1
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[shutters opening, light switch clicking]

2
00:00:07,300 --> 00:00:10,480
Let's clean up this mess!
[clap clap clap clap]

3
00:00:10,480 --> 00:00:12,730
Road to no compromise vibraphone!

4
00:00:12,730 --> 00:00:14,420
[cheering sample] [clap]
[♪ unreleased/Work ♪]

5
00:00:14,420 --> 00:00:19,570
Check this out: These are the 22 Matrix Sentinel 
marble gates for the new vibraphone drops.

6
00:00:19,570 --> 00:00:24,900
In the last episode I built this vibraphone drop system 
with all the metal rails.

7
00:00:24,900 --> 00:00:27,010
[MMX playing a vibraphone scale]

8
00:00:27,010 --> 00:00:32,300
And then I took the angle grinder and 
just removed like ten days work.

9
00:00:32,300 --> 00:00:37,700
In this video I will explain to you exactly 
why I needed to make this redesign.

10
00:00:37,710 --> 00:00:40,919
But before I explain that, I'm so excited 
to actually start to build this,

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so let's make some plywood pieces on the CNC.

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00:00:43,900 --> 00:00:47,925
Ever since I came up with matrix sentinels 
for the drums of the Marble Machine X,

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I have been toying with the idea to 
use them for the vibraphone as well.

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It took me a day to design this assembly in CAD,

15
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and it consists of laser-cut metal parts 
and CNC cut plywood parts.

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I'm going to start making these marble shuttles, 
that feeds a marble every time a note is played.

17
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[music continues]

18
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[boom]

19
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When I was at ThinkerCon in Alabama 
I met my maker idol Frank Howard.

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He has the same CNC machine as I have, and I 
asked him what end mills he's using for plywood,

21
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and he was: "compression bits".

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I had never heard of these kinds of end mills before, 
they're also called "up and down", and the special thing

23
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is that the flute direction is changing 
in the middle of the end mill.

24
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So in the top of the end mill, it's cutting down,
and in the bottom, it's cutting up.

25
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So on the top of the plywood the end mill will cut down, 
and on the bottom of the plywood it will cut up,

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which results in much less tear out.

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Normally, I had a great finish on the top of the plywood, 
but a little bit of tear out on the underside,

28
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which is expected when you're using 
the down cutters that I normally use.

29
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I was really excited to see 
if this made a difference.

30
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[music continues]

31
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[melody starts on vibraphone]

32
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To cut into tight corners you need to use 
a smaller diameter tool,

33
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and I only have this up cutter for metal.

34
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And you can actually see how it's leaving 
a little bit of tear out on the top there.

35
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Just because it's an up cutter.

36
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[music continues]

37
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At this moment I realized I forgot to pass for some unique 
marble shutters that has a relief cut, to clear these washers.

38
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I also saw that I had some interference on some relief cuts. 
I needed to redesign them to make them longer.

39
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And I checked the simulation for this extra cut very carefully, 
to not ruin my already cut pieces.

40
00:02:59,080 --> 00:03:04,160
Today me and the CNC machine were kind of best friends 
and it did exactly what I asked it to do.

41
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[music continues]

42
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[part lands in box with a thud]

43
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[music stops]

44
00:03:55,940 --> 00:04:01,640
Okay, there's only one single operation left to do 
for these marble shuttles before they're completed:

45
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I need to pilot drill two holes for the L hooks.

46
00:04:05,840 --> 00:04:09,609
And old Martin would just go to the 
drill press and hope for the best,

47
00:04:09,960 --> 00:04:14,080
but new Martin knows that when 
you have a repetitive job like this;

48
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to pilot drill 44 holes
- and I want them accurate -

49
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it's better to invest some time in setting up the operation.

50
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So I'm going to do this on the CNC machine,
do it properly.

51
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I cut three locating slots with different tolerances 
and found that the middle one had the perfect press fit.

52
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And here I'm using a custom-made mallet that a 
French maker and youtuber sent me: Olivier Verdier.

53
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He has a fantastic channel, so check him out on YouTube!

