Marble Machine Live: Drive Train Design Part 2
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Segment 1 (00:00 - 05:00)
Yeah, we got two fresh glasses of ice water with a knife. eyes in I think to do some great work with my friend Sam and my CAD here. So, um now in this second stream, I want to start by fixing a mistake that I made in the part one. And we also have uh moved Hannes uh up into the corner on great feedback from the viewers and we have an interactive Wilson on to-do list. So, each stream we're trying to make it a little bit better. So, you can see we're going to do some uh music gears. music flywheel, music gear gears three, prog wheel, and start crank. Uh let's try to get through that entire list this stream. How are you? — I'm so good. Uh try watching the some technical stuff here. Trying to get everything to work with the chats. Yeah, you were cutting out when you said you were so good. And I'm really curious if someone in the chat heard Hanest cutting out as well or if it's only on my side Han cut out. — Uh, you're cutting out on me as well. So, let's see what the chat has to say about that. — All right. So, I made some embarrassing CAD in. We're going to start with a bonus thing. I'm going to clean some features inside. I think it was this assembly. Come gears one. So, let's go into my new drivetrain folder and to this part studio, the conveyor gears one part studio. I wanted to cut out these spokes and I used two extrusion features here. As a complete noob, I think there's a better way to do that. And uh especially on the flywheel, I made the same thing. Um but I made four I used four extrusion features and I think uh I've been thinking over my sins over lunch. So I want to fix them and do them better. Um the whole thing with this master part method is to get everything to follow when I change sizes of all these parts. That's why I did it this way because I wanted to be sure that they were following the sizes. There's another way to do it. So, we're going to redo this. Yeah, you have some sound feedback. Uh, no, I just want to say that Astro Haha says, "Hi, Han Martin watching from Twitch now. Nice new setup, Hannes. " So, so far the Twitch is working. The chat is working. I haven't got YouTube to work yet. So, if you're right in there, hold your horses. I will get it to work soon, but Twitch is live. — Okay, nice. — And uh K Nico 17 on Twitch says, "Audio seems perfect here. " — Oh, thank you. — So, that is good at least. — Thank you. — I will work on getting the chat working. So, um what I'll do instead of um these so I sketched this cutouts from the side like this on a sketch plane. I'm going to go back to the mate connector which I'm using for sketch plane and I'm going to turn it around which will break the cat a bit. Uh, we're going to move this around the X axis. So, rotate around X 90° to get a flat plane. And this should break the sketch. It did break the sketch. That's all fine. Um, and it broke the extrude. We're not going to use them anymore. You can see they turned red. So, this sketch, we're going to empty this sketch. Let's see if we can do that. Like this. So now I'm going to see if I can use good to know. Pirro core or pirate K says YouTube is working. And it is working now. I fixed it. I'm just such a good hacker, man. — Perfect. Nice job. And welcome everyone to this our little cozy stream here on the afternoon in Sweden. Definitely. Um
Segment 2 (05:00 - 10:00)
so I'm setting up a revolve thing here instead. So we're using these features from uh the diameters and that was what made me a bit uneasy to see if that would work. Great. So now um but it did. Uh I hope it does. So, now we're going to do we're going to make this cut out as a revolve instead. — Hello, boys. This is Alons speaking from the production. — The producer is here. — Hello. — Make it look like we're working. Martin. Uh, I just wanted to come in and say that I have uh checked all the live streams and you are sounding really good and everything is fine. We had a small uh disconnection or something in the beginning when Han lost but it was just for small while. So we have to see that that don't happen again. Okay, — that's just me in general. I cut out every now and then. — Gets too much with all this cadding, you know. — It's um great to hear this uh Alons, thank you so much for reporting back to us. — Good luck. — And now X chat should work as well. — I don't know. — So — yeah, sorry. — Quick fix. We're getting better at this. — Yeah. I don't know if anyone in the audience is a fan of NASA spaceflight um live streams that shows rocket launches and stuff, but I think their live streams is just so cozy. Like they're really keeping everything up. Uh it's like a nice radio to have in the background. It's like 8 hours to the launch and still they have like a lot of people hanging out with NASA spaceflight. So, I'm a bit inspired by NASA spaceflight live streams actually for the Marine. We're going to have a rocket launch of a Marine eventually. Let's just hope it's not a scrub. — They are good. They're cozy. But do they have — Oh no. — Do they have a big Wilson that can launch from anywhere at any time? — Wilson can appear. We also added Wilson for stream too. All right. So now I'm going to revolve away uh these things that I don't want instead. Hit shift, choose revolve axis, and change it to a remove. And it's not working at all. Um ah because of the merge scope perhaps. That looks better. Okay. I had that one. This one should not be um All right. So, I think this way is a bit better. So, instead of these two ugly extrusion features, we have revolve one. And um if you can do something with one feature instead of two, I think it's a good practice to do that. And it's easier for me to see that everything is symmetric and stuff when I do it this way. Um, we have some brown uh color here that I want to remove. And while you keep on working, Martin, I will just say here from Kiri Ren who says, "Hannis, let's make a deal. You fix the member join shout out. " And I sub back again. Ready to fly from Japan to anywhere in the world for the grand premiere for the Marble World Tour. It's a deal. I will absolutely shout you out when I get the chance. We're working on a whole new system for the whole backers that are joining and stuff like that. But yes, I promise you I will shout you out. End of message. — Nice, nice, nice. So, this gear is looking like it should again. Um, shift P hides everything. And uh, I don't have access to the sub assemblies in the folders. I just realized. Okay. So, let's do the same now. Clean up for the conveyor flywheel where this is going to be even better because here I made two cutouts. I made a cutout to get this and because I'm starting with a master part method. I'm starting from a blob and this is how this is built up. So this orange wheel here is a blob and we don't want to add a lot of details in here just be actually I even shouldn't have
Segment 3 (10:00 - 15:00)
the spokes in here but I did the spokes just to be able to see through the wheel when I'm working with the position. So then we pull this thing, this blob, we derive that into the uh part studio here. And here I want to add a few small details later. We're going to add a lot of details here. Um, which is the beauty of the master part method that we can go really granular here. We can add gear teeth and stuff, but the position is handled by the blob space claim thing. But to do this cut out and like a noob, I used four extrru. And uh we can replace them in the same way with one revolve instead. So we're going to go back to this mate connector and we're going to break everything by turning it around axis. Move. Rotate and using mate connectors in on shape for sketch planes is something that Derek Falan has cleared for me. It's it's an okay it's a really good uh way to get your sketch planes where you want them. So here you can see everything broke, but that's fine because we're going to fix it. Nice. And something that hasn't broken yet is the chat. And from Twitch, we have someone who figured life out perfectly. Tramax says, "Vinton on one screen, NASA spacew walk on the other. What a dream. Couldn't agree more. That is life. Is there um spacew walk happening right now? I missed it. Tell me about the spacew walk. So I'm just h okay I think this is an okay way to do it. I add the same use geometry which means that if I change the size it will work like there. Uh let's add some hit N to look at the sketch from above. It's not really from above. And here we have more people who ditches work to watch us. I think this is our dear friend Andesh. Oh, — Malgrian. — Priorities. And — we just talked about you before the stream. That's right. That house or what you're now doing can be built later. That's all right. You need to watch some brilliant CAD happening here. Um, I'm just doing a center line and then uh I can do these two steps cut out like this. I think I'm going to mirror this instead. I should have done that in the previous version as well. Something like that. Let's constrain these a bit. So, let's do 35 and let's do 12. It's constrained. And now this needs a distance. Let's do 30. Boom. And instead of drawing this twice, you should never draw things twice if you can avoid it. Mirror. Choose the mirror line. We're going to choose all this stuff. Uh, but are those construction lines? No. Looks like it. hitting Q to make them solid lines. And now we can do our revolve. Shift W. I'm thinking for wrap. Uh, okay. Something went wrong with the construction lines there. Is it the same that I need to? Yeah, this is my gripe with on shape that I can't choose a sketch plane when um when there's a part in the way. Now we're choosing this shift to choose revolve axis. And I forgot my axis line. Right. In this sketch, I just need to add a center line that I can choose um a per perpendicular to revolve around. Shift W for wrap revolve. Shift to choose axis. And it's revolving. But this is not what we want. We want to remove this from this. So, we choose remove. And I think we're there. Yes. Boom. And Tram Neck says that yes, a spacew walk is happening right now
Segment 4 (15:00 - 20:00)
live on YouTube. — Oh, feels like we feels um — they're not our competitors. We're much more interesting than that. — It feels that's how I work. Like what am I doing with my life? Someone else is out space walking and here I am learning how to revolve instead of extrude. — You need to revolve before you can spacew walk. — Okay, — so we're getting there. — Going into orbit with our revolve commands. — And also Nerdy 3D says, "I finally made a Twitch account just now so that I can watch you guys. " — Oh, nice. — Welcome and thank you so much. It's so cool to have a lot of people from Twitch uh watching now as well. Martin. — Yes. — My uh stream controller has broken yet again. — Yeah, — I know something we forgot to do. Can you record? — Oh, I'm recording. — Good. So, we also have the file locally. — Really? Uh good call. Um I'm trying to change this face to gray. And when I go in here, it chooses all the faces. So I have to hit space. That's okay. I don't understand this interface. Anyway, all right. I don't understand what's happening. So if I edit face appearance. Oh, here I can choose what faces. Let's do this one. No. Okay. It took me some time here. All right. So, that was the cleanup of my mistakes from the previous stream. Um, shorter feature tree. I think it's good CAD practice. It's a little bit of a sport uh to get as short feature tree as possible and sometimes that can be counterproductive because it's okay to have features. Um so this is the drivetrain subasssembly that we did in the first stream and now we can continue with the first uh to-do list item. His — music gears 2 — Wilson is right there. Yeah, he's uh we had to hire another one to our into our crew and we know that little rascal is full of pranks and such, but let's see if he can keep in line now for our streams. — Music — Wilson can do a good job keeping us focused here. — Music Gears 2. Wilson — Wilson tells us. Yeah, music gears 2 is. But first, before we dive into that, I just want to we got a nice message from Y on YouTube. Hi, greetings from Argentina. Nice to have you here with me while I work. Are there going to be a recap videos from these live streams? And yes, this is a brand new concept for us. We're going to be live streaming a lot. But on Wednesdays, Vintota Wednesdays are back and that is going to be a weekly recap video of everything that has been done during the live streams. So for people who haven't been able to watch the entire live streams can watch a nice recap video of everything. So yes, on Wednesdays excluding today, there's going to be a recap videos from the week. — Yeah, thank you for the question. It's um it's a format we tried earlier. I think it's going to be really good. The people is going can get a 10-minute thing. The people who wants to hang out with us can a lot. Um so, uh now is a question. The Gears 2 music gears two actually this big one here. This one. Uh so now and leads up to and this one. So it's these two yellow gears we're going to do now. And I have no clue where to put them. I know where what they need to add on to. They need to connect. They need to start from this shaft. But how to get a really large gear in here is a big question.
