Patrick Eggle New York

Made in England. I bought this new in 1992 and it came with an Eggle hard case. It has a maple neck and a dark solid wood body, I think it's Tulipwood. The body isn't painted. It has Kent Armstrong pickups, a single coil neck and a humbucker bridge. The bridge is a string through body job, and the tuners are Sperzel. There are just two controls, one tone and one volume plus a pickup selector, but the tone control pulls up to coil tap the humbucker. Looks a bit like a Rickenbacker.

I have never been entirely happy with the sound. Set up on the humbucker with the coil tap on it's good, but I think it sounds a bit muddy and flat with the bridge humbucker untapped. I normally play it through a Marshall AVT100 or POD and it gives me the British Goth sound I want, Sisters of Mercy, Mission, Fields of the Nephilim etc. I have heard of a few people who have dumped the Kent Armstrong pickups on these early Eggles, in favour of Seymour Duncans. Not sure I want to go to the expense and trouble. For other styles I use my Fender.

Guitar was supplied well set up and beautifully finished. I can get a low action without fret buzz and it really is easy to play. It's a tiny guitar that weighs next to nothing, and the neck is superb.

I don't play live, but this guitar has taken regular home and jamming use for 12 years without any problems at all. The strap buttons are large and nothing has failed or fallen off. It's very well built.

The factory sent me a letter and a free good quality guitar strap just after I bought the guitar from my local dealer. I recently contacted the factory to ask some questions about upgrading the pickups and they were helpful - replied quickly by e-mail. Never had to fix anything, so can't say much else.

I have been playing guitar and bass for nearly 30 years. I like blues, Stones, Goth and Punk mainly. My other guitar is a Mexican Fender Telecaster which I play through an Orange valve amp or my POD - this is superb and I always enjoy playing it, but the Eggle is always a little less satisfying somehow. It's the sound. I will try out some other humbucker equipped guitars to see how they compare, and if they sound better I think the Eggle will go - or I'll try putting Seymour Duncan's on it.

1993 New York Standard model, made in Coventry, England.

Construction: Oiled mahogany body, bolt on satin maple neck with 22 fret rosewood board featuring small, offset pearl dot markers.

Controls: 3-way mini-toggle switch, 1 Volume, 1 Tone (with pull coil-tap feature), all mounted on 3-ply tortoise-shell scratchplate.

Pickups: Original Kent Armstrong Single Coil (neck) and coil-tappable Humbucker (bridge) fitted as standard.

Bridge: Adjustable Tune-o-matic bridge with through body stringing.

Tuners: Non-locking Sperzels

Small, yet perfectly formed - a lot of reviewers make mention of the body design being Rickenbacker-like. There is certainly a degree of similarity, however, in style and character, I would probably place it closer to a Les Paul Special.

Although this is a fairly basic guitar in terms of features such as a trem, locking tuners, miriad switches etc...I've marked it quite highly in terms of its most most basic (and important) features - namely the quality of construction, choice of materials and overall design.

I've owned this guitar for 10 years now, and for most of that time it's been my main squeeze. Sure, in the early days, I didn't actually own another guitar, but over the years its dealt admirably with everything I've thrown its way, including country, rock and jazz to name a few.

I'm currently using an all valve Fender Pro Reverb, however its been played through a variety of set-ups, and have never had to work hard to get the guitar's tonal character to shine through.

I've never felt the need to consider changing the pickups as I really think they did a great job in matching the pickups with the body materials. I don't think the Kent Armstrong pickups are particularly expensive, but they are powerful enough without being overpowering. Obviously any selection with single coils is always going to be susceptible to a little hum, especially in the proximity of fluorescent strip lighting, but this is not especially noticeable here, and the pickups are certainly less noisy than those on my Fender Strat.

Acoustically, this is a very resonant guitar - I guess it must be down to the construction, the woods used, and possibly the through-body stringing. Whatever it is, its always a great indication if a guitar plays and sounds good when not plugged in.

