Liquid Latex - Vibraphone Sound Fix - Marble Machine X #95
Вставка
- Опубліковано 24 вер 2019
- Support Wintergatan:
- Patreon ► / wintergatan
- UA-cam membership ► bit.ly/4cQVM7C
Marble Machine Engineering Discord Server:
/ discord
Video edited By Martin and Hannes from the Trainerds UA-cam Channel:
/ trainerds
-
PATREON ► / wintergatan
UA-cam MEMBERSHIP ► bit.ly/4cQVM7C
WINTERGATAN RECORDS ► www.wintergatan.net/#/shop
SPOTIFY ► bit.ly/2oKxXWd
ITUNES ► apple.co/2ntWNsZ
ENGINEERING DISCORD ► / discord
COMMUNITY DISCORD ► / discord
-
- Welcome to episode #95 of Building the Marble Machine X! Applying Liquid Latex to the Vibraphone Plats of the Marble Machine X seems to be a fantastic solution, not only giving full control over the brightness of the transients/attacks of each note but also providing great marble bounce, making the marbles clear the plates in one jump. Thanks to Marius for suggesting this. Also: We found GOLD in the youtube comments!
Marius Hirn
/ kitingmare
Richard Southall
stringheart.co.uk/
Take care and see you next week! /Martin
Video edited by Hannes Knutsson
/ hannesknutsson
Support the Marble Machine X Project:
► / wintergatan
► teespring.com/stores/wintergatan
► ua-cam.com/users/wintergatan20...
► www.paypal.me/wintergatan
#marble #machine #4K
-----------
MUSIC DOWNLOADS ► wintergatan.bandcamp.com
WINTERGATAN RECORDS ► www.wintergatan.net/#/shop
SPOTIFY ► bit.ly/2oKxXWd
ITUNES ► apple.co/2ntWNsZ
MERCH ► teespring.com/stores/wintergatan
------------
SUBSCRIBE ► / wintergatan
INSTAGRAM ► / wintergatan2000
REDDIT ► / marblemachinex
DISCORD ► / discord
------------
Thanks to the Marble Machine X Team 2019
►Alex Füßl | Alex CNC | Munich, Germany
/ alexcnc
/ alexcncen
►Carlos Montoro | Anjuda Guitars | Madrid, Spain
/ @anjudaguitarsluthiera...
►Chris Nadon | Aix-en-Provence France
►Dwayne Myers | Safety | Phoenixville, PA, USA
►Ecco Pierce | All Things Ecco | Oakland, California, USA
www.allthingsecco.com
►Florian Hu | fhuable | Wellington, NZ
/ fhuable
►Jacob LaRocca | Rocket Props | Somerville, Massachusetts
www.rocket-props.com
►James Passmore | CAD9 Design LLC | Worcester MA
cad9.design/
/ @cad9design478
►Marius Hirn | Munich, Germany
/ kitingmare
►Nick Householder | Florida, USA
/ nickhouseholder
►Philip Brown (solo banjo) Winston Salem, NC USA
www.wakeforestinnovations.com... projects
/ @rainfallprojects501
►Richard Southall | String HeArt | Devon, UK
www.Stringheart.co.uk
►Sebastiaan Jansen | Leuven, Belgium (BE)
www.sebastiaanjansen.be
/ ikbensebastiaan
►Tim Keller | Inventopia | Davis California USA
www.inventopia.org
►Tim Mitchell | CNC Machinist | Nashville USA
►Tobias Gutmann | Tobias Gutmann Prototyping | Munich, Germany
www.tobias-gutmann.de
• My FULL! introduction ...
