Insight into my design processes
For as long as I can remember I have been interested in design and in particular the patterns found in nature. More recently this has led me to research the properties of phi (golden ratio/mean), Fibonacci sequencing and the platonic solids as found in ‘sacred geometry’. The design and building of acoustic guitars is a great way to bring these different elements together and seems to me to go hand-in-hand when dealing with the harmonic nature of musical instruments. After all, harmonics and waveforms abide by the same rules that nautilus shells, sunflowers, crystals and so many other aspects of nature do. So I see a plucked string, its behaviour and the proportions found in the musical nodes and harmonics as a sonic representation of the patterns that are all around us.
It therefore makes sense to me that if a guitar can be designed with the proportions of phi in mind and with attention to these details as regards bracing patterns and positions as well as body shape proportions (as can be seen in most classical/flamenco guitars), the overall package will sing harmoniously (excuse the pun) and potentially lift the voice of the instrument to a greater level than if these measurements and ideas had not been taken into consideration. My exploration of this way of working is an ongoing process that has already produced some very pleasing results, and I look forward to delving deeper in future.