< Return to Video

Modules & Interfaces

  • 0:00 - 0:03
    [Music]
  • 0:03 - 0:06
    round three
  • 0:07 - 0:10
    fight
  • 0:10 - 0:14
    hello everybody and welcome to a new
  • 0:14 - 0:16
    glorious day here in the vintage and
  • 0:16 - 0:18
    dream factory
  • 0:18 - 0:21
    where this fine gentleman next to me
  • 0:21 - 0:25
    is trying to build a new marble machine
  • 0:25 - 0:28
    i am hannes 3000
  • 0:28 - 0:31
    and how are you today my friend martin
  • 0:31 - 0:32
    mullin
  • 0:32 - 0:34
    the thirst for revenge is burning in my
  • 0:34 - 0:37
    mouth i'm i'm i'm i'm excited today
  • 0:37 - 0:39
    yesterday i was in the mood
  • 0:39 - 0:42
    and um if you saw the stream
  • 0:42 - 0:47
    you witnessed that uh today i feel i
  • 0:47 - 0:50
    i feel i want to get to work and i know
  • 0:50 - 0:53
    what i want to do
  • 0:53 - 0:54
    so it's going to be
  • 0:54 - 0:56
    um
  • 0:56 - 0:58
    super more
  • 0:58 - 1:01
    abstract highest level stream again
  • 1:01 - 1:04
    and i'm going to uh work on the design
  • 1:04 - 1:05
    requirements
  • 1:05 - 1:07
    and someone yesterday in the stream said
  • 1:07 - 1:09
    as a complicated machine as you're
  • 1:09 - 1:10
    trying to build i couldn't build it
  • 1:10 - 1:13
    without thinking in modules and
  • 1:13 - 1:14
    interfaces
  • 1:14 - 1:16
    and this just got me
  • 1:16 - 1:19
    sparked your imagination yeah and it's
  • 1:19 - 1:21
    but i've been googling a little bit so
  • 1:21 - 1:23
    uh what we're gonna do in this stream as
  • 1:23 - 1:25
    you can see in the to-do list is uh
  • 1:25 - 1:26
    first we're going to learn a little bit
  • 1:26 - 1:28
    about modules and interfaces
  • 1:28 - 1:29
    um
  • 1:29 - 1:31
    and then we're going to use what we
  • 1:31 - 1:34
    learned to write less dumb design
  • 1:34 - 1:36
    requirements than we're going to be done
  • 1:36 - 1:38
    and
  • 1:38 - 1:40
    i think
  • 1:40 - 1:42
    basically why i was in a mood yesterday
  • 1:42 - 1:43
    is that i i haven't been able to make
  • 1:43 - 1:45
    the decision about how many notes for
  • 1:45 - 1:46
    the vibraphone so
  • 1:46 - 1:50
    11 or 37 kind of
  • 1:50 - 1:51
    and i think
  • 1:51 - 1:54
    i came to the conclusion i've already
  • 1:54 - 1:56
    made this decision a lot of times and
  • 1:56 - 1:59
    walked it back but today honest sir
  • 1:59 - 2:01
    sir three thousand
  • 2:01 - 2:02
    um
  • 2:02 - 2:04
    [Music]
  • 2:04 - 2:06
    i was thinking about the form from
  • 2:06 - 2:09
    function absolutism
  • 2:09 - 2:11
    and i was thinking that
  • 2:11 - 2:12
    wha
  • 2:12 - 2:14
    what is that and
  • 2:14 - 2:16
    yesterday we also talked about minimum
  • 2:16 - 2:17
    viable product which is something in
  • 2:17 - 2:19
    software which is the smallest version
  • 2:19 - 2:22
    of an app you can send where where the
  • 2:22 - 2:23
    user still can use it
  • 2:23 - 2:25
    and i'm
  • 2:25 - 2:28
    pretty sure that it's going to be 37
  • 2:28 - 2:30
    notes on the vibraphone you heard it
  • 2:30 - 2:32
    here people and i'm pretty sure that
  • 2:32 - 2:34
    we're gonna use let me just find one
  • 2:34 - 2:38
    here we're gonna use um
  • 2:38 - 2:40
    so something else have been on my mind
  • 2:40 - 2:42
    um
  • 2:42 - 2:42
    is
  • 2:42 - 2:46
    i'm gonna just go to tourman um
  • 2:46 - 2:49
    and get a picture of a vibraphone here
  • 2:49 - 2:52
    so
  • 2:52 - 2:55
    the graduated vibraphones
  • 2:55 - 2:56
    have
  • 2:56 - 3:00
    different um width of the plates
  • 3:00 - 3:02
    it's a little bit hard to see it here
  • 3:02 - 3:03
    but
  • 3:03 - 3:05
    the center to center between these
  • 3:05 - 3:07
    plates are different so i thought that
  • 3:07 - 3:10
    we were going to buy one of these
  • 3:10 - 3:12
    cut it into pieces and make all the
  • 3:12 - 3:14
    plates the same distance
  • 3:14 - 3:17
    and now i think
  • 3:17 - 3:18
    we're of course not going to do that
  • 3:18 - 3:20
    we're going to buy one of these
  • 3:20 - 3:22
    and we're going to put the marble gates
  • 3:22 - 3:24
    we're going to design the machine after
  • 3:24 - 3:25
    exactly this and i think you and me can
  • 3:25 - 3:28
    go on a super fun field trip to germany
  • 3:28 - 3:30
    and we can live stream like live when
  • 3:30 - 3:31
    we're trying out because i've been to
  • 3:31 - 3:34
    tomorrow before there's actually images
  • 3:34 - 3:34
    um
  • 3:34 - 3:37
    [Music]
  • 3:37 - 3:38
    i don't know where i have them anyway
  • 3:38 - 3:40
    but i've been to thomas in germany
  • 3:40 - 3:41
    before and there's like 10 vibraphones
  • 3:41 - 3:42
    in the same room
  • 3:42 - 3:44
    so we can like go there and like live
  • 3:44 - 3:46
    stream when we try out which one we're
  • 3:46 - 3:47
    going to use
  • 3:47 - 3:48
    and
  • 3:48 - 3:49
    [Music]
  • 3:49 - 3:53
    then we can because
  • 3:53 - 3:55
    one of the design requirements
  • 3:55 - 3:57
    to make this machine viable is to use
  • 3:57 - 3:59
    less custom parts
  • 3:59 - 4:01
    and
  • 4:01 - 4:02
    and
  • 4:02 - 4:04
    an instrument like a vibraphone has been
  • 4:04 - 4:07
    fine-tuned in forever like a guitar has
  • 4:07 - 4:09
    been fine-tuned and the design is like
  • 4:09 - 4:13
    perfected so why redo what they already
  • 4:13 - 4:15
    have done so instead i'm i'm thinking
  • 4:15 - 4:18
    right now that we're going to use a
  • 4:18 - 4:20
    custom microphone the only thing we may
  • 4:20 - 4:22
    might have to do is that we might have
  • 4:22 - 4:25
    to still cut it in two pieces so the two
  • 4:25 - 4:27
    rows might be separated so the upper the
  • 4:27 - 4:28
    black keys are higher
  • 4:28 - 4:31
    and then all the white keys but i don't
  • 4:31 - 4:34
    i want the keys to have
  • 4:34 - 4:36
    to rest in the same way as they are
  • 4:36 - 4:38
    built so the resonator pipes the
  • 4:38 - 4:41
    vibraphone vibrato everything is just as
  • 4:41 - 4:43
    they built it yeah um
  • 4:43 - 4:45
    [Music]
  • 4:45 - 4:48
    the sustain pedal is we're gonna have to
  • 4:48 - 4:49
    fix that if we separate the roads
  • 4:49 - 4:50
    because
  • 4:50 - 4:52
    right now it's hard to see in these
  • 4:52 - 4:55
    images one sustained pedal goes on both
  • 4:55 - 4:59
    rows i don't like this gold color
  • 4:59 - 5:03
    um that's that's uh like another issue
  • 5:03 - 5:04
    it's like the more expensive nice
  • 5:04 - 5:06
    vibraphones have this gold color i would
  • 5:06 - 5:09
    like something like this
  • 5:09 - 5:11
    um it's nicer right
  • 5:11 - 5:14
    yeah so anyway
  • 5:16 - 5:18
    i it was so hard for me uh because i
  • 5:18 - 5:20
    felt like it's just feature creep and
  • 5:20 - 5:22
    someone's told me feature creep is only
  • 5:22 - 5:25
    after you frozen the feature set yep
  • 5:25 - 5:27
    so that's why the famous vasa ship from
  • 5:27 - 5:30
    a swedish king sank because the king
  • 5:30 - 5:32
    wanted more and more cannons all the
  • 5:32 - 5:34
    time so this is not gonna be the master
  • 5:34 - 5:37
    ship and another thing that is maybe a
  • 5:37 - 5:41
    burden of my mind it's um
  • 5:41 - 5:42
    the fact that because i was thinking
  • 5:42 - 5:44
    yeah i should probably just use 11 notes
  • 5:44 - 5:46
    like on the previous machines and have
  • 5:46 - 5:48
    the footprint and
  • 5:48 - 5:50
    now i realize there's because the
  • 5:50 - 5:52
    audience loves
  • 5:52 - 5:53
    everyone knows these machines everyone
  • 5:53 - 5:55
    roots rooting for me to make this
  • 5:55 - 5:57
    machine that we have on picture here to
  • 5:57 - 5:57
    work
  • 5:57 - 6:00
    and i finally decoupled myself from this
  • 6:00 - 6:02
    form form factor i want to build a
  • 6:02 - 6:05
    functional machine yeah and i will do i
  • 6:05 - 6:06
    want to build a machine also i was
  • 6:06 - 6:08
    thinking i want to play a lot of waltzes
  • 6:08 - 6:11
    so like the things i've been playing
  • 6:11 - 6:14
    all that and
  • 6:14 - 6:16
    and i want to tell like longer stories
  • 6:16 - 6:18
    and i want to make like a real music
  • 6:18 - 6:20
    instrument so 37 notes
  • 6:20 - 6:22
    custom
  • 6:22 - 6:24
    no custom parts from the vibraphone some
  • 6:24 - 6:25
    custom solutions by cutting it up a
  • 6:25 - 6:26
    little bit
  • 6:26 - 6:29
    i think this is going to be like
  • 6:29 - 6:29
    um
  • 6:29 - 6:32
    [Music]
  • 6:32 - 6:33
    anyway that's my assumption for today
  • 6:33 - 6:35
    and yesterday i didn't know what to do
  • 6:35 - 6:37
    so that's why i feel a little bit better
  • 6:37 - 6:38
    today that's why i know what we should
  • 6:38 - 6:39
    do
  • 6:39 - 6:44
    and could be right almost the first
  • 6:44 - 6:46
    real decision now on the machine this is
  • 6:46 - 6:48
    how it's going to be
  • 6:48 - 6:50
    everything has been a lot of
  • 6:50 - 6:51
    figuring out
  • 6:51 - 6:56
    now
  • 6:56 - 7:00
    yeah this is like a weak part of me and
  • 7:00 - 7:01
    that i
  • 7:01 - 7:03
    that i'm i think it's called being a
  • 7:03 - 7:04
    maximizer it's not a good thing or a
  • 7:04 - 7:06
    perfectionist it's like that i
  • 7:06 - 7:09
    i'm having issues like
  • 7:09 - 7:10
    i'm learning a lot from you actually
  • 7:10 - 7:12
    like making a decision and stick stick
  • 7:12 - 7:14
    with it yeah because it's all this
  • 7:14 - 7:16
    thought what if we can make it even
  • 7:16 - 7:17
    better and i think
  • 7:17 - 7:19
    if i keep on thinking what if i can make
  • 7:19 - 7:20
    it even better this machine will
  • 7:20 - 7:22
    absolutely never never be finished there
  • 7:22 - 7:24
    will never be a world tour i won't be
  • 7:24 - 7:27
    able to write songs i won't be able to
  • 7:27 - 7:29
    decide on
  • 7:29 - 7:30
    anything
  • 7:30 - 7:32
    so it's almost a meta
  • 7:32 - 7:34
    my main motivation now i've been
  • 7:34 - 7:35
    thinking a lot
  • 7:35 - 7:37
    in therapy there's something called the
  • 7:37 - 7:39
    act uh therapy
  • 7:39 - 7:42
    acceptance commitment therapy
  • 7:42 - 7:43
    and one of the things you're doing that
  • 7:43 - 7:45
    is that you're
  • 7:45 - 7:47
    kind of working with an ultimate image
  • 7:47 - 7:48
    of
  • 7:48 - 7:50
    how you want to function in the future
  • 7:50 - 7:53
    as a person as an individual yeah and
  • 7:53 - 7:54
    it's very very high level and i think
  • 7:54 - 7:58
    like one of the things that i think
  • 7:58 - 8:00
    main motivation for me right now
  • 8:00 - 8:02
    is to kind of become a person who can
  • 8:02 - 8:04
    actually make decisions who can actually
  • 8:04 - 8:05
    finish something
  • 8:05 - 8:07
    and i think
  • 8:07 - 8:10
    the safe the safer decision on
  • 8:10 - 8:12
    [Music]
  • 8:12 - 8:14
    between 11 notes on the verb phone and
  • 8:14 - 8:17
    37 and what can be future save for me is
  • 8:17 - 8:20
    a 37 yeah it's a full music instrument
  • 8:20 - 8:22
    and it
  • 8:22 - 8:24
    and i think the problems
  • 8:24 - 8:27
    the problem we would have and also
  • 8:27 - 8:30
    so secondly then what i've decided is to
  • 8:30 - 8:32
    not have the instruments on top of each
  • 8:32 - 8:34
    other so vibraphone in one place
  • 8:34 - 8:37
    drums somewhere else
  • 8:37 - 8:40
    because like on these um
  • 8:40 - 8:42
    previous machines
  • 8:42 - 8:45
    i'm sick and tired of of like
  • 8:45 - 8:48
    knowing the simplest most logical form
  • 8:48 - 8:51
    from function mechanical solution but
  • 8:51 - 8:53
    not having the space for it yeah
  • 8:53 - 8:56
    so i'm gonna allow the instruments to
  • 8:56 - 8:58
    use the space they need and the
  • 8:58 - 9:00
    vibraphone needs some stuff drums needs
  • 9:00 - 9:03
    completely different stuff so let's not
  • 9:03 - 9:04
    like
  • 9:04 - 9:07
    put them in the on the same
  • 9:07 - 9:09
    it may be like a three-course meal what
  • 9:09 - 9:12
    about that
  • 9:12 - 9:14
    yeah do you put your ice cream on your
  • 9:14 - 9:15
    pasta
  • 9:15 - 9:16
    no
  • 9:16 - 9:18
    and and the precourse it sounds good in
  • 9:18 - 9:20
    your mind to add everything but look
  • 9:20 - 9:23
    look at the result here it looks cool
  • 9:23 - 9:24
    doesn't work
  • 9:24 - 9:26
    that's ice cream and pasta right there
  • 9:26 - 9:27
    mmx
  • 9:27 - 9:29
    yeah
  • 9:30 - 9:32
    do we have this one oh we have it
  • 9:32 - 9:35
    so here is ice cream on pasta
  • 9:35 - 9:37
    and when when when you sit down and eat
  • 9:37 - 9:40
    it you serve it at your restaurants and
  • 9:40 - 9:44
    your reviews afterwards is only one star
  • 9:44 - 9:45
    because they were like it's the best ice
  • 9:45 - 9:47
    cream ever and it's the best pasta ever
  • 9:47 - 9:49
    but just we couldn't feel the tastes you
  • 9:49 - 9:51
    know yeah and that's why on the new
  • 9:51 - 9:52
    machine
  • 9:52 - 9:53
    um
  • 9:53 - 9:55
    so yeah
  • 9:55 - 9:58
    that's why i feel not good today so
  • 9:58 - 10:01
    let's get into um
  • 10:01 - 10:03
    what what do you feel by the way before
  • 10:03 - 10:05
    we leave this you
  • 10:05 - 10:06
    how does this sound to you right now i
  • 10:06 - 10:09
    love this so much because
  • 10:09 - 10:12
    after all the hurdles of the past weeks
  • 10:12 - 10:14
    it's been a lot of like back and forth
  • 10:14 - 10:16
    and trying to find something
  • 10:16 - 10:18
    actually yesterday was a
  • 10:18 - 10:20
    semi-breakthrough where we actually
  • 10:20 - 10:22
    found the real mvp where it needs to be
  • 10:22 - 10:24
    focused and that is the vibraphone
  • 10:24 - 10:26
    that's the main thing you really want
  • 10:26 - 10:28
    you need it to tell your stories and it
  • 10:28 - 10:30
    needs to be 37. so
  • 10:30 - 10:33
    after all those hurdles we now have a
  • 10:33 - 10:34
    decision
  • 10:34 - 10:36
    yes yes we're gonna we're gonna stick
  • 10:36 - 10:38
    with this focus on the mvp right now
  • 10:38 - 10:40
    that's a vibraphone
  • 10:40 - 10:42
    that's the first thing to
  • 10:42 - 10:43
    solve
  • 10:43 - 10:45
    do you know what i like what i realized
  • 10:45 - 10:46
    yesterday hannes
  • 10:46 - 10:49
    um our action cam is a little bit bad
  • 10:49 - 10:50
    today but let's let's see let's try it
  • 10:50 - 6:56
    [♪ Wintergatan: Paradis ♪] // Subtitled by Wintergatan Writers. Join our team on discord. //
  • 10:50 - 10:52
    anyway
  • 10:52 - 10:55
    i i realized something yesterday that 11
  • 10:55 - 10:56
    notes
  • 10:56 - 10:59
    the vibraphone can almost not
  • 10:59 - 11:03
    um play chords and melody so
  • 11:03 - 11:05
    with 37 notes we get two instruments
  • 11:05 - 11:07
    from the vibraphone
  • 11:07 - 11:08
    so
  • 11:08 - 11:13
    of course i made i made this um i can't
  • 11:14 - 11:17
    where where it's actually here
  • 11:17 - 11:22
    [Music]
  • 11:22 - 11:25
    so so this is a
  • 11:25 - 11:28
    magical composition with only 11 notes
  • 11:28 - 11:31
    it is genius
  • 11:31 - 11:35
    i mean if i say so myself
  • 11:36 - 11:37
    it's beautiful in its simplicity what
  • 11:37 - 11:39
    you can get out of 11 note that's not a
  • 11:39 - 11:41
    challenge i want to live with for the
  • 11:41 - 11:44
    rest of my life i i did it once it's
  • 11:44 - 11:47
    enough so uh you can almost
  • 11:47 - 11:51
    so with 11 notes the chords are going to
  • 11:51 - 11:54
    be very close to the melody always so
  • 11:54 - 11:56
    you only have it like this and i kind of
  • 11:56 - 11:58
    maximize that on on the first machine
  • 11:58 - 12:02
    if we have 37 notes
  • 12:02 - 12:05
    oh what's something happen oh yeah okay
  • 12:05 - 12:06
    now let's see if we have
  • 12:06 - 12:08
    37 notes
  • 12:08 - 12:12
    imagine you could have a melody
  • 12:13 - 12:19
    [Music]
  • 12:19 - 12:22
    you can you can play real chords
  • 12:22 - 12:24
    under the vibraphone could do
  • 12:24 - 12:27
    [Music]
  • 12:27 - 12:28
    down there and then
  • 12:28 - 12:33
    [Music]
  • 12:33 - 12:36
    answering itself
  • 12:36 - 12:37
    so we get
  • 12:37 - 12:38
    two instruments instead of one if we
  • 12:38 - 12:40
    just allow ourselves to have the
  • 12:40 - 12:42
    vibraphone take the space it's needing
  • 12:42 - 12:43
    so
  • 12:43 - 12:44
    that's what we're gonna do
  • 12:44 - 12:47
    [Music]
  • 12:47 - 12:49
    not working not walking that back
  • 12:49 - 12:52
    anytime soon
  • 12:52 - 12:54
    that's go how it's going to be
  • 12:54 - 12:56
    oh
  • 12:56 - 12:57
    so
  • 12:57 - 12:58
    and to
  • 12:58 - 13:00
    this was kind of the missing piece for
  • 13:00 - 13:03
    me to to to keep on working
  • 13:03 - 13:05
    and this leads into the title of the
  • 13:05 - 13:07
    video
  • 13:07 - 13:09
    modules and interfaces and i think i'm
  • 13:09 - 13:11
    going to start to
  • 13:11 - 13:13
    [Music]
  • 13:13 - 13:14
    name
  • 13:14 - 13:17
    the modules and the interfaces that i
  • 13:17 - 13:18
    know that we will have and i'm going to
  • 13:18 - 13:20
    start to number them so i'm gonna start
  • 13:20 - 13:23
    to work on a pbs actually
  • 13:23 - 13:24
    um
  • 13:24 - 13:26
    pbs stands for
  • 13:26 - 13:28
    product breakdown system oof that's a
  • 13:28 - 13:32
    cool one um so this is the pbs and i'm
  • 13:32 - 13:33
    going to
  • 13:33 - 13:36
    um delete everything here
  • 13:36 - 13:37
    and
  • 13:37 - 13:40
    i learned from rudy from grand garage
  • 13:40 - 13:42
    very simple numbering structure so this
  • 13:42 - 13:44
    is this was highly controversial on the
  • 13:44 - 13:46
    machine x project but the numbering
  • 13:46 - 13:48
    structure i'm gonna go with on this
  • 13:48 - 13:51
    machine is the simplest ever it's
  • 13:51 - 13:53
    um
  • 13:53 - 13:56
    so let's see if i can zoom in on this
  • 13:56 - 13:58
    over here it's maybe okay
  • 13:58 - 14:00
    so we're gonna have it like this zero
  • 14:00 - 14:01
    zero
  • 14:01 - 14:04
    um
  • 14:07 - 14:09
    okay i have to reformat s because it
  • 14:09 - 14:11
    doesn't take the second 0. i have to
  • 14:11 - 14:14
    reformat as
  • 14:14 - 14:17
    plain text
  • 14:18 - 14:21
    zero zero dash zero zero
  • 14:21 - 14:22
    that is
  • 14:22 - 14:23
    machine three
  • 14:23 - 14:24
    oh
  • 14:24 - 14:26
    yes
  • 14:26 - 14:27
    and
  • 14:27 - 14:30
    why are you a square
  • 14:30 - 14:31
    hope everyone is doing
  • 14:31 - 14:34
    fine by the way in chat nice when you
  • 14:34 - 14:37
    treat them with that beautiful playing
  • 14:37 - 14:37
    in
  • 14:37 - 14:39
    directly in the stream we got them
  • 14:39 - 14:43
    hooked immediately here
  • 14:43 - 14:47
    as gonzonetre says here chills
  • 14:47 - 14:48
    mr grandson
  • 14:48 - 14:52
    sacha gretzky here hero of engineer
  • 14:52 - 14:56
    um airflow tube best melody ever
  • 14:56 - 14:57
    gone
  • 14:57 - 14:58
    by the way guns and nature have this
  • 14:58 - 15:01
    marble divider which is the i'm thinking
  • 15:01 - 15:03
    a lot about your marble divider gone
  • 15:03 - 15:05
    snatcher when i'm lying home trying to
  • 15:05 - 15:06
    sleep at night
  • 15:06 - 15:09
    because you did the split um
  • 15:09 - 15:11
    with lego
  • 15:11 - 15:13
    the simple split why split marble
  • 15:13 - 15:15
    divider we we're going to look at that
  • 15:15 - 15:17
    later ever you want to show another
  • 15:17 - 15:20
    comment sorry satish kumar add an
  • 15:20 - 15:22
    uh
  • 15:22 - 15:24
    yeah
  • 15:24 - 15:26
    before number thank you
  • 15:26 - 15:28
    thank you satish
  • 15:28 - 15:32
    um perfect and yoshik v tumanai thumbs
  • 15:32 - 15:34
    up for the full size vibraphone thank
  • 15:34 - 15:36
    you
  • 15:36 - 15:39
    and we also have satish
  • 15:39 - 15:44
    kumar mvp is full vibraphone yes yes
  • 15:44 - 15:47
    there's where we're going people whoa
  • 15:47 - 15:48
    so
  • 15:48 - 15:50
    um
  • 15:52 - 15:55
    first of all numbering structure then
  • 15:55 - 15:58
    let's see here no i think zero zero is
  • 15:58 - 16:00
    the marble machine three
  • 16:00 - 16:02
    and then
  • 16:02 - 16:04
    zero one
  • 16:04 - 16:05
    is going to be
  • 16:05 - 16:06
    [Music]
  • 16:06 - 16:08
    um
  • 16:08 - 16:09
    let's start let's start where everything
  • 16:09 - 16:11
    begins programming
  • 16:11 - 16:14
    programming wheel
  • 16:14 - 16:15
    um
  • 16:15 - 16:17
    and then if we have a sub component of
  • 16:17 - 16:19
    the programming wheel
  • 16:19 - 16:21
    that's going to be like zero one zero
  • 16:21 - 16:25
    one and th if we have a sub component of
  • 16:25 - 16:27
    that that's gonna be i should probably
  • 16:27 - 16:31
    make them in different
  • 16:31 - 16:33
    columns let's do that
  • 16:33 - 16:35
    um
  • 16:35 - 16:38
    some guy says
  • 16:38 - 16:39
    11
  • 16:39 - 16:42
    37 dot dot whatever you do make sure
  • 16:42 - 16:44
    it's a prime number
  • 16:44 - 16:47
    and then jerome blom share yes make them
  • 16:47 - 16:49
    twin primes
  • 16:49 - 16:51
    and that's so funny because hannes what
  • 16:51 - 16:53
    is a prime number oh do you think i
  • 16:53 - 16:55
    remember that we talked about it in the
  • 16:55 - 16:57
    gym this morning we googled what why
  • 16:57 - 16:59
    prime numbers are exciting at the gym
  • 16:59 - 17:02
    this morning because no you knew is
  • 17:02 - 17:06
    better than me yeah
  • 17:06 - 17:07
    so
  • 17:07 - 17:09
    don't you remember i'm just trying to
  • 17:09 - 17:12
    phrase it in my mind
  • 17:12 - 17:14
    like
  • 17:14 - 17:15
    four is
  • 17:15 - 17:16
    no
  • 17:16 - 17:18
    five is a prime number
  • 17:18 - 17:21
    and why because you can't
  • 17:21 - 17:24
    you need two
  • 17:25 - 17:27
    two plus two is four
  • 17:27 - 17:30
    you need to have two equals that add up
  • 17:30 - 17:31
    to
  • 17:31 - 17:33
    the number it's so hard to explain
  • 17:33 - 17:37
    you three plus two
  • 17:37 - 17:38
    it needs to be
  • 17:38 - 17:40
    two of the same
  • 17:40 - 17:42
    equals
  • 17:42 - 17:45
    right
  • 17:45 - 17:46
    do it
  • 17:46 - 17:48
    explain to me i had it wrong this
  • 17:48 - 17:50
    morning a prime number is a number where
  • 17:50 - 17:51
    two
  • 17:51 - 17:55
    smaller natural numbers can't be
  • 17:55 - 17:55
    um
  • 17:55 - 17:56
    [Music]
  • 17:56 - 18:00
    oh i forgot
  • 18:01 - 18:02
    can't be
  • 18:02 - 18:03
    you can't
  • 18:03 - 18:05
    put
  • 18:05 - 18:07
    added to each other and then make up the
  • 18:07 - 18:08
    number
  • 18:08 - 18:10
    lucas vendel only divisible by one and
  • 18:10 - 18:13
    itself okay that's again there we go
  • 18:13 - 18:16
    drop the mic
  • 18:16 - 18:16
    um
  • 18:16 - 18:19
    [Music]
  • 18:19 - 18:20
    so
  • 18:20 - 18:22
    what i want to do in this stream here so
  • 18:22 - 18:24
    we're already at point two writing
  • 18:24 - 18:27
    design requirements i wanna start
  • 18:27 - 18:29
    noting out the big modules
  • 18:29 - 18:32
    because i want to start your thinking in
  • 18:32 - 18:34
    modules and interfaces which i think
  • 18:34 - 18:35
    means
  • 18:35 - 18:37
    you have a module that sits together
  • 18:37 - 18:38
    like
  • 18:38 - 18:40
    here is a module
  • 18:40 - 18:42
    and the interface is the kind of the
  • 18:42 - 18:44
    cable and probably software so since
  • 18:44 - 18:47
    we're in a physical world now maybe
  • 18:47 - 18:49
    that was a bad example
  • 18:49 - 18:50
    um
  • 18:50 - 18:52
    so i think
  • 18:52 - 18:53
    the coffee mug is a module and the
  • 18:53 - 18:56
    handle is the interface is that could
  • 18:56 - 18:57
    that be something
  • 18:57 - 18:59
    [Laughter]
  • 18:59 - 19:00
    am i onto something
  • 19:00 - 19:03
    zero two high level big stuff here
  • 19:03 - 19:05
    programming wheel is the program
  • 19:05 - 19:07
    um
  • 19:07 - 19:08
    so
  • 19:08 - 19:10
    where where should we go from here
  • 19:10 - 19:12
    let's say
  • 19:12 - 19:16
    [Music]
  • 19:23 - 19:26
    um maybe we should think of it as a user
  • 19:26 - 19:30
    input so maybe zero one is drive train
  • 19:31 - 19:33
    drivetrain
  • 19:33 - 19:37