►Tommaso D'Amico | Vancouver, Canada
/ tommaso-d-amico
►Will Francis | Machine Thinking | San Francisco Bay Area, USA
/ @machinethinking
------------
MORE ALLIES:
►Viktor Stenberg, Calle Guldstrand, Gustaf Törner | ProtoCut
►Liam Ward
►David Lewis
►Tobias Smidebrant
►Erik Holke
►CNC Routerparts
►Nathan Skalsky
►Karin & Olof Eneroth
►Matterhackers - www.matterhackers.com/
►BCN3D
►This Old Tony - / featony
►Thomas Pilot - / @pilotsworkshop4554
►Roys Sheds Perth Australia
►Supermagnete.de - www.supermagnete.de/
We found GOLD in the youtube comments!!! Thank you to everyone who commented and upvoted the
vibraphone off center comments, I had totally overlooked this throughout all my years playing
vibraphone. This knowledge will make my favourite instrument sound great. And your comments have
just made the MMX so much better. Its not shown in this video but the marbles are bouncing perfectly
on the latex and clearing also the longer plates, today I am welding the around the back marble
gates, I have been focused on assembling the 22 marble drops, a lot of minute work, trying to race so
we can show you the vibraphone playing some simple melody next week! See you then have a great
day everyone. // Martin
Im say hi to Willson from Malaysia
Martin, Try to move only the plates on the holder, to adjust to the sweet spot. (the vibraphone plates really needs to be centered with the holder?)
That way, you can put the notes any place you want.
Good luck on this last bit
Next Wednesday I suggest some red cellophane taped behind one of the letters in the "WINTERGATAN WEDNESDAYS" template. Because it's going to be a red letter day!
Like many others said, shift the snapping locks underneath, so that every bars sweetspot is in the same distance to the locking/mounting point
Maybe you can change the vibrophone plate holders, to ensure they all get hit in their sweet spot? I.e. the marbles for all 11 positions hit in the same place "in space", and the vibraphone plates get adjusted to this marble hit spot.
Honestly, this would make the most sense. Came to the comments to make sure someone posted this!
This seems like the best solution to me. like for visibility
My thoughts exactly. Line the bars so that the optimal hit spots are level, flip them all over and adjust the holder attachments to now be level relative to optimal hit spots. The bars might not end up having a nice visual arrangement, but if you want to be able to hotswap positions without breaking the positions of the droppers this seems like the best way
What I commented before refreshing the coments. I think that would be great!
I thought the same, you could tune each holder to the perfect hit position and then they can plug into any slot without adjustments. Make per note adjustments per note - not per slot.
I think you might be overthinking this and making it more difficult for yourself.
There is one factor that you need to keep in mind for future testing and that is that you are not testing with the resonator pipes. Those are designed to amplify the desired overtones of the bars when they are being struck. (It's like testing a guitar tone without its body.) I just tested out various points on the Vibraphone in the band room and I had difficulty hearing what I was hearing in the video. Yes you are supposed to hit at about halfway between the center and where the string attaches for the best sound. But you need to have resonator pipes too.
That with the dampening liquid latex, you might find that you can find a consistent place among all the bars.
And speaking of resonator pipes, have you thought about having tunable resonator pipes like organ pipes?
Might make changing notes easier because you wouldn't need to have a different pipe for each bar. You could have marked locations on the adjustable pipes that you set the adjuster to and lock it in place.
This is a really good comment.
The adjustable pipes are definitely already in the design--I believe that's what he was checking in the spreadsheet. But your point about the resonators making a huge difference is an excellent one.
Resonators are definitely a good idea if you want a much more natural, "propper", vibraphone sound. However, keep in mind the micing environment. Resonators ultimately propel the sound in all directions = more noise bleed into all the other mics. Not having the resonators also gives you more control - super close mic the vibraphone bars and achieve your desired sound with your pre amps and music software.
@@timwilburn8883 Resonators are already planned to be in the final, so it would be better to test sound with them.
I love this comment, but now I worry that Martin will read this and try to implement it and then delay the MMX another 3 months or something.
"Doomed to perfectionist hell." Yup, sounds like Wintergatan Wednesdays
There are a lot of posts suggesting to move the vibraphone plates relative to the holder so they always are hit in their sweet spot.
HOWEVER, this is a vibraphone it also needs to align with the resonating tubes, so I think not having it consistent in relative position to the machines just ends up being a giant issue when the tubes has to go in.
Suddenly you need a sweet spot position for every tube as well.
I honestly am surprised that so many thinks this is a good idea, like I thought "hey that makes sense" too, but 5 seconds consideration about the resonating tubes and that idea fall flat immediately.
There are already so many unique vibraphone modules, having to give them each unique installation too just introduces multitudes more problems in use, modification and assembly.