Segment 5 (20:00 - 25:00)
Maybe on the So here's then comes. Should it be on the outside of the Heaggan's drive and on the inside of the frame? I might be able to put it right here. We shortened this shaft and we put it here. So, now we're getting into the design part, Hus. — Mhm. — We did mostly CAD cleanup until now. Let's check the Let's check this for inspiration. So, it's a is a it's a bit of a question. How many of the gears are okay to be on the outside of everything? So, I think this one is going to be on the outside, the big one. But do we want the small one on the do we want this one on the inside of the frame or is it also good on if it's on the outside because then you see it doesn't collide with the kick drum two big gears on the outside is kind of resembling maybe that's fine. So then we could actually put that gear here on the outside, but then the conveyor belt gets pushed to the left here. Let's create the gears and see what happens. There we go. Um, so the first thing I need to decide is how to offset the center of the new gear pair. And I think I'm going to use the plane from here. So I think I'm going to just off give it a relationship to the center of these gears. So we're going to start all this with an offset plane from that plane. Um so now let's just thinking can we do it on the other side? I don't think we can. I don't want to push the heagans into the middle of the thing. That's what I'm thinking about here. Yeah, — I want the heans on the edge. If we can also Oh, but we can get H. You know what we can do? We can move this gear. We can rotate that gear perhaps upwards. Um, so this gear isn't constrained. That's intentional. I can rotate it wherever I want. Something happened with the circular pattern there. Okay. Um, does this change anything? We have this shaft now. Is a little bit more easy to access. We still can't make a really large gear without bumping into this shaft. I'm just going to throw this in here from 10 produce 90. Why is the frame like this? Seems like an important decision and the frame is not set yet. But it's a good question because um so the frame will this is just I played around with a skeleton clock look and uh so this is just um like Hannah says it's just um it's a placeholder idea. Um, it's just there uh to give me something to look at while I'm going to redesign the frame later. But compared to these four legs that we know from the previous machines, let's see if the assembly can load. Um, I think this looks a little bit boxy and I wanted a more skeleton clock look. So, I think we can do a more beautiful frame actually. Um but it is an important decision. Absolutely right. So for example, if we want to put a bearing for this shaft on this frame, maybe this arc should be higher or this uh shaft should be lower. Uh I hope to be able to like skeleton
Segment 6 (25:00 - 30:00)
clocks uh really have the frames and the gears uh very nicely together. Um, so start to play around with an idea of a more shaped frame kind of uh, okay, I should just make the gear and then um, make it first. Make it exist. Make it good later. — There we go. — Um, I don't know where I should put it actually, but we just we put it we put it here. Uh, and we're going to put plane music gears two. Boom. We're going to sketch on that plane. And now we're going to use only the geometry we know we want to use. What we know is that it's going to sit on this shaft here. So, I'm going to use the center of this uh the position of this shaft here by hitting U and getting that circle projected onto our new sketch. So, we know that the first gear is going to be um on that shaft. and while you think about the next step, I have a comment here I think you're going to like to hear. It's from Armen Harbor. Hi from Austria. I'm doing a PhD in information systems research and I and use design science methods. I used to find design requirements dull, but seeing you use them made them more interesting. Thanks. — Wow. Thank you. Yeah, that made me happy. — Yeah, you see, we're doing banger content. I knew it. — Rename. Thank you for that comment. Sketch rename sketch music gears 2. Um, I still feel I haven't really understood how to use design requirements really creatively. Uh, we're going to get there. like in our plan I'm going to get all the parts of the machine into this CAD and then we are going to dive deep into the design requirements uh from those parts. Um so we haven't even started honest. — No, we're getting there. — It's step one. — We're on step one in this design process. You need to figure out what you need before you can add the requirements to them, right? — Yes. Some something like that. Um I for coincident. Uh let's make those. And I think B for parallel. Yes, B for parallel. Um, and Chuck Arrow says, "Production quality is amazing, by the way. " — Nice. — And that is good to hear uh that we have high quality stream going on here. And the whole purpose of this streaming is to keep Martin focused on uh cadding and eventually building the machine instead of focusing on doing videos. This is a good way for us to give you content. You get to see all the work that's being done and Martin can focus on doing the work he needs to do. I'm very happy to hear this big gear. Should we make it 1 m in diameter? And then uh this uh can be perhaps 40. That's going to look tiny. It's okay. And here we go. This is a comment I like to hear on X from our very own producer Alons. Name a better duo. There is none. Thank you. You know how to grease us up. Producer Alons, are you at the dentist? I'm watching this stream. performs. We're commenting on our own content now. Um, so the reason I'm doing the spokes already here is just so we can see through stuff. This could in the blob space. This could have just been a disc with no spokes. But, um, that's why.