    this is flash scene zero never mind this
  • 19:37 - 19:40
    chat never ever gets read
  • 19:40 - 19:43
    i just want to prove to you that i read
  • 19:43 - 19:46
    i can't always read everything
  • 19:46 - 19:50
    and mostly i try to keep it on topic for
  • 19:50 - 19:51
    me and martin
  • 19:51 - 19:55
    some can to what we're talking about
  • 19:55 - 19:58
    but if you have brilliant suggestions i
  • 19:58 - 19:59
    will pull them up if i don't understand
  • 19:59 - 20:02
    them perhaps they're even greater than
  • 20:02 - 20:04
    my mind you know then you should upload
  • 20:04 - 20:06
    them to our dropbox system
  • 20:06 - 20:08
    and you can do that if you go to the
  • 20:08 - 20:11
    document central on
  • 20:11 - 20:12
    the website it's a link in this
  • 20:12 - 20:15
    description as well and you can paste
  • 20:15 - 20:16
    your ideas there if you have some great
  • 20:16 - 20:19
    ideas don't trust me
  • 20:19 - 20:22
    to figure out your brilliance out there
  • 20:22 - 20:24
    sometimes i miss stuff the one place
  • 20:24 - 20:26
    where we check at everything is dropbox
  • 20:26 - 20:28
    submissions and in in the documentation
  • 20:28 - 20:30
    central you have a
  • 20:30 - 20:33
    thorough um
  • 20:33 - 20:35
    oh i'm missing the no back to front
  • 20:35 - 20:36
    pages here
  • 20:36 - 20:39
    so in in this document
  • 20:39 - 20:41
    here how to upload your design
  • 20:41 - 20:43
    suggestion images and videos
  • 20:43 - 20:45
    click that link and and read the
  • 20:45 - 20:47
    instructions and follow that and we will
  • 20:47 - 20:50
    look at everything and hannes is uh here
  • 20:50 - 20:53
    to read the chat full time
  • 20:53 - 20:56
    uh but hannes is deliberately choosing
  • 20:56 - 20:58
    to keep uh on topic to not derail me
  • 20:58 - 21:00
    from from the work i'm trying to do
  • 21:00 - 21:02
    so there there you go that's the that's
  • 21:02 - 21:04
    the that's how we are trying to set this
  • 21:04 - 21:05
    up um
  • 21:05 - 21:07
    [Music]
  • 21:07 - 21:10
    let's see here
  • 21:16 - 21:19
    where is the pbs
  • 21:19 - 21:21
    here
  • 21:21 - 21:22
    there we go
  • 21:22 - 21:24
    um
  • 21:24 - 21:26
    so yeah this it doesn't really matter
  • 21:26 - 21:28
    here which order i put them in but we're
  • 21:28 - 21:32
    gonna leave with this pretty long
  • 21:32 - 21:33
    and then i'm going to use the same
  • 21:33 - 21:35
    number for the design requirements
  • 21:35 - 21:37
    that's where i'm going with this so we
  • 21:37 - 21:39
    can get a little structure
  • 21:39 - 21:39
    um
  • 21:39 - 21:41
    [Music]
  • 21:41 - 21:42
    so i'm just have to think where i should
  • 21:42 - 21:45
    start
  • 21:54 - 21:55
    so in cad i started with the programming
  • 21:55 - 21:56
    wheel
  • 21:56 - 22:00
    [Music]
  • 22:00 - 22:02
    yeah why not do that actually that's it
  • 22:02 - 22:04
    doesn't matter
  • 22:04 - 22:08
    programming wheel which is a big one
  • 22:09 - 22:10
    loop wheel
  • 22:10 - 22:11
    here
  • 22:11 - 22:14
    gilda's p is marble machine 3 the
  • 22:14 - 22:17
    official name
  • 22:17 - 22:19
    for now it is at least until something
  • 22:19 - 22:21
    brilliant just comes out of the clear
  • 22:21 - 22:23
    sky
  • 22:23 - 22:24
    i would like to maybe just call it the
  • 22:24 - 22:25
    marble machine i think it's the same
  • 22:25 - 22:27
    machine i've been building all the time
  • 22:27 - 22:29
    yeah so it's just versions of the same
  • 22:29 - 22:31
    machine so
  • 22:31 - 22:33
    they're like
  • 22:33 - 22:35
    world tour vint garden featuring the
  • 22:35 - 22:37
    marble machine i think that's cooler
  • 22:37 - 22:39
    so nothing so i think the official name
  • 22:39 - 22:41
    is the marble machine and we just say
  • 22:41 - 22:43
    three now to separate them
  • 22:43 - 22:45
    loop wheel
  • 22:45 - 22:48
    [Music]
  • 22:51 - 22:53
    so what else
  • 22:53 - 22:54
    um
  • 22:54 - 22:56
    and doro just
  • 22:56 - 22:57
    says here start with listing the
  • 22:57 - 22:59
    components you can renumber them in a
  • 22:59 - 23:01
    second step
  • 23:01 - 23:04
    just to keep it up for you
  • 23:06 - 23:08
    yes that's that's good so let's do
  • 23:08 - 23:11
    vibraphone
  • 23:11 - 23:14
    let's do um kick drum
  • 23:14 - 23:16
    thanks for that suggestion that was
  • 23:16 - 23:18
    exactly what i what i needed to hear
  • 23:18 - 23:20
    snare drum hi-hat
  • 23:20 - 23:22
    we have um
  • 23:22 - 23:23
    [Music]
  • 23:23 - 23:26
    crank
  • 23:27 - 23:30
    crank and pedal
  • 23:34 - 23:38
    power input cogno marco interface should
  • 23:38 - 23:42
    be understood as the boundary among two
  • 23:42 - 23:44
    or more product
  • 23:44 - 23:46
    modules
  • 23:46 - 23:49
    okay cool this is this is this is good i
  • 23:49 - 23:52
    need to understand this um
  • 23:52 - 23:56
    i have notes in the design requests
  • 23:56 - 23:59
    let's go there i saw them there
  • 23:59 - 24:03
    here design requirements
  • 24:03 - 24:08
    so let's go out here
  • 24:09 - 24:12
    i'm gonna paste that here
  • 24:12 - 24:17
    interface equals the boundary
  • 24:17 - 24:19
    among
  • 24:19 - 24:21
    two or more
  • 24:21 - 24:24
    product modules
  • 24:25 - 24:26
    great
  • 24:26 - 24:31
    so the boundary so question for chat um
  • 24:31 - 24:32
    when a programming pane
  • 24:32 - 24:35
    [Music]
  • 24:36 - 24:39
    so a programming pin that goes into the
  • 24:39 - 24:41
    programming wheel
  • 24:41 - 24:44
    is a programming pin a module
  • 24:44 - 24:45
    and the hole is
  • 24:45 - 24:47
    in interface
  • 24:47 - 24:50
    or is that too too tiny is that
  • 24:50 - 24:52
    interface for example the programming
  • 24:52 - 24:54
    pin touching the registrators because it
  • 24:54 - 24:56
    feels like registrators are a module
  • 24:56 - 24:59
    programming wheel is a module
  • 24:59 - 25:01
    and then the pin
  • 25:01 - 25:04
    interfacing the boundary with uh
  • 25:04 - 25:06
    touching the registrators
  • 25:06 - 25:09
    that feels like that's an interface but
  • 25:09 - 25:11
    how far down do we go yeah let's see we
  • 25:11 - 25:13
    have a couple here let's see what sean
  • 25:13 - 25:15
    lebell says
  • 25:15 - 25:16
    i think the interface is more about how
  • 25:16 - 25:19
    the model go together it is not always a
  • 25:19 - 25:21
    physical thing i think it's more about
  • 25:21 - 25:23
    defining boundaries and how modules
  • 25:23 - 25:27
    interact at these boundaries
  • 25:27 - 25:28
    and
  • 25:28 - 25:30
    jiron says the registrators are an
  • 25:30 - 25:32
    interface between the programming wheel
  • 25:32 - 25:34
    the muting system and the marble
  • 25:34 - 25:35
    droppers
  • 25:35 - 25:38
    [Music]
  • 25:38 - 25:40
    okay so
  • 25:40 - 25:42
    so as always it's kind of like you can
  • 25:42 - 25:45
    you can use these words
  • 25:45 - 25:47
    on a little bit different levels and in
  • 25:47 - 25:48
    different ways
  • 25:48 - 25:49
    um
  • 25:49 - 25:50
    when i googled it
  • 25:50 - 25:54
    this morning it's mostly software stuff
  • 25:54 - 25:58
    um so what are modules in system
  • 25:58 - 25:59
    uh here's hardware a module is a
  • 25:59 - 26:01
    separate unit
  • 26:01 - 26:04
    of software or hardware
  • 26:04 - 26:06
    typical characteristics of modular
  • 26:06 - 26:08
    components include portability which
  • 26:08 - 26:11
    allows them to let's not use this module
  • 26:11 - 26:14
    like that okay
  • 26:14 - 26:16
    um pablo edwardo interfaces can be
  • 26:16 - 26:19
    abstract for example a marble gate might
  • 26:19 - 26:22
    have a trigger interface defined
  • 26:22 - 26:23
    and you might implement multiple
  • 26:23 - 26:25
    triggering systems that work with that
  • 26:25 - 26:28
    interface for example program plus
  • 26:28 - 26:29
    mutual
  • 26:29 - 26:31
    at a manual i mean
  • 26:31 - 26:33
    so
  • 26:33 - 26:34
    what if
  • 26:34 - 26:35
    suggestion for chat let me know what you
  • 26:35 - 26:37
    think about this
  • 26:37 - 26:39
    what if we make
  • 26:39 - 26:42
    modules like the physical assemblies
  • 26:42 - 26:45
    and interfaces is more a theoretical
  • 26:45 - 26:46
    abstraction of
  • 26:46 - 26:49
    uh how they interact so
  • 26:49 - 26:52
    bowdoin cable is is is a is a good idea
  • 26:52 - 26:54
    the bounding cable is actually done a
  • 26:54 - 26:56
    module
  • 26:56 - 26:58
    but the actual pulling of the bounding
  • 26:58 - 27:00
    cable
  • 27:00 - 27:02
    the actu the action
  • 27:02 - 27:04
    is the interface kind of the thing that
  • 27:04 - 27:07
    happens not the thing itself um sector
  • 27:07 - 27:10
    kumar says here like programming pin
  • 27:10 - 27:13
    will be interface between the wheel and
  • 27:13 - 27:14
    the registrator
  • 27:14 - 27:16
    okay so
  • 27:16 - 27:18
    according to that the setup is saying
  • 27:18 - 27:20
    here then the bounding cable is an
  • 27:20 - 27:21
    interface
  • 27:21 - 27:26
    between registrator and marble gate
  • 27:26 - 27:28
    programming pin will be the interface
  • 27:28 - 27:32
    between the
  • 27:35 - 27:37
    so it's it's maybe so okay
  • 27:37 - 27:39
    mark marketing the interface is where
  • 27:39 - 27:42
    the pin and the registrator connect i
  • 27:42 - 27:44
    think
  • 27:45 - 27:47
    yeah so here we have two different
  • 27:47 - 27:48
    options
  • 27:48 - 27:49
    um
  • 27:49 - 27:50
    [Music]
  • 27:50 - 27:52
    so what what mark is suggesting here is
  • 27:52 - 27:54
    more of the abstract thing there's
  • 27:54 - 27:56
    actually not a physical item
  • 27:56 - 27:58
    representing the interface the interface
  • 27:58 - 27:59
    is the action the pin is hitting the
  • 27:59 - 28:01
    next thing that's the interfacing
  • 28:01 - 28:03
    surface kind of that's where they
  • 28:03 - 28:06
    interface and in my mind
  • 28:06 - 28:08
    this is easier because
  • 28:08 - 28:10
    we have physical things
  • 28:10 - 28:11
    and we have
  • 28:11 - 28:14
    abstract uh we have actions theoretical
  • 28:14 - 28:17
    or practical actions
  • 28:17 - 28:18
    um
  • 28:18 - 28:20
    but what sages said
  • 28:20 - 28:22
    um the actual physical pin
  • 28:22 - 28:25
    is the interface
  • 28:25 - 28:26
    then the actual physical bounding cable
  • 28:26 - 28:29
    is the interface
  • 28:29 - 28:31
    pablo edwardo exactly martin bowden
  • 28:31 - 28:33
    cable is just an implementation to
  • 28:33 - 28:36
    satisfy an interface
  • 28:36 - 28:38
    okay
  • 28:38 - 28:42
    because this will make it easy
  • 28:42 - 28:45
    i'm leaning to using these definitions
  • 28:45 - 28:46
    because this will make it easier to to
  • 28:46 - 28:49
    write the lists and stuff when all the
  • 28:49 - 28:52
    physical objects can be can be modules
  • 28:52 - 28:53
    and then the pulling
  • 28:53 - 28:55
    [Music]
  • 28:55 - 28:58
    is the action is the interface so
  • 28:58 - 29:00
    interesting and davissimo123
  • 29:00 - 29:02
    interfaces should be how modules are
  • 29:02 - 29:05
    connected not a component okay but then
  • 29:05 - 29:07
    we're then we're getting a little bit of
  • 29:07 - 29:09
    consensus around this so
  • 29:09 - 29:12
    uh and satish adds here how they
  • 29:12 - 29:15
    interact will be the interface okay so
  • 29:15 - 29:18
    sages is also on board we have consensus
  • 29:18 - 29:20
    we have consensus here right now modules
  • 29:20 - 29:22
    i'm going to make a very simple
  • 29:22 - 29:24
    definition down here
  • 29:24 - 29:28
    in the left of your screen modules
  • 29:28 - 29:30
    equals
  • 29:30 - 29:33
    the physical objects
  • 29:34 - 29:37
    and then add another
  • 29:37 - 29:40
    row um
  • 29:40 - 29:43
    interfaces
  • 29:43 - 29:45
    the
  • 29:45 - 29:48
    the action
  • 29:48 - 29:49
    that happens i don't have a battery
  • 29:49 - 29:52
    right now
  • 29:53 - 29:54
    pulling
  • 29:54 - 29:57
    so so as a physical object
  • 29:57 - 30:00
    powering cable
  • 30:01 - 30:04
    and the action that happens is pulling
  • 30:04 - 30:07
    and i think this is a super good base
  • 30:07 - 30:08
    for
  • 30:08 - 30:10
    cleaning and getting the design
  • 30:10 - 30:14
    requirement document much more um
  • 30:14 - 30:16
    because i've been
  • 30:16 - 30:18
    in the design requirement document we
  • 30:18 - 30:19
    still have a lot of great suggestions i
  • 30:19 - 30:21
    hope to go through them during this
  • 30:21 - 30:24
    stream and i'm moving all of these into
  • 30:24 - 30:25
    here
  • 30:25 - 30:27
    and
  • 30:27 - 30:30
    i think i've been confused around like
  • 30:30 - 30:32
    very much how to fundamentally build
  • 30:32 - 30:33
    this document
  • 30:33 - 30:36
    and i think when i have a pbs built on
  • 30:36 - 30:38
    modules and interfaces
  • 30:38 - 30:40
    and i think that's can be done the base
  • 30:40 - 30:43
    structure to kind of then go in and
  • 30:43 - 30:45
    write the design requirement for each
  • 30:45 - 30:47
    module and the design requirement for
  • 30:47 - 30:48
    each interface
  • 30:48 - 30:50
    so actually kind of cool
  • 30:50 - 30:52
    maybe we should have like a numbering
  • 30:52 - 30:53
    system
  • 30:53 - 30:55
    in the pbs
  • 30:55 - 30:57
    this is not how a pbs normally is used
  • 30:57 - 30:58
    but
  • 30:58 - 31:00
    maybe we can even have numbers here for
  • 31:00 - 31:01
    interfaces
  • 31:01 - 31:04
    so
  • 31:05 - 31:07
    this could actually be very helpful so
  • 31:07 - 31:08
    let's say that
  • 31:08 - 31:13
    i'm just making an example here 0101
  • 31:13 - 31:14
    um
  • 31:14 - 31:16
    for example
  • 31:16 - 31:20
    is a programming pin
  • 31:20 - 31:21
    and then
  • 31:21 - 31:22
    yeah
  • 31:22 - 31:24
    from this is interesting also from
  • 31:24 - 31:26
    machias levicek
  • 31:26 - 31:29
    in code the interface is in
  • 31:29 - 31:32
    interface in a set way defining how two
  • 31:32 - 31:34
    components interact so that if you
  • 31:34 - 31:36
    change one or the other as long as you
  • 31:36 - 31:39
    keep obeying the interface modules keep
  • 31:39 - 31:41
    being compatible
  • 31:41 - 31:44
    that's from the software
  • 31:44 - 31:46
    coding right so that if you change one
  • 31:46 - 31:48
    or the other as long as you keep obeying
  • 31:48 - 31:51
    the interface modules keep being
  • 31:51 - 31:53
    compatible
  • 31:53 - 31:55
    and that's very interesting let me see
  • 31:55 - 31:58
    if i can
  • 31:59 - 32:02
    defining how two components interact so
  • 32:02 - 32:04
    that if you change one or the other as
  • 32:04 - 32:07
    long as you keep obeying the interface
  • 32:07 - 32:09
    modules keep being compatible so for
  • 32:09 - 32:10
    example
  • 32:10 - 32:14
    say i want a new programming wheel
  • 32:14 - 32:16
    another size
  • 32:16 - 32:19
    in the interface or or another
  • 32:19 - 32:20
    registrator because the registration
  • 32:20 - 32:21
    failed
  • 32:21 - 32:24
    the interface is pulling
  • 32:24 - 32:26
    and we have a design requirement in the
  • 32:26 - 32:28
    interface that says
  • 32:28 - 32:30
    it has to pull exactly 20 millimeter
  • 32:30 - 32:33
    yeah and then let go
  • 32:33 - 32:34
    then
  • 32:34 - 32:37
    if i make new registrators that looks
  • 32:37 - 32:39
    completely different but also pulls
  • 32:39 - 32:41
    exactly 20 millimeter
  • 32:41 - 32:43
    then um
  • 32:43 - 32:45
    then the marble gate will be happy yeah
  • 32:45 - 32:47
    this is so cool so the interfacing is
  • 32:47 - 32:49
    almost like sending all
  • 32:49 - 32:51
    major rules the rules of the machine
  • 32:51 - 32:54
    that it needs to obey yeah so just like
  • 32:54 - 32:55
    we have design requirements for the
  • 32:55 - 32:59
    physical things like 37 notes yeah um we
  • 32:59 - 33:02
    can have a design requirement that the
  • 33:02 - 33:04
    travel length
  • 33:04 - 33:06
    of the bounding cable is 20 millimeters
  • 33:06 - 33:07
    yeah
  • 33:07 - 33:09
    and
  • 33:09 - 33:11
    um can you show me the same comment
  • 33:11 - 33:13
    again
  • 33:13 - 33:15
    i i want to take some notes from that
  • 33:15 - 33:16
    one
  • 33:16 - 33:16
    um
  • 33:16 - 33:19
    [Music]
  • 33:22 - 33:25
    so i've been thinking a lot about
  • 33:25 - 33:26
    when i'm trying to learn these kind of
  • 33:26 - 33:27
    things
  • 33:27 - 33:29
    and i'm going to be
  • 33:29 - 33:29
    um
  • 33:29 - 33:31
    [Music]
  • 33:31 - 33:33
    better at just picking the chairs that
  • 33:33 - 33:35
    are helping me because my project isn't
  • 33:35 - 33:37
    so
  • 33:37 - 33:40
    not like a normal engineering project
  • 33:40 - 33:42
    and i think sometimes i get stuck in
  • 33:42 - 33:44
    kind of learning the way it's done for
  • 33:44 - 33:46
    nuclear power plants
  • 33:46 - 33:48
    and i think like that's a beginner
  • 33:48 - 33:50
    mistake so just taking
  • 33:50 - 33:52
    doing it a little bit my own way but not
  • 33:52 - 33:55
    doing it the way i did um when i when i
  • 33:55 - 33:57
    built these two machines like we have
  • 33:57 - 33:59
    some footage from that and
  • 33:59 - 34:01
    it didn't end well so
  • 34:01 - 34:04
    we have to kind of um this is my new
  • 34:04 - 34:05
    idea
  • 34:05 - 34:09
    that i'll take what i find useful but
  • 34:09 - 34:11
    then i don't get bogged down with
  • 34:11 - 34:13
    learning too much about it because it's
  • 34:13 - 34:16
    not applicable okay so picking up
  • 34:16 - 34:19
    picking out the raisins from the cake
  • 34:19 - 34:21
    yes
  • 34:21 - 34:23
    [Music]
  • 34:23 - 34:26
    in
  • 34:26 - 34:29
    an interface
  • 34:29 - 34:32
    equals
  • 34:32 - 34:34
    a set
  • 34:34 - 34:36
    definition
  • 34:36 - 34:37
    of
  • 34:37 - 34:41
    how two components
  • 34:41 - 34:43
    interact
  • 34:43 - 34:43
    um
  • 34:43 - 34:44
    [Music]
  • 34:44 - 34:47
    if you
  • 34:47 - 34:49
    change one
  • 34:49 - 34:51
    component
  • 34:51 - 34:53
    but obese
  • 34:53 - 34:55
    base the
  • 34:55 - 34:57
    rules
  • 34:57 - 35:00
    for the interface
  • 35:00 - 35:03
    the two components
  • 35:03 - 35:05
    will still
  • 35:05 - 35:06
    be
  • 35:06 - 35:07
    um
  • 35:07 - 35:09
    compatible
  • 35:09 - 35:15
    so this is what pc got wrong right yeah
  • 35:15 - 35:18
    this is why i overpay for my apple
  • 35:18 - 35:21
    computers because the components are
  • 35:21 - 35:22
    always compatible with each other it's
  • 35:22 - 35:24
    not like you buy a new thing and then
  • 35:24 - 35:26
    something else doesn't work
  • 35:26 - 35:30
    and thiru oran and i think a camera lens
  • 35:30 - 35:32
    bionet is a good example of this the
  • 35:32 - 35:36
    lens fits if the bionet is compatible
  • 35:36 - 35:38
    so what is a bionic yeah you mean
  • 35:38 - 35:40
    where you may when you mount the lens
  • 35:40 - 35:43
    like if everything is then they it could
  • 35:43 - 35:45
    be a
  • 35:45 - 35:48
    50 millimeter short lens or a zoom lens
  • 35:48 - 35:49
    or
  • 35:49 - 35:51
    at the mount yeah like the e-mount on
  • 35:51 - 35:54
    the on the sony cameras ooh
  • 35:54 - 35:56
    you know that's a great example tarot
  • 35:56 - 35:57
    and goodyear taking something that you
  • 35:57 - 36:00
    know we know about uh
  • 36:00 - 36:01
    something from our world and there are
  • 36:01 - 36:03
    some words of encouragement for you from
  • 36:03 - 36:05
    your sheikh v to money sound like you're
  • 36:05 - 36:07
    starting to get the hang of this martin
  • 36:07 - 36:10
    you're on the right path
  • 36:10 - 36:11
    you are teaching me you're teaching me
  • 36:11 - 36:14
    live it's i absolutely love this
  • 36:14 - 36:15
    um
  • 36:15 - 36:16
    so um
  • 36:16 - 36:19
    example a camera
  • 36:19 - 36:21
    lens mount
  • 36:21 - 36:23
    if the mount
  • 36:23 - 36:25
    is
  • 36:25 - 36:28
    universal universal
  • 36:28 - 36:30
    if the mount
  • 36:30 - 36:32
    the interface
  • 36:32 - 36:35
    is universal
  • 36:35 - 36:37
    [Music]
  • 36:37 - 36:39
    any type of lens
  • 36:39 - 36:41
    will be
  • 36:41 - 36:45
    mountable that's such bad english
  • 36:46 - 36:49
    and then we have matias live check here
  • 36:49 - 36:51
    again so that if you change the size of
  • 36:51 - 36:53
    the programming wheel as long as it
  • 36:53 - 36:56
    pulls the same length it will work
  • 36:56 - 36:58
    awesome
  • 36:58 - 36:58
    so
  • 36:58 - 37:02
    this is awesome um
  • 37:03 - 37:05
    we we used the word a lot assemblies and
  • 37:05 - 37:07
    sub-assemblies
  • 37:07 - 37:09
    before and um
  • 37:09 - 37:12
    so i think like module
  • 37:12 - 37:15
    um the word module is actually exactly
  • 37:15 - 37:19
    going to be used as we used we used to
  • 37:19 - 37:21
    use the word assemblies
  • 37:21 - 37:22
    um
  • 37:22 - 37:23
    so maybe i'm just going to call them
  • 37:23 - 37:26
    assemblies and sub or
  • 37:26 - 37:29
    modules and sub modules yeah uh just to
  • 37:29 - 37:31
    be fancy so to go with this module and
  • 37:31 - 37:35
    interface um thing
  • 37:35 - 37:39
    let's go and see
  • 37:39 - 37:40
    and here we have a nice little
  • 37:40 - 37:42
    explanation on the software side again
  • 37:42 - 37:44
    here from
  • 37:44 - 37:48
    xe4lu for duo one
  • 37:48 - 37:50
    encoded interface is usually on the side
  • 37:50 - 37:52
    that provides a result example the
  • 37:52 - 37:54
    website has the interface and the client
  • 37:54 - 37:56
    sends requests
  • 37:56 - 37:58
    the pin is input to the registrator
  • 37:58 - 38:01
    interface
  • 38:02 - 38:05
    on this i have to process this
  • 38:05 - 38:07
    the website has the interface and the
  • 38:07 - 38:10
    client sensor requests
  • 38:10 - 38:14
    the pin is input to the registrator
  • 38:14 - 38:17
    interface
  • 38:24 - 38:26
    so
  • 38:27 - 38:29
    the programming pin
  • 38:29 - 38:30
    okay so the programming pin is like the
  • 38:30 - 38:33
    website user
  • 38:33 - 38:34
    uh
  • 38:34 - 38:36
    searching for something on on like
  • 38:36 - 38:37
    google search
  • 38:37 - 38:40
    and saying
  • 38:40 - 38:42
    bam and when it hits the registrator the
  • 38:42 - 38:45
    registrators comes up with a result
  • 38:45 - 38:47
    yeah so it's like
  • 38:47 - 38:50
    so does that mean there's like an input
  • 38:50 - 38:53
    output uh framework um
  • 38:53 - 38:55
    for an interface
  • 38:55 - 38:57
    so that's that's the next question then
  • 38:57 - 38:58
    uh for everyone
  • 38:58 - 38:59
    um
  • 38:59 - 39:02
    if it's useful to think of input and
  • 39:02 - 39:04
    output for for when you make design
  • 39:04 - 39:05
    requirements for an interface maybe
  • 39:05 - 39:06
    that's
  • 39:06 - 39:08
    maybe an interface always have input and
  • 39:08 - 39:10
    output
  • 39:10 - 39:12
    yes or no
  • 39:12 - 39:13
    um
  • 39:13 - 39:16
    probably needs that right
  • 39:16 - 39:18
    where am i stupid
  • 39:18 - 39:21
    i don't you're not stupid but um
  • 39:21 - 39:24
    so i'm going back here
  • 39:24 - 39:26
    programming pin
  • 39:26 - 39:28
    zero one zero one for our example and
  • 39:28 - 39:30
    then i was thinking
  • 39:30 - 39:32
    if we could do
  • 39:32 - 39:35
    like an interface number
  • 39:35 - 39:36
    zero one
  • 39:36 - 39:38
    um
  • 39:38 - 39:38
    zero one
  • 39:38 - 39:41
    [Music]
  • 39:41 - 39:44
    um
  • 39:47 - 39:49
    either just either just we
  • 39:49 - 39:53
    we do 99 and we say that 99 is always an
  • 39:53 - 39:55
    interface so we don't have any
  • 39:55 - 39:56
    letters
  • 39:56 - 39:58
    and then
  • 39:58 - 40:01
    input process output thank you army ceo
  • 40:01 - 40:03
    um
  • 40:03 - 40:05
    people say yes yes i think they mean the
  • 40:05 - 40:07
    input output okay cool
  • 40:07 - 40:10
    um so then we have um
  • 40:10 - 40:11
    [Music]
  • 40:11 - 40:14
    paul wilkins yes interfaces are about a
  • 40:14 - 40:16
    consistent input always having the same
  • 40:16 - 40:19
    reliable output
  • 40:20 - 40:25
    cool we go i have to i have to write um