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It does feel very proper to locate these plywood pieces 
with a custom plywood mallet.

55
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Thank you, Olivier! I love the mallet, 
and I love the "Puy lentils" as well.

56
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Here I'm reaping the rewards from my upfront 
time investment in making this into a CNC operation,

57
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it's just to repeat the same tool path over and over 
again, and the results are immaculate. Love it!

58
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[laughing]
Close!

59
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[noises from the activities]

60
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[Martin singing softly in Swedish:]
[♪ Allan Edvall: Du och jag ♪]

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♪ Livet är en sand som i ett timglas rinner. ♪
("Life is the sand in an hourglass flowing.")

62
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♪ Låt oss leva upp den lilla tid vi hinner. ♪
("Let us live the little time we are given.")

63
00:06:24,040 --> 00:06:28,097
♪ Åh, du dyra liv som tynar och försvinner. ♪
("Oh, the precious life that fades and vanish.")

64
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♪ Livet är en sand som i ett timglas rinner. ♪
("Life is the sand in an hourglass flowing.")

65
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[bass beat start]
[♪ spring gang: You Left Behind ♪]

66
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[arcade game achievement samples]

67
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[music goes airy]

68
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[bass reintroduced]

69
00:08:02,680 --> 00:08:04,760
[arcade game achievement samples]
[music stops]

70
00:08:06,360 --> 00:08:12,740
Me and Wilson has leveled up enough to take on 
the mini-boss of the assembly; the bottom plywood part here.

71
00:08:12,820 --> 00:08:19,520
You can see that it has a seven degree tilt, and that is because the 
marble shuttles are moving perpendicular to the Marble Machine X.

72
00:08:19,600 --> 00:08:22,660
But the vibraphone is mounted at a seven degree angle.

73
00:08:22,820 --> 00:08:31,880
I started by drilling holes for M5 bolts and then I used a 
ball-end cutter to cut these apple shaped marble grooves.

74
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And then I used a two millimeter end mill 
to cut the "internal walls" slot.

75
00:08:35,720 --> 00:08:39,700
Those slots will separate the two marbles in each "apple".

76
00:08:39,840 --> 00:08:46,740
Here I'm using a three millimeter bit to cut a thin groove for the 
vertical L hook that will go straight through this plywood piece.

77
00:08:46,860 --> 00:08:49,700
And I ran into a problem with this operation.

78
00:08:54,940 --> 00:08:59,820
The wood chips had nowhere to go and they got 
packed up and they broke off this little tool.

79
00:09:00,060 --> 00:09:05,690
I tried redesigning the tool paths and using another tool, 
but I ended up breaking that as well,

80
00:09:05,690 --> 00:09:08,060
so I redesigned the tool paths again.

81
00:09:08,060 --> 00:09:11,270
In the end I solved this by cutting only four millimeter deep,

82
00:09:11,270 --> 00:09:16,140
and then pausing the machine and vacuum cleaning 
out all the wood chips, out of the groove.

83
00:09:16,140 --> 00:09:23,620
Then cutting four millimeter again, vacuum cleaning and then four 
millimeter deeper and so on until I was through the whole plywood.

84
00:09:23,940 --> 00:09:31,400
Definitely learned a lesson here to actually plan for proper 
chip evacuation on tight operations like these.

85
00:09:31,600 --> 00:09:36,560
Here I'm using that same compression bit, that I 
talked about in the beginning of the video, again.

86
00:09:36,720 --> 00:09:41,120
I'm cutting the larger internal slots, 
and then I'm cutting the contour.

87
00:09:41,280 --> 00:09:45,700
And I have to say it works so much better 
than a straight down cutter.

88
00:09:45,700 --> 00:09:47,900
The result is actually perfect!

89
00:09:47,900 --> 00:09:53,750
There's no fraying or no tear out on the bottom of the plywood, 
and that saves me a lot of sanding,

90
00:09:53,750 --> 00:09:56,960
and just generally leaves a more professional-looking part.

91
00:09:59,640 --> 00:10:01,240
[camera shutter sound]

92
00:10:05,400 --> 00:10:10,780
I don't remember when I made those burn marks, 
I must have welded on top of this plywood or something.