Segment 7 (30:00 - 35:00)
So, I'm going to revolve this. And we're revolving a little bit wider now. Uh 10 cm to have space. And we're revolving uh revolving extruding. And we're do we're doing the gears a little bit wider to have the double helical gear teeth uh to have place for those later. Um and I'm going to do a circular pattern which is here on this. Okay. I did something bad. I added this to the conveyor belt. I didn't. Classic mistake in the extrude. Let's hit new part instead. And then the circular pattern. Shift for axis. Shift twice for number. And then we can't move to add with shift. But there we go. That looks like an ugly hub. Let's make the hub smaller by going into the sketch again and changing this value. Just going to throw this in here. I don't know what it means, but I admin says just make it once, parameterize it, and make sure to reuse that component many times with different settings. I think Edwin is correct that I had like this shape. I don't uh yeah I think it's correct because what so I don't have to sketch all those uh spokes so many times. However, I'm really I don't know what kind of dependency that would be with the master part method. — So it's Edin is absolutely correct but I don't know how to do that cleanly with the master part method. So I rather now when I set up the CAD document once I rather do this like six times so I have all the parts completely separate from each other because now there's no relationship between this wheel and I actually don't want a relationship between them — but I think you're right the edin how would you do it with a master part method in mind is my uh counter question — otherwise we need to take in Derek on a call soon you know That's actually a good question for direct music gear 2A. Is this one? No. If for the extrude I'm going to al add this I think. I'm going to rename this to gears. I'm extruding them in the same go. Um, yeah. Now with the wider gear here. So this gear we're working on right now it's this thin big one in the master assembly. — Mhm. — Um it's this one. It looks so beautiful in the master assembly, but it's a bit of a lie because it can't really be that thin. And I don't want to use a timing belt for this because the speed here is going to be really fast. So the timing belt will do a kind of tone and I don't want that sound. Um, so that was a bit of a lie in this design when we made them so thin. Um, but I'm seeing now here that when this gear is so thick, feels a bit strange to have it on the outside of the frame. Don't know. Can make it a little bit smaller and keep it above this shaft and put it on the inside. Then we have all the drums and stuff. Let's just take in the kick drum. So yeah, you see here's the kick drum kind of. Mhm. I can if I squint. Yes, there it is. So, putting it on the inside. Where do we put the conveyor belt then? Conveyor belt has to go on the inside. Uh, let's just pull this shaft out or um
Segment 8 (35:00 - 40:00)
I think this one should go up um to the top somewhere there. So that's breaking. I don't understand why that is breaking the circular pattern. It was the same before when I move that. Maybe if I change I'm just going to try if I choose an axis on the inside. Can I now move this around without breaking the circular pattern? Yes. All right. There we go. — Learned something. — Nice. — Maybe we should we maybe we should constrain this size just for fun. — Fractal Paradox on YouTube. Hey, we are making gears live now. That's great. Now I can work on my own 3D models while watching Martin work on his 3D models. And you don't know how happy that makes us. — Oh, thank you, Fra. — That is so wonderful. — That's great to hear. We'd love to if we can keep you company. That's kind of really one of the value propositions that we hope. Uh because — I'm in love with the chess streamer Eric Rosen. He's he has such a calm he starts his stream like Okay, I think we're live. 10 seconds of silence and Okay. And I just love that. So yeah, thank you Um, okay. Hannes, I'm running into an issue. Space issue. And — tell me about it. — Design issue. — Space. It's huge. — Planets and everything out there. — My gear, my large gears are causing me trouble. — Who would have seen that coming? What do we need to do? What do I need to help you design? — What if the convey it just feels okay? You know what? Let's add like next point on our to-do list is the music flywheel. We're at music gears 2, but let's add the music flywheel now, but we're not on that point. Or maybe you want to make both those points. Why, Thomas? Um, I will certainly try. So, that will help us decide what to move in inside the frame. because we can't have all this outside the frame actually. Would we maybe moving the conveyor belt and now Wilson can't really decide where it's going to be. — It can be on both at the same time. Yeah. Nice. Let's move the conveyor belt in for fun. Plain conveyor belt. I think I can just drag it there. Let's drag it some more. I should give a relationship to Perhaps I should rethink this. Perhaps I Which come first? I think I should actually do this a bit better. There's no relationship between the length of this shaft and the position of this pulley. But in the real world, there will always be a relationship. We want this shaft to be kind of 20 mm outside this for now. — So if I know in the real world they will have a relationship, I can add that in CAD as a constraint. — And I know why I didn't, but I think now that I should. So, I should I think I should change a little bit how I did this. Uh, so we have this plane for the conveyor belt. Let's go into the plane and see what that Yeah, that offsets from the legs. We're not going to do that. Okay. So, the conveyor belt is drawn before the shaft even existed. So then I'm thinking I should perhaps uh move the conveyor belt later in the feature tree so we can see the the shaft. I know why now hus because I added this shaft afterwards. So let me see if I can fix this.
Segment 9 (40:00 - 45:00)
Here's all the conveyor belt stuff. I don't know what's going to happen now if I just I pull these items. Okay, on ship seems reasonably happy so far. Pull the conveyor belt later. I'm going to see in the future tree where this is extruded. Extrude conveyor drive shaft. So I want to like this uh feature list is like chronological. So I want the conveyor to happen after the drive shaft to be able to establish the relationship between them. — Going to try to not speak unnecessarily complicated to try to sound smarter than I am. Um because I'm not super smart at this. Ah, — shut up. Okay. you say shut up, but then something broke. Okay. — Oh, this also needs Okay. The Wait, wait. Okay. The conveyor shaft is using Why didn't I just Okay, I'm going to I can just add a relationship in the extrusion here. That's the timing belt. I wait. Okay. Per let let's do it like this instead. So this extrusion here now is blind. Uh second position if we do up to this face they will be connected. But I want Can I offset a distance? Yes, I can. Nice. Okay. So now the point is Hness. Now you see this shaft sticks out a little nicely there. — Yeah. If I now move the conveyor belt more in here. The shaft also moves. Great. But it's a little bit messy of what drives what and that's what I don't want. Okay. How do we feel with a conveyor belt a little bit more tucked into the machine? It's a bit of a shame. Do we want an elevator? Let's just So, so this is option A. And then um and then I'm going to remove it outside. I think where did it go? Uh here. I was thinking that it should be like a clear elevator for the marbles on the outside of the machine like this. But that makes the machine wide on the first machine. Uh talking about the first machine, I think we have it here. On the first machine, it was like in the com is inside. See that? Yep. — Inside the box. Um, and the gears are outside. And we've been talking about that we should copy as much as we can from this machine. — If it makes sense. — If it Good, good addition. If it makes sense, how much wider would it be to have it outside? And would it make it easier having it outside? When the machine is in modules, I think the conveyor belts will be taken off like it's not going to be like this during transportation. — Is that a good idea with Isn't it kind of sensitive? — I think that make it easier if it's on the outside. We can just take it off from the side and have it as the last part of the assembly. Mhm. — But then the now the marbles roll off. Now it's going to be No. Do you remember
Segment 10 (45:00 - 50:00)
that locomotive with the flywheel on the side? — How could I ever forget your favorite picture in the whole world? — I think uh I think it should be on the inside there. — Okay, there we go. Decision made. — Which means that we have some interference here now, which is exactly why we're doing this um this uh work right now. I'm going to find those. — And then the kick drum should be in front of the conveyor belt. I don't know. I mean, it's Yeah, it's a lot of darlings. What do I want to show? I want to show the marbles being lifted up. Let's add the big Let's add a big wheel. Um, let's Okay, I just hit this button. Oh, wow. Look at that big wheel is going on. There we go. That's a perfectly Wilson out of nowhere. We We're so proud because we added him to this stream. Yeah. And we are allowed to have fun as well. — I think it's important. Let's add the Let's create the last shaft. Passplow is wondering, "Is having the conveyor belt itself a requirement or have there been other ideas to lift the marbles? Has it ever been considered? " — Good question. Uh, we had u we had we lifted on the wheels on the — on the MMX — on the mech. We lifted on the wheels and that was a huge issue with that — magnetism. Yeah, but also the speed of the wheels. Um I think the conveyor belt is the most silent tried and tested lifting method. And also on the MMX we had three lifting methods. We had the wheels. Uh we had the fish stair. We had one more, right? Two wheels and a fish there. — Yeah. — Uh and here we So the marbles went transitioned from one wheel to another. Here we only have one. — Yeah. That seems easier. — Yeah, there's the Archimedis screw that a lot of people like. I think that makes a lot of sound. Um, okay. Oh, we have unnamed parts. Has we uhoh. Alert alert. Can't have that. Uh this part is going to be named uh music gear 2A. This one is music gear 2B. And flywheel shaft. Okay. All right. We're going to add a flywheel. We do a plane. Perhaps we should do the plane from the shaft. That's actually a little bit what I did. I'm not being consent here. That's a shame. But we're going to do the plane from the shaft. Um, right now to automatically fix that relationship, you know, that we fixed here. — Mhm. — Now, we're going to fix the relationship here. And also this shaft, I know it's going to be wider. So, let's go and change this value. Why is it over there? this value uh to 40. So this shaft is going to be chunky. Um and nowadin is going to be right again because now I'm going to sketch kind of exactly the same stuff again. Um but as I said, I'm I'm choosing to do that because I don't know how to do this. Okay, so here's the size of the large wheel. Yeah, — somewhere. — There we go. — Somewhere here. — Yeah. — 43 m in. — That is — I really love this wheel. Okay. 3 m. Okay. Oh, boom. So beautiful. I mean, this is cool to have these gears here on the side. — Of course, — it's going to be like
Segment 11 (50:00 - 55:00)