  • 40:25 - 40:27
    in our we're learning so much we're
  • 40:27 - 40:29
    learning today this is so fun
  • 40:29 - 40:32
    this is as soon as the south park
  • 40:32 - 40:35
    i think we learned something today
  • 40:35 - 40:38
    the interface is in action
  • 40:38 - 40:42
    and not a physical item
  • 40:43 - 40:46
    [Music]
  • 40:46 - 40:48
    interface
  • 40:48 - 40:50
    equals
  • 40:50 - 40:52
    i'm behind the names there wait i'm
  • 40:52 - 40:55
    gonna add more rows
  • 40:55 - 40:58
    interface
  • 40:58 - 41:00
    input
  • 41:00 - 41:02
    process
  • 41:02 - 41:03
    output
  • 41:03 - 41:05
    that's super handy because when we're
  • 41:05 - 41:07
    making the
  • 41:07 - 41:10
    that's super handy
  • 41:10 - 41:13
    let's see um
  • 41:16 - 41:19
    why can't can i never find this one
  • 41:19 - 41:22
    here we go
  • 41:22 - 41:25
    so either i do this or i do
  • 41:25 - 41:26
    um
  • 41:26 - 41:28
    int
  • 41:28 - 41:30
    like
  • 41:30 - 41:33
    no i'm gonna keep it like 99 then it's a
  • 41:33 - 41:34
    so
  • 41:34 - 41:35
    um
  • 41:35 - 41:38
    people saying here also contract is the
  • 41:38 - 41:40
    main key word when it comes to
  • 41:40 - 41:42
    interfaces
  • 41:42 - 41:44
    from paul wilkinson also pablo edwardo
  • 41:44 - 41:47
    it's your contract between components
  • 41:47 - 41:51
    tell me more one is a contract
  • 41:51 - 41:54
    someone said here gamers max16 in code
  • 41:54 - 41:57
    interface is a contract defining input
  • 41:57 - 41:59
    and output
  • 41:59 - 42:03
    can be empty in code
  • 42:03 - 42:05
    in it okay so the interface is a
  • 42:05 - 42:08
    contract
  • 42:10 - 42:13
    it's like a deal we made a deal and here
  • 42:13 - 42:15
    eric morris reminds us you should be a
  • 42:15 - 42:16
    bit careful about stretching this
  • 42:16 - 42:18
    metaphor coding is not the same as
  • 42:18 - 42:21
    making a physical machine yeah
  • 42:21 - 42:22
    yeah
  • 42:22 - 42:24
    this is a very good comment eric
  • 42:24 - 42:26
    mirrors because this is like where we
  • 42:26 - 42:29
    have to like just take what we need
  • 42:29 - 42:33
    and then not not not go too far with it
  • 42:33 - 42:36
    but what about this here we have
  • 42:36 - 42:36
    um
  • 42:36 - 42:38
    [Music]
  • 42:38 - 42:42
    programming pin interface
  • 42:42 - 42:43
    which then is a completely different
  • 42:43 - 42:47
    thing coded by a 99 i'm not so happy by
  • 42:47 - 42:48
    the code
  • 42:48 - 42:49
    um
  • 42:49 - 42:52
    your contract
  • 42:53 - 42:55
    the code contract
  • 42:55 - 42:58
    everything is contracts now yeah the
  • 42:58 - 43:00
    contract
  • 43:00 - 43:01
    i'm not gonna i'm not gonna understand
  • 43:01 - 43:03
    it right away i i will i will i will
  • 43:03 - 43:05
    think of it as it's the
  • 43:05 - 43:07
    that we
  • 43:07 - 43:10
    two components agreed
  • 43:10 - 43:13
    to exchange inputs and
  • 43:13 - 43:16
    to change like information or or
  • 43:16 - 43:17
    actions
  • 43:17 - 43:19
    and we agreed what the input is how the
  • 43:19 - 43:21
    processing should be done and what
  • 43:21 - 43:22
    output
  • 43:22 - 43:23
    then will be
  • 43:23 - 43:25
    or something like that
  • 43:25 - 43:28
    mark marketing repeating a bit
  • 43:28 - 43:30
    but i'd love to suggest drawing a block
  • 43:30 - 43:32
    diagram with the modules connected by
  • 43:32 - 43:35
    the interfaces i found that incredibly
  • 43:35 - 43:40
    useful for designing modular stuff
  • 43:44 - 43:47
    that is probably a super good idea it's
  • 43:47 - 43:50
    only i think that that's a whole stream
  • 43:50 - 43:51
    by itself i think because the machine is
  • 43:51 - 43:56
    so vast i think
  • 43:56 - 43:58
    i think we should do that um
  • 43:58 - 44:00
    block diagram let me google block
  • 44:00 - 44:01
    diagram
  • 44:01 - 44:03
    um
  • 44:03 - 44:05
    but i need to first
  • 44:05 - 44:08
    just get the okay so this is
  • 44:08 - 44:11
    so it's kind of like this electrical uh
  • 44:11 - 44:13
    what goes to what
  • 44:13 - 44:16
    kind of thing
  • 44:16 - 44:18
    um
  • 44:18 - 44:21
    this is going to be super fun to make
  • 44:21 - 44:22
    this when we have the names and
  • 44:22 - 44:23
    everything
  • 44:23 - 44:25
    um
  • 44:25 - 44:27
    but i need to kind of
  • 44:27 - 44:31
    learn like a software or learn some
  • 44:31 - 44:33
    so
  • 44:33 - 44:35
    but this there is probably good software
  • 44:35 - 44:36
    to do this
  • 44:36 - 44:38
    yeah do you have a suggestion for our
  • 44:38 - 44:40
    software to do it i think we should do
  • 44:40 - 44:42
    it but i think it's the next time pablo
  • 44:42 - 44:44
    eduardo martin has it right if two
  • 44:44 - 44:46
    components agree how they talk to each
  • 44:46 - 44:48
    other they don't care what they do
  • 44:48 - 44:51
    inside
  • 44:53 - 44:55
    sounds good
  • 44:55 - 45:00
    let me keep on with the list here bass
  • 45:02 - 45:03
    marble
  • 45:03 - 45:07
    catching marble catcher
  • 45:07 - 45:09
    marble catcher
  • 45:09 - 45:12
    marble lifter the block diagram is a
  • 45:12 - 45:14
    great idea actually yeah
  • 45:14 - 45:15
    probably
  • 45:15 - 45:17
    like yeah a lot of
  • 45:17 - 45:22
    cool apps or programs you can do it in
  • 45:24 - 45:27
    let's just add some more rows
  • 45:27 - 45:29
    so
  • 45:29 - 45:31
    please give me suggestions if because
  • 45:31 - 45:33
    you know how this machine
  • 45:33 - 45:34
    looks if you have
  • 45:34 - 45:36
    any other
  • 45:36 - 45:37
    um
  • 45:37 - 45:39
    modules that i should list here very top
  • 45:39 - 45:41
    level i see this coming up a lot right
  • 45:41 - 45:46
    now here's from abigabs and draw
  • 45:46 - 45:47
    a good
  • 45:47 - 45:50
    program to use
  • 45:51 - 45:54
    draw io
  • 45:54 - 45:56
    oh this looks fun
  • 45:56 - 46:00
    but does it run on ios
  • 46:00 - 46:02
    on mac os
  • 46:02 - 46:05
    it's not what it's called yeah
  • 46:08 - 46:12
    draw i oh
  • 46:20 - 46:22
    try it free
  • 46:25 - 46:30
    or maybe i have to go to the app store
  • 46:32 - 46:34
    note it down somewhere i will take a
  • 46:34 - 46:35
    look at it right
  • 46:35 - 46:37
    maybe i can install it during the lunch
  • 46:37 - 46:39
    yeah
  • 46:39 - 46:41
    oh look jean
  • 46:41 - 46:43
    i recognize you
  • 46:43 - 46:45
    this is exactly what i've been dreaming
  • 46:45 - 46:48
    of we have live industry
  • 46:48 - 46:50
    jean-lebel making a brilliant suggestion
  • 46:50 - 46:54
    in the correct cell in the document um
  • 46:54 - 46:56
    in here i have to uh write it let's see
  • 46:56 - 46:59
    can i i can't answer you
  • 46:59 - 47:03
    but i'm gonna oblige oh i can
  • 47:03 - 47:06
    spot on
  • 47:07 - 47:09
    today marblegate
  • 47:09 - 47:13
    marble gates
  • 47:13 - 47:17
    draw io is web-based so it runs in the
  • 47:17 - 47:18
    browser
  • 47:18 - 47:20
    does it
  • 47:20 - 47:22
    that's great so why couldn't i i'm just
  • 47:22 - 47:25
    curious i just wanna
  • 47:25 - 47:27
    why can't i
  • 47:27 - 47:29
    try it free
  • 47:29 - 47:30
    start free trial
  • 47:30 - 47:32
    [Music]
  • 47:32 - 47:34
    choose a site to start your
  • 47:34 - 47:37
    free trial
  • 47:37 - 47:40
    which sites you can install this look at
  • 47:40 - 47:42
    this off stream martin
  • 47:42 - 47:43
    oh i'm
  • 47:43 - 47:46
    thank you i'm getting uh i'm getting um
  • 47:46 - 47:48
    i'm getting sidetracked back to the list
  • 47:48 - 47:51
    yeah yeah you're absolutely right
  • 47:51 - 47:55
    uh thank you sir 3k yeah keeping uh
  • 47:55 - 47:57
    keeping things together
  • 47:57 - 47:59
    marble gates
  • 47:59 - 48:02
    [Music]
  • 48:05 - 48:07
    we have the instruments
  • 48:07 - 48:10
    [Music]
  • 48:10 - 48:13
    we have frame
  • 48:14 - 48:16
    we have transportation
  • 48:16 - 48:18
    transportation
  • 48:18 - 48:21
    equipment
  • 48:21 - 48:24
    we have
  • 48:26 - 48:27
    audio
  • 48:27 - 48:29
    equipment
  • 48:30 - 48:32
    transportation equipment is that marble
  • 48:32 - 48:36
    transportation no it's uh for touring
  • 48:36 - 48:39
    so is marble transport something
  • 48:39 - 48:42
    oh marble lift good one
  • 48:42 - 48:45
    marble lift i saw it from ox through
  • 48:45 - 48:48
    three f 2d okay
  • 48:48 - 48:52
    [Music]
  • 48:52 - 48:55
    and then we have marble divider the
  • 48:55 - 48:57
    horrible
  • 48:57 - 49:00
    horrible component
  • 49:00 - 49:04
    oh i'm in the wrong view here we go
  • 49:04 - 49:07
    funnels such as kumar we have
  • 49:07 - 49:09
    already up here marble catcher
  • 49:09 - 49:12
    so that's the that's the funnels
  • 49:12 - 49:14
    thanks for giving the suggestions in the
  • 49:14 - 49:17
    document i love it
  • 49:17 - 49:19
    [Music]
  • 49:19 - 49:21
    there we go
  • 49:21 - 49:23
    xie4lu4duo1
  • 49:23 - 49:27
    thanks mom 3000.
  • 49:31 - 49:33
    my phone kick drum sling from height
  • 49:33 - 49:36
    bass crank pedal power input
  • 49:36 - 49:39
    oh gear we don't have drive train i
  • 49:39 - 49:41
    would i would like to say
  • 49:41 - 49:44
    gear train
  • 49:44 - 49:47
    uh or drive
  • 49:47 - 49:49
    drive train
  • 49:49 - 49:52
    it's a very big one
  • 49:52 - 49:56
    including gear train
  • 49:57 - 49:59
    gear train
  • 49:59 - 50:04
    oh that's drive train martin that's okay
  • 50:11 - 50:12
    jean labelle
  • 50:12 - 50:16
    is on spot here gretzky gretzky jean
  • 50:16 - 50:20
    already in point 10. i noted it twice
  • 50:20 - 50:23
    you're dead right
  • 50:23 - 50:26
    um
  • 50:28 - 50:30
    hammer jammer
  • 50:30 - 50:33
    row unit flywheel from sages kumar
  • 50:33 - 50:36
    absolutely correct flywheel and then we
  • 50:36 - 50:39
    have also the lever um
  • 50:39 - 50:43
    levers um we have
  • 50:43 - 50:45
    levers
  • 50:45 - 50:49
    and jerome just went in here
  • 50:49 - 50:51
    it says hammer jammer is a sub component
  • 50:51 - 50:54
    of the base okay great yeah so let's
  • 50:54 - 50:57
    let's um
  • 51:00 - 51:03
    i think that could be
  • 51:03 - 51:05
    great to actually put the sub components
  • 51:05 - 51:07
    in different to start a kind of tree
  • 51:07 - 51:09
    thing so zero
  • 51:09 - 51:11
    seven
  • 51:11 - 51:14
    zero one i'm gonna change later
  • 51:14 - 51:17
    hammer jammer
  • 51:17 - 51:18
    um
  • 51:18 - 51:21
    to start building the tree
  • 51:21 - 51:24
    this machine is so
  • 51:24 - 51:25
    complex
  • 51:25 - 51:29
    registrator from jean spot on
  • 51:29 - 51:31
    19
  • 51:31 - 51:34
    registrators
  • 51:34 - 51:37
    um
  • 51:39 - 51:41
    and if we take a
  • 51:41 - 51:44
    look at our design requirements we can
  • 51:44 - 51:47
    see the user inputs we can get some
  • 51:47 - 51:50
    um
  • 51:50 - 51:52
    not here
  • 51:52 - 51:53
    but
  • 51:53 - 51:55
    here
  • 51:55 - 51:57
    so
  • 51:57 - 52:01
    crank football football break
  • 52:01 - 52:05
    play will decoupling control
  • 52:07 - 52:09
    i don't need everything right now
  • 52:09 - 52:11
    highest inputs
  • 52:11 - 52:14
    i think i think that's all levers
  • 52:14 - 52:16
    program switches lever
  • 52:16 - 52:20
    programming state
  • 52:20 - 52:22
    now here's an interesting very high
  • 52:22 - 52:24
    level question
  • 52:25 - 52:27
    um
  • 52:27 - 52:29
    when we made the design requirements
  • 52:29 - 52:32
    some
  • 52:32 - 52:34
    some talked about different states so we
  • 52:34 - 52:36
    have the playing states when the machine
  • 52:36 - 52:38
    is playing a song the reprogramming
  • 52:38 - 52:41
    state when the song is reprogrammed
  • 52:41 - 52:43
    we have the
  • 52:43 - 52:46
    transportation state we have the storage
  • 52:46 - 52:47
    state
  • 52:47 - 52:49
    um
  • 52:49 - 52:50
    so i think
  • 52:50 - 52:51
    um
  • 52:51 - 52:53
    defining the different states
  • 52:53 - 52:55
    could be a very good high level thing
  • 52:55 - 52:56
    because
  • 52:56 - 52:59
    something has to work in all states and
  • 52:59 - 53:01
    the the requirements will be different
  • 53:01 - 53:03
    maybe from different states i don't know
  • 53:03 - 53:06
    if it's too convoluted and complicated
  • 53:06 - 53:07
    um
  • 53:07 - 53:09
    but i'm going to put it in somewhere
  • 53:09 - 53:11
    here
  • 53:11 - 53:14
    um
  • 53:14 - 53:16
    maybe machines they maybe it's a memory
  • 53:16 - 53:18
    it's a complete section
  • 53:18 - 53:20
    in the design requirements i i think
  • 53:20 - 53:23
    this is so great i love the audience we
  • 53:23 - 53:24
    have when you have stuff like this from
  • 53:24 - 53:25
    yake
  • 53:25 - 53:27
    seath
  • 53:27 - 53:30
    i'm an avionics engineer
  • 53:30 - 53:32
    and deal with block diagrams and system
  • 53:32 - 53:35
    interfacing the block diagrams should be
  • 53:35 - 53:37
    sub systems
  • 53:37 - 53:39
    for example marblelift subsystem drum
  • 53:39 - 53:42
    subsystem marble dropper subsystem etc
  • 53:42 - 53:45
    avionics engineer come on now that's
  • 53:45 - 53:48
    cool thank you jake um but i don't
  • 53:48 - 53:51
    understand um
  • 53:51 - 53:54
    subsystem is that the same as sub module
  • 53:54 - 53:57
    or sub assemblies that yes yeah probably
  • 53:57 - 53:59
    um
  • 53:59 - 54:02
    oh you mean so do you mean
  • 54:02 - 54:04
    to make a block diagram of the whole
  • 54:04 - 54:06
    machine is way
  • 54:06 - 54:08
    probably too hard right
  • 54:08 - 54:12
    what about we make one diagram per
  • 54:12 - 54:14
    no
  • 54:15 - 54:17
    per tree level and what i mean with that
  • 54:17 - 54:19
    so jake
  • 54:19 - 54:21
    my question if if you can follow up on
  • 54:21 - 54:23
    that comment is
  • 54:23 - 54:25
    do you mean
  • 54:25 - 54:26
    that it's going to be too high level to
  • 54:26 - 54:29
    capture the whole machine in one diagram
  • 54:29 - 54:30
    and that we should make
  • 54:30 - 54:32
    individual
  • 54:32 - 54:34
    the one diagram is looking like more
  • 54:34 - 54:37
    zoomed in on one part is that what you
  • 54:37 - 54:38
    mean
  • 54:38 - 54:42
    um because if so i have a suggestion for
  • 54:42 - 54:43
    how maybe
  • 54:43 - 54:45
    we could do that
  • 54:45 - 54:46
    um
  • 54:46 - 54:50
    if i can only find it
  • 54:52 - 54:55
    um
  • 54:58 - 55:00
    i have too many
  • 55:00 - 55:02
    i have to manipulate
  • 55:02 - 55:05
    pages here jake says yeah that is right
  • 55:05 - 55:08
    okay because one idea with this pbs
  • 55:08 - 55:10
    structure
  • 55:10 - 55:11
    is that you have different levels so you
  • 55:11 - 55:13
    have the first level here
  • 55:13 - 55:15
    which are these numbers
  • 55:15 - 55:17
    and then you have the second level here
  • 55:17 - 55:21
    which is the numbers that has a one
  • 55:21 - 55:23
    so that's the pbs kind of idea with a
  • 55:23 - 55:25
    product tree
  • 55:25 - 55:26
    and
  • 55:26 - 55:29
    perhaps it's possible to make
  • 55:29 - 55:30
    like
  • 55:30 - 55:32
    a very high level thing
  • 55:32 - 55:33
    on this level
  • 55:33 - 55:35
    and then when number seven has more
  • 55:35 - 55:37
    components
  • 55:37 - 55:39
    you make one pair
  • 55:39 - 55:41
    so we have basically here we would make
  • 55:41 - 55:43
    19 different block diagrams
  • 55:43 - 55:47
    look at this what are you doing martin
  • 55:47 - 55:50
    so on beautiful suggestions uh from from
  • 55:50 - 55:52
    the audience in the first part of the
  • 55:52 - 55:54
    stream i have installed something called
  • 55:54 - 55:58
    draw io i had to like get 100 different
  • 55:58 - 55:59
    accounts
  • 55:59 - 56:00
    with stuff that i don't know what it
  • 56:00 - 56:05
    does to reach this point but here i am
  • 56:05 - 56:08
    making a block diagram and i think this
  • 56:08 - 56:13
    is going to be a wonderful wonderful um
  • 56:13 - 56:16
    more visual way to work
  • 56:16 - 56:17
    when we're doing kind of theoretical
  • 56:17 - 56:19
    design with this design requirements and
  • 56:19 - 56:20
    stuff
  • 56:20 - 56:21
    and
  • 56:21 - 56:23
    what we did in the first part
  • 56:23 - 56:25
    is that we started
  • 56:25 - 56:29
    with these um which is the
  • 56:29 - 56:30
    let's see here we can see them a little
  • 56:30 - 56:32
    bit better
  • 56:32 - 56:33
    um
  • 56:33 - 56:35
    the modules so we're defining modules
  • 56:35 - 56:36
    and interfaces
  • 56:36 - 56:39
    and i saw a beautiful comment here from
  • 56:39 - 56:41
    oh is it already gone because i replied
  • 56:41 - 56:43
    to it
  • 56:43 - 56:46
    now here it is um so i can't pronounce
  • 56:46 - 56:48
    it this name
  • 56:48 - 56:50
    um
  • 56:50 - 56:53
    but the command is great i see four big
  • 56:53 - 56:55
    systems the drive system the marble
  • 56:55 - 56:56
    cycling system
  • 56:56 - 56:58
    the music control system and instrument
  • 56:58 - 57:00
    module system five if the frame is
  • 57:00 - 57:03
    counted as a system and i resonate with
  • 57:03 - 57:05
    this comment so i think on the first
  • 57:05 - 57:08
    level i'm gonna keep it much larger
  • 57:08 - 57:09
    um so
  • 57:09 - 57:11
    um you could see that we were already up
  • 57:11 - 57:13
    to 19
  • 57:13 - 57:15
    levels and what i don't like with this
  • 57:15 - 57:16
    is that we have
  • 57:16 - 57:19
    very big things like drivetrain
  • 57:19 - 57:21
    um
  • 57:21 - 57:23
    on the same level as something very
  • 57:23 - 57:25
    small like the flywheel so i think a
  • 57:25 - 57:28
    good rule is to keep like the scope of
  • 57:28 - 57:30
    each level of this three kind of similar
  • 57:30 - 57:33
    size and i think i'm going to do exactly
  • 57:33 - 57:35
    what this commentary is suggesting
  • 57:35 - 57:38
    so each instrument is a subsystem with
  • 57:38 - 57:40
    only one shared parameter the location
  • 57:40 - 57:42
    of the marble instrument interface to
  • 57:42 - 57:44
    keep music tempo consistent
  • 57:44 - 57:47
    um
  • 57:47 - 57:49
    uploaded a graph to other oh can you
  • 57:49 - 57:51
    check um
  • 57:51 - 57:53
    can you check other hanas
  • 57:53 - 57:55
    um
  • 57:55 - 57:56
    so
  • 57:56 - 57:58
    what i'm going to do now is that i'm
  • 57:58 - 58:00
    going to keep on working on this list
  • 58:00 - 58:02
    but i'm going to try to work on it
  • 58:02 - 58:03
    inside
  • 58:03 - 58:06
    draw io if i can find it
  • 58:06 - 58:10
    here we are um
  • 58:10 - 58:13
    so um
  • 58:14 - 58:17
    let me see how i can frame this better
  • 58:17 - 58:19
    for you
  • 58:21 - 58:23
    let's do this but i'm going to try to
  • 58:23 - 58:25
    frame this software better so you can
  • 58:25 - 58:28
    see what i'm doing
  • 58:31 - 58:34
    so a lot of people in chat are probably
  • 58:34 - 58:36
    good at this software i'm complete
  • 58:36 - 58:38
    beginner but
  • 58:38 - 58:41
    that's what makes fun i guess as well so
  • 58:41 - 58:42
    um
  • 58:42 - 58:45
    let's erase these test things
  • 58:45 - 58:48
    and let's put here
  • 58:48 - 58:49
    um
  • 58:49 - 58:52
    oh
  • 58:52 - 58:54
    marble machine
  • 58:54 - 58:56
    actually i'm gonna skip the whole three
  • 58:56 - 58:58
    thing
  • 58:58 - 58:59
    it's just going to be marble machine
  • 58:59 - 59:01
    from now on
  • 59:01 - 59:03
    let's take a look at that then oh
  • 59:03 - 59:06
    so this is from ludovic
  • 59:06 - 59:09
    um what's this in the other
  • 59:09 - 59:10
    yeah
  • 59:10 - 59:13
    drive thank you so much for using our
  • 59:13 - 59:16
    submissions template i
  • 59:16 - 59:18
    can't thank you enough for
  • 59:18 - 59:19
    for trying we're trying to steam
  • 59:19 - 59:21
    streamline this interaction between us
  • 59:21 - 59:23
    and when you are on the same board as us
  • 59:23 - 59:26
    it makes me really really happy
  • 59:26 - 59:27
    uh
  • 59:27 - 59:29
    let me just check
  • 59:29 - 59:31
    oh
  • 59:31 - 59:33
    yeah do we have you have to click one
  • 59:33 - 59:35
    more button and then we
  • 59:35 - 59:38
    no no okay we don't have it
  • 59:38 - 59:40
    close and not another stream
  • 59:40 - 59:42
    yeah
  • 59:42 - 59:44
    um this works perfect now
  • 59:44 - 59:48
    drive motion brake motion output
  • 59:48 - 59:52
    marble cycle music control
  • 59:52 - 59:55
    uh instrument
  • 59:56 - 59:59
    yeah so also each one is
  • 59:59 - 60:02
    starting it's like a signal chain i i
  • 60:02 - 60:02
    love
  • 60:02 - 60:04
    so signal chains i understand that comes
  • 60:04 - 60:07
    from i'm producing a lot of music you
  • 60:07 - 60:09
    always think of of the signal chain as a
  • 60:09 - 60:11
    flow in one direction
  • 60:11 - 60:13
    and this is kind of flowing in one
  • 60:13 - 60:14
    direction
  • 60:14 - 60:18
    and the symbols here now i love this
  • 60:18 - 60:20
    um this is kind of what we're going to
  • 60:20 - 60:23
    do but i'm going to do it here um in
  • 60:23 - 60:25
    draw io
  • 60:25 - 60:27
    um
  • 60:27 - 60:31
    cool cool cool cool just
  • 60:31 - 60:32
    say the words and i can pull it up for
  • 60:32 - 60:33
    you if you want to take a look at it
  • 60:33 - 60:36
    again fantastic
  • 60:37 - 60:39
    oh i heard a little chime there
  • 60:39 - 60:41
    that's because tommy
  • 60:41 - 60:43
    vasquez
  • 60:43 - 60:44
    gave us a nice nice little super chat
  • 60:44 - 60:47
    here bringing his support thank you so
  • 60:47 - 60:49
    much tommy that means a lot to us thank
  • 60:49 - 60:52
    you so much that that means a lot to us
  • 60:52 - 60:54
    it's repeating what fantasy said what
  • 60:54 - 60:57
    that guy said and i yes what he said oh
  • 60:57 - 61:00
    thank you i just realized that my list
  • 61:00 - 61:02
    is in the wrong place what happened here
  • 61:02 - 61:05
    and he also adds here here take my fika
  • 61:05 - 61:06
    money
  • 61:06 - 61:09
    it's a fellow fika lover
  • 61:09 - 61:11
    fika it's a holy ritual we're doing in
  • 61:11 - 61:14
    sweden it's the holiest thing we have
  • 61:14 - 61:17
    coffee and figure yeah so actually i'm
  • 61:17 - 61:19
    having half of afiki right here so
  • 61:19 - 61:21
    cheers tommy i'm drinking some coffee i
  • 61:21 - 61:23
    don't have any cookies
  • 61:23 - 61:26
    though now so doro said here please have
  • 61:26 - 61:30
    a look into the comments on the dr sheet
  • 61:30 - 61:31
    of the dock
  • 61:31 - 61:34
    yes um that's that's part of my to-do
  • 61:34 - 61:38
    list yep what dora means is um all these
  • 61:38 - 61:40
    and i'm going to go through them all
  • 61:40 - 61:42
    um
  • 61:42 - 61:44
    um
  • 61:44 - 61:47
    oh you probably mean
  • 61:47 - 61:48
    these
  • 61:48 - 61:50
    uh here
  • 61:50 - 61:52
    it's from amy
  • 61:52 - 61:55
    uh there's uh the comments from doro an
  • 61:55 - 61:59
    example of a mind map in dot io
  • 61:59 - 62:01
    um with some very basic starting points
  • 62:01 - 62:05
    for the mm3 oh that's brilliant uml is
  • 62:05 - 62:08
    beneficial relevant for communicating
  • 62:08 - 62:11
    information here from amica let's show
  • 62:11 - 62:13
    more
  • 62:13 - 62:14
    um
  • 62:14 - 62:15
    whoa
  • 62:15 - 62:18
    dora made um like dora said
  • 62:18 - 62:22
    they made um
  • 62:22 - 62:24
    example one
  • 62:24 - 62:27
    so let's have a look at that
  • 62:29 - 62:33
    oh such as can comment here
  • 62:33 - 62:35
    i mean
  • 62:35 - 62:38
    if we had like an engineering dial
  • 62:38 - 62:39
    we would also have us like a software
  • 62:39 - 62:42
    engineering dial and then we would from
  • 62:42 - 62:44
    this collaboration we would see the need
  • 62:44 - 62:46
    for better collaboration tools like uh
  • 62:46 - 62:48
    of course google is awesome probably i
  • 62:48 - 62:49
    just can't do them but it's so cool how
  • 62:49 - 62:52
    we're trying to learn how to collaborate
  • 62:52 - 62:55
    there is like some better applications
  • 62:55 - 62:57
    that could be made here i always thought
  • 62:57 - 63:00
    so like collaborating like this online
  • 63:00 - 63:02