It would need to be tested obviously.
Blair Snurtburgler I think the resonating tubes are less of a worry. Do they have to be so precise to work? And even then, the tubes could be movable/flexible for a quick adjustment.
I think the tubes also could be interchangable. I don't know the science behind vibraphones, but this would atleast help with some of the contributing factors
Well didn’t he say previously that each note needed a custom pipe that would have to be installed whenever he rearranged the notes anyway? So each pipe could accommodate.
I thought of this too, but the resonator pipes are also adjustable . Maybe the adjustment of the pipes could account for that issue?
The user manual for the MMX is going to be a thick one.
Remember when he said he will have a second MMX built by someone else? That construction manual will be extremely THICK.
@@clemenslucas I had forgotten about that but I remember now!
It thicc
You can apply liquid latex with a brush, it's quickly. draw a square with tape, apply latex with brush, remove the tape before the latex is dry and you have a perfect square latex layer.
Syringe technique is more satisfying to watch
@@rudimental8917 yes but maybe less efficiency even if the syringe technique have a good smooth look finish.
Too late I guess
Copy/Pasting my post from the mmx subreddit:
If those are true liquid latex, they will go rancid over time. Polyurethane rubber would be a longer lasting solution. That or proper vulcanized rubber.
The lifetime of liquid latex is heavily dependent on environment. In warm-humid regions, it can turn into mush in a matter of months. In warm-dry climates, it can become brittle and powdery again, potentially within just a few months. In both cases, exposure to UV light significantly accelerates this degradation (and also causes discoloration, not that it matters in this application). In cold climates, it can crack when flexed. Since the machine is intended to go on tour, I fear it will experience some pretty heavy climate extremes.
2-part polyurethane rubbers exist in formulations that are extremely resilient to impact and extremely adhesive. You also get fine-grained control over the Shore-Hardness, which can be very beneficial for acoustic applications (though dialing it in can mean high costs in both materials and research time). It still tends to be vulnerable to UV, though many formulations have additives to help block that.
There's also silicone rubber, which you would want to apply to the surface with a silicone adhesive, because otherwise, it is nonstick without a mechanical lock. Done correctly, that could potentially last a lifetime; UV exposure and weather extremes don't phase it. But it is a bit more expensive.
There are internal harmonics also in the width and the thickness of the vibraphone bars making it more complex, the bars have a fixed width and don't scale in all dimensions according to frequency for instance.
(This is a similar problem you have with string thickness on stringed instruments)
Actually that is entirely dependant on the keys most cheap vibes have a fixed width but the nice ones don't
Its apparent that each bar is not shaped identically only at a different size - the width and arch and thickness and everything don't scale with the note - so their harmonics will as a result be variant.
Also, the position of the contact points supporting the bar will strongly affect the harmonics.
scaling womt help much either. the different effects at play are not all linear.
@@TheVergile oh, interesting point. The relationship between the density/grain/rigidity of the material changes at different scale too! The analog world is so complicated...
8:20 "the best thing about being grown up is that you're allowed to draw directly on your own tables"
And to burn them, apparently
and here i was carvin and paintin
Up there with "you can go to the store and buy an apple pie and some ice cream and eat as much of it as you want whenever you want and no one can stop you.
I never thouht Martin would consider himself to be grown up...
So true!
Vibraphone and Marimba Plates are not only tuned to the fundamental tone, but also to the first harmonic (which is tuned to an double-octave) and sometimes (the lower keys of the marimba) also to the second harmonic. Tuning the fundamental tone is done by removing material in the middle, tuning the first harmonic is done by removing material on the sides of the bow. The goal is to reach the right pitch of the fundamental and get the 1st harmonic exactly to an double-octave.
At higher keys this is not possible anymore due to geometrical reasons, and the first harmonic gradually lowers until it reaches a duodecime (twelfth or the quint obove the octave). This is most probably what you experience in change of tone quality when hitting off center.
Check with your FFT if I'm right!
"Continuing on with our workshop tour.. here we can see is where Martin drew directly on this table when creating the vibraphone for the Marble Machine X, which of course we now know is what led to the infamous "table drawing craze" by jealous children all around the world which began on Sept.25th of 2019" ; )
I know it is a nasty proposal, but you could ask somebody to re-built all the holders in order to bring the hit points of all notes back into the same spot...
