I thought this was impossible. How to create PERFECT headstock transitions.
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- čas přidán 2. 07. 2024
- After a year of trying, I finally solved the headstock transition in Autodesk Fusion 360. No 3d sketches, no t-splines, no fillets, no lofts, or any funky geometry. Just 3 sketches and some clever use of the patch tool.
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Hey everyone, I made a huge mistake in this video that is likely to cause you some trouble.
This was just a prototype to get this method working, but I failed to take into account the neck taper.
My assymetric headstock transition video addresses this, so check out that video for more details.
czcams.com/video/N8VcumXW41Y/video.html
This only fragment of the whole Fusion 360, and named differently..., like "Headstock Fusion" can be sold to the guitar making factories, so that they can make a new headstock every day or every hour.
Amazing work!
Intersection curve 👌
I have been following your progress and up to this point, I can say for certain that you have the engineering skills most engineers would die to have.
You have no idea how much it means to me that you make these videos…you have helped me in an unmeasurable way. Thank you very much for your hard work and sharing it in such an amazing way!
Hey Austin, I just want to say thank you. I’ve watched so many of your videos and rewatch them frequently. By now, I fully understand many of the concepts you discuss, but love revisiting them as refreshers. Your pacing is perfect. I came here because I wanted to learn about modelling guitars but these concepts are useful for so much more.
Brilliant! Genius! As a luthier who has been beating my brains out coming up with all kinds of attempts at this....I salute you!
WEYYYYYY well done for sticking at it! Honestly, the results you got last time, most people would have called it done. You're not most people obviously haha
I'm a glutton for punishment ;)
I have pounded the keys, I have paced the floor. I will not do that no more. hum. So, not only did you cut through a lot of BS and help a bunch of us grow, but i think you inspired a good blues lyric. Thanks.
Yes! That is the PERFECT transition man! Really great stuff. Thanks for sharing it with us.
This is great. Learned a lot of fusion tricks that I’ve been wondering how to do. Thanks
Thank you Austin for sharing your experience and knowledge. These give us good idea about using tools of Fusion 360 in 3d guitar design.
What an awesome tip!!! Thank you so much for sharing!
Such a great solution and decently simple, I appreciate you sharing!
I can tell immediately this is going to help me enormously. I'm new to Fusion 360, but I've been doing guitars in Rhino for many years. I'm so glad I came across this video just now. Watching it for the second time, and working through. THANK YOU.
Absolute genius sir, well done
Your hard work will defiantly help the world of guitars
This is FANTASTIC
Great job! Thanks for sharing this technique
Man this is genious! Thank you very much for sharing!
Fantastic job! Wish this had been around a few years ago when I first tried to learn Fusion to make a guitar. It would have made my life so much easier. I'm just a hobbyist with no where near the level of knowledge and talent you have. I remember the difficulties of trying to create the transitions at the neck and heel. Now that I look back I wonder how I managed to stick with it. Haven't built a guitar in 5 years but after seeing this I may try again. I can appreciate the amount of time you spent and you have my sincerest thanks.
Your tenacity has paid off. Looks like you nailed it. Congratulations on the new addition to the family.
Thank you!!
thank you! Love your videos.
Amazing! Thanks so much for sharing all these videos. I’m a beginner and these have helped a lot. One thing I’m struggling with right now is doing a binding channel on a body with an arm relief cut.
Thank you thank you thank you - this takes the fear and confusion out of one of the parts of building I would love to automate in the near future. I can throw away my wood rasp, but not before I get a program working You HAVE nailed it :D
By far the coolest fusion tutorial video I’ve ever seen in my entire life! 8 million out of 10! My jaw as dropped the entire time 💯 💯
Thanks for this video...I didn't know how much I have yet to learn, and apparently its quite a lot!
Amazing, and yes, you nailed it! Great job!
🤯 great video, thanks for sharing, and explaining it in a way that is easy to digest
Wow 😮
Consider my mind fried 😆
That is seriously impressive 👍
I learned so much from this one video!! Many thanks :)
Bravo, Maestro! Nailed it! You got yourself a subscriber.
Thanks for this. I have been working on this on and off for about a year. Missed just a couple of points that make such a difference. Cant thank you enough for sharing this. Please keep going with these videos.
My pleasure mate! Make sure to watch the asymmetric headstock one, as there is follow up information on this video there, with an improved workflow!