    is going to be more important i think
  • 63:02 - 63:04
    there's like some kind of big
  • 63:04 - 63:06
    opportunities to create like a killer
  • 63:06 - 63:07
    app
  • 63:07 - 63:09
    for what we're trying to do
  • 63:09 - 63:11
    um probably it exists like hundreds of
  • 63:11 - 63:13
    them but i should have heard about there
  • 63:13 - 63:15
    is not like
  • 63:15 - 63:16
    what i mean the youtube for video
  • 63:16 - 63:19
    sharing but for collaborations i think
  • 63:19 - 63:22
    like if we created like vintage software
  • 63:22 - 63:24
    engineering we could create that
  • 63:24 - 63:25
    together
  • 63:25 - 63:28
    um and i also wanted to follow up on
  • 63:28 - 63:32
    jake our aviation expert who made
  • 63:32 - 63:36
    two quick diagrams for us okay
  • 63:36 - 63:38
    as he said he would
  • 63:38 - 63:40
    beautiful
  • 63:40 - 63:44
    so hang on a little bit marble subsystem
  • 63:44 - 63:46
    subscription user input instrument
  • 63:46 - 63:48
    subsystem
  • 63:48 - 63:50
    long time watcher first time contributor
  • 63:50 - 63:53
    you made it on your first try jack
  • 63:53 - 63:53
    because
  • 63:53 - 63:56
    because the contribution is awesome
  • 63:56 - 63:57
    thank you so much for showing this this
  • 63:57 - 64:01
    is and he made another one here oh
  • 64:01 - 64:03
    martin interface subsystem oh i like
  • 64:03 - 64:06
    those rectangles with headline
  • 64:06 - 64:08
    um
  • 64:09 - 64:11
    functions defines the
  • 64:11 - 64:13
    subsystem instrument subsystem creates
  • 64:13 - 64:16
    the sound marble subsystem manipulates
  • 64:16 - 64:18
    marbles subsystem interfaces are the
  • 64:18 - 64:20
    ways in which these subsystems interact
  • 64:20 - 64:25
    eg what is eg actually abbreviated for
  • 64:25 - 64:29
    uh oh this is latin ergo ergo
  • 64:29 - 64:31
    nikobo whatever
  • 64:31 - 64:34
    ergonomical ergonomically
  • 64:34 - 64:37
    chat will tell us yeah what g is what is
  • 64:37 - 64:39
    eg
  • 64:39 - 64:41
    ergo ng
  • 64:41 - 64:43
    the programming wheel interfaces with
  • 64:43 - 64:45
    the marble subsystem through the
  • 64:45 - 64:47
    registrators it's already the first
  • 64:47 - 64:49
    diagram in a rush this one is a bit
  • 64:49 - 64:51
    better yeah great so we have the marble
  • 64:51 - 64:52
    we have the instrument and it's
  • 64:52 - 64:55
    interesting because jake is on the same
  • 64:55 - 64:56
    um
  • 64:56 - 64:59
    way as um the other commenter was to
  • 64:59 - 65:01
    have fewer big ones let's look a little
  • 65:01 - 65:04
    bit on uh doroth's
  • 65:04 - 65:05
    suggestion here
  • 65:05 - 65:08
    a marble machine in the middle
  • 65:08 - 65:12
    and then eg equals example
  • 65:12 - 65:15
    yeah but what does it actually example
  • 65:15 - 65:18
    grotia
  • 65:21 - 65:24
    ex
  • 65:34 - 65:38
    is it italian or is it latin
  • 65:38 - 65:39
    i'm like a three-year-old there's always
  • 65:39 - 65:41
    another question yeah
  • 65:41 - 65:44
    i can't win
  • 65:45 - 65:46
    so this is
  • 65:46 - 65:48
    this is beautiful with the shadows and
  • 65:48 - 65:49
    everything
  • 65:49 - 65:52
    so but this also exemplifies i think the
  • 65:52 - 65:54
    the example from doro here that we need
  • 65:54 - 65:57
    kind of a lot of sub um
  • 65:57 - 66:00
    so we we need each
  • 66:00 - 66:02
    block diagram to stay
  • 66:02 - 66:03
    like
  • 66:03 - 66:05
    simpler
  • 66:05 - 66:07
    uh as said this is a very basic thing
  • 66:07 - 66:09
    and everybody could edit it with having
  • 66:09 - 66:12
    the right setup duro and that's that's
  • 66:12 - 66:15
    interesting so that's super good dora so
  • 66:15 - 66:17
    let me know how to because
  • 66:17 - 66:18
    maybe later
  • 66:18 - 66:20
    um
  • 66:20 - 66:21
    i think right now it's better that i'm
  • 66:21 - 66:23
    just the only one doing this because i'm
  • 66:23 - 66:25
    gonna keep it very very simple but maybe
  • 66:25 - 66:27
    later it would be so nice to make like
  • 66:27 - 66:29
    um
  • 66:29 - 66:33
    editable um documents ox3f2d
  • 66:33 - 66:35
    doris example has more pages open it
  • 66:35 - 66:37
    withdraw you
  • 66:37 - 66:40
    draw you
  • 66:41 - 66:42
    so
  • 66:42 - 66:44
    yeah that's the
  • 66:44 - 66:46
    so what can i do here can you open with
  • 66:46 - 66:48
    open with ah
  • 66:48 - 66:52
    diagrams.net perhaps
  • 66:53 - 66:55
    authorization required
  • 66:55 - 66:57
    so i'm not i'm not going to go into this
  • 66:57 - 66:59
    right now
  • 66:59 - 67:01
    i'm going to um
  • 67:01 - 67:04
    stay a little bit on target to see if i
  • 67:04 - 67:07
    can create
  • 67:09 - 67:12
    okay doro says the other pages are blank
  • 67:12 - 67:14
    okay but that's that's good that's good
  • 67:14 - 67:17
    okay now we can go back
  • 67:17 - 67:19
    oop
  • 67:20 - 67:21
    so
  • 67:21 - 67:22
    let me just see
  • 67:22 - 67:24
    mine
  • 67:24 - 67:26
    my document went away i'm just going to
  • 67:26 - 67:30
    try to find it
  • 67:36 - 67:37
    so
  • 67:37 - 67:39
    i had to start something called
  • 67:39 - 67:42
    confluence which i don't know what it is
  • 67:42 - 67:45
    confluence
  • 67:51 - 67:53
    i don't even know
  • 67:53 - 67:58
    how i get back to the page
  • 67:58 - 68:01
    [Music]
  • 68:04 - 68:06
    [Music]
  • 68:06 - 68:10
    gazelle you entertain the crowd sir 3k
  • 68:10 - 68:14
    now are they not entertained by this you
  • 68:14 - 68:16
    mean
  • 68:16 - 68:20
    um they're giving us latin
  • 68:20 - 68:22
    latin
  • 68:22 - 68:24
    lessons here
  • 68:24 - 68:27
    so
  • 68:27 - 68:32
    confluence is kind of a wiki
  • 68:32 - 68:35
    i don't need the only entertainment i
  • 68:35 - 68:39
    need comes from this
  • 68:39 - 68:41
    and you have one guess my friend
  • 68:41 - 68:43
    what that means
  • 68:43 - 68:46
    uh wait
  • 68:47 - 68:52
    that's right we got slice of sparta here
  • 68:52 - 68:54
    today and yesterday's streams have
  • 68:54 - 68:56
    looked at some potential purchases for
  • 68:56 - 68:59
    mm3 and i want to help small scale
  • 68:59 - 69:00
    testing is important and some physical
  • 69:00 - 69:02
    engineering will give you a break from
  • 69:02 - 69:05
    all the cad as a musician and engineer
  • 69:05 - 69:06
    myself your creativity passion
  • 69:06 - 69:09
    pragmatism and drive is inspiring keep
  • 69:09 - 69:13
    up the great work with h3k cheers and
  • 69:13 - 69:15
    love
  • 69:15 - 69:17
    that's all kind of useless partners
  • 69:17 - 69:18
    thank you for supporting and thank you
  • 69:18 - 69:19
    for saying
  • 69:19 - 69:22
    smart and useful things on top of that
  • 69:22 - 69:25
    as well you are a true mvp
  • 69:25 - 69:28
    you and the vibraphone
  • 69:28 - 69:31
    definitely and and your point is uh
  • 69:31 - 69:33
    well taken because um
  • 69:33 - 69:35
    as soon as we're out of the rough of the
  • 69:35 - 69:37
    theoretical as soon as we have some
  • 69:37 - 69:39
    design requirements i want to let
  • 69:39 - 69:41
    everyone who wants to
  • 69:41 - 69:43
    take part in the physical prototyping
  • 69:43 - 69:46
    i would love to promote anyone putting
  • 69:46 - 69:48
    videos up online for making making
  • 69:48 - 69:53
    making prototypes and i also want to
  • 69:53 - 69:54
    [Music]
  • 69:54 - 69:57
    try perhaps with my 3d printer to print
  • 69:57 - 70:00
    some things in small scale i think you
  • 70:00 - 70:02
    can learn a lot from that as well so
  • 70:02 - 70:04
    it's it's a good idea and we can
  • 70:04 - 70:06
    definitely use the support for for that
  • 70:06 - 70:09
    purpose exactly so awesome
  • 70:09 - 70:12
    so this is my id marble machine it's the
  • 70:12 - 70:14
    this is a classic product tree i'm
  • 70:14 - 70:17
    drawing here i'm going to draw an arrow
  • 70:17 - 70:20
    to the to the modules below here
  • 70:20 - 70:23
    tricky ricky am i missing the short term
  • 70:23 - 70:25
    slash highlight video somewhere i don't
  • 70:25 - 70:27
    have time for hours of live stream and i
  • 70:27 - 70:29
    really want to keep up to date
  • 70:29 - 70:31
    i'm good that you're pointing this out
  • 70:31 - 70:34
    we do those short-term highlight videos
  • 70:34 - 70:37
    on the main vintage youtube channel so
  • 70:37 - 70:40
    not this one this is vintage on live and
  • 70:40 - 70:42
    we do them on wednesdays and
  • 70:42 - 70:45
    today is wednesday so we should do one
  • 70:45 - 70:47
    later today right martin
  • 70:47 - 70:50
    yeah so uh every wednesday yeah we do an
  • 70:50 - 70:52
    eight minute video and um they're
  • 70:52 - 70:54
    getting simpler and simpler because i
  • 70:54 - 70:56
    want to spend all the effort here well
  • 70:56 - 70:59
    when the work is happening so just check
  • 70:59 - 71:01
    out all the uploads on main channel and
  • 71:01 - 71:04
    you will be summarized every week on
  • 71:04 - 71:05
    everything and sometimes it is a bit
  • 71:05 - 71:08
    tricky to find because we do them as
  • 71:08 - 71:11
    lives usually so when you go into videos
  • 71:11 - 71:12
    and looked at the regular uploads
  • 71:12 - 71:14
    sometimes you don't see them you need to
  • 71:14 - 71:17
    you need to click on the live button to
  • 71:17 - 71:19
    find those
  • 71:19 - 71:23
    live video on the months
  • 71:23 - 71:25
    you should see them
  • 71:25 - 71:27
    there gonna use almost exactly this
  • 71:27 - 71:30
    comment here a drive system marble
  • 71:30 - 71:31
    cycling
  • 71:31 - 71:34
    um
  • 71:34 - 71:36
    hey miss oyoka martin you don't want to
  • 71:36 - 71:38
    get dragged into confluence it's all
  • 71:38 - 71:40
    part of the it information systems
  • 71:40 - 71:41
    management world
  • 71:41 - 71:44
    [Laughter]
  • 71:44 - 71:46
    marvel cycle
  • 71:46 - 71:48
    yeah as long as long as this is the only
  • 71:48 - 71:50
    thing i'm seeing
  • 71:50 - 71:53
    i think i think we're fine
  • 71:53 - 71:55
    i think my type is too big here
  • 71:55 - 71:58
    let's go down to 12.
  • 71:58 - 72:01
    wow
  • 72:03 - 72:05
    should be called
  • 72:05 - 72:07
    what do you think marble drive system or
  • 72:07 - 72:09
    drive train
  • 72:09 - 72:13
    i think it should be drive system
  • 72:14 - 72:16
    as long as it's
  • 72:16 - 72:19
    named same in all different documents
  • 72:19 - 72:21
    we're golden right so now this arrow is
  • 72:21 - 72:24
    not following i think i can just
  • 72:24 - 72:26
    like tell it to follow like doing this
  • 72:26 - 72:27
    oh i love this program
  • 72:27 - 72:30
    [Laughter]
  • 72:30 - 72:31
    so
  • 72:31 - 72:33
    simple
  • 72:33 - 72:36
    maybe i can reconnect this no that's
  • 72:36 - 72:37
    another one
  • 72:37 - 72:40
    let's undo that
  • 72:40 - 72:44
    can i oh look at this oh wow
  • 72:44 - 72:46
    but it's still there
  • 72:46 - 72:48
    and evo akerman i hate confluence it's
  • 72:48 - 72:52
    so useful
  • 72:54 - 72:54
    so
  • 72:54 - 72:56
    um
  • 72:56 - 72:59
    can i move
  • 72:59 - 73:00
    i
  • 73:00 - 73:05
    i'm not okay i click maybe i click this
  • 73:05 - 73:07
    maybe the easiest is just to delete the
  • 73:07 - 73:10
    arrow and draw a new one
  • 73:13 - 73:13
    so
  • 73:13 - 73:15
    um
  • 73:15 - 73:17
    what do we have more
  • 73:17 - 73:21
    um we have
  • 73:23 - 73:27
    music control system
  • 73:27 - 73:29
    and instrument module 5 if the frame is
  • 73:29 - 73:31
    counted as a system
  • 73:31 - 73:34
    and i'm gonna to deliberately add frame
  • 73:34 - 73:36
    last
  • 73:36 - 73:36
    um
  • 73:36 - 73:38
    [Music]
  • 73:38 - 73:43
    o5 frame i think frame is a system
  • 73:43 - 73:47
    yes i love this
  • 73:47 - 73:51
    damian michalak let's jingle the hell
  • 73:51 - 73:53
    out of this street
  • 73:53 - 73:55
    thank you so much
  • 73:55 - 73:57
    you're so awesome you are
  • 73:57 - 74:02
    our viewers are the best yes
  • 74:05 - 74:07
    i can't
  • 74:07 - 74:10
    i'm like my my patients almost ran out
  • 74:10 - 74:12
    yesterday
  • 74:12 - 74:14
    and it seems like your patience is still
  • 74:14 - 74:16
    the patience of the viewers is still
  • 74:16 - 74:18
    like spot on yes
  • 74:18 - 74:21
    drive system instrument module music
  • 74:21 - 74:23
    control
  • 74:23 - 74:25
    um should i call this then
  • 74:25 - 74:27
    music
  • 74:27 - 74:31
    control mute system
  • 74:34 - 74:36
    and i'm going to
  • 74:36 - 74:38
    i think this is the easiest way to do
  • 74:38 - 74:40
    this i'm just reconnecting the arrows
  • 74:40 - 74:44
    connecting the dots right here
  • 74:47 - 74:50
    so this is not yet
  • 74:50 - 74:52
    um
  • 74:52 - 74:55
    this is not yet like a interface thing
  • 74:55 - 74:58
    now i'm just making um the this is a
  • 74:58 - 75:01
    product uh breakdown structure if you
  • 75:01 - 75:02
    would google that it would look like
  • 75:02 - 75:03
    this
  • 75:03 - 75:05
    um
  • 75:05 - 75:07
    yeah it looks
  • 75:07 - 75:09
    that's the great thing with this program
  • 75:09 - 75:12
    it looks professional immediately
  • 75:12 - 75:13
    yeah it looks like we know what we're
  • 75:13 - 75:17
    doing yes that's all we want right yes
  • 75:17 - 75:17
    um
  • 75:17 - 75:18
    [Music]
  • 75:18 - 75:21
    but i want this arrow to go into the
  • 75:21 - 75:25
    middle of this oh yeah
  • 75:30 - 75:33
    but then
  • 75:33 - 75:35
    then it's going to be a can of worms to
  • 75:35 - 75:38
    kind of
  • 75:39 - 75:41
    to go further from here
  • 75:41 - 75:44
    i think will be
  • 75:45 - 75:47
    maybe what we should do here
  • 75:47 - 75:52
    is maybe just list our
  • 75:52 - 75:57
    what should we do here actually um
  • 75:57 - 75:59
    we have these nice ones vertical
  • 75:59 - 76:02
    container
  • 76:08 - 76:11
    so maybe if this is if this is our most
  • 76:11 - 76:13
    high level things i'm just going to try
  • 76:13 - 76:15
    something uh
  • 76:15 - 76:18
    drive
  • 76:18 - 76:21
    i was inspired by um the the suggestion
  • 76:21 - 76:22
    we had
  • 76:22 - 76:24
    i think vertical containers were used
  • 76:24 - 76:28
    what is this minus ah ah you can hide it
  • 76:28 - 76:31
    beautiful oh great
  • 76:31 - 76:32
    so
  • 76:32 - 76:34
    and then i think
  • 76:34 - 76:35
    oh no
  • 76:35 - 76:38
    so this is basically just
  • 76:38 - 76:40
    ah wait
  • 76:40 - 76:42
    okay and there's
  • 76:42 - 76:44
    we have to do it like this
  • 76:44 - 76:48
    i thought it was like text in here
  • 76:48 - 76:52
    so maybe this is not a good idea
  • 76:52 - 76:54
    o101
  • 76:54 - 76:57
    crank
  • 76:57 - 77:00
    oh it's not contained
  • 77:00 - 77:02
    where's constraints
  • 77:02 - 77:04
    no it's not it's not
  • 77:04 - 77:06
    it's not what i thought it was
  • 77:06 - 77:09
    i thought it was a list
  • 77:09 - 77:10
    tool
  • 77:10 - 77:11
    to this
  • 77:11 - 77:13
    list
  • 77:15 - 77:18
    how to make another item
  • 77:20 - 77:23
    this is oh
  • 77:28 - 77:32
    how do i make an item
  • 77:32 - 77:35
    copy paste
  • 77:35 - 77:37
    yeah
  • 77:38 - 77:39
    copy paste now
  • 77:39 - 77:41
    you yash has a tip for you there at
  • 77:41 - 77:43
    first it should stay with one box per
  • 77:43 - 77:44
    item
  • 77:44 - 77:46
    later you can add them together for
  • 77:46 - 77:49
    better visibility
  • 77:51 - 77:53
    can i
  • 77:55 - 77:57
    at first you should say one books per
  • 77:57 - 78:00
    item later you can add them yeah so
  • 78:00 - 78:02
    what i'm building here is not really
  • 78:02 - 78:04
    like um
  • 78:05 - 78:06
    right now i'm not doing the interfaces
  • 78:06 - 78:09
    now i'm doing the very very very first
  • 78:09 - 78:11
    page of the whole machine
  • 78:11 - 78:14
    and i thought that maybe
  • 78:14 - 78:17
    to make this page a little bit more uh
  • 78:17 - 78:18
    useful
  • 78:18 - 78:21
    i think it could be a good place to list
  • 78:21 - 78:25
    all the subsystems and then we go
  • 78:25 - 78:27
    so i'm going to show you what i mean
  • 78:27 - 78:28
    i'm i'm not going to drive
  • 78:28 - 78:30
    draw more arrows here
  • 78:30 - 78:32
    um
  • 78:32 - 78:34
    it's basically just a list
  • 78:34 - 78:37
    and then we're going to make a
  • 78:37 - 78:41
    new map for the drive system
  • 78:41 - 78:44
    so i take this away
  • 78:47 - 78:49
    and then we have here on item one we
  • 78:49 - 78:52
    have crank
  • 78:57 - 79:01
    or why actually no then we have to put
  • 79:01 - 79:02
    two things
  • 79:02 - 79:05
    at the same place let's not do that
  • 79:05 - 79:06
    wow
  • 79:06 - 79:10
    let's let's just say
  • 79:16 - 79:18
    hmm
  • 79:18 - 79:20
    [Music]
  • 79:20 - 79:23
    okay maybe i should keep on going here
  • 79:23 - 79:26
    and i just have to let everything expand
  • 79:26 - 79:29
    so then it's the question is
  • 79:29 - 79:32
    i never did something like this i don't
  • 79:32 - 79:35
    i don't know how to plan for like future
  • 79:35 - 79:38
    um and in new york continues there yes
  • 79:38 - 79:40
    that's exactly the reason why it's the
  • 79:40 - 79:42
    first page keep it simple and then add
  • 79:42 - 79:45
    to it yeah
  • 79:45 - 79:47
    um
  • 79:48 - 79:50
    but this first page is telling us a
  • 79:50 - 79:53
    little bit too little
  • 79:53 - 79:54
    um
  • 79:54 - 79:56
    and i will be a bad host right now and
  • 79:56 - 79:58
    derail you slightly i just want to give
  • 79:58 - 80:02
    a little tease here we should do a
  • 80:02 - 80:04
    design review pretty soon but i just i
  • 80:04 - 80:07
    saw a new image from ralph appearing in
  • 80:07 - 80:09
    dropbox
  • 80:09 - 80:11
    i always get excited when ralph does
  • 80:11 - 80:13
    something new oh that's fantastic that's
  • 80:13 - 80:16
    cool bro that's actually pretty close
  • 80:16 - 80:19
    too to what i have in mind that's so
  • 80:19 - 80:21
    badass although i don't think i will
  • 80:21 - 80:23
    make it circular i think it will make it
  • 80:23 - 80:26
    fantastic ralph to see your your you're
  • 80:26 - 80:28
    back at it we will soon do a stream to
  • 80:28 - 80:30
    go through all the submissions that's
  • 80:30 - 80:32
    come yeah into the dropbox it's fun it's
  • 80:32 - 80:33
    fun to see a picture like that from time
  • 80:33 - 80:37
    to time you're welcome to derail us
  • 80:37 - 80:40
    i have to gather my thoughts around uh
  • 80:40 - 80:43
    if i should continue on this page or if
  • 80:43 - 80:45
    um
  • 80:45 - 80:48
    um
  • 80:50 - 80:52
    probably there will never be
  • 80:52 - 80:54
    the whole idea here well of course there
  • 80:54 - 80:58
    will be interfaces between them
  • 80:58 - 81:01
    um
  • 81:05 - 81:06
    so first of all let's talk about the
  • 81:06 - 81:09
    numbering so if the drive system is the
  • 81:09 - 81:10
    most
  • 81:10 - 81:13
    fundamental
  • 81:13 - 81:17
    um i think actually
  • 81:17 - 81:20
    what's your instruments
  • 81:20 - 81:22
    what is most fundamental hana's
  • 81:22 - 81:26
    instruments or the drive system
  • 81:27 - 81:31
    or the music control system
  • 81:33 - 81:34
    well it's got to be the drive system
  • 81:34 - 81:37
    right
  • 81:38 - 81:41
    since it is a marble machine
  • 81:41 - 81:44
    it's a marble machine that plays music
  • 81:44 - 81:46
    so the machine part first
  • 81:46 - 81:48
    drive system
  • 81:48 - 81:50
    and then
  • 81:50 - 81:52
    instruments and then instruments and
  • 81:52 - 81:55
    it's going to rename
  • 81:59 - 82:01
    instruments
  • 82:01 - 82:03
    one
  • 82:03 - 82:04
    oh sorry
  • 82:04 - 82:07
    so the two was correct already
  • 82:07 - 82:11
    and what did i just remove marble
  • 82:11 - 82:13
    thank you
  • 82:14 - 82:17
    so that's that should be here actually
  • 82:17 - 82:18
    uh
  • 82:18 - 82:21
    marble cycle
  • 82:21 - 82:23
    and then we do
  • 82:23 - 82:26
    music controls
  • 82:26 - 82:29
    music control
  • 82:30 - 82:32
    frame
  • 82:34 - 82:37
    this is good
  • 82:43 - 82:45
    oh we have grid lines and everything
  • 82:45 - 82:47
    i love it
  • 82:47 - 82:50
    there we have cognomarco also you can
  • 82:50 - 82:52
    add remove replace instruments you
  • 82:52 - 82:54
    cannot if you don't have a drive system
  • 82:54 - 82:55
    so
  • 82:55 - 82:58
    yes drive system first awesome
  • 82:58 - 82:59
    so
  • 82:59 - 83:01
    now i'm i just have to think
  • 83:01 - 83:04
    um
  • 83:04 - 83:06
    though
  • 83:06 - 83:09
    what do i want to achieve right now i
  • 83:09 - 83:12
    want to achieve greatness
  • 83:12 - 83:14
    i want to achieve the sub
  • 83:14 - 83:16
    components which means that i'm going to
  • 83:16 - 83:18
    keep on building here
  • 83:18 - 83:19
    um
  • 83:19 - 83:23
    because i also saw that you can expand
  • 83:23 - 83:25
    so
  • 83:28 - 83:31
    oh we should fix the air humidifier it's
  • 83:31 - 83:33
    warm in here now
  • 83:33 - 83:36
    is it not is it is the water out yeah
  • 83:36 - 83:38
    okay i can't fix it you know
  • 83:38 - 83:42
    i'm mr multitask
  • 83:42 - 83:44
    i will do it for you your brain needs
  • 83:44 - 83:46
    some
  • 83:46 - 83:49
    humidity
  • 83:49 - 83:51
    i think so
  • 83:51 - 83:54
    i think well so oh yeah so we talked
  • 83:54 - 83:57
    about making one diagram per tree level
  • 83:57 - 83:59
    yeah so that was actually the plan we
  • 83:59 - 84:01
    had okay so now i'm back to we already
  • 84:01 - 84:03
    decided on this
  • 84:03 - 84:05
    this page is done
  • 84:05 - 84:07
    um
  • 84:09 - 84:11
    this page is done
  • 84:11 - 84:13
    and then we can actually okay so now i
  • 84:13 - 84:14
    know what i'm doing
  • 84:14 - 84:18
    we can go to our uh let me
  • 84:18 - 84:21
    see what i did there
  • 84:23 - 84:27
    i'm just going to do this
  • 84:32 - 84:34
    and i'm going to open here the product
  • 84:34 - 84:37
    breakdown system
  • 84:37 - 84:39
    so
  • 84:40 - 84:42
    i'm just going to translate
  • 84:42 - 84:46
    what we just done into here
  • 84:46 - 84:49
    um these were your sketches
  • 84:50 - 84:52
    so i'm gonna resolve these comments
  • 84:52 - 84:54
    great comments
  • 84:54 - 84:56
    first draw for interaction unfinished
  • 84:56 - 84:57
    yet
  • 84:57 - 85:00
    oh jean has created something
  • 85:00 - 85:03
    um
  • 85:04 - 85:05
    cool
  • 85:05 - 85:07
    programming group motorcycling loop
  • 85:07 - 85:10
    group rhythmic group actor actor
  • 85:10 - 85:14
    audio equipment yeah so this is
  • 85:14 - 85:16
    this is super good example jean because
  • 85:16 - 85:21
    you will see that this will explode um
  • 85:23 - 85:25
    this map will explode so fast because
  • 85:25 - 85:27
    the machine is so huge
  • 85:27 - 85:30
    um so it's a super good visualization
  • 85:30 - 85:31
    why we're
  • 85:31 - 85:33
    like only gonna keep the pages like this
  • 85:33 - 85:36
    and then make a separate page for each
  • 85:36 - 85:37
    group
  • 85:37 - 85:39
    i hope this will be um this will work
  • 85:39 - 85:42
    good
  • 85:46 - 85:48
    so
  • 85:51 - 85:55
    let's remove this
  • 86:03 - 86:05
    thank you
  • 86:06 - 86:09
    so we have
  • 86:20 - 86:23
    oh ralph winkelmeier
  • 86:23 - 86:25
    thanks a lot modeling with the existing
  • 86:25 - 86:28
    mmx cad files as a base is a pleasure
  • 86:28 - 86:31
    and makes real fun
  • 86:31 - 86:33
    ralph this is my dream to share the cad
  • 86:33 - 86:36
    and people hacking hacking with it i
  • 86:36 - 86:37
    love it and it's going to be so fun i'm
  • 86:37 - 86:39
    going to share the whole cats throughout
  • 86:39 - 86:41
    the whole project so it's going to be
  • 86:41 - 86:42
    more and more fun when we have some like
  • 86:42 - 86:44
    real cat but you're already playing
  • 86:44 - 86:46
    around with it makes me so happy and
  • 86:46 - 86:48
    it's it's very inspiring for me to see
  • 86:48 - 86:49
    so
  • 86:49 - 86:52
    thanks for thanks for um
  • 86:52 - 86:53
    collaborating on this and con
  • 86:53 - 86:56
    contributing
  • 86:56 - 86:59
    um it also makes me feel that i'm not so
  • 86:59 - 87:01