Can't because the resonating pipe needs to be centered with the plate.
or make holders adjustable
@UCNIIy_gq9C6nYRXmmiAfYMw A vibraphone has tubes with a spinning paddle over each of them, it's what puts the vibe in vibraphone.
@@guillaumep.7206 Yes it's possible, the holders would need to be changed in a way that the plate would wander in relative position to the pipe and drop point, it's a lot of work, but if you salvage teh preexisting holders and see how you can modify them it's doable.
This would work, but the holders have to be remade for the resonating pipes to stay centered
The slow descent into becoming a mad scientist...
Love it!
I haven't visited this channel since the dismantling of the original marble machine...gOD DANGGGG MARBLE MACHINE X LOOKING FINEEEE
16:16
"And with a *clean* rag..."
Ha-ha!
I just want to note one thing: I think the higher notes sound cleaner off-center as well. Hitting dead center obviously gives you the *loudest* fundamental, but I think hitting off-center gives you clearer harmonics.
Edit: This is based solely on the audio from this video btw.
Agree, even on the highest notes, with the headphones in using, sound better off-center
I came here to check if I was the only one. Especially I feel this way with the E note at 6:39 - I feel the off-center one sounds like there's a better harmony. Though it's not as clear difference as was for the lower notes. Perhaps it sounds different live? The final answer should be done based on contact microphones, though, as that will be the method used to actually capture the audio.
I can hear harmonics when the high notes are hit off-center. It's more obvious in later parts of the video though
It is Wintergatan Windows 95 Wednesday my dudes...
Click Start to begin Wednesday
And thus the combo was broken xD
*dial-up modem screech*
WEDNESDAY!!!! I always glad to see you here:)
#include
Using namespace std;
main ();
{
Cout >> "Indeed it is my fellow friend";
endline 0;
}
All of us who are here for the whole journey will have such a greater appreciation for the music after experience all these little nuances during the process.
Thank you for discussing learning from and correcting mistakes. I often use your videos with my students at our 1-8th school. The idea that you've played for years not knowing something about the instrument is a wonderful teaching tool.
8:14 jokes on you, my grandma used to let me draw on the walls.
Tried to recreate a map from my home to my grandma's. Was it an accurate map? No. Did I had to erase the 5 ft. map with a pencil eraser? *Yes.*
I'd like to believe that your grandma only made you erase it because it wasn't accurate.
Lol
Actually my Uncle is the one who made me erase it and told me it's inaccurate lol
I have the Marble Machine poster hanging in my kitchen and it makes me happy every time I see it!
Ooh! Which color do you have? I've been planning on buying it!
And in a near future you will be able to hear it play :D
@@hilmaandersson7855 Blueprint Blue
Mine is hanging over my old Hammond organ. 2 examples of unique machinery.
I have the t-shirt and it's my favourite
This video makes me happy. :)
Long enough that I felt connected, yet short enough that I didn’t feel like I was compromising my busy lifestyle to watch it. Loaded full of achievements, problem solving, a little humor, and of course great music (please use music in every video). Very enjoyable to watch and excited to see we (or you) are one step closer to the completion of this masterpiece.
Fellow vibraphone builder here!
Hey Martin, I have a vibraphone that I built myself. I too have noticed how different bars have a different "sweet spot" than others and there seems to be no order to it, at least to me. You can see in this video of mine that my D6 bar has scotch tape on it. ua-cam.com/video/vnxedqZZkfM/v-deo.html
For whatever reason that bar resonates so much vividly and longer than any other bar and the tape makes it match the others better. I have no idea what causes this. My only guess is it may have to do with how the bar was tuned. When I was removing material from the bar to bring the fundamental and first overtones in tune I may have removed a higher percentage of total material on that bar with respect to the total mass of the bar compared to other bars.
Having built my own vibraphone from scratch, the whole MMX project is just a dream! Thank you for everything you do. And once those world tour tickets go on sale I'll be there ready to snatch one up in a heartbeat!
