Faith FVHG Venus Hi-Gloss Electro Acoustic Guitar

Faith FVHG Venus Hi-Gloss Electro Acoustic Guitar

 

£799.00

In Stock

Features

  • Top Wood Solid Engelmann Spruce
  • Back Wood Solid Rosewood
  • Side Wood Solid Rosewood
  • Binding Solid Flamed Maple
  • Bracing Material Quarter-Sawn Spruce
  • Bracing Pattern Patrick James Eggle X-Brace Design
  • Rosette 5mm Abalone with Fibre Border
  • Neck Mahogany
  • Neck Finish Satin
  • Neck Joint Patrick James Eggle Bolt-On Design
  • Fingerboard Macassan Figured Ebony
  • Fingerboard Radius 16"
  • Fingerboard Inlays Mother of Pearl 'F' at 12th Fret
  • Machine Head Grover Rotomatic Gold
  • Trussrod 2 Way
  • Nut / Saddle TUSQ (PQ-6116)/(PQ-9110)
  • Nut Width 43mm / String Spacing 55mm
  • Bridge Macassan Figured Ebony
  • Bridge Pins Macassan Figured Ebony with Abalone Dots
  • Finish Type High Gloss Top, Back and Sides
  • Preamp / Pickup Fishman INK3 Preamp with undersaddle pickup
  • Hardcase Included
  • Dimensions
  • Upper bout 290mm
  • Lower bout 385mm
  • Depth at neck 100mm
  • Depth at base 115mm
  • Body Length 490mm
  • Soundhole Diameter 100mm
  • Scale Length 645mm
  • Fingerboard Radius 16 inch

Description

The Venus is the now iconic shape that brought Faith Guitars to the consciousness of so many players over the years. The combination of a 15″ lower bout and a slimmer depth of body looks to classic OM or Auditorium body-shapes for inspiration, and makes the Venus the perfect compromise.

It is still big enough to deliver a big acoustic performance, yet remains small enough for the player to jump around on stage with no problem.

Faith HiGloss series are designed to offer both visual and aural beauty. Using high grade Englemann Spruce for the top and highly-figured Rosewood for the back and sides, HiGloss models feature solid Flamed Maple binding and Macassan Ebony for the fingerboard, bridge, headplate and heelcap.

Tonally, this combination of wood is generally bright and ‘zingy’, delivering great clarity. Visualising this as a frequency curve, it would be shaped like a smile: high on the bass, dipping down through the middle and rising once again at the top end, lending itself to fingerstyle and solo pieces in particular.