Bailey
Autodesk Fusion CAD/CAM Specialist
Precision Instrument Workflow Expert
Hamilton, Ontario
Designed as systems. Built to behave.
Computational Instrument Design
Precision CNC Workflows
Original Instruments
— grounded in over a decade of lutherie and twenty years of playing.
Brett Bailey is a practitioner of Computational Lutherie — a discipline he coined in which mathematical relationships, parametric systems, and physical modelling govern decisions of form, proportion, and structure, replacing intuition and tradition as primary design drivers.
He has been working with guitars for over twenty years, and practising lutherie and CNC machining professionally for over a decade. He trained at the Canadian School of Lutherie and Mohawk College (AutoCAD) in 2015, worked as an independent repair technician (2015–2019), at Exotic Woods (2019–2020), and spent four years building at F Bass (2020–2024).
He now operates under Contriver Guitars — designing and building instruments in-house, while working as a contracted Autodesk Fusion CAD/CAM specialist supporting other builders' machines, workflows, and geometric systems.
His instruments — the Signature, Echo, Plunk Bass, Foundation, Refraction, and Concision Series — are developed entirely in Autodesk Fusion.
Parametric and timeline-based modelling, NURBS surface topology, and Class A T-Spline surfacing are carried through to watertight B-Rep solids, CAM, and CNC production.
The same rigour applied to his own instruments is applied to external systems — closing the loop between design, manufacturing, and performance.
The instrument is treated as a managed energy system.
Mass distribution, load paths, stiffness continuity, compliance relief, and longitudinal and transverse bending modes are variables in how energy moves through the structure.
That framing is structural.
It governs every build.
To discuss an instrument, a consulting engagement, or a build course — Brett@ContriverGuitars.com
The intention.
A designer in the truest sense — bringing about a result through deliberate means.
Contriver resolves what others work around.
Replacing intuition and tradition as primary design drivers.
Not a rejection of craft —
a replacement of guesswork with geometry and relationships.
The instrument is designed as a system before it is built as an object.
Mass distribution, load paths, stiffness continuity, longitudinal and transverse bending modes, and compliance relief are the language.
Species reputation and tonal folklore are not.
The goal is consistency — not in tone, but in response.
The instrument does not change behaviour across the neck.
It remains mechanically coherent, so input produces a predictable outcome.
Bailey is a common name.
It carries no information about the work, the discipline, or the intent behind it.
A name like Bailey Guitars positions the practice as personality-driven — one builder, one aesthetic, one tradition.
That is not what this is.
Contriver signals a method before it signals a person.
Contriver Guitars is the practice of Computational Lutherie made physical.
Every instrument is a result of the method.
Every consultation applies the same thinking to existing instruments.
The name and the discipline are aligned — nothing is left implied.
Resolved as a system.
Built by the same hands.
Design decisions are driven by geometry and relationships first, intuition second.
Isoparametric curves, NURBS topology, feeds and speeds, calibration — the math is the craft.
Contriver calculates where others approximate.
The instrument is treated as a system.
Mass, stiffness, compliance, and damping are placed intentionally so the body's motion supports the string rather than working against it.
Consistency comes from structure, not assumption.
A decade of independent operation.
No production pressures. No external constraints.
The work remains singular because the practice remains controlled — in method, material, and scope.
Built to behave
Hamilton, Ontario
Contriver Guitars
is the practice of Computational Lutherie made physical.
Every instrument is a proof of the method.
The name and the discipline are the same idea.
Nothing is left ambiguous.
The argument.
Response across the neck is controlled.
On many instruments, certain notes push back, others fall away, some never quite settle.
Here, the system is designed to behave consistently —
so input translates more predictably into output.
Not easier — more precise.
Every Contriver instrument is a repeatable outcome of the same design approach.
Not
"this wood sounds like X"
but
"this guitar responds the way mine do."
Each instrument is resolved as a mechanical system before it's built.
Mass, stiffness, and compliance are placed deliberately
to reduce variation, not chase character.
The result:
A more even response across the register,
and a stronger sense of connection from player to instrument.
Not perfect
controlled, consistent, and intentional.
Instruments are divided into shapes and series
Shapes define the body architecture
Series define the production model
Important Context
Each option exists to maintain mechanical balance within a defined geometric system.
If a material choice would require post-build correction, it is not used.
No material listed here is intended to "add tone"
The primary Contriver body architecture.
Designed for balanced energy distribution, ergonomic flow, and structural coherence from the first fret to the tail.