93
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But they will be hidden inside this assembly, so no worries!

94
00:10:15,240 --> 00:10:18,460
[woosh]
[♪ unreleased/Helping Out ♪]

95
00:10:34,980 --> 00:10:37,587
On the top of the assembly we have these PMMA pipes,

96
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and the marbles come through them 
into this 20 degree wedge transition piece.

97
00:10:42,320 --> 00:10:47,580
And looking at the top of the piece we can see that 
we have spaced the holes to fit the PMMA pipes,

98
00:10:47,760 --> 00:10:51,920
but when the marbles go through this transition wedge,
they go closer to each other,

99
00:10:51,920 --> 00:10:57,460
which means that I have to split this piece 
to be able to machine this shape on a 3-axis CNC machine.

100
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If we look from the front you can clearly see how the
transition from the PMMA pipes goes narrower,

101
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in through the top metal piece.

102
00:11:06,560 --> 00:11:10,340
Setting up the tool paths for this operation 
was by far the most complicated,

103
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because I had to indicate the pieces correctly,

104
00:11:12,997 --> 00:11:17,037
and I had to be able to turn them 90 degrees 
and machine them from different sides.

105
00:11:17,640 --> 00:11:23,620
I started by cutting the two long plywood rectangles. 
I plan to use the resulting pockets for indication.

106
00:11:23,620 --> 00:11:28,400
I forgot to hog out the radius in the corners 
so I'm just doing that manually here.

107
00:11:28,400 --> 00:11:33,820
And now you can see that my plywood rectangles can 
indicate perfectly into the corner of the pocket.

108
00:11:34,580 --> 00:11:42,990
By doing it this way, the machine knows exactly where my plywood 
rectangles are situated and I can start the machining of the shapes.

109
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[music continues]

110
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I left rectangular blocks on the side of the piece so I can 
take them out when I'm done machining from one side,

111
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turn them exactly 90 degrees,

112
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indicate them towards the same corner, 
and run the next tool path;

113
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machining from a completely new direction.

114
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This way I can achieve the quote unquote "impossible shapes" 
on this three axis CNC.

115
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[music continues]

116
00:12:21,320 --> 00:12:27,520
So in this little plywood wedge there are 22 marble paths 
that go at a compound angle,

117
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and I really love the challenge to try to 
make these kind of difficult 3D shapes

118
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on a three-axis CNC machine from plywood.

119
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I think it's really fun.

120
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[music continues]

121
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[music stops]

122
00:12:49,660 --> 00:12:53,340
When I first heard about CNC machines, 
I thought they worked like this:

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You put the machine in your workshop. 
You put the power on and you press Start.

124
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While the machine is making your perfect part, you do this:

125
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[birds singing]

126
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That is not the case, in my case.
It actually feels more like this:

127
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[panic alarm]

128
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There's a lot of manual labor, the machine is actually 
really really stupid in itself.

129
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If you tell it to do something, it will do it
even if it's a bad idea! [chuckles]

130
00:13:25,260 --> 00:13:29,980
And to figure out what is a good or bad idea 
is entirely on your shoulders.

131
00:13:29,980 --> 00:13:34,930
But this is a specific rabbit hole that I 
really love in the Marble Machine X process.

132
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I never get tired of cutting 
Baltic birch plywood on the CNC.

133
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[marbles dropping]

134
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[laughing]

135
00:13:48,700 --> 00:13:50,700
Great!

136
00:13:53,000 --> 00:13:58,000
We're done with the plywood parts 
procurement of this assembly.

137
00:13:58,340 --> 00:14:02,560
I have to wait for the metal parts from the laser cutting place

138
00:14:02,560 --> 00:14:05,248
until we can put this together and put it on the machine.

139
00:14:05,248 --> 00:14:08,360
In the beginning of time I made an assumption.

140
00:14:08,360 --> 00:14:10,620
In engineering you should not assume anything.

141
00:14:10,800 --> 00:14:16,880
My assumption was that a vibraphone bar wants to be hit 
in the middle, so we designed these holders for that.

