This series is just awesome! I am so glad I found your channel and appreciate your willingness to share so much information with us! On your work holding for the back side, have you considered adding a raised strip to your jog that fits snuggly into the rod slot? That would give you real positive grab to prevent left/right shifting and potentially allow you to put a neck back on the jig after removal.
This whole series has been fantastic! Thanks so much for taking the time to put this together. It's been by far the best and most helpful instruction for not only guitar-specific work, but for learning the entire CAD/CAM process.
Just binged all of these CNC guitar videos! I'm a Solidworks/Keyshot user at work which I love but im jumping over to Fusion 360 for my guitar project so I can access them at home. Already learnt so much from your videos, thanks for sharing.
Netflix and CAM. Thanks haha :) I used solidworks extensively at my old job and there are definitely some things I miss about it for sure. But Fusion has been good to me once I spent the time to learn it.
Great video again! I consider myself pretty advanced with CAM in Fusion360, and it's refreshing to see we still can learn from other people methods. Thanks a lot!
Yet again Austin exactly what I needed just when I needed it . A few of the issues I keep running into you have covered with useful workaround I actually understand Thank you again bud
Austin, another great video. Well done! Related to using the flat endmill trick, I've become a big fan of bullnose bits. Depending on the approach angle you can use them for pretty much anything. I think the issue you were having around 54min with the 3d adaptive, is you had "include setup model" checked, so it was including everything in the model used for setup, and the surfaces you selected in the tool path.
I really ought to use bullnose endmills more often. I think so long as you don't need a sharp corner on the base of anything, a bullnose could be your primary tool and cover a lot of both roughing and finishing strategies.
Finally finished this video after a couple of weeks haha. Great tutorial my attention span is 5 minutes ha. Edit: apparently I need a fixture my stock flip came all out wrong haha. So how does one make a fixture to add to 360?
I made a sketch large enough to hold the stock and use my 3 axis probe. then I used my neck to project the appropriate curves onto that sketch. then I used an offset of that projection to make a 1/4" closed boundary. then extruded it down 1/4".
Hey Austin. Thank God I found your tutorial videos on Fusion 360. Would you be willing to help me out with my angled headstock 12 string neck? Would you do this for hire?
Austin, I am stuck on the 3D adaptive tool path for the top of my headstock. I can't get fusion to recognize just the headstock and swoop up to the nut like in your example. Because of this, the 3D tool path only clear out so that the entire thing is level with where the fretboard will sit. Suggestions? Thanks
Great video, vey informative. How does the 2 sides work if I have to put the neck diagonally on the machine due to length.. I can't get my head around how fixtures and flipping diagonally would works.
Hey mate! It definitely gets a little more complicated working diagonally on a 3 axis machine, however it's actually simpler than it looks. As far as the programming is concerned, there is no difference between programming your toolpaths for on axis or off axis toolpaths. However there will be a difference in how and where you set the zero for your workpiece (WCS). You need to be able to accurately and reliably set your work offset so the program knows where to start from for each operation or tool change. So if you are working diagonally, I would recommend one of three methods. Either use a fixture like shown in the video but with one of the corners aligned to your machine axis so you can set your zero for each operation (this will slightly change the shape of your fixture)... or machine a corner feature into your part blank as your first operation, or using your machine home position as your work zero but compensating for that in your program by creating a sketch that represents your machine's table and assigning your coordinate system to start that home position. TLDR: Your toolpath always starts from wherever you set your work zero at, so as long as you can accurately and reliably locate that position on your CNC after the flip, you should be good to go. This means your WCS system in fusion will need to be aligned with your machine axis, but the part itself will be angled. How you decide to achieve that is up to you. Hope that makes sense, let me know if you have any other questions.
@@austinshaner Thanks for the very prompt and complete response. I think I get it but I'll have to sit down with Fusion and see if I can figure it out. What's driving this is I'm about to buy my first CNC and I am trying to decide on sizing. Most of the stuff I will do will work just fine on the size I'm looking but my first project is a bass neck and the only way I can get it to work on the machine I'm looking at is to do it diagonally (or buy bigger). I don't expect to do a lot of basses so if I can make it work on the smaller machine then all the better. I'll let you know how I make out.
@Darcy Boyer no sweat. Let me know how it turns out! If you're interested, here is a video from hammer cnc doing what your talking about ruclips.net/video/qgiHm-Al4oI/видео.html
Very useful as always. I sometimes use a combination of 3D parallel and 3D Contour using "Slope". to define to overlap between the two. It says parallel is good for flatter areas and contour for steep. With parallel you do sometimes see big steps on the steeper areas due to .5mm sideways makes a big step down. The Contour splits the steep parts narthex fretboard into downward step overs rather than sideways step overs. Am I wasting maytime with this?