As I said earlier, I've found the guiatr to be tonally very versatile, however, I feel it really excels when playing rhythm parts, and am especially keen on sound obtained by selecting the up position on the toggle, and engaging the coil-tap on the tone pot. This mixes the neck and coil-tapped bridge pickups together, and produces a wonderfully even and jangly tone, rich in clarity, which works well for chord work.

My New York is one of the ones without a lacquered paint job. Instead, the Mahogany body is oiled, giving it a very basic, but attractive appearance. As a result, it doesn't have a lot of resistance to sweat, cigarette smoke etc...and is prone to darken over time, giving it a somewhat vintage appearance. Obviously this is not to everyone's liking, but I love it! Also, I'd guess that if you're drawn to this guitar in the first place, you're probably not looking for a pristine gleaming machine, dripping in gold and full of features.

I didn't get the guitar direct from the factory, but set-up was fine. It came with 9-42s on it. I prefer 10-46, so set the guitar up accordingly, but keeping to the basic characteristics of the original set-up, which is basically a quite low but un-buzzy action.

I have to say that upon buying the guitar, I was amazed at how good the neck was, and 10 years later, I'd go so far as to say that it remains the best neck I've ever played - even my pride & joy Les Paul doesn't come close!

Mine was new when I bought it, although I later found out that a fitted Eggle hardshell case SHOULD have been included as standard. I was a little miffed when I discovered this, but am pleased to report that after 10 years of rough treatment and no protection other than a gig bag, it continues to hold up well, albeit with a coupl of bangs and scratches, but as stated earlier, for me that only adds to the guitar's appeal.

This guitar has been used extensively for both live and recording for 10 years now, and remains totally original, save for a single string saddle I replaced that had worn down. It's still 100% in working order, although I may soon treat it to a replacement nut soon as the bottom E groove is now a little too deep after I went through a stage of using super heavy strings.

Overall, it has remained playable with the absolute minimum of maintenance.

Although I've never actively tried to break it, it has been knocked over, dropped, banged and dinged numerous times and always comes back for more. I believe it will last forever!!

Never had to deal with them - there's not realy much to break on this guitar!

I've been playing guitar now for around 14 years. In addition to the Patrick Eggle, I've also got a Gibson Les Paul Standard, Fender Strat, Tele, Starfield Electric 12-string, Simon & Patrick acoustic 12-string, and a Bennett 8-string Lap Steel.

If anything were to happen to my New York, I'd definitely seek out another as its versatility, indestructability and general workmanlike cool factor, make it indispensible within my collection. However, I don't think that used New York's become available that often, so if I see one for a reasonable price in the future, I may well snap it up!

If you're looking for an unusual, yet affordable no-nonsense guitar that will never let you down, I'd certainly advise you to look at a New York.

Alder body, maple neck, rosewood fingboard. 3 Kent Armstrong pickups (H/S/S)with coil-tap on volume control. 5-way strat-type selector. Wilkinston vibrato.

This guitar is basically a strat with a humbucker at the bridge, although the shape is more Rickenbacker. The sounds are certainly stratish and every pickup position is very useable, although I normally leave the bridge pickup in humbucking mode when I select bridge only. This gives extra body to the twang of this pickup. Overall this is a bright-sounding guitar with very little noise from the single coils.

The action is low and this guitar handles 10-gauge strings very easily (I normally prefer 9's), with string-bending a doddle. The fret-ends could have been finished a bit better. The finish on the body is very basic, but the neck is particularly nice (apart from the aforementioned fret-ends). I suppose with this model, Patrick Eggle has got the important things right, and maybe economised on the cosmetics.

This guitar must be about ten years old. I've had it for about 6 months now and played it every single day. Apart from a trussrod tweak and subsequent intonation adjustment (I always set up my guitars), I've had no problems with this guitar. No loose strap buttons or noisy electrics. The vibrato causes no tuning problems (to my surprise!)