142
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Then you guys helped out by posting brilliant comments 
saying that there's better sound off center:

143
00:14:23,620 --> 00:14:25,780
[vibraphone notes]

144
00:14:25,780 --> 00:14:30,480
When this information reached me, we had 
already made these vibraphone holders,

145
00:14:30,480 --> 00:14:34,220
so I made a video showing 
that I'm gonna do a compromise.

146
00:14:34,220 --> 00:14:37,840
It was hitting closer to the sweet spot, 
but not <i>at</i> the sweet spot.

147
00:14:37,840 --> 00:14:39,838
But I thought that was going to be ok.

148
00:14:39,840 --> 00:14:43,100
You guys again, were like 
screaming in the comment field:

149
00:14:43,100 --> 00:14:46,640
"Why don't you just shift the bars like this?" and I was like:

150
00:14:46,640 --> 00:14:50,500
"Ah, no, the resonator pipe has to be centered", I thought.

151
00:14:50,760 --> 00:14:54,820
And then I made a test and the resonator pipe 
was super happy to be off center.

152
00:14:54,820 --> 00:14:57,200
So even moving a centimeter from:

153
00:14:57,260 --> 00:15:00,020
[vibraphone notes, on an off center]

154
00:15:00,020 --> 00:15:03,430
The vibraphone is the lead singer 
of the Marble Machine X band.

155
00:15:03,520 --> 00:15:09,500
It requires very very special conditions 
to perform. Basically a needy bastard.

156
00:15:09,510 --> 00:15:13,610
I don't know if that is a trait for lead singers, but anyway...
[chuckles]

157
00:15:14,680 --> 00:15:19,240
I'm a needy bastard band leader myself,
I just don't sing.

158
00:15:19,280 --> 00:15:24,506
Your suggestion proved to be absolutely, probably the best.

159
00:15:24,506 --> 00:15:29,980
And I hope you understand why I assumed 
what I assumed at the time.

160
00:15:29,980 --> 00:15:34,620
And now when I have the whole picture 
I can see this much more clearly.

161
00:15:34,940 --> 00:15:39,280
The vibraphone was just screaming 
for the matrix sentinels solution.

162
00:15:39,480 --> 00:15:43,500
Thank you for commenting and 
thanks for helping out with this build!

163
00:15:43,500 --> 00:15:48,780
I'm really touched by the amazing support 
from the crowdfunding campaign,

164
00:15:49,100 --> 00:15:53,480
all the new Wintergatan backers who are supporting my dream.

165
00:15:53,480 --> 00:15:58,620
I talk about it more and more, it's because it's growing 
and becoming more and more important.

166
00:15:58,620 --> 00:16:04,040
I can hire help around me:
It frees up my time to actually think

167
00:16:04,100 --> 00:16:07,840
about just where a marble should
hit the vibraphone plate.

168
00:16:07,840 --> 00:16:11,340
I could not live with this horrible harmonic!

169
00:16:11,340 --> 00:16:16,830
When we could have a clean transient with a good fundamental

170
00:16:16,830 --> 00:16:21,440
of the singer of the Marble Machine X.
Thank you for watching. See you in the next video!

171
00:16:22,220 --> 00:16:23,220
[blows air]

172
00:16:23,850 --> 00:16:25,550
[thud]
What?

173
00:16:25,550 --> 00:16:29,640
[fanfare playing]

174
00:16:30,400 --> 00:16:34,520
[noise from trying to light the match]

175
00:16:39,580 --> 00:16:41,580
[ignition spark]

176
00:16:45,920 --> 00:16:47,920
Yay.
[laughing]

177
00:16:48,160 --> 00:16:51,260
The milestone I never wanted to reach, okay.

178
00:16:51,380 --> 00:16:54,980
I just want to say seriously 
thanks for following this journey.

179
00:16:54,980 --> 00:16:58,480
Click like on this video if you believe 
I can avoid episode thousand.

180
00:16:58,590 --> 00:16:59,791
[blows air]

181
00:17:00,000 --> 00:17:02,000
[vibraphone tone]