I don't think you mentioned it, but did you have the neck model centered in the stock or did you center off the truss rod slot? I have had a heck of of time with the flip. Thanks for the videos, very informative.
what truss rod are you using that slot? If it is the StewMac low profile I was just wondering how effective the slotting was so I possibly avoid having to ream manually on the wider portion of the end of the truss rod cavity.
It is the StewMac hot rod truss rod. The slotting went great and everything fits as expected. The main thing to remember is that your endmill will leave a radius on the inside corners, so you need to account for that by making your slots slightly too long, or come back and square up the corners with a few swipes with the chisel.
Austin, whenever I flip my part it seems that it's cutting off too much material in the z axis and making the neck thinner than I would like. I have checked my heights. I'm using a fixture as well and I don't know what I'm doing wrong
How much is the thickness off by? Are you using blue tape and super glue? If so, that adds about .010-.020 of thickness, meaning if you zero off the fixture your neck will be that much thinner. So 2 ways to solve this. Either put extra blue tape/glue on your fixture and use that to zero your z axis, or once you zero to the fixture, jog up by the thickness of your tape then rezero
Great video, man. I have a question regarding the headstock operation, the part where you run the bit along the headstock to carve the volute. It looks like you can either pick the whole face of the headstock or just the part that curves up. Wouldn't it be faster (or even possible) to do the flat section with a bigger step over and then do that little ramp section with the slower and smaller step over?
![[TF2] The Russian Bear Trap](http://i.ytimg.com/vi/YFNSwz2_rOA/mqdefault.jpg)
This series is just awesome! I am so glad I found your channel and appreciate your willingness to share so much information with us!
On your work holding for the back side, have you considered adding a raised strip to your jog that fits snuggly into the rod slot? That would give you real positive grab to prevent left/right shifting and potentially allow you to put a neck back on the jig after removal.
This whole series has been fantastic! Thanks so much for taking the time to put this together. It's been by far the best and most helpful instruction for not only guitar-specific work, but for learning the entire CAD/CAM process.
I've been struggling for a few weeks on producing satisfying results. This video is game changing! Thank you!
Just binged all of these CNC guitar videos! I'm a Solidworks/Keyshot user at work which I love but im jumping over to Fusion 360 for my guitar project so I can access them at home. Already learnt so much from your videos, thanks for sharing.
Netflix and CAM. Thanks haha :) I used solidworks extensively at my old job and there are definitely some things I miss about it for sure. But Fusion has been good to me once I spent the time to learn it.
Just Wow, this series is just what I needed. I am learning soo much. I'll join your patreon this very week. Congratulations Austin
Great video again! I consider myself pretty advanced with CAM in Fusion360, and it's refreshing to see we still can learn from other people methods. Thanks a lot!
Yet again Austin exactly what I needed just when I needed it .
A few of the issues I keep running into you have covered with useful workaround I actually understand
Thank you again bud
very good video tutorial ... always follow your video ...
Another great video - thanks! One suggestion - I would cut the headstock tabs on the first side, when the headstock is fully supported below.
Good idea! Thanks
Austin, another great video. Well done!
Related to using the flat endmill trick, I've become a big fan of bullnose bits. Depending on the approach angle you can use them for pretty much anything.
I think the issue you were having around 54min with the 3d adaptive, is you had "include setup model" checked, so it was including everything in the model used for setup, and the surfaces you selected in the tool path.
I really ought to use bullnose endmills more often. I think so long as you don't need a sharp corner on the base of anything, a bullnose could be your primary tool and cover a lot of both roughing and finishing strategies.
@@austinshaner yes...bullnose all the way
Again a great tutorial!
Finally finished this video after a couple of weeks haha. Great tutorial my attention span is 5 minutes ha.
Edit: apparently I need a fixture my stock flip came all out wrong haha. So how does one make a fixture to add to 360?
I made a sketch large enough to hold the stock and use my 3 axis probe. then I used my neck to project the appropriate curves onto that sketch. then I used an offset of that projection to make a 1/4" closed boundary. then extruded it down 1/4".
Nice！
Hey Austin. Thank God I found your tutorial videos on Fusion 360. Would you be willing to help me out with my angled headstock 12 string neck? Would you do this for hire?