Never dealt with them.

I also own 3 Fenders (including a 70's strat) but the Eggle is now my guitar of choice. In fact the Fenders seem heavy and cumbersome (the Eggle is small and light) and the longer-scale necks makes them hard work in comparison. Although it has its flaws, the Eggle is a surprisingly addictive instrument!

My NEW YORK LIBERTY was bought direct from the Eggle factory in Coventry in june 1994. After a full tour of the factory I paid #450 (willingly) for this beaut of a guitar.The body is solid alder with rosewood board,H.S.S. Sperzels,Wilkinson trem and pearloid scratchplate.

The sounds of this Eggle are nearly perfect for My styles of music (60's ,rock&country). Used through a Peavey Bandit 112 and a Zoom 8080 it works well

Being bought direct from the factory, the guitar was set up exactly as I requested using 9's to 42's .

Since buying this guitar I have had many other guitars that have not stayer the course. I'm currently using an 85 Tokai strat and a Squier Protone thinline Tele but these get use on about 15% of gigs. 'Nuff said

After playing for over 30 years I have found the best guitar for me.It's not to everones liking but who cares?

My '93 Standard model has a one-piece mahogany body. A guy I met on the road once told me with some authority in his voice that, it being so heavy for a small body, the mahogany must have originated from Brazil. I didn't have the heart to tell him that the body has hollow chambers! The neck is maple, also one-piece, with a rosewood, 22-fret fingerboard.
There is a single-coil pickup at the neck and a coil-tappable humbucker at the bridge - both Seymour Duncans. The bridge itself is a tune-o-matic/thru-string hybrid. Made in England.

Admittedy noisier on the single coil settings, there is still a lot less hiss here than with, say, a US standard Tele (which is what I used for gigs before). With a clean transistor amp it sounds suitably punchy, while a distorted Class-A valve amp brings reveals really warm single coil sound and a properly ballsy humbucker. Coil-tap setting is funktastic! A really good range of sounds, then, but it doesn't really 'do'the that certain Tele twang -- so maybe this guitar isn't really for Nashville types. Better drag out the '58 Les Paul you've got lying about if you want to sound like Cream too...

This guitar was bought s/hand, so I can't comment about factory settings. A minor intonation problem was easily adjusted tune-o-matically. Action is low without any fret buzz and I've never noticed any problems in the finish.

No real complaints here. The bare mahogany body does tend to mark guite easily, but only superficially. Besides, this is a stripped-down (and reliable) workhorse, not some PRS-style jewellry. The frets have proved to be remarkably hard-wearing. The strap buttons are large and dependable -- unlike those of some major manufacturers I could mention...

No idea -- I've never needed it.

I've been playing for 12 years and have owned a Strat plus and Lennon Rickenbacker. The build-quality is far better than the Ricky's and, for my money, it sounds better than both. It is superior in all respects to the Tele I have. Admittedly, it's not quite as sexy as my ('89, not '58) Les Paul, but its a lot more versatile and better suited to life on the road. Best value-for-money guitar I've ever purchased!

The guitar has a rosewood neck and mahogany body with a slim neck and 22 jumbo type frets. The finish is translucent red with white pick guard. The tuners are Spergel. It has one tone control and one volume control. A Wilkinsom Trem is fitted. It also has a five way strat type selector switch.

The guitar has bee fitted with dimarzio pro pickups and the tone control is a stacked version normally found on base guitars but works to give a grest variety of tones. I use the guitar with a line 6XL- plus stereo amp and it sounds fantastic, really heavy but with loads of character.

The action could be a little lower and needs setting up but the neck is slim, and perfect for my smallish hands and vibrato is no problem.

The guitar seems very durable and Iuse it regularly for band practices. The selector switch needsrelacing as it is a bit hit and miss sometimes , but that is wear and tear.