Vary nice !
I have been struggling with surface modeling for a while now, and I have been looking at both of those channels a lot . In this video you really made things more easier to understand , and I really appreciate the examples you gave . I would much like to see more surface modeling videos, or any more tutorials you have from start to finish .
I appreciate the support! And I'm glad this was helpful for you!
I'll definitely be doing more surface modeling tutorials in the future, stay tuned!
Hi Austin,
Well done. Your videos are very clear and professional.
Why don't you make another nice video on building the whole neck of an acoustic guitar?
Great tutorial here! This is exactly what i've been trying to do with Aspire but just can't! And since there is not much information around for Aspire i'm giving Fusion 460 a shot! Thnx for sharing this!
Hey man! that is fantastic! I am an architect I started at 90´s with 3ds max, haha so vintage!, but this thing you did is really fantastic!, starting froim 3 2d scketches as monge´s method make this har topic solved with less operations, customization and perfection! thanks for sharing!!
Amazing thanks a lot
Hi, what a truly wonderful solution thank you. I have modelled and machined many satisfactory guitars using my own clumsy transition but yours has taken this to a new level. I have just modelled and simulated the roughing and finishing toolpaths for the headstock transition and this version is superior. No gouges or weird machining marks I have had to previously contend with. I have a couple of troubleshooting tips. For example I spent hours extruding the guiding curves for the patching operation. However, in order for this to follow my tapered neck reference, I actually had to loft between two neck shape sketches. I cannot understand how you seem to have extruded a taper! I have a couple of other problems I spent hours getting around but actually managed to do so [I used and asymmetrical headstock shape which was more troublesome.] If you have time and inclination, I would love to discuss this more by email with you, as it may help others tool. Please hit me up through here or PM me through my Facebook page if interested. Otherwise, thanks so very much for your comprehensive work and selfless giving away of your IP!
Thank you for the kind words! I actually addressed this taper issue in the follow up video "asymmetric headstock transition". That was a mistake on my part because at the time I was using a dummy headstock to prototype this technique, but didn't build it into an actual neck. In the following up video I loft between two profiles instead of extrude so that it accounts for the taper :)
OMG! You are a true wizzard!
Austin - excellent job! - I have been wrestling with this EXACT thing for the last 6 months. Being a veteran of both SW and Inventor, I was struggling with the tools available in F360. I recently did a career pivot (thanks pandemic!) and now work for a prominent guitar builder in Nashville. I quickly found out the these headstock blends are no joke! This approach is clean, clever, and still parametric - cheers to you!
Fantastic! Im glad you found this useful, particularly in your line of work.. Congrats on the new gig btw, sounds like a fun job! I originally was CAD trained in SolidWorks when I was working with a Diesel Marine Generator company. Now that I'm in Aerospace MFG, I use mostly NX at work. F360 is what I use for home projects . F360 is definitely a different workflow than other CAD applications, but I've been pretty satisfied with it (except for joints/mates :P)
REALLY excellent stuff here... thank you so much. Going to try this now.
Been trying this technique for a week now on a slanted (9 degree) headstock with non semetrical wings. Tough nut to crack. Austin, I'd love to know how you might approach something like that using a similar technique as what you've shared here.
Hi! The angled headstock is pretty simple, however the non symmetrical wings is what creates the challenge. I've gotten some decent results but it's definitely not easy. For me, what happens is that the center arc of the volute doesn't line up quite right for the intersection curve and leaves a tiny gap in the projected sketch. This is likely a flaw with the 3 arc method being tangent on all lines. I've been able to get the arc to project successfully, but then the transition radius (for the helper surface) doesn't line up.
I think in order for this to work how I showed it, the point at which the volute arc is tangent to the nut MUST be touching the peak of the volute on the side profile sketch.
Not sure If that makes sense, but when I fully crack it you bet I'll post a video on it.
@@austinshaner Thanks for the reply. I've had similar issues with the valute not centering properly. Although I have had some small wins with a coincident constraint from the valute arc center to the centerline of the headstock and then a tangent constraint from the valute arc edge to the nut line.
When you're doing the slanted headstock is your headstock face profile on an angled plane? I'll have to experiment with symmetrical wings first so I can nail the slanted headstock and then try conquering the non-symetrical wings.
