FIBONACCI
THE SCIENCE OF SOUND.
THE ART OF MUSIC.
The Fibonacci Tweeter is the pinnacle of Wilson Benesch’s acoustic engineering, representing over a decade of research and innovation in materials science, additive manufacturing, and precision engineering. It is one of the most advanced tweeters ever designed and produced—a masterclass in how technology can serve the singular goal of reproducing music with absolute fidelity.
Silk-Carbon Hybrid Dome
At the heart of the Fibonacci Tweeter lies the Silk-Carbon Hybrid Dome. Silk is chosen for its natural self-damping properties, dissipating resonant energy as heat rather than distortion. This delivers a treble response that is smooth, fatigue-free, and inherently natural in character.
However, silk alone has its limitations. Above 18–20kHz, it begins to deform, losing its pistonic behaviour and precision. In 2011, Wilson Benesch pioneered a solution with the Semisphere Tweeter, introducing a carbon fibre halo that reinforced the dome precisely where it first loses rigidity. This innovation laid the foundation for the Fibonacci Tweeter.
In the Fibonacci Tweeter, ultra-fine tows of carbon fibre are meticulously applied by hand under magnification, using a 3K tow (3,000 individual filaments per strand). This exceptionally fine tow provides immense stiffness while adding almost no weight, preserving the dome’s speed and agility. Our technicians position each strand individually, forming an arched halo across the dome’s centre and a reinforcing ring around its base.
This hybridised construction preserves silk’s damping qualities while imbuing it with the stiffness of carbon fibre, extending pistonic output flat to 30kHz. Remarkably, the halo adds almost no mass—just 0.01g (0.000035oz)—enabling industry-leading transient response and ultra-low distortion.
The result is treble reproduction that is exquisitely natural and refined, with unmatched pace, timing, and microdetail.
“Remarkably, the halo adds almost no mass—just 0.01g (0.000035oz)—enabling industry-leading transient response and ultra-low distortion.”
Fibonacci Element
The Fibonacci Element—the faceplate of the tweeter—takes its name from the Fibonacci sequence, a mathematical principle found throughout nature, from seashell spirals to the branching of trees. Often referred to as sacred geometry, this sequence has long been associated with balance, harmony, and beauty, and here it informs both function and form.
In the Fibonacci Tweeter, this principle is functional as well as aesthetic. The lattice structure aids in the dispersion of high-frequency sound, reducing diffraction artefacts that can colour the presentation, whilst also optimising the dispersion of energy from the tweeter, creating a natural soundstage with exceptional clarity and coherence across a wide listening area.
The Fibonacci Element is produced using Wilson Benesch’s 3D Additive Manufacturing technologies. This process allows not only precise control of the physical geometry but also the material composition in three dimensions, combining Nylon and continuous carbon fibre filament to deliver optimised stiffness and acoustic transparency. The result is a component whose geometry and material properties are inseparable from its acoustic function—a perfect synthesis of science, design, and sound.
Labyrinth Enclosure
At the rear of the Fibonacci Tweeter lies the Labyrinth Enclosure, an integral component of its design and another example of Wilson Benesch’s pioneering approach to materials and manufacturing. First introduced in 2019 as part of the Fibonacci Tweeter system, it was the first additively manufactured rear chamber ever created for a high-frequency driver in the high-end audio industry.
The Labyrinth Enclosure’s complex geometry is only possible through 3D Additive Manufacturing. Its organic form features a maze-like periphery interwoven with finger-like protrusions that broaden toward their base. This structure is precisely engineered to trap and dissipate the backwave of sound energy produced by the tweeter dome. Instead of reflecting this energy internally—where it would re-emerge into the listening environment and colour the sound—the Labyrinth progressively absorbs it, converting it into heat and ensuring that only the forward-facing energy reaches the listener.
This innovation also plays a critical role in eliminating comb filtering, a phenomenon caused when delayed sound waves interfere with the direct output of the tweeter, creating peaks and dips in the frequency response. By preventing internal reflections from re-entering the acoustic field, the Labyrinth Enclosure ensures that only the pure, pistonic output of the dome reaches the listener. The result is a treble presentation of exceptional purity and coherence, free from the phase cancellations and colouration that compromise lesser designs.
As part of the Fibonacci Tweeter, the Labyrinth Enclosure exemplifies Wilson Benesch’s commitment to exploiting the unique capabilities of additive manufacturing. By leveraging this technology, we achieve geometries that conventional methods cannot realise—designs that combine acoustic performance with structural elegance, pushing loudspeaker design into entirely new territory.
Working in harmony with the Silk-Carbon Hybrid Dome, the Fibonacci Element, and the Rare Earth Magnet Motor System, the Labyrinth Enclosure completes a tweeter architecture designed, developed, manufactured and hand-built under one roof in Sheffield, England—delivering the most natural, accurate and immersive high-frequency reproduction possible.
A Masterclass in Tweeter Design
The Fibonacci Tweeter unites four core elements: the Silk-Carbon Hybrid Dome, Fibonacci Element, Labyrinth Enclosure, and Rare Earth Magnet Motor System. Each is the product of deep scientific understanding, cutting-edge manufacturing, and artisan craftsmanship, working in perfect harmony.
Designed, developed, manufactured and hand-built under one roof in Sheffield, England, the Fibonacci Tweeter is a bold expression of Wilson Benesch’s design philosophy: that the fusion of advanced engineering, innovative materials, and organic geometry should exist for one reason alone—to bring you closer to music in its purest form.