    crazy or anyway there are other people
  • 87:01 - 87:03
    as crazy as i am
  • 87:03 - 87:05
    out there
  • 87:05 - 87:08
    all of us take it as a compliment
  • 87:08 - 87:11
    uh instruments
  • 87:14 - 87:17
    marble cycle you know what
  • 87:17 - 87:19
    this is so cool because
  • 87:19 - 87:21
    the first machine was divided on
  • 87:21 - 87:23
    physical
  • 87:23 - 87:24
    um
  • 87:24 - 87:26
    physical place the pbs on
  • 87:26 - 87:31
    on mmx this is much better
  • 87:31 - 87:33
    music control
  • 87:33 - 87:35
    and this will also be the way we are
  • 87:35 - 87:36
    going to structure the design
  • 87:36 - 87:39
    requirements
  • 87:39 - 87:41
    let's see cogno marco is wilson all
  • 87:41 - 87:44
    right with humidity and that's uh look
  • 87:44 - 87:47
    he looks happy enough he's not fine with
  • 87:47 - 87:49
    humility though
  • 87:49 - 87:51
    definitely not there that's not his
  • 87:51 - 87:54
    strong sign he pulled the poster down
  • 87:54 - 87:57
    tonight yeah enraged look that crashes
  • 87:57 - 88:00
    this dude all the time in a fit of rage
  • 88:00 - 88:00
    yeah
  • 88:00 - 88:02
    and as soon as the camera's pointing at
  • 88:02 - 88:05
    him he's just smiling
  • 88:09 - 88:12
    so
  • 88:12 - 88:14
    okay that took me some time but we have
  • 88:14 - 88:17
    something very foundational
  • 88:17 - 88:18
    um
  • 88:18 - 88:21
    but we can't have this the yellow is in
  • 88:21 - 88:24
    on so there we go oh wait
  • 88:24 - 88:26
    wait
  • 88:27 - 88:29
    um there we go
  • 88:29 - 88:32
    so this is i think a fantastic
  • 88:32 - 88:34
    foundation we have laid down
  • 88:34 - 88:35
    um
  • 88:35 - 88:39
    so let's start to fleshing out
  • 88:39 - 88:42
    o1 drive system
  • 88:42 - 88:46
    i should probably keep all this smaller
  • 88:46 - 88:48
    i found this
  • 88:48 - 88:50
    really nice from robert james
  • 88:50 - 88:53
    wanted to share that why what you've
  • 88:53 - 88:55
    been doing the last few weeks is called
  • 88:55 - 88:57
    diverging
  • 88:57 - 88:58
    now you will start the process of
  • 88:58 - 89:00
    converging exploring wide before
  • 89:00 - 89:03
    funneling down
  • 89:04 - 89:06
    that is so interesting so i think what
  • 89:06 - 89:08
    you mean robert thank you for for that
  • 89:08 - 89:09
    is like
  • 89:09 - 89:12
    we've been in
  • 89:12 - 89:14
    like uh
  • 89:14 - 89:17
    everything is possible kind of diverging
  • 89:17 - 89:19
    out looking at everything and now we
  • 89:19 - 89:20
    take it
  • 89:20 - 89:22
    you already said it but i'm just i'm
  • 89:22 - 89:25
    repeating it so now we're trying to
  • 89:25 - 89:26
    narrow down
  • 89:26 - 89:29
    and converging what can you can you look
  • 89:29 - 89:31
    at what converging means
  • 89:31 - 89:32
    isn't that when you're collecting
  • 89:32 - 89:34
    everything
  • 89:34 - 89:36
    this is something with narrow down but
  • 89:36 - 89:38
    let's let's get let's get some wikipedia
  • 89:38 - 89:41
    in there
  • 89:46 - 89:48
    i'm gonna prepare for some more space
  • 89:48 - 89:53
    here let's see if this works
  • 89:53 - 89:55
    in mathematics
  • 89:55 - 89:57
    it's approximate in the sum of its terms
  • 89:57 - 90:02
    towards a definite limit
  • 90:07 - 90:10
    come together ah come together meet
  • 90:10 - 90:13
    converging paths
  • 90:15 - 90:17
    this is a sedone
  • 90:17 - 90:19
    i fiddled around with the program online
  • 90:19 - 90:21
    and apparently you can create second
  • 90:21 - 90:22
    pages and link them so you can create
  • 90:22 - 90:25
    basically endless sub pages gives you
  • 90:25 - 90:28
    the luxury luxury to just plan
  • 90:28 - 90:29
    great
  • 90:29 - 90:33
    ah so you can link
  • 90:33 - 90:36
    them so
  • 90:37 - 90:39
    because why what i'm stuck here is that
  • 90:39 - 90:42
    are we gonna make like 100 boxes down
  • 90:42 - 90:44
    here like this and draw arrows from the
  • 90:44 - 90:46
    drive system to all these
  • 90:46 - 90:48
    that's that's
  • 90:48 - 90:50
    that's what i like to do but it's going
  • 90:50 - 90:51
    to be
  • 90:51 - 90:53
    it's going to be right we're going to
  • 90:53 - 90:58
    run out of space fast bernard but downed
  • 90:58 - 91:00
    bad beyond
  • 91:00 - 91:02
    trying to drag the list into the
  • 91:02 - 91:04
    container that you deleted then you can
  • 91:04 - 91:07
    open and collapse the container
  • 91:07 - 91:08
    yeah
  • 91:08 - 91:11
    that was a container idea i want to try
  • 91:11 - 91:14
    to stay
  • 91:15 - 91:16
    i want to try either
  • 91:16 - 91:18
    either we should do this
  • 91:18 - 91:20
    or we're going to try to make a second
  • 91:20 - 91:23
    page and somehow
  • 91:24 - 91:27
    okay
  • 91:27 - 91:30
    to convert just to approach a common
  • 91:30 - 91:31
    point
  • 91:31 - 91:32
    ah cool
  • 91:32 - 91:35
    uh like everyone was converging around
  • 91:35 - 91:38
    the idea yeah that democracy it's kind
  • 91:38 - 91:42
    of that machine is a good idea
  • 91:43 - 91:45
    um
  • 91:45 - 91:47
    so why i'm fretting about this is that
  • 91:47 - 91:49
    we're going to have
  • 91:49 - 91:51
    um
  • 91:57 - 92:00
    i should i should just start making and
  • 92:00 - 92:02
    and
  • 92:02 - 92:04
    stop thinking
  • 92:04 - 92:06
    um
  • 92:11 - 92:13
    drive system
  • 92:13 - 92:17
    what does it start with it starts with
  • 92:17 - 92:19
    crank
  • 92:20 - 92:20
    so
  • 92:20 - 92:22
    0 1
  • 92:22 - 92:23
    0 1
  • 92:23 - 92:26
    crank
  • 92:26 - 92:29
    okay and pablo edwardo just gives a tip
  • 92:29 - 92:31
    here that you can make a new page
  • 92:31 - 92:33
    example one that just shows
  • 92:33 - 92:36
    uh zero one drive system and it's sub
  • 92:36 - 92:39
    components if you want to keep it clean
  • 92:39 - 92:41
    yeah this i think it's i think that's
  • 92:41 - 92:43
    actually better
  • 92:43 - 92:45
    um
  • 92:45 - 92:47
    and also sit down again here at the
  • 92:47 - 92:50
    bottom like in excel there is the page
  • 92:50 - 92:51
    header
  • 92:51 - 92:53
    press on the plus and create a new one
  • 92:53 - 92:56
    then right click on the box press link
  • 92:56 - 92:58
    and select the page
  • 92:58 - 93:01
    who else in the world has better
  • 93:01 - 93:03
    tutorials than i have like this is
  • 93:03 - 93:05
    exactly what i tried to figure out so i
  • 93:05 - 93:07
    made a second page
  • 93:07 - 93:09
    um at the bottom press on the plus
  • 93:09 - 93:10
    create a new one then right click on the
  • 93:10 - 93:13
    box
  • 93:13 - 93:16
    press link
  • 93:19 - 93:22
    edit link
  • 93:22 - 93:24
    yeah page
  • 93:24 - 93:27
    two page two
  • 93:27 - 93:29
    apply
  • 93:33 - 93:34
    uh
  • 93:34 - 93:38
    what yes what okay so i'm going to
  • 93:38 - 93:41
    rename these pages
  • 93:41 - 93:42
    um
  • 93:42 - 93:44
    oh yes this is the drivetrain the drive
  • 93:44 - 93:46
    system
  • 93:46 - 93:48
    this is the this is the module 3
  • 93:48 - 93:50
    overview yeah this is the first page
  • 93:50 - 93:52
    zero zero
  • 93:52 - 93:54
    marble actually
  • 93:54 - 93:56
    let's just call it zero zero because we
  • 93:56 - 93:58
    know what zero zero is
  • 93:58 - 94:02
    and this one i'm gonna rename
  • 94:02 - 94:05
    zero one
  • 94:09 - 94:10
    rename
  • 94:10 - 94:13
    02
  • 94:16 - 94:20
    03 this is a dream everyone thanks for
  • 94:20 - 94:22
    and i know sometimes i'm silly because i
  • 94:22 - 94:24
    just have a new procrastination tool and
  • 94:24 - 94:25
    i say this is gonna
  • 94:25 - 94:27
    make the machine work
  • 94:27 - 94:28
    but i think
  • 94:28 - 94:31
    this stream today is maybe the stream
  • 94:31 - 94:32
    where
  • 94:32 - 94:34
    most foundations have been laid so far
  • 94:34 - 94:36
    this is how i feel right now and then
  • 94:36 - 94:38
    maybe tomorrow i'm just gonna scrap
  • 94:38 - 94:40
    everything but right now it doesn't feel
  • 94:40 - 94:42
    like that you can't scrap everything
  • 94:42 - 94:45
    because we have a mvp at least woohoo
  • 94:45 - 94:48
    vibraphone 37 notes
  • 94:48 - 94:50
    oh yeah
  • 94:50 - 94:52
    so i'm linking this
  • 94:52 - 94:56
    edit link to zero two
  • 94:56 - 94:58
    um
  • 94:58 - 95:02
    attachments and stuff i'm linking this
  • 95:02 - 95:05
    to zero three
  • 95:05 - 95:08
    i'm linking this
  • 95:08 - 95:11
    to zero four
  • 95:12 - 95:15
    i'm linking this
  • 95:15 - 95:18
    to zero five
  • 95:18 - 95:20
    um so now when we know that we're not
  • 95:20 - 95:22
    gonna do anything else in here
  • 95:22 - 95:26
    and we can actually like allow this to
  • 95:26 - 95:29
    take we can give it some more space like
  • 95:29 - 95:31
    this
  • 95:32 - 95:35
    amy soyuka
  • 95:35 - 95:38
    can you add a tab to the excel sheet for
  • 95:38 - 95:40
    things martin might benefit from
  • 95:40 - 95:41
    learning
  • 95:41 - 95:44
    i have been posting on the discord
  • 95:44 - 95:47
    but some of it would be helpful to you
  • 95:47 - 95:49
    it's a good idea we
  • 95:49 - 95:51
    we um
  • 95:51 - 95:54
    um
  • 95:58 - 96:00
    there's a risk with a page like that
  • 96:00 - 96:03
    that a lot of people spend a lot of time
  • 96:03 - 96:05
    and writing and i that i don't don't
  • 96:05 - 96:07
    have time to check it
  • 96:07 - 96:09
    so
  • 96:09 - 96:12
    what i suggest actually it's better that
  • 96:12 - 96:13
    you add the comment
  • 96:13 - 96:16
    uh on on the
  • 96:16 - 96:18
    on the most uh suitable
  • 96:18 - 96:20
    place
  • 96:20 - 96:22
    or we can make
  • 96:22 - 96:27
    maybe we can make like um
  • 96:29 - 96:30
    here
  • 96:30 - 96:32
    but you have the sketch notepad also
  • 96:32 - 96:35
    right yeah so i think um in this page
  • 96:35 - 96:37
    how to make longer written contribution
  • 96:37 - 96:39
    how to make
  • 96:39 - 96:40
    so
  • 96:40 - 96:42
    every time that i offer an
  • 96:42 - 96:45
    a to open interface a lot of you are
  • 96:45 - 96:47
    doing spending a lot of time
  • 96:47 - 96:49
    and it's often risking
  • 96:49 - 96:51
    that i don't see it and i can't follow
  • 96:51 - 96:53
    up which can lead to a lot of
  • 96:53 - 96:54
    disappointment
  • 96:54 - 96:56
    so i'm
  • 96:56 - 96:58
    i'm a little bit hesitant in doing it
  • 96:58 - 97:00
    for that reason
  • 97:00 - 97:01
    um so
  • 97:01 - 97:03
    my my
  • 97:03 - 97:04
    what i would prefer
  • 97:04 - 97:07
    is that if you have a suggestion
  • 97:07 - 97:09
    regarding project
  • 97:09 - 97:11
    planning then you go to the project
  • 97:11 - 97:13
    chapter page and you make that comment
  • 97:13 - 97:14
    in there
  • 97:14 - 97:16
    or if you have a suggestion regarding
  • 97:16 - 97:17
    how to write design requirements you
  • 97:17 - 97:19
    make the comment in there
  • 97:19 - 97:21
    it's it's better that we keep it a
  • 97:21 - 97:24
    little topical and if you feel like
  • 97:24 - 97:25
    um
  • 97:25 - 97:27
    you don't have a place
  • 97:27 - 97:30
    just slap it on the front page yeah
  • 97:30 - 97:31
    there we go yeah
  • 97:31 - 97:35
    and and and and i'll see if i can follow
  • 97:35 - 97:38
    it up um
  • 97:38 - 97:41
    and larissa amirov bye everyone i'm
  • 97:41 - 97:44
    going to go to my ballet class happy to
  • 97:44 - 97:47
    see martin hannah's active again good
  • 97:47 - 97:50
    job good luck on your ballet class uh
  • 97:50 - 97:52
    did you know martin that i actually have
  • 97:52 - 97:54
    taken some ballet lessons i have seen in
  • 97:54 - 97:57
    the images and it looked like you were
  • 97:57 - 98:01
    you nailed it first try i really didn't
  • 98:01 - 98:05
    uh oh my god was that a workout i'm so
  • 98:05 - 98:07
    impressed with ballet dancers i mean the
  • 98:07 - 98:10
    strength you need for that
  • 98:10 - 98:12
    and the coordination whoa
  • 98:12 - 98:14
    and what about this we have our first
  • 98:14 - 98:17
    subpage zero one drivetrain
  • 98:17 - 98:18
    so
  • 98:18 - 98:21
    here i think i will
  • 98:21 - 98:23
    hopefully then have the space for all
  • 98:23 - 98:25
    the sub components here
  • 98:25 - 98:27
    so you're getting slap on your wrists
  • 98:27 - 98:28
    here
  • 98:28 - 98:33
    from chat in you yasha and a couple more
  • 98:33 - 98:35
    says martin keep page titles consistent
  • 98:35 - 98:37
    with the block names this will be better
  • 98:37 - 98:39
    if you add more components later you
  • 98:39 - 98:41
    will get lost quickly if there are only
  • 98:41 - 98:44
    numbers
  • 98:48 - 98:50
    hashtag team consistent naming hashtag
  • 98:50 - 98:52
    teams consistently mean you win
  • 98:52 - 98:56
    no protest marble machine
  • 98:56 - 98:57
    um
  • 98:57 - 98:59
    rename
  • 98:59 - 99:01
    uh drive
  • 99:01 - 99:06
    train no drive system we call it right
  • 99:08 - 99:10
    o2
  • 99:11 - 99:13
    so i don't even know the names yet oh
  • 99:13 - 99:16
    two instruments
  • 99:20 - 99:22
    i like when i get slapped on the wrist
  • 99:22 - 99:26
    by shot yeah
  • 99:28 - 99:29
    rename
  • 99:29 - 99:32
    marble cycle
  • 99:35 - 99:38
    music control
  • 99:48 - 99:49
    imagine if we
  • 99:49 - 99:51
    if we make a machine that works and we
  • 99:51 - 99:53
    go on tour and we can point back to
  • 99:53 - 99:55
    these kind of moments like it was the
  • 99:55 - 99:57
    preparation and the planning that made
  • 99:57 - 99:59
    it work and it was the consistent naming
  • 99:59 - 100:02
    of the different blocks that finally
  • 100:02 - 100:04
    made a working machine
  • 100:04 - 100:06
    it's a mindset we we shouldn't like
  • 100:06 - 100:08
    cheat anywhere in the preparation
  • 100:08 - 100:11
    that's that that's the nice
  • 100:11 - 100:13
    um
  • 100:13 - 100:14
    and i think i
  • 100:14 - 100:16
    drive system i think i made a wrong
  • 100:16 - 100:19
    headline here probably chat is already
  • 100:19 - 100:20
    pointed at out
  • 100:20 - 100:24
    drive system um
  • 100:24 - 100:27
    and here i am going to make the next
  • 100:27 - 100:29
    level under
  • 100:29 - 100:32
    and um
  • 100:33 - 100:34
    call mal
  • 100:34 - 100:36
    don't forget to say oh is it not auto
  • 100:36 - 100:37
    save
  • 100:37 - 100:40
    i don't know all changes saved i see it
  • 100:40 - 100:42
    up there right okay good thank you
  • 100:42 - 100:43
    um
  • 100:43 - 100:46
    drive system so here are the high level
  • 100:46 - 100:48
    here are the high level stuff
  • 100:48 - 100:51
    so we have uh crankshaft we have zero
  • 100:51 - 100:53
    one zero two
  • 100:53 - 100:57
    we have um
  • 100:57 - 100:59
    what do we have
  • 100:59 - 101:01
    so now it's a little
  • 101:01 - 101:05
    a little crazy because the
  • 101:05 - 101:07
    so we have the crankshaft
  • 101:07 - 101:09
    we have
  • 101:09 - 101:12
    no pedal is
  • 101:12 - 101:17
    pedal is under let me do this then
  • 101:17 - 101:21
    um zero one
  • 101:21 - 101:23
    zero one
  • 101:25 - 101:28
    zero one that sounds stupid but it's
  • 101:28 - 101:30
    true
  • 101:31 - 101:35
    crank and then we have
  • 101:35 - 101:39
    no no no no zero two pedal
  • 101:41 - 101:45
    and on it goes this makes my mind happy
  • 101:45 - 101:48
    yeah i see this it's it's better now
  • 101:48 - 101:49
    before
  • 101:49 - 101:52
    before we have so many many stuff
  • 101:52 - 101:53
    but um
  • 101:53 - 101:56
    so much things
  • 101:56 - 101:58
    we will see
  • 101:58 - 102:02
    can i make them oh yes i can make this
  • 102:02 - 102:04
    there we go
  • 102:06 - 102:10
    and satish kumar flywheel break
  • 102:10 - 102:12
    is that in the drive system
  • 102:12 - 102:16
    yes um
  • 102:16 - 102:20
    i'm thinking about in what order though
  • 102:20 - 102:22
    uh flywheel should be already up here i
  • 102:22 - 102:23
    think
  • 102:23 - 102:25
    flywheel
  • 102:25 - 102:29
    so let's put a two on that
  • 102:29 - 102:32
    [Music]
  • 102:35 - 102:37
    and i just need to click on this comment
  • 102:37 - 102:40
    from siebertfields.madison
  • 102:40 - 102:41
    i'm really impressed how professional
  • 102:41 - 102:42
    you become with the whole streaming
  • 102:42 - 102:45
    thing great job by h3k handling the
  • 102:45 - 102:46
    comments
  • 102:46 - 102:50
    you know how to get picked right
  • 102:50 - 102:52
    say something nice about me you will get
  • 102:52 - 102:54
    up on the screen
  • 102:54 - 102:55
    not a
  • 102:55 - 102:58
    guarantee thank you so much you're such
  • 102:58 - 103:00
    a fundamental part of this whole and
  • 103:00 - 103:02
    diverse or three cases you deserve you
  • 103:02 - 103:04
    deserve the praise
  • 103:04 - 103:05
    um
  • 103:05 - 103:07
    i tried one evening streaming without
  • 103:07 - 103:08
    you never again
  • 103:08 - 103:09
    [Laughter]
  • 103:09 - 103:11
    um flywheel
  • 103:11 - 103:12
    um
  • 103:12 - 103:14
    so
  • 103:14 - 103:17
    i'm thinking this is maybe crazy
  • 103:17 - 103:20
    i'm thinking of making the gear
  • 103:20 - 103:23
    maybe gear
  • 103:23 - 103:27
    train is this one
  • 103:27 - 103:29
    is here
  • 103:29 - 103:32
    maybe this is wrong
  • 103:32 - 103:35
    um
  • 103:39 - 103:42
    so here's here's when it becomes so
  • 103:42 - 103:45
    crankshaft has a gear
  • 103:46 - 103:48
    flywheel
  • 103:48 - 103:49
    and the
  • 103:49 - 103:52
    interfaces with each other dead fish
  • 103:52 - 103:54
    cheese spread drive wheel connected to
  • 103:54 - 103:57
    the flywheel flywheel connected to the
  • 103:57 - 103:59
    belt
  • 104:03 - 104:05
    yeah so
  • 104:05 - 104:06
    why we are all confused right now is
  • 104:06 - 104:08
    because now i'm making uh like a product
  • 104:08 - 104:11
    breakdown system system
  • 104:11 - 104:13
    i'm not actually making
  • 104:13 - 104:16
    um
  • 104:18 - 104:20
    the physical connections
  • 104:20 - 104:24
    boxes first link afterwards
  • 104:25 - 104:28
    reminding you
  • 104:29 - 104:32
    i'm just thinking high level how to
  • 104:32 - 104:34
    build this for future combat combability
  • 104:34 - 104:36
    com
  • 104:36 - 104:38
    compatibility compatibility
  • 104:38 - 104:41
    compatibility
  • 104:41 - 104:44
    let's see here
  • 104:49 - 104:52
    what big drive system modules are there
  • 104:52 - 104:53
    actually
  • 104:53 - 104:55
    um
  • 104:58 - 105:01
    maybe this maybe this category is
  • 105:01 - 105:04
    wrong um
  • 105:05 - 105:07
    maybe i'm stuck in the old way of
  • 105:07 - 105:08
    thinking maybe this
  • 105:08 - 105:11
    so the last commenter wanted the arrows
  • 105:11 - 105:13
    to be how
  • 105:13 - 105:15
    how it's connected and maybe that's
  • 105:15 - 105:16
    better
  • 105:16 - 105:19
    let's let's try a new thing
  • 105:19 - 105:21
    this is completely different from from
  • 105:21 - 105:23
    what i did on the machine before i'm
  • 105:23 - 105:25
    just gonna try it
  • 105:25 - 105:25
    so
  • 105:25 - 105:28
    now i'm going to put this
  • 105:28 - 105:29
    how they are
  • 105:29 - 105:32
    connected in real life
  • 105:32 - 105:33
    so
  • 105:33 - 105:36
    we start
  • 105:40 - 105:43
    i think this is actually only a headline
  • 105:43 - 105:47
    let's try let's try like this crank
  • 105:47 - 105:51
    where does the power from the crank go
  • 105:51 - 105:53
    to
  • 105:53 - 105:55
    the crankshaft
  • 105:55 - 105:57
    yeah so i'm gonna skip the numbers now
  • 105:57 - 106:01
    to just see if this makes sense yeah
  • 106:01 - 106:04
    crankshaft and for example we have
  • 106:04 - 106:07
    and what is the grade here because pedal
  • 106:07 - 106:10
    to the metal
  • 106:10 - 106:13
    is also going into the crankshaft aha
  • 106:13 - 106:16
    this is nice this makes more sense i
  • 106:16 - 106:17
    think
  • 106:17 - 106:18
    and
  • 106:18 - 106:20
    [Music]
  • 106:20 - 106:22
    on the crankshaft
  • 106:22 - 106:24
    we have for example
  • 106:24 - 106:25
    um
  • 106:25 - 106:28
    oh what did i do
  • 106:28 - 106:31
    we have for example
  • 106:31 - 106:33
    um
  • 106:36 - 106:37
    a
  • 106:37 - 106:41
    flywheel pulley
  • 106:45 - 106:48
    and we also have
  • 106:50 - 106:52
    we have the
  • 106:52 - 106:54
    gear one
  • 106:54 - 106:58
    pull uh gear we have the gear one
  • 106:58 - 107:03
    [Music]
  • 107:04 - 107:05
    and it's kind of cool because crank
  • 107:05 - 107:07
    gives input to the shaft
  • 107:07 - 107:11
    and the shaft gives input to the gear
  • 107:11 - 107:12
    and then um
  • 107:12 - 107:14
    [Music]
  • 107:14 - 107:16
    the flywheel pulley let's say it's a
  • 107:16 - 107:17
    belt
  • 107:17 - 107:19
    this is i think what the commenter
  • 107:19 - 107:23
    wanted and right now it feels sweet
  • 107:23 - 107:25
    belt
  • 107:25 - 107:27
    but now i abandoned my id that it's not
  • 107:27 - 107:28
    the physical connection because now it's
  • 107:28 - 107:30
    actually
  • 107:30 - 107:32
    kind of both the functional and physical
  • 107:32 - 107:34
    connection
  • 107:35 - 107:36
    um
  • 107:36 - 107:40
    let's name this something fly wheel belt
  • 107:40 - 107:41
    um
  • 107:41 - 107:43
    [Music]
  • 107:43 - 107:46
    let's be generous with our naming so we
  • 107:46 - 107:50
    know what is what flywheel belt
  • 107:50 - 107:53
    this belt goes to
  • 107:56 - 107:58
    flywheel fully
  • 107:58 - 107:59
    yeah
  • 107:59 - 108:01
    cogno marco i think this is better each
  • 108:01 - 108:04
    arrow can be easily seen as an interface
  • 108:04 - 108:06
    you'll have to work on
  • 108:06 - 108:07
    brilliant
  • 108:07 - 108:09
    and you know what we can do then
  • 108:09 - 108:12
    check this out we can label the arrows
  • 108:12 - 108:15
    so we can do
  • 108:16 - 108:18
    int
  • 108:18 - 108:21
    and then we can do the the the little
  • 108:21 - 108:23
    um
  • 108:25 - 108:27
    um
  • 108:27 - 108:30
    we can do a little code here
  • 108:30 - 108:34
    so let's do that very small like we
  • 108:37 - 108:38
    so this comment is referring to what we
  • 108:38 - 108:40
    discussed earlier in the stream to talk
  • 108:40 - 108:42
    about modules and interfaces
  • 108:42 - 108:44
    and basically everything in a box is a
  • 108:44 - 108:47
    module and all the arrow is an interface
  • 108:47 - 108:50
    which is a super cool new way of looking
  • 108:50 - 108:51
    at the whole machine
  • 108:51 - 108:53
    and what i want to do is that i actually
  • 108:53 - 108:56
    want number on everything so if this is
  • 108:56 - 108:58
    the code for the crank
  • 108:58 - 108:59
    um
  • 108:59 - 109:00
    let's take the pedal
  • 109:00 - 109:03
    then this interface right here gets its
  • 109:03 - 109:05
    own uh label
  • 109:05 - 109:06
    so
  • 109:06 - 109:09
    what we do then is that we call it
  • 109:09 - 109:11
    int let's do this now
  • 109:11 - 109:12
    we should
  • 109:12 - 109:14
    no we should not have letters and
  • 109:14 - 109:18
    numbers let's do what i did before
  • 109:18 - 109:19
    how do you
  • 109:19 - 109:21
    oh okay i
  • 109:21 - 109:24
    i one
  • 109:24 - 109:27
    um
  • 109:27 - 109:30
    one o2
  • 109:31 - 109:34
    so then we have like a unique code for
  • 109:34 - 109:37
    this interface okay it sounds like so
  • 109:37 - 109:40
    over the top but i swear to you
  • 109:40 - 109:41
    that if
  • 109:41 - 109:43
    if we do this consistently
  • 109:43 - 109:45
    this machine is so complicated someone
  • 109:45 - 109:47
    said it was
  • 109:47 - 109:49
    more difficult than a than a rocket i
  • 109:49 - 109:52
    don't maybe agree but
  • 109:52 - 109:54
    um
  • 109:54 - 109:56
    so then we can get this nice like
  • 109:56 - 109:59
    a number for this interface
  • 109:59 - 110:02
    because this arrow means something
  • 110:02 - 110:04
    um
  • 110:04 - 110:07
    so flywheel pulley
  • 110:07 - 110:09
    and then actually from the flywheel
  • 110:09 - 110:11
    pulley we
  • 110:11 - 110:13
    are going
  • 110:13 - 110:16
    to the flywheel itself
  • 110:18 - 110:21
    what happened with my font
  • 110:22 - 110:25
    12.