The instrument feels stable and centred in your hands. It doesn't shift, pull, or fight your position — everything feels aligned whether you're moving or locked in.
A distinct yet familiar body geometry with its own load path characteristics — a different player interaction envelope built on the same underlying design system.
It feels familiar at first contact — because it is.
The managed-energy-system approach applied to low-end architecture — scale geometry, tension balance, and body participation designed from first principles.
The neck-to-body transition on the bass side extends deep into the body, with the neck heel and body heel resolved as a single continuous structure.
A low-register guitar platform — designed as a guitar first, then extended deliberately into bass range.
A dedicated headstock and break-angle system scaled for heavier string gauges, wider bridge spacing and nut width.
Body proportions are increased relative to standard guitar forms to maintain balance and stability under higher overall tension.
A shallow 5.8° fixed break angle — carved into the neck rather than introduced through a scarf joint. Treble strings remain compliant and articulate. Bass strings feel firm, with controlled elasticity.
Available in 6 or 7 string configurations, set neck or bolt-on, with optional multiscale layouts.
The VI sits between a traditional 6 and 7 string in neck width. The VII sits between a 7 and 8. Spacing and tension are adjusted accordingly to maintain balance across the set.
Bass strings remain tight and usable. Treble strings stay responsive. No part of the instrument is pushed beyond its intended range — everything is scaled to work together.
A more uniform hand feel across the string set.
As you move from bass to treble, the perceived effort remains more consistent — without the common shift where treble strings feel tighter near the nut and bass strings feel comparatively loose.
This reduces the uneven "force budget" most guitars introduce, where you're constantly making small, unconscious adjustments in picking and fretting pressure.
No string retainer bar. A flat reverse headstock with graduated break angles — higher-tension strings run at a shallower angle, reducing excess downforce, while lower-tension strings retain sufficient break angle for clarity and stability. The result is a more balanced distribution of compliance and downforce across the set.
3-piece Maple / Sapele / Maple neck. Compact, retainer-free, and oriented for continuous grain support through the headstock transition. Produced in small batches of two, and shipped fully set up.
Each string responds with greater consistency of resistance. Not identical — but closer in feel, with less need to compensate as you move across the set. The instrument doesn't remove variation. It reduces the amount you have to fight it.
Walnut top over Northern Ash.
A slightly more damped surface over a stable core — energy disperses a bit more gradually, leading to a softer initial response and smoother note development. Figured Chechen fretboard introduces a touch of compliance at the string interface, subtly rounding the transient.
Under the hands, the response is more forgiving. Attack comes on a little softer, with a more progressive feel as the note develops.
~7–7.5 lbs.
Notes ease in rather than snap forward. Handles heavier attack without getting harsh.
Poplar burl over Mahogany.
A more damped response with a strong fundamental focus — energy is retained and released in a more even, controlled way. Ebony fretboard sharpens the initial attack and helps keep the low-mids from spreading, maintaining note definition over the mahogany core.
Under the hands, it feels firm with a bit of elasticity — stable under load, but responsive to dynamic input.
~6.5–7 lbs.
Notes start clean, hold their centre, and decay in a controlled, predictable way. You can lean in without the note losing focus.
Ash over Roasted Ash.
A stiffer structure with fast energy return and relatively low damping. Notes initiate quickly, with a more immediate response and strong separation between strings. Ebony fretboard reinforces a sharper transient and keeps the attack defined.
Under the hands, it feels tight and direct — highly responsive to input.
~7–7.5 lbs.
Nothing is deliberately softened — your input comes through with minimal filtering.
Beginning at $4,500.
A more dynamic hand feel than the Foundation. Lows feel firmer and more planted. Highs feel more compliant and expressive.
The "force budget" shifts across the string set, rather than staying uniform.
Compared to the Foundation's graduated splay, this platform sits in the middle: a single fixed 9.4° break angle introduces a deliberate variation in downforce and compliance across the strings. More contrast. More character. Still controlled.
The geometry is hidden. A concealed scarf joint beneath the headstock overlay maintains a continuous feel through the neck, with no visible seam.
9.4° fixed break angle. Nut captured in a 0.250″ slot between fretboard and headstock overlay. Perceived stiffness varies across the set — firmer lows, more compliant highs. Materials are selected for how they behave in the system, not for species alone.
Anchored lows. More flexible highs. A wider expressive range — without sacrificing overall control.
Beginning at $4,850.
The feel of the Foundation Series — a more uniform, balanced hand feel across the string set — translated into a headless form factor. Tuning is handled at the bridge. The head nub is purely aesthetic.