I like the way you do that! I also work only on half of my neck / body, I found it easier. I use a lot patches and surface too but also loft. My methos is very similar as I want to have perfect smooth transition. I'm still struggling with my arched top cutaway and the heel of my acoustic but your intersection use give me some ideas!! Thanks!
No problem! I'm glad you found it useful! Good luck on your design!
Wow, you have taken the intersection curve command to a whole new level! I have learnt a lot from this video. Thank you for the shoutout as well. I was wondering if you could share a link to the file with the sketches. I would really like to do some practice with it while following your video. I can understand if this is proprietary information though.
Thanks! My "Asymmetric" headstock video has an update on this method without the intersection curve because, at least on a headstock, split face serves the same purpose in less steps.
I'd be happy to share the file with you, shoot me an email and I'll send that over tonight for you to play around with.
Cheers
MVP
My hero! The last video was great, but this is game changing. Next video needs to be on acoustic guitar heels. BTW, have you played around with the neck profile sketch being a spline instead of an arc. If so, does it affect how you draw the “helper” surfaces.
Splines will likely make it so you can't have "half" the neck extruded as a helper surface. If you need to use splines for your neck, I'd recommend extruding the entire neck profile, then splitting the face with the midplane so you end up with segments.
@@austinshaner I drew half a spline and mirrored it, so I was able to select "half" easily enough. One area where I had to deviate from you, was where the headstock flares out to the sides from the nut. You have a straight section then an arc, mine starts curving immediately so I couldn't extrude the "dangling" helper surface, I had to sweep along path. I couldn't get this surface to patch with G2, but I didn't try too hard and just patched without the dangler, I didn't see any wonky surfaces.
On another note, I find UV curves much better for finding minor flaws in the surface than zebra stripes, give it a shot.
@@matthewjacobs3952 @Matthew Jacobs thanks for the feedback! I figured people would have to adapt this a little to their own designs. I'm glad it ended up working for you.. In my video example I didn't have a neck taper, which is why I was able to extrude rather than sweep. In hindsight I should have shown this on an actual neck and swept that dangling surface. I tend to use Zebra as a quick pass sanity check, if I really need to dig into it I'll typically evaluate the curvature combs for each section and troubleshoot.
Hero.
very helpful. How do you hide the seams between each patch?
Hi Austin, thanks again for your great tutorials - based on this one and your intro to parametric modeling I’m building an adjustable neck model, bit by bit. The fingerboard works a treat (adjustable width, thickness, compound or fixed radius).
Where I’m running into problems is something that’s probably idiotic, and likely due to using the wrong tool or wrong constraints - I’m mostly using arcs (3 point, because they’re easiest to draw) for the curves on my headstock contour and volute. The problem I’m having is I cannot adjust the radius on any of said arcs. It’s displayed in the bottom right corner when I click on them, and that’s it. Or I get a warning that I’m trying to overconstrain the model. I’ve used construction lines to set widths and lengths for the headstock and constrained the vertexes to those points, so outside outline are adjustable by adjusting those values and it works smoothly. This is probably why I can’t adjust the radius manually for that. But for then volute outline, which I’m doing as three arcs with tangency to the outer points, each other and the line at the nut (apex of the volute) I can’t adjust the volute radius either. A pointer in the right direction would be immensely appreciated…
I've struggled with this a bit as well when I was developing this method. I typically don't have any issue constraining or changing the "wing" arcs, but the volute is sometimes a pain. If the peak of your volute touches the nut construction line, then here is the method that "usually" works for me.
First, make sure your outer profile sketch is fully constrained (all black). Then draw an arc on each side that is coincident and tangent to the wings to start your volute. Then draw the center arc connecting the two, and manually apply tangent constraints to both sides. Then select the center point of the arc (not the midpoint of the line, the actual dot), and make that coincident to the center construction line. Then select the center arc line and make it midpoint to the nut construction line. In theory, all that should be left is to dimension the center arc. Fusion is weird sometimes and I've had it still show the lines blue but says it's fully constrained. Usually if this happens, I delete the arcs, close the sketch, reopen, and try again. Often times, even if I did the exact same thing, that works lol.
If that doesn't work for you, send me an email with the file and I'll see whats going on.
@@austinshaner thanks a ton! I deleted everything and started the sketch from scratch, and now it all seems to be working. Still not sure why it was acting up yesterday - 2 unproductive (yet educational) hours spent, and now fixed in 30 minutes.