  • 110:33 - 110:37
    oh why is this not connected
  • 110:38 - 110:41
    now yes there we go
  • 110:41 - 110:44
    is this awesome not connected
  • 110:44 - 110:47
    you're tangent with you
  • 110:47 - 110:50
    apply constraints
  • 110:51 - 110:54
    parametrics everyone
  • 110:55 - 110:57
    spot answer 3k
  • 110:57 - 110:59
    you've been following along
  • 110:59 - 111:01
    yeah i'm picking one
  • 111:01 - 111:04
    some things up along the way you know
  • 111:04 - 111:08
    my arrows are ugly
  • 111:08 - 111:10
    oh this is gonna be eternal uh
  • 111:10 - 111:15
    procrastination on moving these around
  • 111:15 - 111:16
    um
  • 111:16 - 111:19
    what else do we have
  • 111:19 - 111:21
    um
  • 111:21 - 111:23
    we have
  • 111:23 - 111:25
    um
  • 111:29 - 111:32
    so is the brakes and stuff
  • 111:32 - 111:33
    going in here
  • 111:33 - 111:36
    i guess so
  • 111:36 - 111:38
    so maybe maybe just like this
  • 111:38 - 111:41
    o x 3 f 2 d
  • 111:41 - 111:43
    h 3 k that's exactly what i've done
  • 111:43 - 111:45
    indoors example but not for a drive
  • 111:45 - 111:47
    system for now
  • 111:47 - 111:50
    so this person is inside that document
  • 111:50 - 111:52
    and doing stuff as well
  • 111:52 - 111:54
    i don't know if you still have that
  • 111:54 - 111:56
    document martin
  • 111:56 - 111:58
    yeah but the last time i clicked on it
  • 111:58 - 112:01
    it's here i'm
  • 112:01 - 112:03
    i forgot my
  • 112:03 - 112:08
    yeah okay you couldn't open it up no
  • 112:13 - 112:15
    so but it sounds like people think this
  • 112:15 - 112:18
    is the way to go
  • 112:18 - 112:20
    and it's cool because this is actually
  • 112:20 - 112:21
    the way it's going to look in cad as
  • 112:21 - 112:22
    well
  • 112:22 - 112:25
    um so i think we have a break that goes
  • 112:25 - 112:26
    to the flywheel
  • 112:26 - 112:28
    oh wait
  • 112:28 - 112:31
    we have a decoupler in between here
  • 112:31 - 112:33
    um
  • 112:33 - 112:35
    an excellent question here did martin
  • 112:35 - 112:36
    hydrate
  • 112:36 - 112:38
    mom 3k
  • 112:38 - 112:39
    [Music]
  • 112:39 - 112:44
    that's my new nickname right now
  • 112:47 - 112:50
    good another good idea from chat
  • 112:50 - 112:53
    um
  • 113:00 - 113:03
    let's see crankshaft we have gear one
  • 113:03 - 113:04
    going
  • 113:04 - 113:07
    going to
  • 113:08 - 113:10
    so let's let's let's investigate the
  • 113:10 - 113:14
    gear a little bit here
  • 113:16 - 113:19
    gear one oh here we go some fusion humor
  • 113:19 - 113:21
    right here i i'm thinking
  • 113:21 - 113:24
    sit on i don't see the problem no lines
  • 113:24 - 113:28
    are blue all blacks so all fully defined
  • 113:33 - 113:35
    okay and doro once again you need to
  • 113:35 - 113:38
    open it in edit mode to see the sub
  • 113:38 - 113:39
    pages
  • 113:39 - 113:42
    on his document there
  • 113:43 - 113:48
    i don't know how to do that
  • 113:59 - 114:02
    let's keep on working yeah
  • 114:02 - 114:04
    and pablo edwardo i'm guessing this
  • 114:04 - 114:05
    isn't interfaces but just a block
  • 114:05 - 114:08
    diagram of all components
  • 114:08 - 114:10
    if interfaces the flywheel should just
  • 114:10 - 114:13
    be an quote-unquote energy storage
  • 114:13 - 114:15
    system with inputs outputs not
  • 114:15 - 114:17
    belt etc
  • 114:17 - 114:19
    the interfaces are the arrows
  • 114:19 - 114:21
    we thought
  • 114:21 - 114:24
    um and
  • 114:26 - 114:28
    the components as you call them we call
  • 114:28 - 114:30
    them now modules or components it's the
  • 114:30 - 114:32
    same assemblies it's the same it's not
  • 114:32 - 114:34
    really the same one but kind of
  • 114:34 - 114:37
    it's the things in the boxes
  • 114:37 - 114:39
    and then
  • 114:43 - 114:46
    [Music]
  • 114:48 - 114:50
    so actually but you're right the
  • 114:50 - 114:52
    flywheel actually has both an input and
  • 114:52 - 114:54
    an output oh it gets complicated in my
  • 114:54 - 114:56
    hand
  • 114:56 - 114:58
    because because here the the true the
  • 114:58 - 115:00
    the true system is that the flywheel
  • 115:00 - 115:02
    gets energy here
  • 115:02 - 115:04
    from the crankshaft but it sends the
  • 115:04 - 115:06
    energy straight back
  • 115:06 - 115:08
    as well sometimes
  • 115:08 - 115:10
    so this is like
  • 115:10 - 115:13
    look it's coming back here
  • 115:14 - 115:16
    it's going back in again on this
  • 115:16 - 115:19
    oh wow
  • 115:20 - 115:21
    so
  • 115:21 - 115:23
    it's a loop here
  • 115:23 - 115:27
    oh it's getting complicated
  • 115:28 - 115:31
    i'm just imagining the loop drum later
  • 115:31 - 115:34
    on
  • 115:34 - 115:38
    um andorra once again yes by clicking on
  • 115:38 - 115:42
    the drawing i o message at the top
  • 115:43 - 115:44
    then we just come to the login screen
  • 115:44 - 115:47
    right
  • 115:51 - 115:55
    i'm gonna try to authorize this done
  • 115:55 - 115:59
    [Music]
  • 116:01 - 116:03
    now i'm i need to kind of connect i
  • 116:03 - 116:04
    don't really know what i'm doing there
  • 116:04 - 116:05
    so i'm gonna i'm going to keep on
  • 116:05 - 116:06
    working
  • 116:06 - 116:08
    on my own one but we would love if you
  • 116:08 - 116:12
    could send anything to dropbox or or or
  • 116:12 - 116:14
    just link it in there
  • 116:14 - 116:16
    in the um
  • 116:16 - 116:18
    in the document yeah
  • 116:18 - 116:20
    um
  • 116:20 - 116:22
    and i appreciate it but don't don't
  • 116:22 - 116:25
    spend too much work on like um
  • 116:25 - 116:26
    something that is exactly what i'm doing
  • 116:26 - 116:28
    as well
  • 116:28 - 116:31
    just just enough so i
  • 116:31 - 116:33
    and show me like the ideas and then i
  • 116:33 - 116:36
    can implement them right here
  • 116:36 - 116:39
    [Music]
  • 116:42 - 116:44
    so i guess i guess it's a cool i what
  • 116:44 - 116:46
    what the input output thing because a
  • 116:46 - 116:49
    flywheel so this is where it's actually
  • 116:49 - 116:51
    kind of cool
  • 116:51 - 116:55
    so this arrow down here to the left
  • 116:55 - 116:57
    should have kind of one name
  • 116:57 - 116:59
    and this arrow should have kind of
  • 116:59 - 117:01
    another name because they are providing
  • 117:01 - 117:02
    different functions
  • 117:02 - 117:05
    this arrow is charging the flywheel
  • 117:05 - 117:06
    and
  • 117:06 - 117:09
    this oh a double-sided arrow yeah rogue
  • 117:09 - 117:11
    unit zero zero one
  • 117:11 - 117:15
    and also nikita leovov use two arrows
  • 117:15 - 117:17
    online that's also a way to
  • 117:17 - 117:19
    differentiate right
  • 117:19 - 117:23
    bidirectional arrow
  • 117:24 - 117:25
    i wonder if there's not a point in
  • 117:25 - 117:27
    having two different arrows
  • 117:27 - 117:31
    um so let me just try
  • 117:31 - 117:35
    can you connect this
  • 117:41 - 117:43
    that does look pretty sweet oh it's
  • 117:43 - 117:46
    following
  • 117:51 - 117:53
    okay yes we have to keep this
  • 117:53 - 117:55
    graphically
  • 117:55 - 117:58
    manageable
  • 117:58 - 118:00
    is this the arrow you wanted
  • 118:00 - 118:03
    it's like pretty big
  • 118:03 - 118:05
    a little bit smaller it's not arrow you
  • 118:05 - 118:07
    wanted it's the arrow you deserved
  • 118:07 - 118:11
    [Music]
  • 118:11 - 118:14
    because you're gonna just add another
  • 118:14 - 118:16
    point to the smaller ones
  • 118:16 - 118:19
    that would be better right
  • 118:19 - 118:20
    and there are any way to do it
  • 118:20 - 118:23
    double-sided
  • 118:23 - 118:26
    oh bi-directional connector
  • 118:26 - 118:29
    let's see
  • 118:30 - 118:31
    there we go
  • 118:31 - 118:33
    sir 3k
  • 118:33 - 118:37
    with a goodness yes oh that looks really
  • 118:37 - 118:38
    good oh
  • 118:38 - 118:41
    no
  • 118:44 - 118:45
    yes
  • 118:45 - 118:48
    okay
  • 118:48 - 118:51
    isn't this lovely
  • 118:53 - 118:57
    is it following oh yes it is
  • 119:01 - 119:03
    so this is really cool because then this
  • 119:03 - 119:05
    interface
  • 119:05 - 119:07
    instead of having two it's the same
  • 119:07 - 119:12
    interface but they you it's obvious that
  • 119:12 - 119:17
    it both gives and takes
  • 119:18 - 119:21
    love it
  • 119:21 - 119:22
    um
  • 119:22 - 119:26
    can we still give labels yes we can
  • 119:26 - 119:28
    inked
  • 119:28 - 119:31
    xxx
  • 119:33 - 119:37
    let's do eight on that one
  • 119:38 - 119:40
    okay it looks like we know what we're
  • 119:40 - 119:41
    doing yeah
  • 119:41 - 119:43
    um
  • 119:43 - 119:45
    fake it till make it what is 16 times 4
  • 119:45 - 119:48
    is that 64
  • 119:48 - 119:51
    yes why did you ask me
  • 119:51 - 119:54
    you knew it all along
  • 119:55 - 119:57
    i just wanted to double check me if i
  • 119:57 - 119:59
    was still alive here
  • 119:59 - 120:01
    no i i'm actually
  • 120:01 - 120:03
    um
  • 120:03 - 120:04
    so
  • 120:04 - 120:07
    these are not
  • 120:08 - 120:10
    these are not done yet
  • 120:10 - 120:12
    um
  • 120:12 - 120:15
    so a new thing
  • 120:15 - 120:18
    is that for the loop wheel
  • 120:18 - 120:20
    so what's cool with this attach it so
  • 120:20 - 120:23
    for the loop wheel i i want a new
  • 120:23 - 120:25
    [Music]
  • 120:25 - 120:28
    i want a one two
  • 120:28 - 120:31
    eight gear reduction
  • 120:31 - 120:34
    what did i say
  • 120:34 - 120:37
    one to sixteen i i want
  • 120:37 - 120:40
    um
  • 120:40 - 120:42
    so
  • 120:42 - 120:44
    let's do let's do this
  • 120:44 - 120:46
    gear one
  • 120:46 - 120:48
    xx
  • 120:48 - 120:49
    uh
  • 120:49 - 120:51
    tbd
  • 120:51 - 120:54
    uh teeth
  • 120:54 - 120:57
    oh mike perry is back
  • 120:57 - 120:59
    let's see what he has to say over here
  • 120:59 - 121:02
    good morning my voice is th is
  • 121:02 - 121:04
    thoroughly destroyed
  • 121:04 - 121:05
    after yelling at the referees for bad
  • 121:05 - 121:08
    officiating of the bruins game it is
  • 121:08 - 121:11
    good to hear that h3k's voice is in
  • 121:11 - 121:12
    working order
  • 121:12 - 121:14
    cheers hope you had a good time i don't
  • 121:14 - 121:16
    know the score perhaps you don't want to
  • 121:16 - 121:19
    tell me about it either it sounds like
  • 121:19 - 121:21
    it was a rough game
  • 121:21 - 121:22
    nice to have you back here mike and my
  • 121:22 - 121:26
    voice is semi-working at least
  • 121:26 - 121:27
    a lot better than yesterday but you can
  • 121:27 - 121:29
    hear
  • 121:29 - 121:33
    it's not 100 yet
  • 121:33 - 121:35
    loop wheel
  • 121:35 - 121:38
    so fun i see a future in a tour when you
  • 121:38 - 121:40
    and mike go to on hockey together won't
  • 121:40 - 121:43
    that be something
  • 121:43 - 121:45
    my pleasure
  • 121:45 - 121:46
    it's kind of a bucket list when visiting
  • 121:46 - 121:52
    the states now yes a lot of hockey
  • 121:52 - 121:54
    yes hopefully the devils will have
  • 121:54 - 121:57
    cleaned up their act until then
  • 121:57 - 122:00
    [Laughter]
  • 122:00 - 122:03
    bruins lost six to four okay i'm sorry
  • 122:03 - 122:05
    mike but it was all the referee's fault
  • 122:05 - 122:07
    i i understand
  • 122:07 - 122:10
    being there
  • 122:17 - 122:19
    someone needs to take out both mitch
  • 122:19 - 122:23
    marner and austin matthews right
  • 122:28 - 122:31
    oh wait wait wait loop wheel
  • 122:31 - 122:36
    we have the timing clutch in here
  • 122:47 - 122:49
    well i know this is more fun than being
  • 122:49 - 122:52
    only an excel sheet
  • 122:52 - 122:55
    easily more fun
  • 122:59 - 123:01
    um
  • 123:01 - 123:03
    time to do requests from the audience
  • 123:03 - 123:05
    tessa is
  • 123:05 - 123:07
    wondering can you do the prey on noise
  • 123:07 - 123:09
    with your voice like this
  • 123:09 - 123:11
    haven't tried
  • 123:11 - 123:13
    but for you tessa
  • 123:13 - 123:16
    let's try it
  • 123:16 - 123:19
    it prays
  • 123:19 - 123:22
    on noise
  • 123:22 - 123:26
    i i could
  • 123:27 - 123:30
    starting coughing
  • 123:30 - 123:31
    um
  • 123:31 - 123:32
    that was that was beautiful harness
  • 123:32 - 123:35
    thank you um
  • 123:36 - 123:38
    the machine is done
  • 123:38 - 123:40
    yeah drive system what else do we have
  • 123:40 - 123:41
    actually because it feels like there's
  • 123:41 - 123:43
    100 things on the crankshaft
  • 123:43 - 123:46
    um crank pedal goes into the crankshaft
  • 123:46 - 123:48
    out of the crankshaft const is the start
  • 123:48 - 123:50
    of the gear train
  • 123:50 - 123:52
    and it's um
  • 123:52 - 123:55
    um
  • 123:55 - 123:58
    it's the and it's a flywheel is it this
  • 123:58 - 124:00
    simple
  • 124:00 - 124:02
    this is nothing then what are we
  • 124:02 - 124:05
    complaining about it's an easy machine
  • 124:05 - 124:07
    so
  • 124:10 - 124:10
    let's do
  • 124:10 - 124:12
    [Music]
  • 124:12 - 124:16
    let's call the flywheel o3
  • 124:16 - 124:19
    01.0103
  • 124:21 - 124:23
    flywheel
  • 124:23 - 124:26
    um
  • 124:26 - 124:28
    i kind of wanted you on the same line
  • 124:28 - 124:32
    can i can i have that yeah
  • 124:32 - 124:34
    oh what is happening here call me i'll
  • 124:34 - 124:36
    call mal
  • 124:36 - 124:38
    last three boxes are not part of zero
  • 124:38 - 124:41
    one but of zero three
  • 124:41 - 124:43
    yeah so this is a good this is good
  • 124:43 - 124:45
    carmille you're absolutely right but
  • 124:45 - 124:49
    it's also part of zero one so loop will
  • 124:49 - 124:51
    i think what i need to you're right loop
  • 124:51 - 124:52
    wheel gear
  • 124:52 - 124:54
    it needs to be here
  • 124:54 - 124:56
    the wheel gear
  • 124:56 - 124:59
    um so zero three is the music control
  • 124:59 - 125:01
    music um
  • 125:01 - 125:04
    no more you mean zero four i think um
  • 125:04 - 125:06
    music control
  • 125:06 - 125:08
    loop wheel gear
  • 125:08 - 125:12
    timing clutch programming wheel gear
  • 125:12 - 125:14
    gretzky in the chat right there call me
  • 125:14 - 125:15
    out
  • 125:15 - 125:17
    [Music]
  • 125:17 - 125:20
    and someone has noticed something else
  • 125:20 - 125:22
    that is missing right now
  • 125:22 - 125:25
    it's from simon rossian you forgot the
  • 125:25 - 125:26
    kinetic fingers
  • 125:26 - 125:29
    simon is back
  • 125:29 - 125:31
    as patient it was funny simon because i
  • 125:31 - 125:34
    saw you made like a very serious comment
  • 125:34 - 125:35
    that i that i enjoyed that was a good
  • 125:35 - 125:38
    serious comment in the excel sheet the
  • 125:38 - 125:40
    other day and it was so funny you like
  • 125:40 - 125:42
    broke you broke the fourth wall there
  • 125:42 - 125:43
    for a bit
  • 125:43 - 125:45
    um yeah
  • 125:45 - 125:48
    no kinetic fingers in here programming
  • 125:48 - 125:51
    wheel gear time and clutch
  • 125:51 - 125:53
    and so this is this is very new in my
  • 125:53 - 125:55
    head compared to the
  • 125:55 - 125:58
    machine before because on margin x
  • 125:58 - 125:59
    programming wheel gear
  • 125:59 - 126:02
    would be attached to the programming
  • 126:02 - 126:03
    wheel
  • 126:03 - 126:04
    but it's completely two different
  • 126:04 - 126:06
    functions completely to different
  • 126:06 - 126:09
    modules and yes they're sitting together
  • 126:09 - 126:12
    and they're interfacing
  • 126:14 - 126:15
    that
  • 126:15 - 126:17
    reminds me of when joe rogan asked elon
  • 126:17 - 126:20
    musk if we would communicate to each
  • 126:20 - 126:21
    other in the future when we have the
  • 126:21 - 126:25
    chip in our brain and elon was just like
  • 126:25 - 126:28
    we will interface
  • 126:32 - 126:34
    programming wheel gear
  • 126:34 - 126:36
    is there nothing else and i'm also
  • 126:36 - 126:38
    thinking
  • 126:38 - 126:41
    the brake
  • 126:41 - 126:43
    i think the brake should actually look
  • 126:43 - 126:46
    at this look at this
  • 126:46 - 126:49
    i think the brick should actually um
  • 126:49 - 126:51
    not only go
  • 126:51 - 126:52
    at the flywheel
  • 126:52 - 126:57
    but also can i not make an arrow
  • 126:59 - 127:04
    but also break maybe some other stuff
  • 127:04 - 127:06
    um
  • 127:07 - 127:08
    so break the gear train at the other end
  • 127:08 - 127:11
    as well
  • 127:11 - 127:13
    or break the crankshaft perhaps oh yeah
  • 127:13 - 127:16
    here we go that's what we did
  • 127:16 - 127:17
    um
  • 127:17 - 127:21
    we attached a brake
  • 127:21 - 127:22
    maybe we should use to make a brake
  • 127:22 - 127:24
    right there
  • 127:24 - 127:26
    so the brake is just clamping down
  • 127:26 - 127:28
    immediately on the crank oh i did that
  • 127:28 - 127:31
    wrong
  • 127:31 - 127:33
    um
  • 127:37 - 127:40
    why is this arrow above this is it
  • 127:40 - 127:44
    because i made it later
  • 127:49 - 127:51
    um
  • 127:52 - 127:57
    let's give me let's do this
  • 128:03 - 128:04
    so what i mean if we only break the
  • 128:04 - 128:07
    flywheel the machine can't stop really
  • 128:07 - 128:12
    fast and we have the decoupling as well
  • 128:12 - 128:13
    break
  • 128:13 - 128:16
    [Music]
  • 128:16 - 128:19
    let's do this
  • 128:20 - 128:24
    break pad
  • 128:26 - 128:28
    so that's another component on the
  • 128:28 - 128:30
    crankshaft
  • 128:30 - 128:33
    and then the brake is interfacing with
  • 128:33 - 128:36
    the brake pad
  • 128:38 - 128:40
    and what about the decoupling
  • 128:40 - 128:43
    so flywheel belt
  • 128:43 - 128:45
    um
  • 128:46 - 128:50
    because we need
  • 128:51 - 128:53
    we need the decoupling where do i put
  • 128:53 - 128:54
    the decoupling decoupling of the
  • 128:54 - 128:56
    flywheel
  • 128:56 - 128:59
    that's where where i want to lift the uh
  • 128:59 - 129:01
    i want to break the connection between
  • 129:01 - 129:04
    the flywheel and the crankshaft
  • 129:04 - 129:06
    [Music]
  • 129:06 - 129:08
    oh maybe we can do that in a pulley like
  • 129:08 - 129:10
    um
  • 129:10 - 129:11
    yes
  • 129:11 - 129:13
    you know
  • 129:13 - 129:15
    like on a motorcycle or gearbox with
  • 129:15 - 129:17
    lamellar
  • 129:17 - 129:20
    yeah
  • 129:21 - 129:23
    um
  • 129:23 - 129:25
    what is it called in an engine when you
  • 129:25 - 129:26
    put two discs spinning against each
  • 129:26 - 129:28
    other
  • 129:28 - 129:30
    um
  • 129:30 - 129:34
    it's a clutch
  • 129:34 - 129:37
    and maybe this time
  • 129:37 - 129:39
    we can have a clutch
  • 129:39 - 129:42
    not at the belt itself
  • 129:42 - 129:44
    but we can have we can we can have a
  • 129:44 - 129:47
    real clutch
  • 129:47 - 129:49
    between the crankshaft and the flywheel
  • 129:49 - 129:52
    pulley
  • 129:53 - 129:55
    because this is a problem that has been
  • 129:55 - 129:57
    solved
  • 129:58 - 130:01
    already
  • 130:07 - 130:10
    clutch
  • 130:10 - 130:12
    decoupling
  • 130:12 - 130:15
    clutch
  • 130:16 - 130:20
    this is better than what we had on mmx
  • 130:20 - 130:23
    so why i need to do this is that
  • 130:23 - 130:25
    we can't the flywheel will have so much
  • 130:25 - 130:26
    energy so if you want to break the
  • 130:26 - 130:28
    machine quick we have to decouple the
  • 130:28 - 130:29
    flywheel
  • 130:29 - 130:31
    and so the brake
  • 130:31 - 130:33
    that we're having here
  • 130:33 - 130:34
    it
  • 130:34 - 130:37
    not only has to break it also has to
  • 130:37 - 130:42
    send the signal to the decoupling clutch
  • 130:42 - 130:44
    there
  • 130:48 - 130:52
    my arrows are not super beautiful yet
  • 130:52 - 130:54
    trust me these arrows are going to be
  • 130:54 - 130:56
    magnificent
  • 130:56 - 131:00
    by the end of this
  • 131:17 - 131:19
    teeth tbd
  • 131:19 - 131:23
    what happens here
  • 131:31 - 131:33
    oh i'm so happy for the air
  • 131:33 - 131:37
    sir 3k
  • 131:45 - 131:46
    so
  • 131:46 - 131:48
    this is high level like my just my brain
  • 131:48 - 131:51
    dump on the drive system
  • 131:51 - 131:53
    yeah and i absolutely love um
  • 131:53 - 131:56
    [Music]
  • 131:56 - 131:58
    so wait the break
  • 131:58 - 132:01
    i need a lever for that
  • 132:02 - 132:04
    so
  • 132:04 - 132:07
    and chad is talking a lot about
  • 132:07 - 132:10
    ex for example here's from say don
  • 132:10 - 132:12
    you need to focus only on the surface
  • 132:12 - 132:14
    level stuff there is no need for a
  • 132:14 - 132:16
    single positive list
  • 132:16 - 132:18
    all of that should be covered by the
  • 132:18 - 132:20
    interface arrow okay
  • 132:20 - 132:22
    yeah i see what you mean this is this is
  • 132:22 - 132:25
    this is very difficult um to put it on
  • 132:25 - 132:28
    this on the correct and say don't also
  • 132:28 - 132:30
    and let's see if i can pull that up from
  • 132:30 - 132:33
    this chord i actually had a
  • 132:33 - 132:37
    little example thingy here
  • 132:37 - 132:39
    let's see
  • 132:43 - 132:49
    let's go into can you see it there yeah
  • 132:55 - 133:00
    okay so yeah so this is this is um
  • 133:03 - 133:06
    way to simplify it
  • 133:13 - 133:15
    i think you're right said on i think
  • 133:15 - 133:18
    we should go
  • 133:19 - 133:22
    yes because the the error i did is that
  • 133:22 - 133:24
    i put two different tree levels in the
  • 133:24 - 133:25
    same
  • 133:25 - 133:27
    image actually
  • 133:27 - 133:30
    so i think you're absolutely right and
  • 133:30 - 133:32
    thanks for sending the image that this
  • 133:32 - 133:34
    is like the best way to explain it
  • 133:34 - 133:35
    um
  • 133:35 - 133:39
    this is also really
  • 133:39 - 133:40
    beautiful
  • 133:40 - 133:43
    from ox3f2d
  • 133:44 - 133:46
    can you see it
  • 133:46 - 133:48
    so this is the
  • 133:48 - 133:52
    okay it's trump oh okay
  • 133:52 - 133:53
    yes
  • 133:53 - 133:56
    this is this is super cool super
  • 133:56 - 133:58
    succinct
  • 133:58 - 134:00
    um
  • 134:00 - 134:01
    we're all doing a little bit different
  • 134:01 - 134:03
    things
  • 134:03 - 134:06
    so this is like
  • 134:07 - 134:10
    because this diagram
  • 134:11 - 134:14
    is
  • 134:14 - 134:16
    this is more the whole machine
  • 134:16 - 134:18
    this is a flow chart more
  • 134:18 - 134:20
    um
  • 134:20 - 134:21
    so this is kind of a little bit of a
  • 134:21 - 134:24
    different view i feel than the one where
  • 134:24 - 134:28
    we're doing right now um
  • 134:29 - 134:30
    but let's start with let's start let's
  • 134:30 - 134:32
    start with the one point said on was
  • 134:32 - 134:34
    making here
  • 134:34 - 134:35
    and the reason i think you're absolutely
  • 134:35 - 134:37
    correct is that
  • 134:37 - 134:39
    so flywheel
  • 134:39 - 134:41
    is the same level as you can see on the
  • 134:41 - 134:44
    number here 010103
  • 134:44 - 134:46
    is on the same level as the pedal
  • 134:46 - 134:48
    however
  • 134:48 - 134:48
    um
  • 134:48 - 134:50
    [Music]
  • 134:50 - 134:52
    all these things flywheel belt flywheel
  • 134:52 - 134:54
    pulley
  • 134:54 - 134:56
    i wouldn't do them as
  • 134:56 - 134:59
    010104 they're actually on the next
  • 134:59 - 135:02
    level under
  • 135:02 - 135:04
    um
  • 135:04 - 135:06
    so
  • 135:06 - 135:12
    i'm going to save them here
  • 135:24 - 135:26
    and keep
  • 135:26 - 135:28
    more high level as you say
  • 135:28 - 135:32
    so let's do a double connector here
  • 135:34 - 135:37
    boom
  • 135:40 - 135:42
    can you show me salon's um suggestion
  • 135:42 - 135:47
    again give me one second my friend
  • 135:54 - 135:57
    there you go
  • 136:03 - 136:05
    okay thanks
  • 136:05 - 136:07
    um
  • 136:07 - 136:10
    yeah so
  • 136:10 - 136:14
    i'm gonna do this we have the break
  • 136:14 - 136:15
    and it's actually
  • 136:15 - 136:19
    what is this
  • 136:20 - 136:23
    and say don't also says here oh and by
  • 136:23 - 136:27
    the way yes you can link arrows to pages
  • 136:27 - 136:29
    oh cool so we can actually link here
  • 136:29 - 136:32
    interface nice
  • 136:32 - 136:34
    so we can link to an interface yeah
  • 136:34 - 136:37
    brill that's totally brilliant that is
  • 136:37 - 136:38
    brilliant
  • 136:38 - 136:42
    but this break i think is going to be
  • 136:42 - 136:43
    connected
  • 136:43 - 136:45
    both to the
  • 136:45 - 136:49
    shaft this arrow is going the wrong way
  • 136:50 - 136:53
    and to the flywheel
  • 136:54 - 137:00
    and then we are going to have um
  • 137:02 - 137:05
    gear one
  • 137:11 - 137:13
    yes they don't also have more gears
  • 137:13 - 137:17
    right can i just sneak peek
  • 137:18 - 137:21
    what would say don't do what would say
  • 137:21 - 137:23
    don't do
  • 137:26 - 137:29
    um yeah gears timing clutch more gears
  • 137:29 - 137:31
    loop wheel
  • 137:31 - 137:34
    okay cool
  • 137:34 - 137:38
    so loop wheel
  • 137:47 - 137:49
    this is also a great idea from amy
  • 137:49 - 137:51
    soyoka
  • 137:51 - 137:52
    you can validate your ideas by comparing
  • 137:52 - 137:55
    with other people and the similarities
  • 137:55 - 137:57
    are what should confirm slash reinforce
  • 137:57 - 138:00
    your assumptions slash views yeah
  • 138:00 - 138:03
    brilliant i always love when i see two
  • 138:03 - 138:06
    viewers independently from each other
  • 138:06 - 138:08
    two contributors is a nicer name
  • 138:08 - 138:10
    actually two contributors uh
  • 138:10 - 138:12
    independently from each other coming up
  • 138:12 - 138:13
    with the same
  • 138:13 - 138:14
    idea
  • 138:14 - 138:15
    that always tells me they're onto
  • 138:15 - 138:17
    something yeah
  • 138:17 - 138:19
    um
  • 138:19 - 138:21
    so now to the right here we have to
  • 138:21 - 138:24
    clean this up um
  • 138:24 - 138:28
    o4 is break
  • 138:29 - 138:33
    wait wait wait i know i know i know o5
  • 138:33 - 138:35
    is gear train
  • 138:35 - 138:39
    we're not going to
  • 138:41 - 138:43
    oh but
  • 138:43 - 138:45
    yeah so we're all trying to make kind of
  • 138:45 - 138:48
    a little bit different things
  • 138:48 - 138:49
    because
  • 138:49 - 138:51
    how is
  • 138:51 - 138:55
    what is the gear
  • 138:55 - 138:58
    let me try
  • 138:59 - 139:01
    so there's no absolute right or wrong
  • 139:01 - 139:03
