Originally this vibraphone had a “field frame” which is one of those massive bloody things with huge wheels that Musser created for the farming community. In true entrepreneurial style some clever person at Musser discovered that literally millions of farmers worldwide get so bored when ploughing their fields that they often feel the urge to learn a musical instrument, so why not the vibraphone? Hence the field frame was developed by Musser and I threw it in the bin as crap.
The work finally begins! In Part 1 I looked into the problems of the M55 vibraphone in detail. Now I am actually ready to do some work!
It is my opinion that in order to minimise the unwanted noises produced when playing vibraphones, the most import factor in the design of the instrument is its structural rigidity. From this all else follows.
Think about what a vibraphone is and how they are played and work. It is a 3 octave percussion instrument with aluminium note bars laid out flat so that a foot operated damper system can control the sustain of the note bars. Additionally they have a system of opening and closing the resonator tubes which creates the “vibrato” effect. Complicated even to define. For an instrument maker (not a manufacturer – they are not instrument makers in the same way that, for instance, I am) there a several potential problems:
Percussion instruments by definition are struck with mallets, so the frame continually absorbs impacts.
The aluminium bars are heavy and consequently have a lot of inertia. Furthermore musical instruments by definition vibrate, so the frame has to cope structurally over a large frequency range and fixings and fittings are always going to be shaken loose.
The foot operated damping system has linkages and moving parts under tension.
The “vibrato” effect most commonly uses electric motors and rotating butterflies set in the top of amplification tubes.
And I could carry on. When listed like this, it is no wonder really that vibraphones cause a lot of problems. Manufacturers simply don’t understand this, they never see what happens to their instruments over time, and I am convinced that they don’t have the correct skill sets to draw on. If they did, a dullard like me wouldn’t be able to rip their designs apart.
I suppose it all comes down to money. On the one side global vibraphone market isn’t big, we are not talking small car production. So the potential revenue is limited and the competition is large. And on the other side, managing directors want to live in big houses and drive expensive cars, shareholders need their dividends, and workforces want pay rises. So the companies have to continuously grow and increase their profits, something has to give and invariably the wrong decisions are made; the key staff are dispensed with, the products never change, the cost of materials is reduced, the marketing and promotion budget is increased. These high-profile endorsements and collaborations must be expensive!