Maybe we should make it as the diameter my length 187 cm. Ha. Then I can stand in the wheel like on this Leonardo da Vinci image with the standing man. — Yeah, absolutely. — I just reading comments as well, you know. — Yeah. Edin says copy plus pasta and adjust question mark. — Yeah, — it's all parameters, right? So that should be possible. — So when you copy there's this relationship between the part and Derek told me there's like a part ID and when we derive later into all these. So when we derive the blob into this blob conveyor belt or these conveyor gears, these parts have some kind of unique ID and probably when with your method it would be h the same. It's just then with copy. Yeah, I don't know how to do that and still being in control of the model. — Then my suggestion to you is do what you're comfortable with and get the job done. — Yeah. But then once in a while you have to learn and develop your methods like Edvin is suggesting to actually become better as well because some stuff I just think is dangerous to do. But — you see people that was a trick question. You can now see Martin is evolving. — It's it's um yeah, so now I'm doing this same thing again, but it doesn't take a lot of time. But that's maybe also one of my issues. I love some boring repetitive tasks. we should Hanness, can you make a postit? It had been made it to hness postit which is a huge badge of honor and we make a split screen and show the post postit. Talk to Derek about resketching the same wheel several times. Master part method reing multiple parts. — Yeah. if he has a solution. So, and when you're done with it, I want to show the postites in the split screen. — Good thing about this is that I am the only one that can read this. So, that's why you're stuck with me, Martin. You need me for work. I'll do a split screen then. Now, Edin has made it onto Oh, it's mirrored now. That is funky. That's Lonardo da Vinci wrote backwards as a code uh or mirrored. He wrote — That's what we're doing. So, we're going to talk to Derek about that. — Yes. — Thank you, Edin, for the input and keeping Martin on his toes. — Yep. Um, let's do 25. And here's also a good one from Yordon 3000. Thank you again for using dark mode in on shape. Such a relief for the eyes. I mean, have are you one of the survivors of the Fusion 360 era? The burning of the ice. It's like I was in Hounds Deep. That's a great question. Uh comment Hannah. We move the comments up into the left corner like you suggested from the left corner. Yeah. Now when we had them next to you in your previous position perhaps move them away from the CAD up. Yeah. Looks good, right? — Yeah. — I think that looks good. Um extrude 100 mm symmetric. We make a new part. We're not adding to the shaft. And shift W for revolve. Shift for picking the inside revolve axis. Shift twice for writing six. That didn't work. Um, no. Revolve. Okay. I'm getting real stupid now. Circular pattern. Boom. This is where what we wanted. Um
Segment 12 (55:00 - 60:00)
from YouTube from frothing fanboy. Oh, now we can see the chat is breaking up there. So, I have to move it down. I get the height limitation for transport, but what's preventing the machine from being wider and deeper to make more space for parts? Plus, a larger base would be heavier, reducing vibration. No. Yeah, I think it's going. Uh, what's preventing the machine from being wider and deeper to make more space for parts? Nothing really, but it was there was a video where we made a rectangle. — Mhm. — And basically what we want is this elegant feeling of height of a sculpture. I think maybe it's like a statue of a person almost like the footprint of a person perhaps. And when you make the base like 2 m to achieve that the height must be four m or five and it becomes so high. It's a lot about the whole talk about the identity of the whole machine that we have been lacking so long and we have like kind of find out that like it is this sculptural feeling that makes the Marvel machine magical and I having them wide extremely wide it takes it away a bit. Yeah. And also especially since we said it would be good if I can actually play the machine in my own music studio and the ceiling here is 3 m. So, it's a shame I'm in a basement with 3 m ceiling height, which is good for a basement, but still if my studio was 5 mters, I think I wouldn't be able to stop myself from making a 4 m high machine. But I think like that. And I think also I realized that I need to skip features for the identity of the machine to be right rather. So, we're pri prioritizing that I think. But it's a It's on point. One of the hardest questions I've been struggling with. — It is like the whole merging of it is you're building a machine that needs to function, but you're also making art. — So, it's like the hybrid of it all. It needs to feel right as well for you artistically, not just a working thingamajig. also needs to like breathe Martin Molen as well. — It's I think that's um that's the goal of this design uh like method that we're using now to get to that point. I'm just thinking now about the position of this that it feels good and works good on skeleton clocks. The there is a type of skeleton clock called large wheel skeleton clock. The large wheel is centered. So let's play around with the position of this. So if I do it in the back, you will see the large wheel over there, which I kind of like in a way, but let's try to do it centered. So, we're going to hit V for vertical and choose that point with this point. So, now we're absolutely Oh, but the other thing is not centered. By the way, it's centered over the gear. Now, I just have a very important message here, too. Oh, — take care of from Cyrus Penrod. Here's two bucks. Wishing you the best. You got this. — Oh, that's very nice to hear, actually. Ah, that is so generous of you. — Thank you. — I think I need to move the chat again, Martin, down here a bit. — Okay. — It breaks. It It builds upwards like the machine you got. This makes me so happy to hear. Um, I'm uh I'm in this crazy um uncanny valley of always being more certain and always doubting myself more. — Yeah. — Um I don't love the look of that wheel. Let's watch it in the main assembly so we see a little bit more what's going on now. It's just a blob now. Also perhaps we need to refine it a bit to get a feeling for it. So it should appear any second now when everything is sinking.
Segment 13 (60:00 - 65:00)
Oh, it's not appearing. Why? It's not in the drivetrain sub assembly. I forgot that. So we have some parts to add to the drivetrain sub assembly. which means also that we need to move some of these parts into let's see the drivetrain uh into their own part studios now for the master part method. So, all the new parts, the Music Gears 2, uh, it feels I'm working slow now, but it's a hard decision where things are going, so it takes time. — It's okay, Martin. Don't stress. — Thank you. — We're here for you, all of us. — Thank you. New Part Studio for the Music Gears 2. So, isn't this stream? This is the first time I'm doing this. Music Gears 2. This is the magic of the master part method. We're creating a sing uh special a separate part studio for those gears and we're deriving them together with their the shaft the output shaft from them. So I want to find three parts here from the blob space model. And we should look under M. We're going to find uh music gear 2 A, music gear 2B, music shaft 2. And now the naming convention helps with the alphabetical order there. Um they're already derived. That wasn't the shaft that I thought. Did I do this wrong? Hanus, I think. — I don't know. But as Bog SP says, slow is smooth, smooth is fast. — Oh, I love that. — You love that. — I love that. That's the fireman. Uh they don't run when they're turning out the firefighters. Uh — yeah, — they don't run because if one of them um trips, everyone the in the whole house burns down. — Slow is smooth. Smooth is fast. And Stean Yosok says, "The past weeks I have felt the most you got this in a while. I can see the vision and the machine taking shape. " You see, people are believing Martin. It's uh that's really nice. I've We're prioritizing the machine now. Previously, we prioritized content — and we're prioritizing the machine. But I am running into an issue with my naming convention of this shaft because this is music shaft one. So two but it belongs to the gear one. Yes. Okay. So in music gears one I should have derived as well shaft two. I honestly guess very happy hearing some positivity. So thank thanks honest for conveying that. Um, music shaft 2 should be in this design. And we're going to um edit that appearance for this nice gray color. Boom. So, if we now go to the drivetrain, just see where we are. Yeah. Okay. So I'm including the output shaft there. Good. Which means that what I just did with the music gears 2, I need to remove this shaft. The input shaft we're not going to derive in this part studio. So let's deselect that if I can. Music shaft two. Yeah, we can deselect that. I'm going to choose the flywheel shaft instead. There we go. Also here, let's fix the appearances a little bit. Perhaps we should make them the dark color. — Boom. — You forgot to say boom. It's good you're keeping me uh on my toes with the boom. And now in this assembly, we're going to insert that
Segment 14 (65:00 - 70:00)
part studio that we just created. So the music gears 2, we're going to insert, but I did a mistake. I didn't uh highlight this first. So we're going to cancel this as direct to us all. We're going to insert entire parts to rigid music gears too. And we put them anywhere. We go in here to tie this down. So now they're like in a group because it's a rigid the entire part studio. To tie this down to the correct place, we're going to add a mate connector to this part. Uh it appeared there. And we're going to make the origin um visible hit M for fastened mate. And we're going to mate the new mate connector with the origin of the assembly. Boom. Um so now we have that. We're going to do the whole same thing for the music flywheel. Let me see if I can get through this a bit faster. Create part studio. Rename part studio music flywheel. Derive the music flywheel from the blob space. M. Oh, I misspelled it. That's fine. I think it's this one. Yes. Let's give it the correct color for now. Correct. And correct. It's um I'm going to make this more beautiful later. — Uh I have a suggestion here from — tapeworm on YouTube. I think it is naming convention suggestion. — Yeah, nice. — Music shaft one input. Music shaft one output. The problem with that is that the each shaft is both input and output. Mhm. Uh but why is it correctly spelled here? Oh, it's the part studio. But I really like the feedback, the input um music. Yes. So, so basically I see this shaft as being output from this wheel and input to this wheel. So each shaft is like — so — multi-purpose. — What I do now is in the order of where they start. Here's shaft one. Here's shaft two. Here's shaft three. It's like order of the — connection. — Of the connection. Thank you. Let me go back and fix that spelling mistake here. Music flywheel. Let's zoom in on that. enhance. — Okay, everyone, you're gonna be part of this. — This is a big moment. We've all been waiting for it. — Oh, no. Where's — Where is Oh, no. You broke it. — Okay. I should not — re the name. Zoom. — Let me see. — You want to see the change? — Okay. — Zoom in. — You want me to zoom in? Okay. — Look at it, people. It's done. — It's done. Um now hus we can our master part model is working. It ended up pretty much where it should be. Okay. So some style points. It looks way better when this gear is to the side. I don't like them over each other. You see what I mean? — Yeah. — If you squint and think about the light gears here, this one is on the back. That's also like what we did for our machine X and stuff. So, that's going to be my next thing. Can I get that? Can I turn that over to the left side? And we do that in the blob space. Oh. Uh, wait, wait. There's nothing stopping me from doing that. I'm happy to see. So now everything should, if I ced this correctly, I'm free to just move stuff around. So I go into this sketch. It's not even constrained. So we swing this over to the back. Then I think the music everything follows. Oh, nice. But then this vertical constraint from this we have to remove. So here you can see the constraints in on shape. This little line here on us.