And if anyone is interested I maintained a thorough blog of my vibraphone build here! buildavibe.blogspot.com/
You have to modify holders so that the optimal hit position is in the same position relative to the marble machine, whatever spot you put them in.
Then you run into issues with the positioning of the resonator pipes underneath
I honestly don't know a whole lot about this stuff so this is more of a question, but do you hit the vibraphone on an antinode? And if so, don't you want the tube under that point?
@@jadoei13 You want the resonator pipe under a node so the maximum amount of pressure waves generated go into the pipe.
@@andrewj3372 true
@@ArkanoidZero *anti-node, but yes you would
He's thinking of compromises and I'm thinking adjusting the mounting brackets so the notes are mounted at different positions in a way the sweet spots are always lined up to the marble drop point
That's what I'm thinking lol
+1 and a thumb up from me.
@@thugasaurusrex6004 That's what I was fearing ;) Being the perfectionist he is I didn't think he'd settle for a compromise. Guess he didn't want to do that to the team though :)
The aesthetic will be ruined tho
@@bubble4662, and the resonator pipes will not line up.
I know it was probably frustrating for you, but the whole process of optimising those hit points to end up with a lovely spreadsheet was immensely satisfying to watch. My troubles fade away watching this
This video just gave me a whole new respect for vibraphone/xylophone pros out there in the world who have to deal with this problem in their heads often by instinct
What if you fix this problem by making a new one?
I'm thinking what about compensating for the hit location with offsetting the attachment point?
That way all the arms are the same length, but the "tangents", in lack of a better word, would still be interchangeable
The collector might have to overlap the "tangents" a little bit to catch every marble
That's what I was thinking, but he might not want to remake all those parts
@@SergioEduP i'm not thinking remaking, just moving the clip on point with an extention of some sort
Some of the bars look like he just needs to flip them upside down to align them.
that s not possible. or at least not practicable. if every plate had just one possible position you might make it work. but since they are very variable its hard. also moving the attachment point influences the „optimal hitting position“. so you would need a set of offset holders between the current attachment system and the plate holders. and not just one set, but multiple sets for all the possible combinations. it would make changing the plates extremely complicated and time consuming
@@TheVergile using the drop location a static point its not hard to offset the tangents so it hits the sweetspot . This might also help with tube positions. Compromises will have to be made
Petition for Martin to say "chjop chjop" whenever he cuts material.
After watching your videos over the last few weeks, I can only conclude that you represent the very best of humanity. Curiosity, ingenuity, flexibility, creativity, and the ability throw oneself into difficulty (over and over again) to express it all. You are so precise in the engineering but also uncompromising in the artistry of it. I can't even tell you how much I'm enjoying it. Thank you for bringing us along for the ride!
Sometimes i'm listening to wintergatan's videos i've already watched, not even paying attention to what Martin's saying, just because its explanations relaxe me a lot.
Good things about growing up:
1. Drawing on tables
2. Playing with Latex
after the mmx is built i am 100% gonna binge this series
If someone had told me that a deep dive into music theory would ever be the highlight of my day, I would have laughed out loud. Martin, you are a treasure.
It isn’t really music theory though... more like applied engineering
Your channel and Your diary about the working and thinking on the marblemachine X is sooo heartwarming. It's not only Your striving for perfection. This project shows how people from different places around the world could work together and help each other to reach a collective aim by using the www.
What if the whole mankind would work together in a similar way? Wouldn't this planet be a better place?
MMX! WE BELIEVE!!!
TL; DR: I have a solution that means you don't have to compromise.
Hey Martin, if you look at your vibraphone at 8:00 you can see that one end of every cmaj note-plate is lined up along the horizontal centre of the instrument. This means that as you go down from the high notes and you continue to play the same distance from the top of the cmaj notes you'll naturally move away from the centre. This is probably why you haven't noticed the weird harmonics when you perform - you naturally played the best part of each note because of its placement.
The solution for your swapping plates around on the machine but still being able to drop on the right point would be to make a connector arm that extends your ball-bearing connector of the higher notes, making them sit further out of the machine and therefore in alignment with the ball drop. You then shorten the extender as you hit further from the centre of the note. This will also remove double bounce because the marbles will always hit ~5cm from the bottom edge of the note, no matter which one it is.