A reduced headstock angle with a Fender-style drop keeps downforce lower and more consistent, reducing the hinge-like behaviour that can develop in sharper-angle necks under sustained load. Less concentrated stress. More stable response over time.
Headless weight and balance, with the familiar visual language of a headed instrument. Perceived stiffness is influenced by string lock position rather than a fixed nut — similar in character to the Foundation, with its own defined feel.
3.5° break angle. Fender-style swoop. Individual bridge saddles help reduce string-to-string interaction. The only Contriver series offering 8-string variants. Available in set neck or bolt-on, with optional multiscale layouts.
It maintains its setup and feel more consistently over time. Balance is improved, and the reduced head mass contributes to a more controlled, stable playing experience.
Beginning at $5,100.
A distributed system where a structural core, composite exoskeleton, and floating acoustic surfaces operate independently — interacting through a controlled interface.
Energy is not simply absorbed —
it is exchanged, returned, and shaped over time.
Experimental:
The character emerges from interaction — with subtle post-build variables that keep the system adjustable, not static.
By consultation.
30-minute session to discuss scope and suitability.
Expected price $12,000.
An instrument that plays and responds the way you need it to — because the variables are shaped around you, not a production template.
Off-the-shelf geometry is built for averages. Here, scale length, neck construction, break angles, and material pairings are selected to suit the player.
Every parameter — neck construction, body architecture, break angles, load paths, material pairings — is developed and evaluated as a system before any material is cut. No catalogue options. No predefined spec sheet.
If something doesn't feel right on other instruments — a note, a response, an interaction — it's addressed at the design stage rather than worked around after the fact.
Priced at $85/hour.
A $2,000 non-refundable deposit is required to reserve a build slot and begin the process.
Currently accepting reservations for 2027.
Services for Builders
All services are billed at $85/hour.
Brett works as an Autodesk Fusion CAD/CAM Specialist and Precision Instrument Workflow Expert.
His practice is built on parametric and timeline-based modelling, with proficiency in NURBS surface topology and Class A organic T-Splines to produce watertight B-Reps ready for manufacturing.
Full-system parametric and timeline-based architecture built from first principles in Autodesk Fusion.
Single and multiscale layouts, Class A neck shaft transition topology, compound angles, and more — delivered as watertight B-Reps ready for manufacturing.
End-to-end CAM strategy for boutique builders — toolpath design, fixture planning and manufacturing, operation sequencing, feeds and speeds — all derived directly from the design environment in Autodesk Fusion.
Identification and resolution of CNC calibration failures — from mechanically induced geometric corruption to controller configuration issues.
A layered solution for a layered problem.
Includes full technical analysis documentation, interactive visual heat maps, next-step consultation, re-calibration, and verification.
Worked mathematics, not guesswork.
On-site* or remote walkthrough.
*$1,200/day + travel
Offsite NC code generation and remote CNC operation for builders who require high-level output without maintaining an in-house CAM workflow.
Vacuum workholding solutions designed for CNC manufacturing and lutherie.
Custom jigs, Gridfinity and Tacform-based modular systems, and 3D printed or machined fixtures — built for repeatable precision.
Group and private instruction in Autodesk Fusion for instrument makers looking to implement a computational workflow.
Parametric and timeline-based workflows, NURBS surface modelling, T-Splines, and CAM strategies applied directly to instrument design and production.
Modular industrial utility mounting system.
Rack systems, tool storage, pedal boards, and wall-mounted configurations.
Stackable architecture using brass heat-set inserts and engineering composite materials — engineered for modular expansion and repeatable mounting.
A purpose-built lutherie jig for gluing guitar tops edge-to-edge.
Engineered for repeatable alignment and consistent clamping pressure across the full panel assembly — removing variability from the glue-up process.
A multi-material sandpaper dimensioning tool for lutherie shops.
Cuts sandpaper to consistent sizes quickly and repeatably.
Built for the bench, not the drawer.
Host of the Electric Guitar Builders Club within The Looth Group — a global online lutherie community for working technicians and builders.
Structured accordingly.
Contriver Guitars is intentionally small.
Instruments are designed, engineered, and built end-to-end in-house.
This prioritises continuity, accountability, and long-term consistency over scale.
At this time, we are not actively hiring.
Any role that contributes meaningfully to that process carries real responsibility — reflected in compensation, authority, and scope.
The practice does not rely on interchangeable labour to carry knowledge.
The goal is sustainability — for the instruments, the process, and the person doing the work.