Segment 15 (70:00 - 75:00)
— Mhm. — Means that this dot is vertical with this dot. They kind of shine up when I shine it. I want to remove that. This turns blue. I can now move this wherever I want to. Again. So, for example, just for fun, we could place it symmetrically over the frame. That's much more That's better. That's much better. I think this one was larger in my previous one. Let's just say that you are 300 instead. — Boom. Yes, it started to look nice again. — There we go. — Start to look better. Um I think I overdid this. But this is the whole point everyone. Like I ced this. I ced this in a way that makes it very simple for me to move things around. And when I start building this model, even though so all this movement I just made also propagates to the master assembly. So even though it's going to be a lot of details in here, I can make this big moves and all the details will follow is the idea. — That's terrific. So now, and this is what I've been longing for because we're going to replace all the old gears with the new stuff. And now we can delete this, I think. So, I'm going to delete the old uh flywheel part one. Uh the old uh Yeah, flywheel. I also want this. Oh, is that the whole gear train? I don't think I should delete that yet. can delete the old Heagans drive. That one I can actually delete. It didn't allow me to delete. It was because I had something chosen. Okay. Mr. Jonah on YouTube wants to know how dangerous are actually all these large spinning wheels. This one uh will cut off any part of your body cleanly if you go into it and there's like a edge that it push you against I think. — Mhm. — I don't know. I tried say that for dramatic effect. Um — how fast is that going to spin? — Not so fast actually. But no, you wouldn't like to enter that. And that's why it's kind of nice side from me. — Yeah. — Uh but they're not going to be metal wheels. They're going to be wooden wheels. But yeah, they will they will not stop for soft stuff. — M which is crazy when you think about it. Yeah. There will be some rules I guess on how close people can stand. But also like if you just get hit in the head with one of these spokes, you're just gonna have a nasty bang. Nothing is going to be cut off because you're going to be like thrown out of the wheel. — The danger is when you stick stuff in and it's some edge coming up. — Yeah, — that's dangerous. — Yeah. Well, that's for later. That's the last thing we're going to address. Safety. Uh, let me just see how high is this now? Center distance. I'm going to do Can I do maximum distance there? Yeah, it's quite good. It's under 3 m. So, what do we feel about Let's tighten this relationship up. Um, I'm going to reduce the space between these gears because they don't need to be actually far away from each other or do they? They needs to be a frame there. Yeah, these are big decisions. I don't know actually. I think it's this one. Think I can just tighten this a bit like that. Okay. Um, let's name this feature so I can This is over the top. Extrude flywheel shaft. Music flywheel shaft. I think I'm going to sit in this document for like half a year. So actually naming everything properly feels fine.
Segment 16 (75:00 - 80:00)
— Yeah. This is not the part to rush. — No. So if people think that it goes a bit slow, it's — it should Yeah. — be slow now. — Don't make any rash decisions. — Music flywheel shaft. — This is our life now. — Naming it is. I love it. I'm feeling so good about everything right now, Hannis. — Yeah. — Couldn't be any more happier. — It's good. — This is fantastic. We get to hang out and a lot of people with us as well. That's insane. Love it. I wonder if I should drill down on this space thing here before moving. Yeah. Okay, I'm going to do that. I'm not entirely happy. I think there needs to be a frame to hold this shaft up here. This is going to be on the outside. So, I'm thinking that this needs to move inside the frame. But then it's colliding with the Heagans, pushing the Heagans back, pushing the conveyor back. Um, so usually when I'm work I can sit and stare at these things for a long time, just staring at it. Um, you can see that it's kind of heavy here on the left side. Now, M it would kind of Wouldn't it be nice to get this wheel inside and have just this one locomotive flywheel on the outside? — It would be nice. Is it possible at all? — It's possible to it's possible. It will rest. It will have consequences. It will have consequ — how dire. — It have consequences for the space of the kick drum. Perhaps we need to move the snare to the left. I don't want left, but will make more sense. The angle of the conveyor belt needs to fight. If we could have the conveyor belt in front of that gear in the same plane would be kind of space be space-wise beautiful then the comary belt will be kind of vertical. Um, okay. Eyes on the price here. We want to see. And then where are we fitting the flyball governor? Um, I can also reduce the size of the gears, but uh, everyone knows that we're not doing that. No, — don't be crazy. Um, — this is the production speaking. — Oh, wow. Ground control. — Is everything feeling all right? Is are you feeling all right? — Thank I got an itch on my back. Alpha, can you fix that? — Uh, I can try. Will be a hard task, but I can try to call someone. — Everything is going smoothly on our end. I think this the connection is stable now and as long as you haven't seen anything that's gone wrong, everything is golden. Everything looks fine. I have checked the different platforms and you are looking good. — Thank you so much. — Remember to tap yourself on the shoulder for every small victory. Yeah, Martin is doing a lot of victories even though he won't admit it. — I'm not doing — there. The way I'm working is a victory, but I'm not currently I'm not doing a lot of victories. Are we getting the part in at first? Make it exist. Make it look make it good. — Please shut up about that. You're working. — Okay, — that is good. — Uh there's so many aspects like if we move this gear inside. Uh thank you Alons for checking in. You're very sweet. If we're moving this gear inside, perhaps that's where we break the So if everything in the base is one assembly for transport. So this gear is actually not on the base for transport.
Segment 17 (80:00 - 85:00)
It's consequences. But having the gears here to the left, large one. I love that look. Should I stop staring and actually do that? We're going to move the gear to the inside. Let's see what happens here. Fantastic. And while I do that, I just have another message here from Cyrus Penrods that says, "Here's five bucks. Can you clarify why world tour versus just make fun videos/music? More fun question mark. But forcing the sign requirements to perform perfectly every time question mark. So if I understand the question correctly, why haven't you gone on world tour instead of making this? You have to leave that question up so I can read it. It's Thank you so much for the question and the support. We really appreciate it. Um, touring is peak life. — Yeah, that's what we're all dreaming about. I'm not even in the band — if we just start there. But you're a good time. All so if we start like touring is the most fun way to travel to see the world. And as a sucker for attention, getting applause is so touring. Why were tour versus just make fun videos music? Oh, touring play. Okay, I need to go philosophical on you for this question. — Yes, go. Uh when you're playing music like you have this peak experiences in life when you forget about time and space. Uh you forget about the fact that you are just a mortal, a mere mortal on a small little uh piece of rock in a large universe and that you're not going to live forever. In that moment when you're on the stage is a moment like that when time and space cease to exist and fear, anxiety, all that goes away and you're just in the moment feeling that I'm also in control of the situation. I feel I can give the audience what he wants and more. Like all our shows were like complete uh like people not often people were overwhelmed from the shows with Vintagon and my previous band the Tik as well. That feeling seeing people smiling, it's just unbeatable. Um, and the fact that I've been away for that for 9 years is such a like I'm like it's such a strange decision I made because we could be touring with the band. Playing music with the band is so much fun. So, but I just got really hung up on this idea, the machine. — Yeah. You got a blessing and a curse with having a such a viral hit that was so fantastic that you and everyone else wants a Marvel machine on a world tour. And it's not a simple task. — Yeah. I'm I'm thinking some sometimes I thought that like I got audience capture that the the viral hit was that I then stopped making music and just started making machines instead. and sometimes I doubt myself that I did it just because of the attention it got. But then I tried giving up on this project and I couldn't and I realized like it's not I'm not doing it for the attention. I'm doing it for myself. — I would give more attention now if we would play music. — Um so yeah, it's basically — it's more fun. You're right. The world tour is more fun. Uh — here you got it. But no, love that. Thanks for the response. Let's get this machine to world tour. — I want to see the end of that question again if you can pull up the last one. — Uh yeah, thank you. But forcing design requirements to perform perfectly every time. Cyrus, you're on to something here. We need to make the design requirements less dumb so we can finish the project. And I need to be honest about what. So, for example, if the marbles play 5 milliseconds wrong instead of 2 millconds wrong, it's fine. — It's going to sound good.