    it's just what what's going to be most
  • 139:03 - 139:05
    helpful
  • 139:05 - 139:06
    so um
  • 139:06 - 139:09
    o5
  • 139:19 - 139:22
    gear train
  • 139:23 - 139:25
    so i think i'm going to stay more high
  • 139:25 - 139:26
    level here
  • 139:26 - 139:29
    so um
  • 139:29 - 139:33
    we're only going to do this
  • 139:33 - 139:34
    we're only gonna do
  • 139:34 - 139:37
    [Music]
  • 139:42 - 139:46
    so o six
  • 139:50 - 139:52
    no maybe this maybe no loop wheels and
  • 139:52 - 139:54
    stuff here just like this maybe
  • 139:54 - 139:57
    this is maybe it jimmy crosby is
  • 139:57 - 140:00
    wondering what is 101
  • 140:00 - 140:02
    101
  • 140:02 - 140:04
    [Music]
  • 140:04 - 140:07
    where do you mean
  • 140:08 - 140:10
    where is it is it the crankshaft that is
  • 140:10 - 140:12
    oh of course yes no
  • 140:12 - 140:15
    oh i'm used one too much i thought i i
  • 140:15 - 140:17
    had big numbers first you're right you
  • 140:17 - 140:19
    may crossfit
  • 140:19 - 140:21
    gretzky in the chat
  • 140:21 - 140:23
    boom
  • 140:23 - 140:27
    thank you it's looks so much nicer
  • 140:27 - 140:30
    oh nice nice nice i'm hanging out for a
  • 140:30 - 140:34
    quick one more thing be right back yeah
  • 140:34 - 140:35
    um
  • 140:35 - 140:37
    i thought we went up to so many numbers
  • 140:37 - 140:39
    fast
  • 140:39 - 140:41
    um
  • 140:43 - 140:45
    and i think the crankshaft i'm gonna
  • 140:45 - 140:47
    change all the numbering here i think
  • 140:47 - 140:48
    crankshaft is three
  • 140:48 - 140:51
    [Music]
  • 140:54 - 140:58
    flywheel is four
  • 141:00 - 141:03
    brake is five
  • 141:03 - 141:05
    gear train is
  • 141:05 - 141:06
    six
  • 141:06 - 141:08
    it's kind of cool to have a gear train
  • 141:08 - 141:12
    as a completely separate one
  • 141:13 - 141:16
    and there we go
  • 141:16 - 141:17
    here we go um
  • 141:17 - 141:20
    [Music]
  • 141:23 - 141:25
    like super simplified i'm going to
  • 141:25 - 141:27
    remove all these and we're going to
  • 141:27 - 141:29
    revisit them when we go into the gear
  • 141:29 - 141:31
    train
  • 141:37 - 141:41
    how did i do on the first one
  • 141:46 - 141:48
    yes i'm gonna make a recta i'm gonna
  • 141:48 - 141:50
    make this rectangular instead can i just
  • 141:50 - 141:53
    change it no i can't
  • 141:53 - 141:56
    i think for headlines
  • 141:56 - 141:59
    i should not have a box at all
  • 141:59 - 142:01
    um
  • 142:07 - 142:10
    i'm gonna do this uh
  • 142:10 - 142:13
    rhombus or what it's called
  • 142:13 - 142:16
    zero one
  • 142:16 - 142:19
    drive train drive system
  • 142:19 - 142:22
    drive system
  • 142:22 - 142:24
    so this is just the headline of the
  • 142:24 - 142:26
    document it's not a module
  • 142:26 - 142:28
    so and i'm keeping it consistent with
  • 142:28 - 142:30
    this
  • 142:30 - 142:33
    rhombus kind of
  • 142:35 - 142:39
    thing so then you can see we have
  • 142:45 - 142:49
    i think that's good actually
  • 142:49 - 142:52
    crankshaft
  • 142:52 - 142:54
    brake
  • 142:56 - 142:59
    i want this arrow to be straight
  • 142:59 - 143:01
    um
  • 143:03 - 143:06
    let's remove that for now the interface
  • 143:06 - 143:08
    thing
  • 143:08 - 143:11
    um
  • 143:20 - 143:21
    so of course
  • 143:21 - 143:24
    it is a shame that we can't like
  • 143:24 - 143:25
    keep on going
  • 143:25 - 143:27
    we could make like
  • 143:27 - 143:29
    once so maybe we
  • 143:29 - 143:32
    we could try later one one of you could
  • 143:32 - 143:34
    like when this is set in stone we could
  • 143:34 - 143:36
    make like a crazy map with just a
  • 143:36 - 143:38
    machine in the middle and then just
  • 143:38 - 143:40
    crazy our way out
  • 143:40 - 143:41
    um
  • 143:41 - 143:42
    with the whole machine
  • 143:42 - 143:44
    as a fun thing that it's also a
  • 143:44 - 143:46
    beautiful poster actually um
  • 143:46 - 143:48
    [Music]
  • 143:48 - 143:49
    but right now when i'm learning the
  • 143:49 - 143:51
    program i'm not going to try to do that
  • 143:51 - 143:52
    because it's going to be such a big mess
  • 143:52 - 143:54
    i think it's much better to do
  • 143:54 - 143:57
    one page per
  • 143:57 - 144:00
    [Music]
  • 144:00 - 144:02
    per tree
  • 144:02 - 144:06
    what we maybe could do though
  • 144:06 - 144:08
    so we set one page per
  • 144:08 - 144:12
    we're gonna have so many pages
  • 144:12 - 144:16
    does this make sense
  • 144:16 - 144:18
    um
  • 144:19 - 144:22
    i was thinking to add like
  • 144:22 - 144:26
    the instruments here below
  • 144:26 - 144:28
    i'm gonna try to do it i can copy it
  • 144:28 - 144:29
    over
  • 144:29 - 144:31
    let's try to do this
  • 144:31 - 144:33
    so i'm
  • 144:33 - 144:35
    keeping on down here and i'm just i'm
  • 144:35 - 144:38
    doing o2 here
  • 144:38 - 144:41
    um
  • 144:43 - 144:46
    instruments
  • 144:52 - 144:54
    so and in what order do i want to list
  • 144:54 - 144:57
    them
  • 145:06 - 145:09
    let me go to the pbs
  • 145:09 - 145:11
    we started
  • 145:11 - 145:13
    here
  • 145:18 - 145:21
    well kick drum snare drum hi-hat bass
  • 145:21 - 145:23
    vibraphone i think that's how we should
  • 145:23 - 145:26
    list them
  • 145:34 - 145:35
    o2
  • 145:35 - 145:38
    o1
  • 145:38 - 145:42
    so this is high level stuff kick drum
  • 145:50 - 145:54
    there's kind of no connections here
  • 145:54 - 145:57
    that's a little strange maybe
  • 145:57 - 146:01
    snare drum
  • 146:14 - 146:16
    i had o203
  • 146:16 - 146:19
    let's copy that and we're going to make
  • 146:19 - 146:21
    0204
  • 146:21 - 146:22
    [Music]
  • 146:22 - 146:24
    base
  • 146:24 - 146:25
    and
  • 146:25 - 146:27
    the mvp
  • 146:28 - 146:31
    [Music]
  • 146:39 - 146:42
    is of course
  • 146:44 - 146:48
    o205 vibrophone
  • 146:53 - 146:57
    if the vibraphone is the mvp
  • 146:57 - 146:59
    maybe i should put it first but in music
  • 146:59 - 147:00
    production like kick drum is always
  • 147:00 - 147:04
    channel one so it's just like
  • 147:04 - 147:07
    kick drum is always first like
  • 147:07 - 147:09
    in all input lists and everything when
  • 147:09 - 147:11
    you're touring you always put the kick
  • 147:11 - 147:13
    drum first so it just feels so awkward
  • 147:13 - 147:16
    do not have it first i'm gonna
  • 147:16 - 147:18
    i'm gonna just do that
  • 147:18 - 147:20
    [Music]
  • 147:20 - 147:22
    let's do
  • 147:22 - 147:26
    the marble cycle high level here as well
  • 147:28 - 147:31
    another idea that i just had
  • 147:31 - 147:35
    if this is the high level thing
  • 147:35 - 147:37
    that we could actually paste all this on
  • 147:37 - 147:40
    the front page
  • 147:43 - 147:45
    but there because there's no arrows
  • 147:45 - 147:48
    between these at all
  • 147:49 - 147:51
    it's going to be inside them it's going
  • 147:51 - 147:53
    to be a lot of arrows
  • 147:53 - 147:56
    so 03
  • 148:01 - 148:03
    marble cycle here we will have some
  • 148:03 - 148:06
    arrows though
  • 148:08 - 148:11
    so where do we start the marble cycle it
  • 148:11 - 148:15
    all starts with
  • 148:15 - 148:18
    let's start it with the marble lift
  • 148:18 - 148:19
    marble lift
  • 148:19 - 148:21
    we should be able to make a nice loop
  • 148:21 - 148:22
    here
  • 148:22 - 148:25
    so
  • 148:27 - 148:30
    maybe we can even put it in the bottom
  • 148:30 - 148:32
    so we have it like a visual with gravity
  • 148:32 - 148:33
    as well
  • 148:33 - 148:35
    0301
  • 148:35 - 148:38
    marble lift
  • 148:39 - 148:41
    and that goes to
  • 148:41 - 148:43
    [Music]
  • 148:43 - 148:46
    o3
  • 148:46 - 148:48
    o2
  • 148:49 - 148:53
    i think marble divider
  • 148:58 - 149:00
    the divider could be before the liftoff
  • 149:00 - 149:02
    eventually i don't know
  • 149:02 - 149:04
    um
  • 149:04 - 149:07
    let's try this
  • 149:07 - 149:09
    boom
  • 149:09 - 149:12
    boom
  • 149:12 - 149:15
    i'm gonna drag an arrow instead
  • 149:15 - 149:18
    this is nice
  • 149:18 - 149:21
    and then we have
  • 149:21 - 149:24
    and chat is going to be re read very
  • 149:24 - 149:26
    soon when cert 3k has returned
  • 149:26 - 149:29
    um right now i'm just fleshing out a
  • 149:29 - 149:31
    marble cycle
  • 149:31 - 149:35
    marble divider we have
  • 149:36 - 149:38
    i wonder if the marble
  • 149:38 - 149:40
    queues
  • 149:40 - 149:43
    now that's gonna be like
  • 149:47 - 149:48
    marble
  • 149:48 - 149:51
    reservoir
  • 149:55 - 149:59
    marble q what should we call this
  • 150:00 - 150:02
    marble
  • 150:02 - 150:05
    queue
  • 150:12 - 150:15
    he is back everyone
  • 150:15 - 150:16
    it's always so airy silent when you're
  • 150:16 - 150:19
    gone
  • 150:22 - 150:25
    marvel reservoir
  • 150:25 - 150:28
    we go on to
  • 150:30 - 150:34
    marble gates
  • 150:35 - 150:38
    d
  • 150:40 - 150:42
    o three
  • 150:42 - 150:45
    o four
  • 150:52 - 150:55
    and then
  • 150:56 - 150:58
    we go to
  • 150:58 - 150:59
    marble drop
  • 150:59 - 151:02
    perhaps
  • 151:02 - 151:04
    yeah you have to catch up now yeah yeah
  • 151:04 - 151:06
    i need to see what's happening
  • 151:06 - 151:08
    consonator one is wondering are you
  • 151:08 - 151:12
    still definitely having a divider
  • 151:12 - 151:15
    um
  • 151:20 - 151:22
    i think we're having the function of a
  • 151:22 - 151:24
    divider somewhere so
  • 151:24 - 151:26
    for example if we pick every marble to
  • 151:26 - 151:29
    its same track with with a closed loop i
  • 151:29 - 151:30
    don't think we will be able to do that
  • 151:30 - 151:33
    because i've done the high demands of
  • 151:33 - 151:35
    the marbles catching
  • 151:35 - 151:37
    um
  • 151:37 - 151:38
    so
  • 151:38 - 151:39
    i think
  • 151:39 - 151:41
    the function of a marble divider will be
  • 151:41 - 151:43
    somewhere on the machine um
  • 151:43 - 151:46
    and even if we catch them like with
  • 151:46 - 151:49
    unique loops per tracks that's also sort
  • 151:49 - 151:51
    of a marble divider so yeah
  • 151:51 - 151:52
    yes
  • 151:52 - 151:54
    but i'm very open-minded about how it
  • 151:54 - 151:55
    would
  • 151:55 - 151:58
    look and where it would be placed
  • 151:58 - 152:01
    it could also be before the marble lift
  • 152:01 - 152:03
    but then we need like a lot of channels
  • 152:03 - 152:05
    on the marble lift
  • 152:05 - 152:07
    but gonza nature i've been as i said in
  • 152:07 - 152:08
    the previous stream i've been thinking
  • 152:08 - 152:10
    about your
  • 152:10 - 152:12
    no part divider with just a broadening
  • 152:12 - 152:14
    channel
  • 152:14 - 152:16
    i think that's kind of very interesting
  • 152:16 - 152:18
    idea for this machine
  • 152:18 - 152:21
    said on hannes save him he is putting
  • 152:21 - 152:25
    all on one page
  • 152:26 - 152:28
    you're in there you're doing everything
  • 152:28 - 152:30
    in zero one drive system right now it
  • 152:30 - 152:32
    looks like yeah it's it's it's it's it's
  • 152:32 - 152:35
    um by it's intentional
  • 152:35 - 152:36
    okay
  • 152:36 - 152:38
    because i think this is how high level
  • 152:38 - 152:39
    so i'm i'm even thinking of putting
  • 152:39 - 152:41
    everything on this page
  • 152:41 - 152:43
    because there's no use on on like
  • 152:43 - 152:45
    clicking around
  • 152:45 - 152:48
    because we're this is just a big big big
  • 152:48 - 152:50
    map
  • 152:50 - 152:53
    um
  • 152:54 - 152:58
    if it's so little we can even actually
  • 152:58 - 153:00
    because i'm a higher level now and if
  • 153:00 - 153:04
    not i think i can i'm a higher level oh
  • 153:04 - 153:05
    i'm i'm gonna
  • 153:05 - 153:08
    yeah i'm in more high level the map is
  • 153:08 - 153:11
    not so granular it's not so zoomed in
  • 153:11 - 153:12
    um
  • 153:12 - 153:15
    i just yeah it isn't yeah if we have 100
  • 153:15 - 153:16
    million tabs
  • 153:16 - 153:18
    you can't derive knowledge from looking
  • 153:18 - 153:20
    at it quickly
  • 153:20 - 153:22
    so since we're so high level i think
  • 153:22 - 153:24
    [Music]
  • 153:24 - 153:26
    i'm planning on actually
  • 153:26 - 153:28
    i think i can make everything until the
  • 153:28 - 153:32
    second level in one diagram
  • 153:32 - 153:34
    [Music]
  • 153:34 - 153:35
    i think i should keep on building on
  • 153:35 - 153:37
    this because
  • 153:37 - 153:38
    um it was just in the beginning when i
  • 153:38 - 153:40
    thought that we would list so many
  • 153:40 - 153:41
    functions
  • 153:41 - 153:42
    so
  • 153:42 - 153:44
    um
  • 153:44 - 153:47
    if we have thousand tabs
  • 153:47 - 153:50
    we will have no oversight at all
  • 153:50 - 153:51
    and
  • 153:51 - 153:53
    that's why i'm thinking like this right
  • 153:53 - 153:54
    now
  • 153:54 - 153:55
    then we have
  • 153:55 - 153:59
    [Music]
  • 154:00 - 154:01
    um
  • 154:01 - 154:05
    ah what is that
  • 154:06 - 154:09
    marble catch
  • 154:12 - 154:15
    question is if instrument hit should be
  • 154:15 - 154:18
    in between here
  • 154:18 - 154:19
    it's pretty important part of the
  • 154:19 - 154:21
    machine
  • 154:24 - 154:28
    but it's it's not a
  • 154:28 - 154:31
    it's a function
  • 154:35 - 154:36
    okay
  • 154:36 - 154:39
    you got confirmation here from sedon
  • 154:39 - 154:42
    that is respectable okay
  • 154:42 - 154:46
    it feels and like
  • 154:46 - 154:48
    it feels like we're a little bit on the
  • 154:48 - 154:50
    same frequency right now sit on because
  • 154:50 - 154:53
    i'm doing i think it was your suggestion
  • 154:53 - 154:55
    to go more high level
  • 154:55 - 154:57
    and i think it would be super beautiful
  • 154:57 - 154:58
    if we can put everything that is on
  • 154:58 - 155:00
    screen now
  • 155:00 - 155:02
    together with what is on screen here
  • 155:02 - 155:04
    then i think we've done an amazing like
  • 155:04 - 155:07
    first overview page and then from there
  • 155:07 - 155:09
    on the third level we're gonna
  • 155:09 - 155:11
    dive into the um
  • 155:11 - 155:15
    dive deep dive really deep there
  • 155:15 - 155:17
    um
  • 155:18 - 155:20
    so chat what should i do with the
  • 155:20 - 155:23
    instrument a hit point
  • 155:23 - 155:25
    should that be mentioned in the marble
  • 155:25 - 155:28
    cycle it's only a function so
  • 155:28 - 155:30
    is it part of the interface here in the
  • 155:30 - 155:33
    arrow or is it actually a thing that
  • 155:33 - 155:36
    should be in the marble cycle
  • 155:36 - 155:40
    but it's also going to be
  • 155:43 - 155:44
    so it's also part of the instruments of
  • 155:44 - 155:46
    course
  • 155:46 - 155:48
    but of course it is the function i'm
  • 155:48 - 155:50
    gonna put it here
  • 155:50 - 155:54
    um hit point
  • 155:55 - 155:58
    it feels a little bit awkward but it's
  • 155:58 - 156:01
    probably it should probably be here
  • 156:01 - 156:02
    marble
  • 156:02 - 156:05
    hit point
  • 156:21 - 156:23
    a nice little loop right
  • 156:23 - 156:25
    oh
  • 156:25 - 156:27
    so do you have a good better name for
  • 156:27 - 156:28
    this hannes marble reservoir it's like
  • 156:28 - 156:31
    the pipes with the q for the marble
  • 156:31 - 156:33
    gates
  • 156:33 - 156:34
    um
  • 156:34 - 156:36
    yeah it should be the reservoir it's
  • 156:36 - 156:38
    okay
  • 156:42 - 156:44
    um
  • 156:48 - 156:49
    yes it should be part of the marble
  • 156:49 - 156:53
    cycle okay jepson nice cc blue warlord
  • 156:53 - 156:55
    yes it is a vital function of the world
  • 156:55 - 156:57
    cycle it makes the music
  • 156:57 - 156:59
    cool
  • 156:59 - 157:00
    so
  • 157:00 - 157:02
    um
  • 157:03 - 157:06
    let's let's leave it in there let's move
  • 157:06 - 157:08
    on to the
  • 157:08 - 157:09
    to the fourth
  • 157:09 - 157:11
    so what's cool with this program i just
  • 157:11 - 157:13
    realized if i drag outside my working
  • 157:13 - 157:16
    area i get more space
  • 157:16 - 157:19
    um add add02 instruments block have you
  • 157:19 - 157:22
    missed that
  • 157:23 - 157:25
    it's up here oh there you have it i
  • 157:25 - 157:27
    think maybe you miss it i think that's
  • 157:27 - 157:29
    what you mean
  • 157:29 - 157:32
    um
  • 157:35 - 157:38
    cc blue warlord marble reservoir could
  • 157:38 - 157:41
    be marble buffer yeah that is a better
  • 157:41 - 157:44
    word thank you
  • 157:45 - 157:47
    because the re it because i don't want
  • 157:47 - 157:50
    to have a reservoir like uh in another
  • 157:50 - 157:51
    place of the machine
  • 157:51 - 157:54
    and so marble buffer is much better
  • 157:54 - 157:56
    okay oh four everyone
  • 157:56 - 158:01
    we are thundering like schlepner cross
  • 158:07 - 158:09
    music control
  • 158:09 - 158:11
    um
  • 158:11 - 158:13
    okay everyone help me what do we have
  • 158:13 - 158:16
    here music control
  • 158:16 - 158:17
    um
  • 158:17 - 158:19
    we can take a sneak peek it's it's kind
  • 158:19 - 158:22
    of the programming wheel i guess
  • 158:22 - 158:24
    i guess it starts with the programming
  • 158:24 - 158:26
    wheel
  • 158:27 - 158:30
    so here we can make the flow chart that
  • 158:30 - 158:32
    you showed with the ink pen drawing
  • 158:32 - 158:35
    i think
  • 158:36 - 158:37
    [Music]
  • 158:37 - 158:40
    0401
  • 158:40 - 158:44
    programming wheel
  • 158:49 - 158:50
    and then
  • 158:50 - 158:54
    and now we can do really flowy here um
  • 158:54 - 158:56
    i'm going to try to do just
  • 158:56 - 158:59
    down like this
  • 159:03 - 159:05
    this is so fun
  • 159:05 - 159:08
    this is a blast right
  • 159:08 - 159:11
    it gives me a feeling of control yeah
  • 159:11 - 159:14
    and progress
  • 159:14 - 159:14
    so
  • 159:14 - 159:18
    what comes on us can you guess
  • 159:18 - 159:20
    what comes here loop drum no what is
  • 159:20 - 159:23
    programming wheel interfacing with
  • 159:23 - 159:26
    registrators
  • 159:26 - 159:29
    round of applause for sir 3k
  • 159:29 - 159:32
    registrators
  • 159:34 - 159:37
    so do not go too high level
  • 159:37 - 159:39
    i still think that a muting
  • 159:39 - 159:42
    should be mentioned here
  • 159:42 - 159:43
    um
  • 159:43 - 159:47
    muting and program switch
  • 159:47 - 159:49
    or is that
  • 159:49 - 159:51
    yes
  • 159:51 - 159:53
    it's such a big thing
  • 159:53 - 159:56
    so
  • 159:56 - 159:58
    let's just call it program switch
  • 159:58 - 160:00
    because mute is one of the programs yes
  • 160:00 - 160:04
    there we go okay program switch
  • 160:04 - 160:07
    um
  • 160:08 - 160:10
    so it's like i can't make a flow chart
  • 160:10 - 160:12
    out of the instrument section
  • 160:12 - 160:14
    but i can make a flow chart out of both
  • 160:14 - 160:17
    the marble cycle and the music control
  • 160:17 - 160:21
    so program switch what do we have done
  • 160:21 - 160:24
    um
  • 160:24 - 160:27
    we have
  • 160:28 - 160:31
    i think the marble gates
  • 160:31 - 160:35
    roll of films instrument levers
  • 160:35 - 160:36
    gates
  • 160:36 - 160:38
    or is that also in the program switch
  • 160:38 - 160:39
    category
  • 160:39 - 160:42
    so instrument levers
  • 160:42 - 160:45
    is in music control definitely
  • 160:45 - 160:46
    um
  • 160:46 - 160:48
    but i think
  • 160:48 - 160:51
    it's going to be sub
  • 160:51 - 160:54
    of 0403 yup so the instrument levers is
  • 160:54 - 160:56
    going to be a sub component of the
  • 160:56 - 160:58
    program switch module
  • 160:58 - 161:01
    um
  • 161:02 - 161:06
    no wait it is a really big thing
  • 161:06 - 161:08
    um
  • 161:08 - 161:09
    so
  • 161:09 - 161:11
    oh this is gonna be beautiful look we
  • 161:11 - 161:13
    just put
  • 161:13 - 161:15
    we just put it here
  • 161:15 - 161:17
    um
  • 161:17 - 161:21
    program levers
  • 161:22 - 161:24
    oh wow slice of sparta you're gonna make
  • 161:24 - 161:26
    me blush here
  • 161:26 - 161:31
    h3k more than a pretty face
  • 161:31 - 161:34
    i'm learning stuff also
  • 161:37 - 161:39
    yeah
  • 161:39 - 161:41
    yesterday we showed the
  • 161:41 - 161:42
    sir three case
  • 161:42 - 161:45
    feet up bench press personal best with
  • 161:45 - 161:48
    155 kilo from last week
  • 161:48 - 161:52
    more than just a pretty face
  • 161:54 - 161:56
    i'm doubting
  • 161:56 - 161:59
    if the program levers because we are we
  • 161:59 - 162:00
    are
  • 162:00 - 162:02
    now
  • 162:02 - 162:03
    i think the program levers is on the
  • 162:03 - 162:04
    next
  • 162:04 - 162:06
    level
  • 162:06 - 162:07
    for example here we only have like
  • 162:07 - 162:11
    marble drop we don't have like
  • 162:11 - 162:14
    um wait why do i have marble drop marble
  • 162:14 - 162:18
    gates and drop
  • 162:19 - 162:21
    it's the same thing
  • 162:21 - 162:23
    marble gates and drop
  • 162:23 - 162:26
    i'm gonna re
  • 162:26 - 162:28
    redo this
  • 162:30 - 162:32
    so
  • 162:37 - 162:39
    i think it's the same thing
  • 162:39 - 162:41
    so i think
  • 162:41 - 162:44
    the program levers is going to be inside
  • 162:44 - 162:47
    the program switch module
  • 162:48 - 162:50
    so programming wheel touches the
  • 162:50 - 162:51
    registrators
  • 162:51 - 162:53
    go through the program switch
  • 162:53 - 162:56
    open and closes the marble gates
  • 162:56 - 163:00
    [Music]
  • 163:01 - 163:03
    freddie can touch the program switch
  • 163:03 - 163:05
    module would also be a sub component of
  • 163:05 - 163:08
    the registrators
  • 163:10 - 163:11
    i think it belongs more to the program
  • 163:11 - 163:13
    switch because the registrators will
  • 163:13 - 163:16
    always be registrating it's it's i think
  • 163:16 - 163:19
    you you mean the same i think freddie um
  • 163:19 - 163:21
    it's just that i
  • 163:21 - 163:24
    i took the program switch as a separate
  • 163:24 - 163:26
    module and that's actually where the
  • 163:26 - 163:28
    levers are um
  • 163:28 - 163:30
    oh no sorry i read you wrong the program
  • 163:30 - 163:32
    switch module would also be a
  • 163:32 - 163:33
    subconscious
  • 163:33 - 163:36
    component
  • 163:39 - 163:42
    it could
  • 163:42 - 163:42
    but
  • 163:42 - 163:45
    the way i'm thinking
  • 163:45 - 163:47
    because this arrow i should actually
  • 163:47 - 163:49
    start cad but this arrow is a thing
  • 163:49 - 163:51
    that's always moving
  • 163:51 - 163:53
    um
  • 163:53 - 163:54
    i think it makes sense to break it out
  • 163:54 - 163:56
    here
  • 163:56 - 163:58
    um
  • 163:58 - 164:01
    because the registrators
  • 164:01 - 164:02
    program oh
  • 164:02 - 164:04
    and perhaps there is something to this
  • 164:04 - 164:06
    from seebs293
  • 164:06 - 164:08
    programs which should drive the
  • 164:08 - 164:10
    programming wheel and the registrators
  • 164:10 - 164:12
    the registrators do not drive the
  • 164:12 - 164:14
    program switch
  • 164:16 - 164:18
    oh this is getting complicated no no
  • 164:18 - 164:20
    this is fun this is fun it's this is a
  • 164:20 - 164:23
    great discussion um
  • 164:24 - 164:26
    the registrators
  • 164:26 - 164:28
    the part and that i mean are the
  • 164:28 - 164:30
    registrators are always moving
  • 164:30 - 164:32
    regardless of the setting of the program
  • 164:32 - 164:34
    switch
  • 164:34 - 164:34
    um
  • 164:34 - 164:37
    [Music]
  • 164:38 - 164:40
    so
  • 164:41 - 164:45
    i think i i think i disagree because
  • 164:45 - 164:46
    what what i see is that
  • 164:46 - 164:48
    pro this the programming wheel
  • 164:48 - 164:51
    it doesn't care about uh the setting of
  • 164:51 - 164:54
    the program switch the registrators the
  • 164:54 - 164:55
    things that are interacting with the
  • 164:55 - 164:57
    programmer pin it also doesn't care
  • 164:57 - 165:00
    about the setting of the program switch
  • 165:00 - 165:02
    the marble the
  • 165:02 - 165:04
    so if we think an input output kind of
  • 165:04 - 165:06
    thing and processing
  • 165:06 - 165:09
    the registrators is always sending the
  • 165:09 - 165:10
    same output
  • 165:10 - 165:13
    but before that output
  • 165:13 - 165:14
    comes to the marble gates is getting
  • 165:14 - 165:18
    processed by the program switch so i i
  • 165:18 - 165:21
    think this works um
  • 165:24 - 165:26
    we need another tree here
  • 165:26 - 165:30
    which is then going to be o5
  • 165:30 - 165:32
    which is loop wheel
  • 165:32 - 165:34
    loop wheel
  • 165:34 - 165:37
    and this is
  • 165:40 - 165:43
    i think the word regis the word i think
  • 165:43 - 165:45
    i think it's uh semantics a lot there
  • 165:45 - 165:47
    but it's also important semantics
  • 165:47 - 165:50
    discussion loop wheel
  • 165:50 - 165:51
    goes to
  • 165:51 - 165:52
    [Music]
  • 165:52 - 165:56
    loop b stars
  • 166:03 - 166:04
    and they go to
  • 166:04 - 166:07
    [Music]
  • 166:10 - 166:13
    so music control
  • 166:13 - 166:15
    um
  • 166:19 - 166:21
    so the loop eaters play on the
  • 166:21 - 166:23
    instruments but probably we shouldn't
  • 166:23 - 166:26
    yeah they're not part of the control
  • 166:26 - 166:28
    no
  • 166:28 - 166:30
    but we also have
  • 166:30 - 166:33
    loop beaters we also have perhaps height
  • 166:33 - 166:35
    close open
  • 166:35 - 166:37
    and stuff like that yeah
  • 166:37 - 166:40
    um
  • 166:48 - 166:51
    let's leave it like this for now
  • 166:51 - 166:54
    we have only one more to go frame
  • 166:54 - 166:55
    and this is the most difficult one i
  • 166:55 - 166:57
    think
  • 166:57 - 166:59
    slice of sport is wondering would the
  • 166:59 - 167:01
    resonator pipes be considered music
  • 167:01 - 167:03
    control since that's where the vibrato
  • 167:03 - 167:05
    is
  • 167:05 - 167:07
    um
  • 167:07 - 167:08
    if it would
  • 167:08 - 167:11
    it would still i think um end up far
  • 167:11 - 167:15
    deep into this o205 vibraphone
  • 167:15 - 167:17
    sub component yeah
  • 167:17 - 167:19
    uh since we're
  • 167:19 - 167:21
    trying to be high level um
  • 167:21 - 167:23
    but i'm not sure
  • 167:23 - 167:25
    um
  • 167:25 - 167:27
    o5
  • 167:28 - 167:30
    frame
  • 167:30 - 167:33
    and this is going to be tricky one it's
  • 167:33 - 167:34
    so far frame
  • 167:34 - 167:37
    is that right yep
  • 167:38 - 167:40