Understand what you're doing.
These courses are designed for people who want to understand how instruments are actually built — not just how tasks are performed.
The focus is on complete systems: geometry, material behaviour, tolerances, clearances, process sequencing, and decision-making.
You will leave with a finished instrument and a working understanding of why it behaves the way it does.
This is not a hobby class.
It is not a shortcut to mastery.
It is structured exposure to real build work.
Design intent and platform behaviour, material selection and preparation, neck construction and geometry, body machining and fit, fretwork, finishing, final setup, quality control, and verification.
Each participant completes and takes home the instrument they build.
Limitations are in place to preserve the mechanical integrity of the system.
Meaningful oversight, real hands-on work, and accountability at each stage — closer to supervised production than a classroom environment.
Comfortable working carefully with real materials. Respect for process, tolerances, and accountability.
Show up consistently. Work deliberately. Engage beyond surface-level tasks.
If you are looking for a casual experience or a certificate, this is not the right fit.
If you want to build something properly and understand what you are doing — you will get real value here.
Electric Guitar Design
A computational guide to drafting the modern instrument.
A structured course in parametric, timeline-based instrument design using Autodesk Fusion.
Built for builders who want to work at a higher level of precision — not a tutorial series, but a complete design methodology centred on the instrument as a geometric and mechanical system.
The course runs across four modules, with optional fifth and sixth modules for multiscale integration.
Each module has a defined outcome. By the end, you will have a fully manufacturing-ready instrument model with a controlled, repairable timeline.
The course opens with the instrument as a geometric system.
Constraints, parent–child relationships, and manufacturing intent are established before any geometry is drawn. UI fluency, language, and DFM principles form the foundation everything else is built on.
From there, a fully developed 2D layout — fingerboard, headstock, body outline, carve definition, and hardware asset sketches — all constraint-driven and relational.
No manual dimensions that can drift.
3D construction follows directly from the 2D system.
Compound radius fingerboard, neck shaft, neck-to-body integration, body solids, and carve surfaces — each element driven by the relationships surrounding it.
Surface continuity and solid integrity are maintained throughout, verified under Zebra and Isocurve analysis.
Transitions are refined using advanced NURBS surface management and T-Spline manipulation.
The final phase covers timeline control — how to build a model that can be changed without collapsing.
An optional multiscale module extends the system to dual-scale layouts.
Neutral fret definition, fan-to-saddle alignment, bridge and pickup compensation, fret slot surface projection, compound angles, and more — integrated cleanly without increasing timeline instability.
Group and private sessions available. To discuss scheduling, format, or content — Brett@ContriverGuitars.com
as a system.
Not tone chasing. Not wood mysticism. The full build philosophy is published at contriverguitars.com/build-philosophy. What follows are the core ideas — the ones that govern every build and every conversation about what Contriver is.
Strings put energy into the instrument, and the guitar decides where that energy goes, how fast it moves, and which parts of the body participate. Weight, stiffness, shape, and structure matter just as much as species names. Two guitars made from the same wood can feel completely different if that energy is routed differently. The goal is not a specific tone — it's consistency of behaviour.
Rather than "this body wood sounds like X," the focus is "this guitar responds the way I expect it to."
Across the lineup, Contriver instruments can be described as feeling familiar immediately — even when materials or scale lengths differ. The response is intentional. The feedback is balanced. The instrument behaves like one of mine.
force resolution.
Every instrument begins as a geometric problem under load. Strings apply constant tension. Players introduce variable force. Wood responds over time. Design is the act of anticipating how these forces interact and resolving them before material is ever cut. Full philosophy at contriverguitars.com/design-philosophy.
Scale length affects tension. Tension influences neck relief. Neck angle dictates bridge height. Bridge height alters break angle. These relationships are continuous and must be resolved collectively, not optimised in isolation. The primary function of geometry is force management.
Tangent transitions guide the hand without interruption. Conical fretboard geometry maintains consistent string height across registers. Asymmetry is introduced only where human biomechanics require it. Abrupt changes in plane create hinge points that concentrate stress and compound over time.
A guitar exists under approximately 100–120 pounds of constant string tension. Design decisions are evaluated against how they behave under sustained load — not how they appear at rest. Adjustability exists to fine-tune response, not to compensate for unresolved geometry.
The electrical response of a pickup depends entirely on how the string moves within its magnetic field. That motion is governed by the instrument's geometry, mass distribution, stiffness, and damping. Placement errors cannot be corrected electronically — they are geometric in nature.