to be honest. So we carry it as stock if people still want that but it's not as standard on any of the instruments at the moment. Currently the Skyland carries a stika spruce top.

I've also heard about a new baritone model. Is that right?

Yes, a twenty-eight inch scale based around the Saluda model, so sixteen inch again small jumbo. This one's rosewood and spruce. We're extremely pleased with it but we've only built about four though.

Do you manage to get much hands on time?

I'm in the workshop all the time. At least thirty hours a week. I've got the scars to prove it!

Thanks Patrick. Keep up the great work.

Questions asked by David Kushar

http://eggle.co.uk