    so
  • 167:40 - 167:44
    i guess it's going to be like this o501
  • 167:44 - 167:47
    welded
  • 167:47 - 167:48
    laser
  • 167:48 - 167:52
    cnc steel frame
  • 167:55 - 167:57
    and here's just going to be crazy hard
  • 167:57 - 167:59
    for me to guess now
  • 167:59 - 168:01
    it's going to be like
  • 168:01 - 168:04
    i'm just gonna make a um
  • 168:04 - 168:05
    example
  • 168:05 - 168:07
    maybe like
  • 168:07 - 168:09
    o502
  • 168:09 - 168:10
    [Music]
  • 168:10 - 168:12
    uh
  • 168:12 - 168:15
    vibraphone
  • 168:15 - 168:19
    brackets or let's do kick drum
  • 168:22 - 168:24
    etc etc etc
  • 168:24 - 168:27
    um
  • 168:27 - 168:29
    so kind of one big skeleton and then all
  • 168:29 - 168:32
    the little arms maybe i i don't really
  • 168:32 - 168:34
    know how to um
  • 168:34 - 168:37
    i'm just gonna make some examples
  • 168:37 - 168:39
    uh i think also maybe like bearing
  • 168:39 - 168:44
    housings i'm gonna go here
  • 168:50 - 168:51
    o5
  • 168:51 - 168:54
    xx
  • 168:57 - 169:01
    um prog wheel
  • 169:02 - 169:03
    prog wheel
  • 169:03 - 169:06
    shaft holders
  • 169:06 - 169:08
    so they will be welded on or
  • 169:08 - 169:11
    screwed on bolted on
  • 169:11 - 169:15
    fastened on carmel frame sub
  • 169:15 - 169:18
    subsystem one feet ah that's nice that's
  • 169:18 - 169:21
    a super nice idea
  • 169:21 - 169:24
    um
  • 169:28 - 169:31
    and also even more feed stabilization
  • 169:31 - 169:34
    anchor points connecting rods
  • 169:34 - 169:35
    um
  • 169:35 - 169:40
    feet where do i put feet
  • 169:40 - 169:42
    pull the laser
  • 169:42 - 169:45
    all file
  • 169:46 - 169:49
    let's put here
  • 169:51 - 169:54
    feet
  • 170:02 - 170:05
    am i wrong with my numbering on this no
  • 170:05 - 170:06
    this is true
  • 170:06 - 170:09
    someone just had a little tip here if i
  • 170:09 - 170:11
    scroll up
  • 170:11 - 170:15
    a mere ammo replace 0305 marble hit
  • 170:15 - 170:19
    point to o2 instruments
  • 170:19 - 170:21
    yes this is what we discussed before
  • 170:21 - 170:23
    yeah um
  • 170:23 - 170:25
    so this is where
  • 170:25 - 170:28
    this is where things get murky
  • 170:28 - 170:33
    where kind of something has to be
  • 170:36 - 170:38
    where in my head like i don't want to
  • 170:38 - 170:41
    link in and out here
  • 170:41 - 170:44
    um
  • 170:44 - 170:47
    but it's true that 0305 marble hit point
  • 170:47 - 170:48
    will be
  • 170:48 - 170:52
    like on the instrument
  • 170:52 - 170:55
    so maybe this should maybe this is just
  • 170:55 - 170:59
    an yeah how to do this
  • 170:59 - 171:01
    um
  • 171:02 - 171:06
    because the marble hit point
  • 171:11 - 171:13
    maybe we should make references
  • 171:13 - 171:14
    yeah
  • 171:14 - 171:16
    so perhaps that's what the person meant
  • 171:16 - 171:18
    right it should be connected to o2
  • 171:18 - 171:20
    instruments
  • 171:20 - 171:22
    reference
  • 171:25 - 171:26
    o2
  • 171:26 - 171:30
    instruments um
  • 171:37 - 171:39
    maybe this is a way to handle it
  • 171:39 - 171:41
    because
  • 171:42 - 171:45
    like the marble cycle is interacting
  • 171:45 - 171:47
    with the instruments and maybe then to
  • 171:47 - 171:49
    send a little
  • 171:49 - 171:52
    um make a little connection here
  • 171:52 - 171:54
    it's better
  • 171:54 - 171:56
    reference
  • 171:56 - 171:58
    [Music]
  • 171:58 - 172:01
    hit point inside
  • 172:01 - 172:04
    something like this
  • 172:05 - 172:06
    how's that
  • 172:06 - 172:11
    for our collective ocds i love it
  • 172:11 - 172:14
    so now i'm going to try
  • 172:14 - 172:16
    um
  • 172:16 - 172:18
    this is the whole machine honest
  • 172:18 - 172:21
    simple as that simple simple stuff right
  • 172:21 - 172:22
    yeah
  • 172:22 - 172:25
    now i'm going to try my best to copy
  • 172:25 - 172:27
    this onto the
  • 172:27 - 172:31
    the main line the main line so what what
  • 172:31 - 172:32
    if
  • 172:32 - 172:35
    we just put
  • 172:36 - 172:38
    i'm going to show you why i want to
  • 172:38 - 172:40
    product tree
  • 172:40 - 172:41
    product
  • 172:41 - 172:45
    breakdown tree
  • 172:45 - 172:47
    uh so this is this is what i have like
  • 172:47 - 172:49
    in my mind
  • 172:49 - 172:52
    uh here's a good one
  • 172:53 - 172:58
    can i get some of these big
  • 173:01 - 173:02
    work yeah
  • 173:02 - 173:05
    vbwbs
  • 173:05 - 173:06
    so
  • 173:06 - 173:07
    these are
  • 173:07 - 173:09
    here
  • 173:09 - 173:11
    this is what i have in mind
  • 173:11 - 173:14
    um
  • 173:15 - 173:19
    this is what i want to create i think
  • 173:20 - 173:23
    but of course here the levels are
  • 173:23 - 173:26
    super super clean
  • 173:26 - 173:27
    so there's never like
  • 173:27 - 173:31
    [Music]
  • 173:34 - 173:36
    but let's try
  • 173:36 - 173:38
    let's go for it
  • 173:38 - 173:41
    can't go anything more than fantastic
  • 173:41 - 173:44
    right yeah yeah
  • 173:47 - 173:50
    let's try doing it like this
  • 173:50 - 173:51
    and we'll see
  • 173:51 - 173:53
    i'm gonna try with the drive system
  • 173:53 - 173:56
    first can i now just oh i think i love
  • 173:56 - 173:58
    this program
  • 173:58 - 174:00
    copy
  • 174:00 - 174:01
    oh wow
  • 174:01 - 174:06
    sweetness oh wow sweetness
  • 174:11 - 174:12
    but
  • 174:12 - 174:14
    this is kind of a flow chart
  • 174:14 - 174:17
    so it's kind of
  • 174:17 - 174:22
    maybe i maybe i can just do this
  • 174:22 - 174:24
    you can create more space by just
  • 174:24 - 174:27
    dragging to the side remember oh nice
  • 174:27 - 174:30
    good
  • 174:33 - 174:36
    one and i can make all this smaller as
  • 174:36 - 174:39
    well
  • 174:59 - 175:02
    um
  • 175:06 - 175:08
    so the confusion here is if we're gonna
  • 175:08 - 175:10
    make like a pbs or if we're gonna make a
  • 175:10 - 175:12
    flow chart and now we're kind of making
  • 175:12 - 175:13
    both
  • 175:13 - 175:16
    um
  • 175:25 - 175:28
    so
  • 175:36 - 175:39
    crank drive system so for example what
  • 175:39 - 175:41
    do i connect
  • 175:41 - 175:43
    from the drive system do i connect it to
  • 175:43 - 175:43
    the
  • 175:43 - 175:46
    maybe just to the oh
  • 175:46 - 175:48
    oh yeah to the one should be the one
  • 175:48 - 175:50
    yeah it should be the o1
  • 175:50 - 175:51
    obviously
  • 175:51 - 175:55
    so let's just do this
  • 176:00 - 176:02
    but then
  • 176:10 - 176:11
    i think i should use somewhere the
  • 176:11 - 176:15
    vertical space more
  • 176:21 - 176:24
    this is this is not too bad
  • 176:24 - 176:27
    gear train
  • 176:27 - 176:30
    brake
  • 176:30 - 176:34
    let's remove this crazy arrow
  • 176:51 - 176:54
    nice
  • 177:11 - 177:12
    there
  • 177:12 - 177:14
    so this is a strange hybrid between a
  • 177:14 - 177:17
    flow chart and a pbs
  • 177:17 - 177:21
    i still i think it's still
  • 177:22 - 177:25
    think it's not too bad
  • 177:26 - 177:29
    what do you think famous last words
  • 177:29 - 177:31
    it's not too bad
  • 177:31 - 177:33
    i like having this on the same um
  • 177:33 - 177:35
    [Music]
  • 177:35 - 177:38
    same little thing let's go for the next
  • 177:38 - 177:39
    one
  • 177:39 - 177:42
    and let's go for these
  • 177:43 - 177:45
    they are not even connected so
  • 177:45 - 177:49
    we can make this super super clean
  • 177:49 - 177:52
    um here
  • 177:58 - 178:00
    and here i'm going to take some
  • 178:00 - 178:01
    inspiration from the
  • 178:01 - 178:04
    wbs
  • 178:05 - 178:08
    that i showed you here
  • 178:08 - 178:10
    okay so so they're all connected like
  • 178:10 - 178:12
    this
  • 178:12 - 178:14
    because it's not a flow chart let's see
  • 178:14 - 178:15
    if we can create that instead of like a
  • 178:15 - 178:17
    multi arrow
  • 178:17 - 178:20
    how do you do that
  • 178:24 - 178:27
    can i drag an r
  • 178:27 - 178:30
    no
  • 178:39 - 178:43
    can't i drag an arrow from here
  • 178:44 - 178:47
    let's zoom in
  • 178:49 - 178:52
    no
  • 179:04 - 179:07
    maybe the arrow is too small
  • 179:07 - 179:09
    i think i did it before
  • 179:09 - 179:13
    sure you should be right
  • 179:20 - 179:22
    i can just drag multiple maybe from the
  • 179:22 - 179:23
    same
  • 179:23 - 179:26
    wait what happens if i do that
  • 179:26 - 179:30
    oh here we go
  • 179:32 - 179:34
    okay
  • 179:34 - 179:35
    nice huh
  • 179:35 - 179:37
    now we're talking but i actually want it
  • 179:37 - 179:42
    i want it from the underside of the box
  • 179:43 - 179:45
    let's
  • 179:45 - 179:48
    let's drag it over there
  • 179:48 - 179:51
    so what are people saying
  • 179:55 - 179:59
    um dun
  • 180:10 - 180:12
    maybe you can explain for new viewers
  • 180:12 - 180:14
    what we're trying to do today hannah's
  • 180:14 - 180:16
    context
  • 180:16 - 180:19
    the context maker
  • 180:19 - 180:20
    so like
  • 180:20 - 180:23
    so um while i'm just
  • 180:23 - 180:25
    doing it you can try to
  • 180:25 - 180:26
    see
  • 180:26 - 180:29
    i don't know how i would describe it but
  • 180:29 - 180:31
    for any new viewers like what are we
  • 180:31 - 180:34
    actually trying to do here
  • 180:34 - 180:37
    oh that's a great question i guess we
  • 180:37 - 180:39
    started at trying to define
  • 180:39 - 180:42
    uh trying to define the modules and
  • 180:42 - 180:44
    interfaces and the difference between
  • 180:44 - 180:46
    them right breaking down it's almost
  • 180:46 - 180:48
    like a product breakdown system
  • 180:48 - 180:51
    it's a hybrid right now
  • 180:51 - 180:55
    and chad pointed us to this great uh
  • 180:55 - 180:58
    program called draw io i guess it was
  • 180:58 - 181:00
    name right
  • 181:00 - 181:03
    where you can do this great block
  • 181:03 - 181:04
    diagrams
  • 181:04 - 181:05
    block
  • 181:05 - 181:07
    charts
  • 181:07 - 181:10
    and this is a great visualization for us
  • 181:10 - 181:13
    and the viewers about all the
  • 181:13 - 181:15
    the key
  • 181:17 - 181:21
    modules of the marble machine i guess
  • 181:21 - 181:24
    on a high level
  • 181:24 - 181:27
    so all the subsystems are not in this
  • 181:27 - 181:29
    yet
  • 181:29 - 181:33
    but what drives what basically
  • 181:34 - 181:36
    uh
  • 181:36 - 181:39
    that's a great summary and
  • 181:39 - 181:40
    i love i loved it
  • 181:40 - 181:43
    the context um
  • 181:43 - 181:46
    god of context has entered into the chat
  • 181:46 - 181:51
    and um what i would add is that
  • 181:51 - 181:53
    we want to do this as a way of
  • 181:53 - 181:54
    structurize
  • 181:54 - 181:57
    structuring our design requirements
  • 181:57 - 181:59
    so the design requirements are going to
  • 181:59 - 182:00
    be written
  • 182:00 - 182:04
    uh on on this flow on this um block
  • 182:04 - 182:06
    diagram
  • 182:06 - 182:09
    uh or not on this but it's going to be
  • 182:09 - 182:12
    have this follow the same structure yeah
  • 182:12 - 182:14
    and a great tool
  • 182:14 - 182:15
    to find
  • 182:15 - 182:18
    as chad pointed out
  • 182:18 - 182:21
    for example you can use the arrow to see
  • 182:21 - 182:24
    what interfaces interact with what
  • 182:24 - 182:29
    module and stuff like that yeah later on
  • 182:44 - 182:46
    and this is a
  • 182:46 - 182:49
    reference module right here
  • 182:49 - 182:53
    see if i can go in a little closer
  • 182:54 - 182:58
    with this one oh this one
  • 182:58 - 183:01
    [Music]
  • 183:02 - 183:03
    oh
  • 183:03 - 183:05
    my list is
  • 183:05 - 183:07
    this is not good
  • 183:07 - 183:08
    something happened
  • 183:08 - 183:10
    they're on the loose
  • 183:10 - 183:13
    they're on the loose so this one i'm
  • 183:13 - 183:16
    working on right here the reference um
  • 183:16 - 183:18
    [Music]
  • 183:18 - 183:20
    we're referencing another
  • 183:20 - 183:22
    thing
  • 183:22 - 183:27
    which is kind of um
  • 183:32 - 183:34
    maybe it's a little crazy that we do
  • 183:34 - 183:37
    that or maybe not
  • 183:39 - 183:41
    and it's also today it's fun to learn a
  • 183:41 - 183:43
    new tool and
  • 183:43 - 183:45
    to be able to make something that looks
  • 183:45 - 183:48
    semi-professional
  • 183:48 - 183:50
    instead of sketching on the ipad yeah a
  • 183:50 - 183:52
    flow diagram there's something like this
  • 183:52 - 183:55
    that looks like okay i think they kind
  • 183:55 - 183:57
    of know what they're doing
  • 183:57 - 183:58
    kinda did you see how i created the
  • 183:58 - 184:01
    marble loop here marble catch goes up to
  • 184:01 - 184:04
    the marble lift there we go maybe the
  • 184:04 - 184:05
    marble lift should have been at the
  • 184:05 - 184:07
    bottom maybe that would have been
  • 184:07 - 184:08
    um
  • 184:08 - 184:10
    no it doesn't matter
  • 184:10 - 184:14
    there's no gravity in this document
  • 184:14 - 184:19
    and i'm gonna make this like this
  • 184:19 - 184:20
    and
  • 184:20 - 184:22
    girgus008 has an accidental arrow
  • 184:22 - 184:24
    creation counter going right now we're
  • 184:24 - 184:27
    up to eight
  • 184:27 - 184:29
    yeah one click
  • 184:29 - 184:30
    there's a ball
  • 184:30 - 184:34
    [Laughter]
  • 184:34 - 184:35
    that's fun
  • 184:35 - 184:38
    um i'm gonna try to
  • 184:38 - 184:41
    arrow it down oh
  • 184:41 - 184:43
    two only oh
  • 184:43 - 184:45
    zero
  • 184:46 - 184:47
    um
  • 184:47 - 184:49
    look at this let's take a look on the
  • 184:49 - 184:52
    wow look at this wow
  • 184:52 - 184:54
    wow
  • 184:54 - 184:57
    music control
  • 184:58 - 185:03
    let's control the music
  • 185:10 - 185:12
    oh wait i know exactly how to do this
  • 185:12 - 185:13
    one
  • 185:13 - 185:16
    it's just like this
  • 185:17 - 185:20
    and then
  • 185:20 - 185:23
    now wait
  • 185:27 - 185:28
    um
  • 185:28 - 185:30
    and there we have a little delay for the
  • 185:30 - 185:33
    viewers there but we have the counter is
  • 185:33 - 185:34
    now at nine
  • 185:34 - 185:37
    [Laughter]
  • 185:37 - 185:39
    that's funny
  • 185:39 - 185:43
    uh itamar priel marble cat should be
  • 185:43 - 185:46
    0305 question mark
  • 185:46 - 185:48
    yeah
  • 185:48 - 185:50
    oh good point because i made a reference
  • 185:50 - 185:53
    thank you so much itamar
  • 185:54 - 185:55
    legend
  • 185:55 - 185:58
    legend right there legend
  • 185:58 - 186:01
    um
  • 186:14 - 186:16
    so i'm just wondering
  • 186:16 - 186:18
    [Music]
  • 186:18 - 186:20
    okay so here i think we're gonna do what
  • 186:20 - 186:23
    we did on the instruments
  • 186:27 - 186:30
    i'm gonna drag uh
  • 186:32 - 186:35
    two arrows
  • 186:35 - 186:39
    for the price of one yes
  • 186:40 - 186:43
    no
  • 186:45 - 186:48
    and it's ugly
  • 186:48 - 186:51
    there we go
  • 186:58 - 187:01
    so this is where we're lost in the
  • 187:01 - 187:04
    middle between a flow chart and a pbs uh
  • 187:04 - 187:08
    diagram it's like a visual pbs almost
  • 187:08 - 187:09
    yes
  • 187:09 - 187:12
    um
  • 187:14 - 187:17
    but maybe i should make like i did on o2
  • 187:17 - 187:18
    here
  • 187:18 - 187:21
    so it's it's strange because
  • 187:21 - 187:21
    um
  • 187:21 - 187:23
    these arrows doesn't mean the same as
  • 187:23 - 187:25
    these arrows
  • 187:25 - 187:27
    so that's what's turning me off a little
  • 187:27 - 187:28
    bit here
  • 187:28 - 187:33
    so maybe i should just do this actually
  • 187:33 - 187:35
    um
  • 187:35 - 187:37
    now we need that interface yeah we need
  • 187:37 - 187:38
    that interface i should have other
  • 187:38 - 187:40
    arrows for
  • 187:40 - 187:42
    is there another
  • 187:42 - 187:45
    connector with two labels connected with
  • 187:45 - 187:48
    three connector with symbol can change
  • 187:48 - 187:51
    color of the arrows one check this out
  • 187:51 - 187:53
    link
  • 187:53 - 187:56
    so if i if we reserve the arrows for the
  • 187:56 - 187:59
    interfaces
  • 187:59 - 188:01
    and link
  • 188:01 - 188:04
    no that's those
  • 188:05 - 188:08
    dotted line
  • 188:08 - 188:10
    dashed line
  • 188:10 - 188:13
    here we go
  • 188:13 - 188:16
    dashed line
  • 188:18 - 188:20
    oh nice there we go
  • 188:20 - 188:24
    so i want i want these arrows to mean
  • 188:24 - 188:27
    something special
  • 188:27 - 188:30
    amy soyorka if you hold down control and
  • 188:30 - 188:33
    click on multiple boxes boxes it selects
  • 188:33 - 188:36
    them all at once
  • 188:37 - 188:39
    hold down
  • 188:39 - 188:43
    maybe command because i mean
  • 188:43 - 188:45
    like this you mean yeah yeah command
  • 188:45 - 188:47
    because i'm on on mac
  • 188:47 - 188:49
    to make perhaps that's a great way to
  • 188:49 - 188:53
    make arrows concise and nice
  • 189:01 - 189:04
    so with this beautiful method i couldn't
  • 189:04 - 189:07
    make this nice
  • 189:07 - 189:09
    um
  • 189:09 - 189:12
    i couldn't make this trick
  • 189:12 - 189:13
    what if we
  • 189:13 - 189:15
    [Music]
  • 189:15 - 189:18
    kind have just a line
  • 189:21 - 189:22
    it doesn't matter
  • 189:22 - 189:25
    list item
  • 189:27 - 189:31
    i'm just gonna try or maybe this
  • 189:31 - 189:34
    why is there a letter
  • 189:35 - 189:38
    ship it
  • 189:43 - 189:45
    sit down if you click on your existing
  • 189:45 - 189:47
    arrows you have the side menu where you
  • 189:47 - 189:49
    can adjust where you can just change the
  • 189:49 - 189:51
    line type
  • 189:51 - 189:52
    oh
  • 189:52 - 189:54
    let's see
  • 189:54 - 189:57
    okay let's try this a side menu
  • 189:57 - 190:00
    set on is on
  • 190:00 - 190:03
    perhaps on the point here again
  • 190:03 - 190:05
    so
  • 190:07 - 190:09
    none yeah
  • 190:09 - 190:12
    okay you have a menu yes behind we can't
  • 190:12 - 190:13
    see it okay
  • 190:13 - 190:18
    and now i can maybe make this dotted
  • 190:18 - 190:20
    oh yes
  • 190:20 - 190:23
    here we go this is what i want
  • 190:24 - 190:27
    this is so much fun
  • 190:28 - 190:29
    this is exactly what i wanted thank you
  • 190:29 - 190:31
    sadon
  • 190:31 - 190:32
    doing
  • 190:32 - 190:35
    god's work here today
  • 190:47 - 190:48
    oh and now it it takes that
  • 190:48 - 190:51
    automatically
  • 190:52 - 190:54
    so you know what these arrows are also
  • 190:54 - 190:56
    going to be
  • 190:56 - 190:58
    [Music]
  • 190:58 - 191:02
    so i want as i said i want the arrows
  • 191:02 - 191:04
    to have a meaning the arrows are
  • 191:04 - 191:05
    interfaces
  • 191:05 - 191:09
    they tell a story right the tell
  • 191:09 - 191:12
    beautiful stories
  • 191:12 - 191:14
    and then
  • 191:14 - 191:17
    i want to make the same here
  • 191:17 - 191:21
    and then i want to also connect
  • 191:21 - 191:24
    this one no
  • 191:24 - 191:27
    that went wrong
  • 191:31 - 191:32
    oh
  • 191:32 - 191:35
    wrong
  • 191:38 - 191:41
    what about that it's a thing of true
  • 191:41 - 191:44
    beaut
  • 191:47 - 191:49
    let's do the frame let's do the frame
  • 191:49 - 191:52
    let's say let's finish this yes
  • 191:52 - 191:53
    um
  • 191:53 - 191:56
    we have this
  • 192:02 - 192:04
    so
  • 192:04 - 192:08
    the frame is probably thing that i have
  • 192:09 - 192:12
    welded frame i'm gonna shorten the name
  • 192:12 - 192:13
    here
  • 192:13 - 192:14
    frame is probably the thing that i have
  • 192:14 - 192:16
    the
  • 192:16 - 192:17
    least
  • 192:17 - 192:21
    good thing going
  • 192:21 - 192:24
    [Music]
  • 192:26 - 192:29
    let's connect that
  • 192:29 - 192:32
    like this
  • 192:35 - 192:39
    because these are just examples
  • 192:47 - 192:49
    um
  • 192:50 - 192:53
    but this is an interface
  • 192:53 - 192:56
    so if i
  • 192:56 - 192:58
    connect this
  • 192:58 - 193:03
    i can go into the line menu and
  • 193:07 - 193:11
    oh the feet
  • 193:17 - 193:20
    other way around perhaps
  • 193:26 - 193:28
    okay this is a little bit of an the
  • 193:28 - 193:30
    black sheep
  • 193:30 - 193:33
    for now
  • 193:34 - 193:37
    that's a bad one but that's okay
  • 193:37 - 193:37
    okay
  • 193:37 - 193:39
    nice
  • 193:39 - 193:41
    um
  • 193:42 - 193:45
    it doesn't look too bad
  • 193:45 - 193:46
    right
  • 193:46 - 193:46
    no
  • 193:46 - 193:48
    beautiful
  • 193:48 - 193:51
    and then like we we're going to go
  • 193:51 - 193:54
    crazy deep when we come to the third uh
  • 193:54 - 193:55
    level so
  • 193:55 - 193:58
    martin will probably do some ocd repairs
  • 193:58 - 194:02
    of streams slice of sparta that could
  • 194:02 - 194:04
    very well happen yeah so
  • 194:04 - 194:08
    i totally understand if someone wants um
  • 194:08 - 194:10
    to line up
  • 194:10 - 194:13
    things to be lining up better
  • 194:13 - 194:15
    um
  • 194:16 - 194:18
    that that could totally be it but what's
  • 194:18 - 194:20
    fun now
  • 194:20 - 194:22
    is that now i'm very happy with this and
  • 194:22 - 194:25
    now we can translate this
  • 194:25 - 194:26
    into
  • 194:26 - 194:28
    our pbs
  • 194:28 - 194:30
    that we have here
  • 194:30 - 194:31
    so
  • 194:31 - 194:32
    great
  • 194:32 - 194:34
    um
  • 194:34 - 194:36
    symbol from callum harvey
  • 194:36 - 194:38
    symbol
  • 194:38 - 194:41
    good column um
  • 194:41 - 194:43
    that's uh that's something that i forgot
  • 194:43 - 194:44
    completely
  • 194:44 - 194:46
    let's add it
  • 194:46 - 194:48
    i think we're running a little short of
  • 194:48 - 194:50
    time ah are we running short of time
  • 194:50 - 194:53
    perhaps today this is a wednesday also
  • 194:53 - 194:54
    yes
  • 194:54 - 194:57
    screw the main channel we have a summary
  • 194:57 - 194:59
    to think about also through that oh and
  • 194:59 - 195:02
    also screw that it's break time soon in
  • 195:02 - 195:04
    that case
  • 195:04 - 195:09
    screw the main channel no this is
  • 195:10 - 195:13
    this is where the part is at yeah that's
  • 195:13 - 195:16
    true this is the real party
  • 195:16 - 195:18
    now i'm gonna finish this
  • 195:18 - 195:20
    and then we're gonna um
  • 195:20 - 195:22
    then we're gonna end the stream when i
  • 195:22 - 195:25
    finish it but uh sir 3k if you want to
  • 195:25 - 195:29
    take a break you are be my guest yeah
  • 195:29 - 195:30
    um
  • 195:30 - 195:32
    so i'm gonna take this to the logical
  • 195:32 - 195:34
    conclusion
  • 195:34 - 195:38
    [Music]
  • 195:38 - 195:40
    which is basically
  • 195:40 - 195:42
    of course it's not going to be
  • 195:42 - 195:44
    interesting to watch actually so maybe
  • 195:44 - 195:47
    maybe you have a point there but symbol
  • 195:47 - 195:50
    has been let's just see if there's any
  • 195:50 - 195:52
    else
  • 195:52 - 195:56
    uh audio equipment i'm gonna check this
  • 195:56 - 195:58
    many notes
  • 195:58 - 196:00
    uh levers
  • 196:00 - 196:03
    from kev and none
  • 196:03 - 196:08
    [Music]
  • 196:08 - 196:10
    um so what's what
  • 196:10 - 196:12
    i can actually just
  • 196:12 - 196:14
    let's just see diagram with module
  • 196:14 - 196:16
    subsystems
  • 196:16 - 196:18
    energy inputs
  • 196:18 - 196:21
    and the next
  • 196:21 - 196:22
    sedone
  • 196:22 - 196:25
    main channel is temporary live streams
  • 196:25 - 196:28
    are forever
  • 196:29 - 196:32
    definitely um
  • 196:32 - 196:34
    sub systems marvel collection storage
  • 196:34 - 196:36
    lift feed divide up to some more
  • 196:36 - 196:39
    subsystems
  • 196:39 - 196:39
    um
  • 196:39 - 196:41
    [Music]
  • 196:41 - 196:43
    also this is a big um work here from
  • 196:43 - 196:47
    this user whose name i can't read out
  • 196:47 - 196:49
    because it's in another language
  • 196:49 - 196:52
    [Music]
  • 196:56 - 196:58
    so
  • 196:58 - 197:00
    the whole endpoint here is that now we
  • 197:00 - 197:03
    can feed these titles
  • 197:03 - 197:06
    into this document and i can really do
  • 197:06 - 197:08
    that off stream so you're right about
  • 197:08 - 197:10
    that sir 3k
  • 197:10 - 197:12
    we deserve a break now also yeah and the
  • 197:12 - 197:14
    viewers
  • 197:14 - 197:15
    um
  • 197:15 - 197:18
    deserves an applause so thanks for like
  • 197:18 - 197:20
    getting me to this point today we have a
  • 197:20 - 197:22
    beautiful overview that we didn't have
  • 197:22 - 197:25
    before and i also feel um
  • 197:25 - 197:27
    that
  • 197:27 - 197:29
    uh
  • 197:29 - 197:30
    i'm so much more in control than
  • 197:30 - 197:32
    yesterday so thanks for all your
  • 197:32 - 197:34
    wonderful contributions we will keep on
  • 197:34 - 197:36
    tracking on the livestream channel but
  • 197:36 - 197:39
    there will be some kind of very very
  • 197:39 - 197:41
    very easy update on the main channel
  • 197:41 - 197:43
    today because we have to apparently
  • 197:43 - 197:46
    because people are apparently not uh on
  • 197:46 - 197:48
    the livestream channel
  • 197:48 - 197:50
    but i don't understand why because this
  • 197:50 - 197:51
    is where it's on
  • 197:51 - 197:53
    this is where it's at and i want to say
  • 197:53 - 197:54
    thank you to all the wonderful viewers
  • 197:54 - 197:56
    out there all the generous people who
  • 197:56 - 197:58
    are sending super chats and supporting
  • 197:58 - 198:01
    us with super chats and merchandise you
  • 198:01 - 198:03
    guys are
  • 198:03 - 198:07
    the greatest and also a big huge thanks
  • 198:07 - 198:10
    to the beautiful moderators always with
  • 198:10 - 198:13
    us here on the streams you're doing
  • 198:13 - 198:15
    amazing work we
  • 198:15 - 198:17
    love you guys
  • 198:17 - 198:19
    so take care and perhaps we'll see you
  • 198:19 - 198:24
    on the main channel later then
  • 198:24 - 198:27
    take it home martin
  • 198:28 - 198:34
    [Music]
  • 198:38 - 198:40
    you
Title:
Modules & Interfaces
Description:

more » « less
Video Language:
English
Team:
Wintergatan Writers
Project:
Livestream
Duration:
04:23:25
John Wilson published English subtitles for Modules & Interfaces
vsk11 endorsed English subtitles for Modules & Interfaces
vsk11 endorsed English subtitles for Modules & Interfaces
vsk11 edited English subtitles for Modules & Interfaces
vsk11 edited English subtitles for Modules & Interfaces
vsk11 edited English subtitles for Modules & Interfaces

English subtitles

Revisions Compare revisions