What is your next video ? Do plan to make video on cam machining on angle neck guitar ?
Yes, I plan on doing an angled headstock cam video as well. Still working through some details, but it should be out soon!
@@austinshaner many thanks for the next video, all videos about guitar making done ... very good
Austin,
I am stuck on the 3D adaptive tool path for the top of my headstock. I can't get fusion to recognize just the headstock and swoop up to the nut like in your example. Because of this, the 3D tool path only clear out so that the entire thing is level with where the fretboard will sit. Suggestions? Thanks
Can you create the template that Marry’s the stock from any material to be reusable or is this template part of the stock?
Great video, vey informative. How does the 2 sides work if I have to put the neck diagonally on the machine due to length.. I can't get my head around how fixtures and flipping diagonally would works.
Hey mate!
It definitely gets a little more complicated working diagonally on a 3 axis machine, however it's actually simpler than it looks.
As far as the programming is concerned, there is no difference between programming your toolpaths for on axis or off axis toolpaths. However there will be a difference in how and where you set the zero for your workpiece (WCS). You need to be able to accurately and reliably set your work offset so the program knows where to start from for each operation or tool change.
So if you are working diagonally, I would recommend one of three methods. Either use a fixture like shown in the video but with one of the corners aligned to your machine axis so you can set your zero for each operation (this will slightly change the shape of your fixture)... or machine a corner feature into your part blank as your first operation, or using your machine home position as your work zero but compensating for that in your program by creating a sketch that represents your machine's table and assigning your coordinate system to start that home position.
TLDR: Your toolpath always starts from wherever you set your work zero at, so as long as you can accurately and reliably locate that position on your CNC after the flip, you should be good to go. This means your WCS system in fusion will need to be aligned with your machine axis, but the part itself will be angled. How you decide to achieve that is up to you.
Hope that makes sense, let me know if you have any other questions.
@@austinshaner Thanks for the very prompt and complete response. I think I get it but I'll have to sit down with Fusion and see if I can figure it out.
What's driving this is I'm about to buy my first CNC and I am trying to decide on sizing. Most of the stuff I will do will work just fine on the size I'm looking but my first project is a bass neck and the only way I can get it to work on the machine I'm looking at is to do it diagonally (or buy bigger). I don't expect to do a lot of basses so if I can make it work on the smaller machine then all the better.
I'll let you know how I make out.
@Darcy Boyer no sweat. Let me know how it turns out!
If you're interested, here is a video from hammer cnc doing what your talking about
ruclips.net/video/qgiHm-Al4oI/видео.html
Very useful as always. I sometimes use a combination of 3D parallel and 3D Contour using "Slope". to define to overlap between the two. It says parallel is good for flatter areas and contour for steep. With parallel you do sometimes see big steps on the steeper areas due to .5mm sideways makes a big step down. The Contour splits the steep parts narthex fretboard into downward step overs rather than sideways step overs. Am I wasting maytime with this?
I don't think you mentioned it, but did you have the neck model centered in the stock or did you center off the truss rod slot? I have had a heck of of time with the flip. Thanks for the videos, very informative.
what truss rod are you using that slot? If it is the StewMac low profile I was just wondering how effective the slotting was so I possibly avoid having to ream manually on the wider portion of the end of the truss rod cavity.
It is the StewMac hot rod truss rod. The slotting went great and everything fits as expected. The main thing to remember is that your endmill will leave a radius on the inside corners, so you need to account for that by making your slots slightly too long, or come back and square up the corners with a few swipes with the chisel.
Austin, whenever I flip my part it seems that it's cutting off too much material in the z axis and making the neck thinner than I would like. I have checked my heights. I'm using a fixture as well and I don't know what I'm doing wrong
How much is the thickness off by? Are you using blue tape and super glue? If so, that adds about .010-.020 of thickness, meaning if you zero off the fixture your neck will be that much thinner. So 2 ways to solve this. Either put extra blue tape/glue on your fixture and use that to zero your z axis, or once you zero to the fixture, jog up by the thickness of your tape then rezero
@@austinshaner Yes, I am using blue painters, tape and super glue. it's off about .05"
Great video, man. I have a question regarding the headstock operation, the part where you run the bit along the headstock to carve the volute. It looks like you can either pick the whole face of the headstock or just the part that curves up. Wouldn't it be faster (or even possible) to do the flat section with a bigger step over and then do that little ramp section with the slower and smaller step over?
Definitely! That would be a nice improvement on that toolpath.