I've been playing 40 years on and off. I have a Crate VS30 which is great but the eggle doesn't sound as good through that amp. I also have a road house strat and an early mexican made Fat Tele with seymour duncan humbuckers and jumbo frets(original I think). None of these compare with my modified eggle guitar. The only crticism I would make is the the trem has no cushoin and thumps the body when it returns to position.

I bought this guitar for half off cause a guy bought it changed the rear pickup and sold it back to the store for half off what he paid for it. All in three days. This guitar has a zebra wood top (3/8 inch thick) and a cherry wood back. There are hollow sections inside the guitar to add to the resonance qualities. This guitar is small which is just perfect for me. The neck is bolt on and very slick. Quality machines and a single coil at the neck and a owner replaced semour duncan humbucker at the bridge. I absolutly love this guitar. It is very simple. A 3 position pickup selector and volume and tone controles. Definitly the coolest looking guitar I have ever seen. Natural finish really looks sharp.

I play worship music for our church. Not that hymn stuff, more modern contemporary stuff. The sound of this guitar is something that you have to experence. I used to use a line 6 flextone 2 but recently bought a dg stomp by yamaha and am in the process of selling ALL my effects and amps (except the stomp). It has a very warm sound but when you nail that humbucker with some over drive...unreal. I usualy play acoustic but have a hard time puting this guitar down once I pick it up. I tend to play the eggle like an acoustic with alot of dynamics, I don't know, it works for me.

Perfect. The fit couldn't be better.

What is there to break. Just be jentle like you would with any instrument. Because it is natural wood I won't give it a 10.

Never needed to contact the company but I tried to find some info about this guitar and fell short. Even the web page doesn't list this guitar.

If it were stolen, after I got out of jail for beating the poor shmuck who stole it, I would buy another. Just a sweet guitar.

Handmade in 1992 at the Eggle factory in Birmingham, UK. The body is made of oiled Tulipwood, and unfinished giving a really nice (and very unusual) dark brown natural finish. Brown tortoishell pickguard. The neck is bolt-on and very nice maple with a good fast rosewood (possible ovankol) board.

Tune-0-matic bridge with through body stringing gives great sustain from what is a tiny double cutaway body. This guitar is very light and VERY comfortable to play. The body is a little like a Rick (380-series?) with a "cresting wave" upper horn.

Pichups are retrofit by previous owner. I have a stacked Seymour Duncan humbucker (single coil size) at the neck and a Seymour Duncan Distortion Trembucker at the bridge. There's a three wat switch for pickup selection and a volume and tone control. The tone pot is a push pull coil splitter that can work on either pickup depending upon selector switch position. The Trembucker is a little too fierce for my liking but responds well to rolling off the volume pot and gives a lot of versatility.

Built quality overall is exceptional.

As my pickups are retrofitted the sound of this model is likely to be different from standard production models. I play this guitar in Open G tuning and use it for Stones, Black Crowes and Faces style rythmn playing.

Great versatile guitar. The trembucker will always give good melodic feedback when required through my Line 6 Flextone plus.

The only problem I've had with this guitar is that it simply doesn't like drop D tuning - yet in standard and open G tunings it doesn't go out of tune = go figure. In drop D absolutely every string struggles to hold pitch... very strange...

I think that there's a possible truss problem there maybe but as it holds an Open G very well I can't see any point in playing about with it too much...

Because of the drop D problem I'll only award a 5

It's a solid guitar in every respect (except the drop d problem). It's certainly never let me down but it only gets gigged for two or three numbers in a 18 to 20 song set.

It'll pt up with a fair bit of abuse and is the only guitar that goes out in a gig bag rather than a hard shell case when I gig.

I've never tried to contact eggle so I have no opinion....

I adore this guitar. It's light, it's got great tone, it's easy to play, it's unusual enough to be noticed. It cuts through the mix of a five piece (three guitar playing) band with no problems at all.

At a recent gig, another guitarist sought me out after the show to ask about it as it had, in his words "just an incredible sound".

I'd recommend Eggle gear to anyone without reservation