Recent Posts

11

Instrument RESONATORS & tuning / Re: Resonator Length

« Last post by Jim McCarthy on May 31, 2017, 11:23:24 PM »

Hi there Almonte!

SO do you mean whilst tuning the bars/resonators??? Or do you mean on stage - or in your home perhaps?

I've both performed and built now in both extremes of climate - from South Australian Summer to Canadian winter... so I have developed a few strategies for most scenarios now!
Jim

12

Instrument RESONATORS & tuning / Re: Resonator Length

« Last post by Almonte on May 30, 2017, 12:25:27 AM »

Thanks that helped, the other thing I would like to know, does the temperature affect the bars and the resonator's equally, in other words do they stay in tune to each other.

Too right. Can you give any tips on keeping temps stable Jim?

13

Instrument BARS & tuning / Re: Tuning technique of the marimba

« Last post by FanYang on August 22, 2016, 12:53:17 PM »

Hey Jim,

Could you please tell me why they are use this kind of overtone technique? Whats the different there ?

Thank you

14

Instrument BARS & tuning / Re: Tuning technique of the marimba

« Last post by Jim McCarthy on August 03, 2016, 07:35:44 AM »

Oh - right - yes I have seen  this many times. Usually though historically it tends to be on cheaper Orff instruments where the bar dimensions are less than ideal for the fundamental bar pitch. I am surprised to see it here. As far as I am aware this is a method used to control a completely different type of overtone - a TORSIONAL mode.  have personally never had an issue with a marimba bar made to pro standards that required this technique - though from time to time with diatoninc school instruments.

15

Instrument BARS & tuning / Re: Tuning technique of the marimba

« Last post by FanYang on August 01, 2016, 01:40:46 AM »

Hi Jim, is something like this.

16

Instrument BARS & tuning / Re: Tuning technique of the marimba

« Last post by FanYang on July 31, 2016, 11:02:26 PM »

Thanks Jim, i don't think that Adams cut the single gap or small groove to raise the pitch, because the BERGERAULT does something too, but the BERGERAULT has cut two small groove before the node point ( specially on the lower notes).   About the X groove or X gap that ill find the picture to you.

17

Instrument BARS & tuning / Re: Tuning technique of the marimba

« Last post by Jim McCarthy on July 31, 2016, 03:39:10 PM »

HI there FanYang - good to have you here!
I'm not quite sure what you are referring to when you say "X" gap - can you possibly explain that a little more?
You also say that there is some material removed from under the bar but at the END of the bar - you mean on the outer side of the string hole? If so that would have the effect of RAISING the bar's pitch - not lowering it. Generally speaking when raising the pitch of a bar it is almost impossible to control which modes get raised by how much - they all get raised together. One raises them all then brings them down selectively by removing material at the various select points BETWEEN the nodes. Even so - raising should not really have to be done at all - generally if this is done, it means there was an error in the initial tuning stages.
Jim

18

Instrument BARS & tuning / Tuning technique of the marimba

« Last post by FanYang on July 31, 2016, 11:42:25 AM »

Hi there,

I've seen a few tuning technique of the Adams and marimba one.
1. Cut the X gap on the underneath of the bar(use the table saw).
2. Cut a small gap on the underneath which between the node point and end( specially in the first octave of the bars).
3. Some one says they tuning the second overtone that ten cents lower.

Does anyone can answer me why they does that?

Thanks 

19

Instrument BARS & tuning / Re: Glock extended range

« Last post by Jim McCarthy on October 04, 2015, 12:05:04 AM »

Unfortunately the Simple glock guide is exactly that - a guide for a simple glock. It is not really similar to the instrument you would use in orchestral situations, rather more the sort of generic metalophone that you might find in schools etc. For an orchestral glock you would be better suited to go for thicker bars - like about 10mm - and high carbon steel is best rather than aluminium - though some do use various aluminium alloys like the 2024 that is commonly in use for vibes. You would also be better off going with a bit more length for the bars at the top.

Getting a set of measurements is not so tough really - you just go with an arbitrary length that works well for the tuning - for your top note and your bottom notes. Then you lay out your black note and white note rows with the correct spacing between (can be just done on paper of course as you have not actually cut the bars yet!) The bar lengths in between the top and bottom are simply a linear graduation - so literally rule a line between the ends of the top and bottom and you have the lengths in between. This is the method that will correctly give you bars that have nodes lining up over your struts in the end.

If you want to extend the SG plan - then just do exactly this - line up the bars that are given... then rule a line further down, and get your lengths that way.

Hope that helps!
Jim

20

Instrument BARS & tuning / Glock extended range

« Last post by bigmalletman on October 03, 2015, 12:14:41 PM »

I hope to build the 5 octave marimba and vibraphone, but wanted to try building the glock first.
However, most orchestra bells I've played are ~2.5 octaves: G-C or if I'm lucky F-C. I was hoping to extend the glock plan from 2 octaves to 2.5. The lowest note appears to be C at 156mm. Would anyone happen to know what the measurements would be for the extra 5 or 7 lower bars?

Ding...