Segment 18 (85:00 - 90:00)
Um, I need to remove all of those things. Um, so — we can live with it being 98% perfect. — That's — that is good. — The point of diminishing returns, uh, we're just going to finish it as simple as we can. Believe it or not, what you're seeing is the simple as we can option. — The simpler option is a MIDI keyboard. So, no, I really appreciate u um I really appre appreciate the question. The gears that gear is now inside the frame. That looks correct in my eye from here. And then this one on the outside, the big one. However, it's a war for space here now with the Higgins drive and the conveyor belt. So, I'm thinking, should we first try to move the conveyor belt? Um, because now the conveyor belt is in the same plane. So, let's move the conveyor belt uh to see if it can work with that gear. So, you see the conveyor belt is unconstrained here. We can move it really quickly. Uh, and this connection is following. See, so now we're clearing that gear with the conveyor belt. That doesn't look bad. Too bad, right? — You know what it looks like? 98% good. — Now, we need to clear this here. Okay. Okay. First, make it exist. Make it good later. Uh, so I'm going to So we can just pull this unconstrained Now we're getting into something here. All right. And then you know what? We could have in front of the cam belt like a symbol or something. Let's move this. Let's move h the kick drum perhaps. Or perhaps the kick drum starts here. So we're going to move it with the triad. If we just move the kick drum to the right, we have this interference. I think I can fix that. You know what? His I start to like this. Okay, we have and yet another major interference with the Heaggan's drive here. What can we do? Do the legs have to be exactly there? — No, but they're not interference right now. — We can um It's just there to remind me that we need legs. — Yeah, but we haven't fully dis Yeah. Design the legs or anything like that. — So, how sad would you be if the Heaggan's drive moved inwards? — Oh, not all for it. — Not sad at all. — No, I'm all for it. I'm not as intent on letting being able to show everything all the time as you are. So, the key things I want to see, but a lot of the I don't mind having some stuff not hidden, but not entirely 100% visible all the time. Makes sense. If it clears up space, move it in. — Yeah, I'm sad. — I know you're sad. So now this plane, I think this is the plane. We can move this to the left now. Okay, we're getting there. The CAD is working. I'm happy with that. So it's kind of like two different um tasks here where I'm building up a CAD that will help me design the machine and then sometimes I start to also design the machine. Um, oh, this is not bad. Honest, this is uh it makes sense. This shaft, it needs to be shorter. So, perhaps we should create a relationship. I think we I'm going to fix the relationship between these. No, that's not what I want to do, actually. Let me help you. What are you thinking about, my friend? — Um, I'm thinking about CAD dependencies and that I should have been perhaps more. Now I see that this could have been on that side.
Segment 19 (90:00 - 95:00)
Okay, we're still seeing the weights here. — Yes. — Ooh. Oh, — okay. Maybe this gives us place for the flyball governor there in the opening. O imagine a flyball governor in front of the could be something. — What? — Yes. I love it. — Let's just pull the frame up. So, and don't get too into the design of the frame here. Where's this skeleton frame sketch here? Let's just uh let's just do this. You're getting closer and closer to the Eiffel Tower. Um so we see the frame. I like it. This makes sense actually. Yep. It's not bad. Um, very clean with only this like huge wheel on the side. It has a music box feeling. Monster music box feeling. — Yeah. — Um, okay. Should we add Let's go over to the master assembly. We don't have those. I think it's time to get rid of the old legs here in the master assembly. So, I'm going to delete them. Delete. — I'm really happy that we have made a new verb. Like Hazel Blazer says here, clad like you've never cladded before. That is not official language, people. And here is a MV a true MVP is writing in right now. Hey, hey. Thank you, Mom. That's my mother. She's saying hello from Spain with no constructive suggestions. That's very different from her. She always knows exactly what I should do with everything. I know one sort of one suggestion. — Yeah. — What about more music? — Yeah, — that's basically what she usually says. — Yeah, she's she — right on the money. — She's right with that. You know what I going to do? I think I'm going to add the frame. Oh, I'm going to make a new sub assembly because I want to see this frame in the master assembly. So, let's make a new — I just want to throw this in here. Uh, from J. John. A clad is a sketch drawing in Dutch. So, clad away. — Wow. — You see, it makes sense. — It makes a lot of sense. — It's actually a sketch. — And in this frame subasssembly, we're not going to insert that frame part. No, we're going to create a part studio first. to keep the method that Derek has taught me intact. That's what went wrong with the previous version. I just cladded my heart out with no regards to systems. um part studio frame. Um we're going to derive the frame and I can't say this often enough. This frame is uh yeah, it's just to have something in there. Make it exist first, make it good later. — Mhm. Um, why am I not seeing it on F? It's not called frame. It's called conveyor or Conveyor something frame. Uh, am I or is it an unnamed? Okay, let's go back and see what it's called. Why didn't I see it? Skeleton frame. Mhm. I'm going to rename that frame
Segment 20 (95:00 - 100:00)
frame left rename. Oh no. Close frame. Right. Uh, now I think I can find it. So, we're building up the master part model that will help us make the what we're kind of trying to do is like what goes where, but in a way that I can keep on working with that document later and make it uh make it nice. Um, there we go. That took me ages frame. And in here, I'm not doing anything in here, but then in the frame sub assembly, we're going to insert that part studio as a rigid frame. And we're doing the same shenanigans that we are because as everyone can see it's can move around right now. So we're going to add this mate connector um to entity. We're hitting M to mate that to the origin. And now this part studio is ready to be accepted into the master assembly. Insert assemblies assembly frame as it's called. Uh but look here now. — Uh-oh. — It's — you need to connect it to a mate connector. — I have no idea. I think you Okay, this is different now when inserting a whole assembly. Add mate connector. Oh, yeah. There we go. No, you were completely right. — You see, I picked up a thing or two. You did — while editing these videos. So I want to hide that old mate connector. Want to hide this one. Um perhaps we just shift P. Shift P hides everything. I want to see the origin and I want to re features. There we go. All right. uh, it's, um, it's not bad. — It's not bad at all. — It's, uh, it's, it's not bad. I'm going to replace this programming wheel. It's of the old CAD. — Yeah. — And the base has is having some issues over here. Um, do you know who doesn't have any issues? — Wilson. — No. Parents, because of you. As Merico says, "Hey, I've been putting my kids to sleep listening to the marble machine up until they were almost 2 years old. No words are enough to thank you for that blessing. " — Oh, — and I mean, Vintagotan helping parents for 10 years. Thank you, man. Your comment made me think of a super fun uh joke from Sasha Bron Cohen when he's Ali G and interviewing David and Victoria Beckham because of until they were two because you wrote until they were almost two years old because all is asking uh Victoria Beckham um in the comic relief interviews which are actually hilarious. Uh I'm dating myself. I don't care. It's a good interview. Um, he's asking Victoria Beckham, "Oh, so your son now, how old is he? " And she's like, "Oh, he's like six months or like one year old. " And then like the two questions later, he's asking her like, "Oh, so your son does your son like your music or is he getting a bit old for it? " Because for all of you born after our age, Victoria Beckham was a posh spice
Segment 21 (100:00 - 105:00)
in a band called Spice Girls. And they were doing children music kind their fans were kind of young. So then as like asking if her one-year-old son is too young for her music is kind of a brilliant joke. Yeah. — It just grew 20 years older when you said that. You had to explain Spice Girl. — Oh my. — That's the world we live in now. I mean, look how beautiful this is going to be. The machine room here. Okay, time to get serious. Where? So, the kick drum. I don't want to move it. Maybe we have to move it to the right. It makes more sense to have the snare here. What do you think? Or should we have the kick drum there? I want this on the left. — Yeah, — we have to. It feels right. — And now I can show you everyone the power of the master part method because this kick drum with the beautiful tuners and everything is actually controlled by this thing here. — The blob. So if I just I can check this um interferences in here. Uh, and now I cleared it from those. I think we should move the snare a little bit as well then. Um, so we can blob around in here and then we can go over and see how that feels in the master assembly. I don't know what the video is called. It's on YouTube that interview and they're being so such great sports. Uh David and Victoria, it's like um they really taking it uh — with a stride. — Yeah, it's I think it's like British celebrities versus American celebrities a little bit. — Yeah. — Like British uh or maybe European humor. We love to self-deprecating humor. I think perhaps that wouldn't go so well with uh with Americans. Perhaps I'm being uh I want to say nice here. — Watch your tongue, boy. — Um, so now the So now like Okay. Hm. Can we lower this wheel instead of hiring the So, how high is the kick drum now? I'm not measuring that in a good way. Never mind that. We're kicking that stone further down the road a little bit. The major thing with a frame like this and the conveyor belt inside the frame. What about the conveyor belt on the frame in front of the frame? Is that stupid? — There's no stupid ideas now. — But of course trying — the frame isn't going to look like that. And we need to hold the No, the frame. It is stupid because the frame needs to hold the droppers. So, that wouldn't work. Speaking about work or don't work, I have a $5 question here from Hailshar's Haven. Hailsher's Haven. What if the Hugan's drive could be removed and you only use the governor as a taco meter and keep its sleeve stationary? Simpler, less wasted energy. Thank you so much for the support. And uh good question. What if the Higgins drive could be removed and you only use the governor as a taco meter and keeps keep its stationary? Simpler, less waste energy. Can you find the definition of tachometer for meas before I answer that question? — Give me a second. Um but the less wasted energy the heun drive is not wasting energy but I think so and the flyball governor needs to waste energy to work that it adds friction to balance the energy. A tachometer is an instrument measuring the rotation speed of a shaft or disc. A tachometer revolution counter RPM. I've seen actually Lego Technic tachometers that people been talking about. That's kind of interesting. Thank you, Hellshaven, for the