This is waaaay more complicated than I imagined. Lots of comments about moving the position in the holders, and then the problems aligning the resonator pipes.....basically Martin is trying to build several vibraphones in one frame. Adding to that he only has one hit point for each note. I think the solution he is working towards is the best compromise. What a mammoth project.
Ah yes. The engineer's hell. Reminds me of the difference between perfect tuning and exact tuning. You are getting that balance Martin. Way to build an exact machine.
Have you checked that the harmonics act the same with the latex applied? It might dampen some of the higher frequencies.
Make the vibraphone plate holder such that the circle where they snap to the machine is directly under the plate's sweet spot.
Each marble slot can just drop the marble over the sweet spot, and it won't matter which plate you snap in there.
Also, you don't have to remake all the plate holders. Just refit the few that are most off-center (that you're going to use most often).
Finish the damn machine, and remake the other holders when you have spare time, my dude.
this is the best solution, better than the top comment (and than my first idea). Requires a bit of refactoring but then its fixed forever :)
@@KilianKlein But you'd get the lowest notes pushing too far back and interfering with the wheel or dampeners.
@@randalledwards1050 Good point, but I assume that there are 2 sweetspots on the same plate, symetrical to the center, if the alignment makes it interfere on the top side, you can just use the opposite sweetspot to fix that. (and then offsetting towards martin where there is free space)
scratch that, then the bouncing issue comes back even worse :D
@@KilianKlein But who said that the vibraphone plates need to be horizontal?
He could angle them so they do not hit twice.
12:25 This is Engineering Martin, that's why we are full of compromises haha.
I'm realizing that locating the plates for the ideal hit point is actually an aspect of the MMX as an instrument. Your compromise solution actually gives you the possibility to deliberately place a plate out of its ideal range, if you ever want the tinny harmonics. It's a newly discovered part of the instrument dynamics I think.
Like playing a guitar you can choose to pluck the strings closer to the bridge for a more twangy sound (and in fact, change pickups in an electric one), on the MMX, your choice for the location of the plates is part of the composition.
In other words, it's not a bug, it's a feature! :D
Cheers
I Absolutely Love your Video's here and never want them to end by seeing new projects after currant ones are completed . Thank you so much for being here :-)
"With a clean rag I have to clean the top surface of the plate with acetone." - grabs the dirtiest rag ever!😂
Its always a joy to listen to you go into detail conserving a problem, then coming up with beautiful resolution. 🗜🔩🎶🎼
I just wanted to say that this is my favorite series, I've been watching since the beginning and I learned so much about music engeneering fysics mechanics and much more, this has become a fantastic artwork that can create music but it can also inspire people, thank you Martin and the rest of the MMX team for making this and good luck with it,
0:49 "720 _upvotes_ "
Ah a man of culture
I dont think I ever caught a video so close after uploding, I am so exited ! wintergatan-wednesday is the higlight of my week !
I don't know about anyone else but my head exploded half way thru the vid.....😁
Wonderful attention to detail.
Thanks for sharing it all. 👍
I have learned so much science from this channel, so thank you to the Marble Machine X team and supporters.
You are a king! Not just for this epic machine, but that you listen to others and do not get upset when we comment about our worries and experience.
As such, I will ask a question I asked eons ago.
How will you deal with the rubber expanding in heat as the stage lights and friction possibly changes the accuracy of the plates and the tightness of the bolts?
I am concerned as temperature can change rubber so much, and have yet to see you deal with this as a possible issue.
Thank you for looking!
Can't speak to friction but stage lights are increasingly LED based and give off very little heat in comparison to older incandescent fixtures. As someone who works in theatre it's amazing how this can make the difference between dripping sweat on stage and actually being cold.
I think Tayves Fiddis already answered your problem with this, Dembai. ^^
@@tayvesfiddis9853 that's actually super good news and I'm glad to hear it because last time I was doing stage stuff it was in the 90s and the temperature on stage can get super hot with old incandescents. I've been worried ever since the programming wheel was designed.
I'm actually super glad to hear that! Cheers man!
I swear, this intro is like The Avatar's Love
I hear it too!!
Came to find this comment. Such a beautiful song. I would die if Wintergatan played The Avatar's Love on the MMX.
