Fibonacci Guitars is located in London, one of the World’s most vibrant international hubs for music. Their studio is critically important in the development of new products. It ensures that the new designs are exposed to a wide variety of players, and are tested in a ‘real’ and demanding environment for refinement, before going into production. In fact, it is the case that there are numerous recent album releases with recordings of FIBONACCI® prototype guitars ‘sprinkled’ all over them as part of this ongoing research and development process.
For many years now, the team behind FIBONACCI® hasbeen instrumental in collaborating with various, artists, designers and luthiers in developing, and delivering to market, many of the recent releases previously manufactured, under license, by Peerless. Notably, releases such as the Martin Taylor Maestro & Virtuoso Signatures, the Retromatic ‘P’ & ‘B’ series, and most recently, the Jezebel and Retromatic 131 range. These collaborations continue at with all of the designs now independently manufactured and branded under FIBONACCI® GUITARS, or under the artist’s own signature.
With the greatest of respect accorded to the mathematical genius of LEONARDO FIBONACCI®, the evolution of the ‘GOLDEN RATIO’ and all things ‘PHI’, other than musical scales, they do not play any ‘numbers’ game. The emphasis at is on quality, not quantity; they keep production levels low and manageable, thus ensuring quality is paramount.
Nigel Price And The New Fibonacci Londoner Model
All of the materials specified to produce a FIBONACCI®GUITAR are seasoned and responsibly sourced without restriction, from various suppliers around the world. All final assembly, painting, nitrocellulose lacquering and hand finishing, using genuine quality components, takes place in the UK.All of the hardware products specified for use on a FIBONACCI®GUITAR are guaranteed to be genuine branded parts, produced only by authorized manufacturers.
What you will receive when you purchase a FIBONACCI® GUITAR is a quality, completely hand-crafted instrument, hand-finishedin the UK to the highest standards.
Jazz Guitar Lessons 2 weeks ago New JGT Lesson: Davy Mooney Explores Vernon Duke’s “Autumn In New York” Jazz Guitar Lessons 4 weeks ago New JGT Lesson: Davy Mooney Considers Miles Davis, “Milestones” Jazz CD Releases 2 weeks ago New Album From John Scofield, “Uncle John’s Band” Jazz Music 3 weeks ago On The Tracks…Lionel Loueke
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We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.OK |Privacy policyIt is a long story why Fibonacci named their latest release the Fibonacci Fibonacci. “Perhaps it is just because it is such a wonderful guitar, one feels the urge to say its name twice”, say Fibonacci.. Or perhaps it is part of a cunning marketing plan that encourages the reader to stop and think… ‘ah ha, they made a typo error’. But whatever the reason, its name does not take anything away from this beauty.
Just in case you hadn’t noticed, the Fibonacci Fibonacci, has an obvious influence in aesthetic design from a very well known guitar builder (answers on a postcard!).
The Fibonacci Fibonacci is a completely hollow, double cut-away archtop, with 16” lower bout, 56mm deep body, produced from a hand carved AAA spruce top, with hand carved mahogany back, sides, and neck, 22 Jescar EVO Gold frets, and 17th fret neck joint. It is complemented with solid maple binding, ebony fingerboard and floating pickguard. Fibonacci have opted to fit the Fibonacci Fibonacci with a gold, floating trapeze type tailpiece as standard, but a floating ebony one can be fitted if preferred.
The Guitar Meets The Golden Ratio
The Fibonacci Fibonacci comes with a single floating ‘Micro Stealth’ Krivo pickup, which packs plenty of punch, while sounding well balanced and articulate. Krivo, are critically acclaimed, innovative boutique pickups for working musicians, personally hand made by Jason Krivo Flores in Portland, Oregon USA. If you haven’t already done so, check them out.