Bravo man. Really impressed. I am currently building a Gibson Explorer type guitar. It has the “hockey stick” type headstock. That design uses a 13 degree tilted headstock. Would this approach still work for that style of headstock? Great work on this. Much appreciated
I can't see why it wouldn't work, though I haven't tried it yet. I believe all that would be different is the first 2 Sketches (top and side profile) would be on angled planes. The third sketch (neck profile) would be normal to xyz as usual. I'll try it out sometime this week and let you know if something needs updating
Hi Austin, you can share this sketch for training ?
Austin. I am having trouble executing the fist patches. My neck has a taper and nothing wants to line up. My question is do you have your neck profile in the sketch starting at the nut line?
Very common problem people run into after watching this video.. Check out my asymmetric headstock video, I address the neck taper issue there and sketch everything from scratch .
Hey Justin, I tried your method to make a heel for an acoustic guitar and hit many walls. I am almost at a point where I think your method is not appropriate for this type of work. Appreciate for any help on this.
Hi Vincent, I was just attempting a heel transition on my electric guitar model last night with the intersection curve method, and it does present some new challenges. Though I think it will still work (for electric heels at least) I haven't modeled an acoustic guitar before so I may not be able to answer specific questions, but if you shoot me an email to akdesigns.cad@gmail.com with your model or pictures of what your trying to do I'll see if I can come up with a solution for you.
In general, there usually isn't a one strategy fits all with these types of models. The headstock transition is the closest I've seen to that. Depending on the shape, it's best to figure which tool is the best for the job at hand, rather than forcing a specific tool to do what it wasn't designed to. I make this mistake all the time with lofts.
Any tips on common failure points why this would not work? When i try this I end up with curves that are acting like they don’t connect but everything looks right (checking coincidente and all). The result is that when I start patching, some edges aren’t letting me select them to complete the patch geometry.
Sorry for the delayed response, Dave. This is probably my fault, because in the video I simply extruded those surfaces because this was a prototype model - so there was no neck taper. If you were to actually model this on a neck you need to either sweep or loft the helper surfaces that touch the fretboard so they end up coincident to the Sketches.
I would guess if you zoomed in closely on your model at the point where the headstock starts to break away, the helper surface isn't quite touching because of this.
Try lofting that surface and let me know if that works for you!
Hi, I had the same problem. I solved it by extending the surfaces a little bit so i could connect them to one single body. After they were connected i could select the single edges in the patch tool. It took me a while to figure this out...
Question: Since the neck itself is not parallel but slightly “fanned”, will that affect the transition from your headstock drawing into the neck? I hope that made sense…
Yes it does! I made that mistake in this video but addressed this issue in my asymmetric headstock video, along with some improvements!
@@austinshaner Thanks! I will be checking it out. I have come very close to perfect; meaning that everything works as designed vs. comprising the design for a perfect surface… Thank you I so much for your contribution!
Can I pay someone to do this for me? Having trouble getting any point to connect to each other, so everything is in different locations on each plane. It's been impossible to line anything up and the sketches won't connect to each other.
This is so much better than every other tutorial on this process and the end result is obvoiusly great. I think if you wanted to be really picky about surface quality, the patch should be tangent only to center line surface reference since it'll be mirrored. Once you mirror it you'll have g3 continuity automatically I believe. Its demonstrated extremely well here. czcams.com/video/BFHaQGhxURs/video.html#19:09 .
I'm curious if there is a way to do this with loft instead of patch.
To bad it isn't with a neck break angle as well. Very few guitars have straight head and a valute
Yeah, I see no reason why this wouldn't work on an angled headstock unless it's a really strange asymmetrical design. Otherwise the first two sketches would simply have to be on an angled plane, and the third (neck profile) would be normal to xyz
I tested it this afternoon and it DOES work on angled headstocks! With some minor adjustments.
1. The first sketch is your front profile on an angled plane.
2. The side profile sketch is still sketched on a normal origin plane, but drawn at an angle to match the first sketch with perpendicular constraints instead of vertical constraints.
3. One additional sketch was required to create a flat section that connects the nut area to the neck profile sketch.
Other than that, everything is exactly the same!! 🙂
If you want to see pictures of the sketch and results, I posted it on the Fusion 360 Luthiers page on Facebook :)
@@austinshaner just did this today and is 100 amazing
@@TheBrendio Fantastic!!