21:54 YOU CAN'T TEASE ME LIKE THIS, MARTIN!
I have to say I'm super excited to watch this machine go from conception and then to reality in the last few years! You are an amazing and talented individual. You always keep me on the edge of my seat waiting for the day it plays the marble song in front of a live audience! I am from Orlando, Florida USA. I don't care how many miles I have to drive, fly, or ride! I will be at a concert! I look forward to more awesome videos. ~ J
21:05 This is just for my own future reference. That scale was really interesting...
If this video was released 4 days ago I would technically have been a child and been really jealous at drawing on the table, but now that I'm 18... I'm still kinda jealous
Agreed
happy birthday then
You can now draw on your parents tables because you're 18.
Only difference is police vs grounding 😂
the longer I watch the more hilarious I find the problems you create for/find for yourself. Keep it up you go wild
Watching the latex dry in between transitions of you moving to the next bar was amazing
Me: sees a 22 minute wintergaten video
“Happiness noises”
Can you be more specific about the happiness noises? Would be interesting to hear 😀
LASERS! As an added bonus to this idea, add small laser pointers to each marble release gate to always have an accurate visual of where they will land. Its lasers, you know you want to!
Cheers from Sweden, keep it up!
Haven't watched the video yet, but just wanted to let you know that seeing the new Wintergaten Wednesday update always makes me happy. Its the perfect mid-week pick me up I need.
Martin just seems like an awesome person with the perfect mix between a child’s imagination, a perfectionist’s designing skills, and a youtuber’s resources. Wintergatan is basically what you dreamed of doing as a child.
The level of detail and diagnostics in your project is truly impressive. What is your technical background? Are you a sound engineer?
I don't really know how "sound engeneer" works but he had his own studio (Martin Molin Productions if I remember correctly)
That bar across the vibraphone plates is reminiscent of an intonated guitar bridge
Yes! Is that for the same reason? Is there something about the physical properties of the smaller bars (or strings) that changes the sensitivity of the nodes?
@@joviswest the intonation on a guitar bridge is to help make the open note as close to the the same as the note at the 12th fret, the octave. On these bars it looks like the shorter the bar the closer the sweet spot will be to the center as the harmonic points on the bar will be closer together. You can see this on a guitar if you try to play harmonics while making the string shorter. So while they have a similar shape the function is different. At least this is how I understand it.
You know what, thank you for being a perfectionist. I'm gonna encourage you to have that mentality all the way to the finish. I'm 38 rn, and it doesn't matter if I'm gonna hear MMX for the first time when I'm 50, I want it to make me cry. I need it to have that effect on me when it's all said and done and around the world on tour.
So this is what fractal complexity on a project is like hahahaha you are a hero
What if you make attachments that are adjustable? Slide and lock❓👍🏻
If the Vibraphone plates are well designed they should hold a standing wave over their entire body. So knowing the frequenzy it should be possible to determin the flat spots mathematically.
You are one of the world's modern greats keep being inventive your mind is amazing
HA!!! There's my name! At minute 22:02! I love this project and have been supporting it since day 1.
In the beginning, I thought Martin was gonna play the soundtrack to Avatar: The Last Airbender
Me too!
My first thought on how to fix this problem is making the marble drop point adjustable in the "x-direction". An add-on after the release mechanism that gives the marble more or less speed in the horizontal direction after the drop, giving you the freedom to adjust every single hitting spot individually without offsetting the mounting points of the vibraphone plates. And thus, not interfering with the resonance pipe. This will remain the clean visual look of the machine whilst making it capable of hitting in the sweetspot every time, regardless of which plate is placed in which position.
Is it just me, or would this be a good solution? Give me your thoughts.
I love how you encounter a problem, get frustrated, see a solution and immediately keep going with botching instead of.. well, the things that the comments tell you.
I guess thats whag we're here for, but its inspiring to see you not have any experience in this and still somehow manage to succeed!
This has been my favorite video so far. Powered by the internet and insane complicated in how you worked it out.......just beautiful
I’d really like to know the name of the song played at 20:34 ....I guess it’s a Wintergatan track :)
i found the track. its always and forever, by andreas boldt ua-cam.com/video/VH1wLxdfEFU/v-deo.html
Why don't you shift the holders of the lower notes in such a way that the sweetspot is at the center of the vibrophone? This means of course that you need to remake half of the holders but you won't need any compromises...