Segment 22 (105:00 - 110:00)
question. I'm going to look into taco meters again. Uh, can you write a postit, Hannes? Of course not to post it. — We're going to I'm going to look into and so I understand tachometer so I'm not wasting opportunity there. — Uh you made it onto a hus postit uh haven. Um I'm not going to go into it now. Uh but — taco meter — is it how many tacos I eat on Fridays? — Yes. — Cuz that meter would go redness. We doing taco Friday every Friday now. inspired by all the lovely people in Vanish Bor. — I would love to hear it. — I was like, I have to keep Tyia's name sacred from the stream. And then I realized now she wants to be in everything. So I can I can say that Tesia has the best taco Fridays ever. — There we go. — I don't think she minds. Um I did quesad um I fried quesadillas yesterday. Okay, I lost my cloth here. — Yes. Sorry. Uh, I think this is a good call to move this gear inside. And we don't have any other in I think this is a good call. I should move on. Actually, you know what we should do, Annest? We should cross out the first two parts of the stream and move on to music gearbox. So, Wilson should make a little trip there. — Yeah, I will do it soon. And I just want to say warw thank you for your donation. It just says — brilliant. — Thank you so much. — You know what I see here? — Fantastic. — This shaft is going to the music gearbox. But I can't start the task before has fixed the task list. — And that is Oh, I'm going to be sweating bullets here because I am not entirely sure how I'm doing all this. — We have a high tech. We did this the last streaming round as well. We had this bad ver Oh, look at that. It's happening. — And it's snapping in the wrong place. Ah, is that okay for you? — Okay, it's okay. And then I want the two first one grayed out. — Okay. — Or maybe we can't. — Let's see what I can do. There's no limit to what can be done. Let's see what I can do about this. We are professionals. — Okay, I'm going to move on. — Almost. — on to the music gearbox. — I'm sorry, Martin. I can't do that right now. — It's fine. Um, we we fixed two things. Let it be like that. — Yeah. — Yeah, that's better. I want to see what I've done. Great part of this is that this shaft now is free to go left here to become the shaft for the gearbox. Um, so I think we are going to extrude this shaft a bit longer or uh um I'm pulling this side out. Let's hope that nothing ah nothing moves. Perfect. So the music gearbox will be in this space. This works out really nicely actually. Has I think. — Great. — Um this shaft could be lower, but that would limit the weight travel. H Yeah, we're going to first make it exist, make it perfect later. — Yeah. And I think here's the question that War wanted to ask. Why don't you mate the gear or mock gear onto the shaft and then slide it into different positions to test where would be best? Mate the gear onto the shaft and slide into different to test where would be best. I think that's what I did. Maybe I'm misunderstanding the question. Um, so the the positionally the gear is mated. Okay. Oh, I see. Ming. Okay. Yeah, it's a Okay. I think I'm doing kind of exactly that, but in a kind of exactly. Great answer. — Sorry, War. I didn't have a brilliant answer. Um with a sliding mate. Uh you mean this
Segment 23 (110:00 - 115:00)
the sideways control? Okay, now I know the answer. If I understand slide sideways control is with the planes. So the planes is actually deciding where the gear is. Uh so I don't want to slide uh like that. I won't keep moving the position with the planes at this part of the cadding. I hope that makes sense. Let's add the gearbox. Um, we already did this. Or was that the video we didn't release? — I don't know anymore. All the days are blurred. I don't know. — We're kind of at the back here. So, I think we should add it forward. All right. I'm going to add a plane by adding a mate connector here. And then I'm going to move that mate connector around the X axis. And now, while we're speaking about gearboxes and such, we have a question from Moonquake here. Why a gearbox and not simply a variable speed governor? Much simpler, more flexible. No potential for mistake in choosing the gear. — The governor is uh — Thank you so much for the support by the way, Moonquake. — Yeah, thank you so much. We really appreciate it. And a great question. the flywheel. We want to keep the flywheel at the same speed at all times to give the exact same moment of inertia to keep the music tight at all music tempos. Otherwise, the slow songs would be less tight than the fast songs and this wheel would start spinning really fast for the fast songs, which would actually be theatrically really nice that the machine goes faster for the faster songs, but I've noticed through all my experience that creates a lot of different issues. So, we want the whole everything we're watching here is going to have a marching speed that is always on and then the flywall governor will fine-tune the music tempo 5 BPM up and down. But for the real tempo changes, I want a gearbox. Um, and I also think that uh if you would add a flyball governor that gears down to really low, then you're wasting a lot of energy um in the flywall governor. — Great. Thank you. — Um, let's make a sketch on this. Um, and then we're going to use some starting point perhaps just that origin point of the we're also going to use the thickness of the shaft. So we have this little nice line there. Okay, this going to be really coarse. Um, it's not really serious now. We're just going to see where things are going. So, here's the gears. Oh, it's glitching. Going to make some meeting gears. Mating gears. Meters. I think I did a mistake here by cutting it vertically. Mhm. Perhaps we can rotate this. Okay. This is just a blob part. — Yeah. Do a rotate transform command. — Nice one, Hus. Um
Segment 24 (115:00 - 120:00)
all right. Okay. Can't think. I'll be back soon. Honest. You have to entertain everyone. — I will. What? Okay. You're leaving me. — Yeah, you can deal with you can. So now chat, now we have the stream all by ourselves. Now you have the time to ask me something or I can try to impersonate Martin as best as I can to try and answer anything. Oh wow, he's really leaving me all by myself, is he? Hanes, maybe ask Martin perhaps would prefer having a question session like a like group the questions and answer them all during a small break. That could be a good idea actually. Hundry, I would have to take that up with Martin later, but that is a good idea. And Alex wonders, did you read Twitch chat? Yes, I also see the Twitch chat. Uh, so I see what people are writing there and now you get to see here. Wilfred, please say my name. Now I have said your name. Wilfred does stuff and more. There you go. Music time. Um, sorry I don't have any music lined up here. You will have to do with my voice for now. Uh you vet this spring. Oo, it's a half marathon in Goththingberg. I ran it last year. I don't know yet. Uh to be completely honest, like the running have taken a quite of a backseat right now in training wise since my I don't know if you guys heard that, but my dad and Martin's dad, they both passed away just a couple of months ago. So, I had to attend a lot of Yeah, I had to visit my dad at the hospital a lot at the end. So, haven't had a time to really do a lot of running. I'm still training a lot. Sometimes they're going to the gym, but training for long-distance running, I haven't really had the time. But I will get back to it. Uh, so I don't really know yet if I'm going to run. Hopefully. Philip Hansel Hannes, what has been your favorite part of this project so far? Uh, oh, there's too many to name them. I mean, all the and all the friends along the way, right, along the journey. But I mean, I don't think me and Martin have had this much fun in a long time as we've had um the last couple of weeks. Wow. I'm just going to change the angle. What happened there? Someone crept back into the stream. Uh, and let's change back. And I guess Martin is coming back. Shak Arrow could listen to Hana's voice for ages. Well, that's very, very nice of you, Anthony. Thank you all. — Hey, while Martin is out, are you going to start doing trainer stuff again? Yes, it will. Turn into a hund. — Yes, it will come back. I just don't have the time right now, but I'm of course I'm still training and every and everything. I haven't given up on it, but it takes some time to produce content on that as well. So, all right. I've been thinking I did this wrong. I This is a great example. I started to CAD all these gears here on the gearbox, but this is a blob part. We don't have to do that in here. We're going the part studio of the gearbox. We're just going to claim the space for the gearbox here. — So, I'm going to build this up in a completely different way. Um, and while you do that, I want to say from Trent Hullbrook, thank you for your company while I problem solve my late night projects. I love the regular updates. How do you eat an elephant? One bite at a time. — Thank you so much for your support. Thank you so much, Trent. Yeah, — it's uh really fun that people are into all the old Marine memes. — Yeah, the lore. — The lore. And good luck with your problem solving. — So glad to have you here.
