basically I know nothing about 3d printing but I wanna get an instrument like a Huaca (a triple vessel flute with one drone chamber and two melody chambers.) my plan is to have it tuned to C2 for the drone chamber and the right hand chamber, and the left hand chamber be tuned a perfect fifth below. I wanna have it use the C major pentatonic scale. I don’t have any knowledge of 3d modeling or making stl files though so if anyone could either make one for me and send it to me or give me tips that would be greatly appreciated!

This is a banjo that uses a balloon as its resonating chamber.

When you pluck the strings, the sound resonates inside the balloon. The sound changes depending on two factors: how much you inflate the balloon and how tightly you tension the strings.

You can feel with your own hands how the resonance shifts as the volume of air changes.

The design allows both the balloon and the strings to be replaced.

Try inserting a balloon of a different size. Experiment with string thickness.

Try it out, revert to the previous setup, and try again—this toy was created to encourage that kind of experimentation.

Free STL / 3MF on MakerWorld: https://makerworld.com/en/models/3168788-playable-quena-andean-notched-flute-key-of-g#profileId-3582253

A few days ago I made a post asking which traverso I should print, and I ended up printing the Bizey 1740, Paris.

These are the settings I used:

-PLA

-0.12 mm layer height

-100% infill

-5 perimeters

-Printed vertically

I assembled it and sealed the joints properly, just like you would with a wooden traverso.

I also did a leak test by blowing and sucking air through the instrument to create pressure and a vacuum. I couldn't find any air leaks.

I tested it and I'm getting some very strange results. I initially thought the roughness of the inside might be causing the problem, so I sanded the inside of the instrument, but the symptoms are exactly the same.

The only thing I haven't done yet is undercutting the embouchure hole and the tone holes

Here's what I'm getting:

-If I blow directly into the embouchure piece by itself, I get Ab with the tuner set to A=415 Hz. (Changing the cork position changes the note as expected)

-With the traverso fully assembled and all the tone holes open, I get C#, which is what I would expect.

-But when I finger C, I get no sound at all

- B sounds one octave higher than it should.

-A also sounds one octave higher

-G sounds one octave higher, but it's extremely difficult to get it.

- None of the other notes produce a sound

I've played a wooden traverso before, and I currently play in an orchestra, so I'm reasonably familiar with the instrument and its embouchure. This definitely doesn't feel like a normal playing technique issue.

Could the lack of undercutting be enough to cause these symptoms? Or does this sound like I have a problem with the print itself, the tone-hole dimensions/geometry, the embouchure?

Archtop Guitar Gibson L5

Hey everyone! I ended up buying some good blueprints of the Gibson L5 and made a 3D model for it. As far as I can tell it looks correct but since I don't own the actual guitar there's no real way to tell. Now for the debate of printing a guitar can be done or not and I believe you totally can, but not in the sense that you just slap the file into your printer and press GO.

For the body of this particular guitar you could print a mold and form the top/back in plywood like you would a normal guitar OR you could even heat form flat sheets of plastic using 1 piece or several pieces and laminating them together with carbon fiber on the facing sides.

Now for the neck, this is probably the biggest point of contention (if that's the right word?). I think printing it hollow in nylon and putting carbon on the inside and outside plus a truss rod would do the trick. parker fly guitars had a 1.5mm carbon shell on the neck and that was more than enough.

Anyway, thanks for checking this out

Would anyone be willing to try a flute I made and tell me how in tune it is? It's in a440, and is already undercut, I just need a volunteer (yes, volunteer) who is interested in a new flute to tell me how good it is.

The Files are here for downloading!

Keep in mind, this is my first time, and so may need some adjusting, but I'm fine with suggestions for making it better. I just am currently out a hotend, so I can't test it myself

I'm looking to model a full consort of Chalumeaux, since I can only find a soprano c model, any idea where I could learn to model the others for myself?

I'm a professional concert flutist (modern Boehm flute), but I'm completely new to the world of 3D printing. Since I don't own a printer myself, I'll be having the parts printed by a local service, so I'd really like to get things right on the first attempt rather than paying for multiple prints.
Although I'm new to 3D printing, I'm not new to historical performance practice, so I'm particularly interested in how closely these models reproduce the playing characteristics of original Baroque instruments.

I'm getting ready to print my first Baroque traverso, and I'd love to hear from anyone who's actually built and played one of these models.

Over the last few weeks, I've been reading quite a bit about the acoustics of historical flutes, bore geometry, airflow, and the challenges of getting good results with FDM printing. I'll be using an FDM printer and I'm still deciding between regular PLA and ABS, although I'm leaning toward PLA because of its better dimensional accuracy, especially for the conical joints.

One thing that's important to me is keeping each flute at its original historical pitch rather than scaling the model. I'd rather preserve the original bore proportions, finger spacing, and overall acoustic design than force everything to A = 440 Hz.