He would have to move the dampening system for that to work
@@res9695 why? It is on the side and not on top, if i saw it right
@@dennisfinkelstein8641the dampening pads are clearly on the top
@@Kapten_R3 ok, i didn't think that trough.
and the resonator pipes would need to be adjustable too
Once again Martin shows his commitment to achieving the upmost of perfection, incredible.
Just want to stop by and Thank you for constantly being such an inspiration ❤️.
I know you get told that a lot, but I don't think you could ever be told enough. Thank you!
I'm scared that this latex coating will wear relatively quickly and that you'll lose of that dampening you're aiming for :/
Great progress nonetheless !
Why not extend the arms on the vibraphone pieces to make the hit point all in one line, rather than moving where the marbles fall?
You say "when people see this finished vibraphone, they're gonna think 'wow, marbles play music,' they have no idea about the compromise with this hit point..."
But I imagine that at every stop on the world tour, there are going to be lots of subscribers in the crowd nerding out to strangers about every detail of the machine! I'm definitely planning on it!
Going back through this whole series in 2021 to 'like' every video that I forgot to 'like' the first time I watched it. Just showing love to my favorite Swedish wizard. But changing it sometimes because otherwise it looks like spam. And then feeling a little bit silly for doing it. But then regaining my resolve because this man deserves it.
Wow. I didnt know that about the harmonics interference. What about making the holders of each note offset, so it hits dead centre when you drop marbles anywhere on the machine?
Hey, martin, Instead you could also compromise aesthetics and modify the position of the pads on their metal mounts. In such way that the sweetspot is fixed but the bars are misaligned
this is just so insanely complex and amazing at this point I can't find words to comment. If you're planning on world tours when this is finished I will personally go see one of them
I'm just learning to play the guitar. I also make board games and write books. And I face a lot of difficulties. With the fact that I have to make different decisions. And often go back a few steps and redo everything. Martin, you show me that you can experiment and meet your mistakes. In your example, I see that even such a complex creation as MMX can be completed. And it inspires me. Thank you, Martin, thank you very much)
And here I thought to myself that I would see a new mechanism added to alter the drop location itself.
Maybe a simple "ramp" at the end of the marble drop could have been a simple solution, then just have it able to click into a few preset locations, depending on the type of note one desires to play.
Today on the Bench they need to all fall at the same rate so the timing on the wheel matches the timing of the notes, so changing one drop requires all of them to change.
@@Panic_Pickle Yes, it would likely impact timings. So I would need to say that the other suggestion in the comments about changing the bar holders themselves to move the bar into the ideal location, would be a superior solution.
I'm so early that not even my notification kicked in yet.
I couldn't even imagine this problem...
Well done, Martin!
Im so happy i caught up to the project, i really like it. Amazing job guys.
does anyone know the name of the track played at 20:35 ?
Another thought. Instead of changing the placement of the hit point on the plates, why not align all optimal hit points in a single line and change the position of the plate clips. This may make the vibraphone look a bit ugly as the notes don't look aesthetically pleasing, it would mean that technically you could put any plate in any position as the hit point is centrally aligned instead.
Music is not just art. There's a whole lot of science, too. And I'm loving every minute of this journey.
I literally jumped at the sound difference at the 2m test mark. Like, holy crap!
Martin, very complex. But realize Modulin II is already designed and built to last through a worldwide tour. It is solid. PM me for details.
How about adding a cam-shaft to adjust offset for each scale. You could have a selector on the side and just turn the cam to adjust to a particular scale, and the cam will move all the mounting points to the optimal positions, ensuring the hit points are always in the same place.
Watched this episode in office and ran into explaination issues after literally laughing out loud at 16:15 "and with a clean rag" with the oiliest rag I've ever seen xD
Have you considered making the individual vibraphone plates adjustable to some degree (forward and backward)? Marble drop wouldn't have to change) and it would allow you much better accuracy in where the marble drops.
Been enjoying this work for a long while now. Glad you're sticking with it.