Segment 25 (120:00 - 125:00)
— What are you doing, Trent? We're curious. Um I'm going to sketch it from the side instead like this. And I'm just going to make two blobs. so not really gears, but um, gearbox placeholders. And I think one can be a bit lower like this perhaps because we're still going to have No, perhaps not. Oh, remember also on this we actually had to add the shaker wheels. Uh but that's for later then. So I think this will be a really good if someone is tuning in now. I think this will be a really good example of how to use the master part method. Uh because I'm going to make a really two cylinder blobs and then we're going to make it into a gearbox in the part studio instead. Um extrude the shaft bit longer. Sketch is following. Nice. Um ish wonders is there a Wilson update? I don't know. Let's see how is he doing right now. Oh, there he is. The scoundrel, — monitoring Martin's work. — Why is it funny? — I don't know. He just wants to hang out with us. He wants to be the third wheel here. — H I can go to the dramas and make a dragadish if I if it wouldn't be that I already been having too much fun this stream. Good one. Okay, let's say that this is a gearbox. Do you see it? Yes, this a placeholder space claim gearbox. New parts. Oh, I think I should had center hole on the other one. Let me add that. I'm doing 20 mm shafts kind of everywhere now. I don't know. But it would be good to have a standard on the machine so we can have the same kind of hardware for everything if if it works out. H quite not a lot of space. Anyway, there's the gearbox. So, let's uh rename these blobs to um gearbox input and gearbox output. Now we're going to create a part studio where we're going to derive those blobs. So, part studio rename gearbox derive in our master part down to G. Okay, I needed that five m four minute break to get my brain back online here. Uh, there we are. There we go. Um, which one was huh? Okay, we're also going to make the output shaft here. Uh so I know also which one is which. And this shaft is then going to connect to the music programming wheel. Second end position. It looks stupid at first, but then when once I get it in 3D, I kind of start to see slowly. So, it's like
Segment 26 (125:00 - 130:00)
everything you're seeing here is going to change many times over. It's a really complicated machine, but I what I know like this is what we're building. I know how it works. So, we figured that out. Uh so that's good. Uh so now in this gearbox part studio, we're going to add that frame as well. Uh that shaft. I think I didn't name it. So let's go and do our homework correctly. And we're going to rename it to gearbox shaft or gearbox output shaft to be very clear. gearbox output shaft. All right. Excellent. So, and now in here, uh, let's do the sketches in here. I want a good plane thing. So, I'm going to make do a mate connector in the middle of that one. That's good. We're going to move that around. Maybe set is okay. No, I'm stupid. That was not good. Move it around. Yes. Whoop. Actually, okay. It's fine. And you have to tell me, Martin, when you need a little bit of a think break because I have a lot of people to thank pretty soon. — So, you can do some cadding while I name all these wonderful people. — Yeah, I'll keep to the right here and CAD away. Uh so um you go ahead Hannis because we have a lot of new backers to thank that has joined. This list is from last week. We have even newer ones that we will feature starting like tomorrow. So this is a little bit dated but we haven't had the time to probably thank these wonderful people yet. So last week we had a total of 66 new backers and let's start at Andres Antonov Andrew John Andy W Anthony Klein Artis Larila Aleria Arthur Roner Bjernon Briabol Cyrus Dagan Danny Rangu Dennis Walanovich Derek Van Allen — oh Hey, Dominic the producer 2020 drummer Joanie Eugene Tild Louisisar Gorg Myuber Jergo Kervis Grant Cherishkin Gill Gilame Bongards Hal Wayland Jiannis Jagger Johannes Graason Yousef Humphrey Joseph Kell Elean Yulan Kingman Juruno Cameron Bolta Carar Kent Serby Carrie Ka Kristoff Boyce Ludvig Fel Mockwood Magnus Oelund Marcus Vner Martin Shavit Mary Marid Mike Stanley Mampo Muen Mommy Jurgensen Nate never here Ole P Pet Pacheken Muo P Bels Pierre Garber Paul Elnan Parisland RTO Robson Padilla Dutz Russ weeb Toby Cornish Tony Hogton Tony Hon tr visual meer vitis vitz said William Baloo — wow — okay that was a mouthful — well done — let's roll the complete list as well and we want to thank you all for
Segment 27 (130:00 - 135:00)
being a part of this marvelous adventure this is made possible because of you who keep on supporting and believe in this project. So, we couldn't be happier. You guys are freaking awesome. That's no joke. It's uh it's what Hannah said. It's uh we're really doing exactly what we want now. We're doing the content that we need to do to get the machine perhaps finished one day. That's thanks to all your support. Um, I thought I was going to be done. I'm not at all nearly done here. Uh, let's hide that. I want to wrap this around this axle. Are we going to remove? Okay, there we go. Um then on the sketch so much fun it feels good. — Absolutely. And Mandra Mandrale. — Oh Mandraule. That's a classic username. — Yeah. Member for 24 months. — Wow. — That's so fantastic. Okay. I mean, it's not why we're doing the streams, but it's going to be I don't know if people like understand how hard I've been trying — like uh like it's going to be fun to stream this much because you're going to see like I'm not doing anything else. Basically, sometimes when we set up stuff, it takes us some time when I'm working with the setup with Alons and Huness. I'm uh like but apart from that we're going to — people get to see that you're actually working. You're not like — I'm just going into my studio and make one video per week. I work for one day. Nah, — you work all the time. — It's that that's uh yeah, it's not why we're streaming, but it's I realize now it's going to be an added benefit. And I think the victory when we have one is going to feel so much sweeter for everyone who's been seeing all this as well. — Yeah. — Um and I also I will be able to get great help um live from also Oh, I What did I do? — Oh no, — I ced this the wrong way. Oh no. — Thought of it the wrong way. Uh — that can happen when we have worked for oh 8 hours. — Yes. Okay. Um what was I saying on this? — I don't really know but it's going to be a really sweet shared victory. — Yes. — For all of us when this is done. It's not mainly because we stream, but it's an added benefit to show people how much you actually work and taking your mind out of the video production game all together. Hopefully, — that is beautiful with the streaming. Like when we're done, we're done. — Yes. — Uh that's beautiful. I looked at this mirrored. That's what's happening. Yes. There we go. Um, so while the blobs can look like this, — then you add detail. This is not a lot of detail, but it's still a bit of detail. — Mhm. — In the part studio. — And then you add the part studio to the drivetrain subasssembly, which we're going to do now. Um, it's a good example of the master part model and um I'm really loving this uh how Derek emailed and uh got me onto this path because it's uh it's really good a good path. Um and as always this floats freely here. Now — we don't want that. We want to build all these up with the mate connectors. Oh, it's that one.
Segment 28 (135:00 - 140:00)
So, we're going to hide all the stuff. Boom. I want to see that mate connector though. No. Uh, and then we're going to mate this mate connector to the origin. And the gearbox flies into place. There we go. Fantastic. And of course, the colors are a bit off. So, let's go and fix that. Uh, I think it's going to be So obviously it's uh these are still course sketches but I want to connect the programming wheel. Um and I will be able to throw away so much of bad CAD. But we're still on the music gearbox. We are Uh vacuum. Uh yeah, music gears. We're approaching music gears 3. Um soon here. I'm just checking like the connection with the How is the programming wheel actually sitting? Is it too high here? I'm wondering where to put this part of the gearbox. if I should go a little bit closer to the programming wheel like higher up. Um, let's measure. What happened there? I choose too many too much stuff. Oh. Okay. Everything is okay. I think actually this first streaming days is I think my productivity has really slowed down now. Hannes. Um Um — We will get used to it — tomorrow. Yeah, it was uh it was so much fun streaming today. Tomorrow morning, I will look at this and I will be like, it's gonna take me five minutes to just get everything to click. There's always like that. By the end of a long day, I'm like, ah, I what am I doing? — I don't know how to do this. And then — after a fresh uh night's sleep, it's like going to be fantastic. — But I want to This is a nice comment from Mandraule. As a mechanical engineer, I can see how hard you're trying. I've been following since the beginning. This is a beautiful mix between art and engineering. I also really want to see the mm happen in real life. — Thank you. — That is wonderful. — Yeah, love to hear that. — And here's a also a great comment from Hrien. Music Gears 3, the best one of the trilogy. — We're getting there tomorrow. We're getting there. Music Gears. — Okay, now I understand. Um, let's lower this old programming wheel that we're going to remove from. Let's lower it. Ah, that was a bit too low. And Samo wings. This is a wonderful format. Very fun and different. Enjoy turning the stream off and not needing to edit. Yes, that is going to be fantastic for us. We're only going to do edits on Wednesdays. — Otherwise, we're going to be hard at work streaming. — I will be able to go from here and think about only the gear placements. — Yeah. — Not thinking about thumbnails, not thinking about titles. Okay, we have a lot of work left. I think I feel my brain coming to a halt right now, Hannes. — I'm not capable to adding more serious stuff now. So, I think Watch out. I think someone's coming to eat you. — Oh no. Oh no. He actually did it. Oh no. Where did you go?
Segment 29 (140:00 - 142:00)
I didn't mean to. For real. Oh no. Now I'm all alone. Martin, come back. — I'm eat and I can't come back. Oh no, it happened for real. I've hidden him away. You can come back now. He's not here anymore. I've hidden him. — Okay. — You're welcome. — Um yeah, thank you everyone's following. Uh I we we're going to um learn how to do this really nicely. We're so happy for your company. I did some progress. I hope to be do more projects pro progress tomorrow. Tomorrow we're streaming at 9:15 C 212 and then we're streaming at 1,400 217 C. — I messed those times up, but uh um Oh, Ludvig is here also. Uh but yeah, I think um I think we should wrap it. It feels like unfinished. It is unfinished, but we did some good progress and the master part method is working. I just need to set everything up and uh yeah, it's uh I'm always disappointed that I didn't get further. — Shut up. You did very good job. You — the biggest today was that we started streaming, we ripped the band-aid, and now we're doing live streams and we're going to have so much fun. I'm fun with you, Martin. all the audience. It's going to be lovely. I can't wait to get started tomorrow. This was uh it was a bit scary. We nerves, but we're getting there. It was so much fun. — Yeah. Thank you everyone for watching. And Hannes is mirrored, so he's looking away from me. That's horrible. All right. Thank you everyone. Uh see you tomorrow. Uh we put a stream schedule on a community notice. So if you want to hit the stream times perfectly, Alons will put it out tonight. So, um, but tomorrow o'clock 9:15, uh, Stockholm time. — Did I say tomorrow:00? — Tomorrow: — Yeah. Time — stream. We streaming. We will do — time to go. — Yes. Have a wonderful day, everyone. See you. Bye. — Bye.
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