Body Style – Arched back and top, Double Cut-away – Body Width at Lower Bout- 425mm – Body Length – 480mm – Body Depth- 56mm – Top Wood- Hand Carved AAA Spruce – Back & Sides- Hand Carved Mahogany – Body Binding – Solid Maple – F Hole Binding- N/A – Nut-Bone – Neck Profile- 43mm at Nut, 57mm at End Fret – Neck Construction- Mahogany – Neck Binding- Solid Maple – Finger Board- Indian Ebony Fingerboard, No Inlay – Neck Scaling -625mm, Dove Tail Joint at 17 F – Frets- 22 Jescar EVO Gold Frets – Bridge- Indian Ebony Floating – Pickguard – Indian Ebony Floating – Tailpiece – Gold Trapeze – Tuners- Gotoh SGS310 Ebony Knobs – Pickup- Floating KRIVO Micro Stealth- Pots – Premium CTS 500K/
1000k Audio Sweep Volume/ Tone with Ebony Knobs – Output Jack – Switchcraft – Wiring-Shielded Braided Steel – Finish- Nitrocellulose – Strings – Thomastik Infield Flatwounds – Case – Hiscox Insulated Flight Case
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The Fibonacci Fibonacci is available to order from March 2020. Price from £3, 499.00 GBP. More information and audio files, can be found at:Pythagoras was a Greek Mathematician who is famous for his mathematical analysis of the lengths of the sides of right angled triangles.
However, Pythagoras worked on a lot of other mathematical ideas, including working out how long guitar strings need to be to create certain notes.
This happens on a guitar when we play a note at the 12th fret. Positioning our finger at the 12th fret position, makes the string exactly half as long as its full length with no finger on any frets.
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The Inverse Proportion means that if we play 1/2 of the string, we get 2 times the frequency of vibration of the string. This means the musical note gets “twice as big”, making it become the same note, but one octave higher.
Frequency (or how high the note pitch is) increases directly as the length of the string is decreased. This is the fundamental mathematics of all stringed instruments which Pythagoras figured out.
This is shown in the following diagram, along with other key string lengths that are created using the frets on a guitar.
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As can be seen in this diagram, Pythagoras worked out in ancient times that using frets to change the string length into certain fractions of the full length, resulted in certain pleasant sounding musical notes.
One day I would love to own a Noyce Bass Guitar, as a friend of mine has one, and it feels and sounds absolutely brilliant.
To determine the note for any Fret we play on, we add the fret number and the string value to obtain a Total.
Music From The Golden Ratio And Fibonacci Sequence
However, if we do the 7th fret of the bottom E string we get 7 + 7 = 14 which is past the end of our look up table.
Whenever we get a Total Answer greater than 11, we keep subtracting 12 from our Total Answer, until we get a number value between 0 and 11 that we can look up.
Working the opposite way, eg. working out the fret number for a note we want to play is a little bit trickier, but can be done.
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Using this rule we do the string length (from the zero fret “nut” at the top of the guitar to the bridge at the bottom of the guitar) divided by the value of 17.817 and this tells us how far the first fret is from the top “nut” zero fret of the guitar.
To get the position of the second fret we now do (string length – distance to first fret) divided by the value of 17.817 .
S = resting string length (distance from the zero fret “nut” at the top of the guitar to the bridge at the bottom of the guitar)
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Measuring with a tape measure on my guitar, this is correct, and the distance from the Bridge to the first fret is in fact 614 mm.
The frequency (or size) of a vibrating guitar string depends on the length of the string being plucked, which we create by placing our fingers at various fret positions on the guitar.
Each note on the guitar has a specific frequency of vibration, as shown in the following animated diagram for an E” note on the guitar:
Fibonacci Double Cut Hollow Body Electric Archtop Guitar
When we bend a string on the guitar, we can make it shift up a note, because we increase the value of the frequency by stretching the string. This is the same thing that happens when we tighten the machine heads to tune a given string.
For an “A” note 440 Hz fundamental vibration, the overtones occur at 2 × 440 = 880 Hz, 3 × 440 = 1320 Hz, 4 × 440 = 1760 Hz, 5 × 440 = 2200 Hz, 6 × 440 Hz = 2640 Hz, etc.
For example an A note played on a guitar sounds different to an A note played on a violin, due to the differences in overtone instensities.
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This mathematics of what sound waves are produced, and in what intensities, makes a Violin sound like a Violin, and a Guitar sound like a Guitar.
For more detailed information on the mathematics of string vibrations, check out the following excellent web page created by David M. Harrison, Department of Physics, University of Toronto in Canada.
There is a set of numbers called the “Fibonacci Sequence” which are the values of 1, 2,
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