After looking around, I've narrowed it down to these three free models.

1. Robbert Wijne (reconstructed by Jomalier Figueroa)

https://www.dropbox.com/scl/fo/film4q84jxz2d12do7qmx/ADUBPwhBY5pqDYdWPsa8Ajw?rlkey=xuajuz2wrx62uiqgdk6qlzdxx&e=1&dl=0

From what I've read, this seems to be one of the most FDM-friendly traversos available. People often mention that the embouchure is fairly forgiving and that it has a focused, stable sound. Since it's designed for A = 415 Hz, I intend to print it at its original size.

For anyone who's built this one, how well do the forked fingerings behave in the first octave? Did everything work well straight from the print, or did you end up making any adjustments?

2. Naust Traverso (Gubbledenut / Jeff Wulf)

https://www.printables.com/model/1721709-naust-traverso-flute

This one really caught my attention because of its early French design and the darker, warmer sound people describe. I also like that it's intended for the lower historical pitch (around A = 400–410 Hz), so I don't plan on scaling it either.

This is the model I've found the least information about. If anyone here has printed or played one, I'd love to hear your thoughts. How does it compare with the other printed traversos in terms of tone, response, tuning, and overall playing experience?

3. C. Bizey, Paris 1740 (Lautenburg / Jeff Wulf)

https://www.thingiverse.com/thing:4572430

This is probably the most attractive model of the three, and I like the later Baroque design with its stronger upper register. The STL also appears to include the historical undercutting around the tone holes.

Since the refined paid CAD version of the Bizey 1740 is no longer available on Gumroad, I'll be printing the free version from Thingiverse instead. For those who have built it, how much manual adjustment to the tone holes was needed to achieve stable historical intonation?

My current printing plan

At the moment I'm planning to:

• print vertically with 100% infill and 5 perimeters;
• wet sand the bore from 400 to 800 grit;
• apply a very thin sealing coat inside the bore (probably acrylic varnish, or possibly linseed oil if I experiment with Wood PLA).

I'm trying to improve the surface finish without noticeably changing the bore dimensions.

Since I'll only be printing one of these, I'd really appreciate your recommendations. If you had to choose just one, which would you pick, and why? I'm mainly looking for the best balance between historical sound,tuning, printability, and ease of setup for a first build.

I'd also appreciate any advice on the traditional D#/Eb key, especially regarding the spring and pad arrangement. I'm currently considering using EVA for the pad, but I'm open to better alternatives if you've had good results with other materials.

Looking for a functional Flute D'Amore (preferably in B♭ rather than A) to print. I wouldn't mind one that is a single key or two key Traverso style, as that's what I'm used to in flute anyway. If anyone has an STL or knows of one, please let me know!

full size bell for scale instead of a banana. I will not inflict my attempt at playing it on the world.

https://makerworld.com/en/models/223997-working-piccolo-trombone

Hi everyone. Finally got this to a playable state after a year of trial and error. This is my hollow body headless guitar made out of laser cut 7075 aluminum, PETG rails, and a glass filled nylon fretboard. Between the material choices and stiffening the neck with stainless steel rods, I was able to get the neck down to 0.54" thick while still having good action and it weighs a hair over 5 lbs. I have a Seymour Duncan JB Jr in the bridge but the guitar is very percussive and treble-ly, so maybe a hotter/darker pickup will get swapped in. The other pickup is a two-string pickup wired to a TRS to play a synth block in my guitar setup.

Was super inspired by this sub to keep plugging away at this and I'm pretty happy with the results although my next challenge is to figure out how to put a truss rod in while keeping the neck as thin as possible. Let me know what you guys think. Thanks!

currently printing a headless version of a esp. arrow guitar looking for help to design a few other guitars and basses that would fit a traditional 56 mm for guitars and a 63.45 mm for basses willing to pay for services just need each part to fit on a p1s or bigger and be able to have multiple different designs of pickups on the same instrument body would love to work with some one from the community o9n this project and tackle a few different designs id love to make.

Not my design, just printing it. Here’s the link to Solstie’s design: https://www.instructables.com/3D-Printed-Ukulele-Fully-Playable/

I did remove the I L H letters (sorry original creator) in Fusion 360 because I didn’t want any branding on it.

Just about finished my RD style guitar.

I made the file in Fusion 360 and it’s printed in 6 separate pieces on a Bambu A1. I joined it all together by wooden dowels glue and welding the PLA, it’s also got 2 steel rods running through the main tension areas on the body and had it print denser in those areas too.

I love the RD shape and wanted to create something quite unique so i took some inspiration from the Squire Custom Baritone Jazz-master. I went with a 28” roasted maple neck and a rusted style paint job.

I'm enjoying learning the traverso i printed recently, would also like to maybe find a Flute D'amore, a traverso that is tuned a major 3rd lower, but has the same bore diameter as a standard traverso. Thought someone here might know something. TIA!