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.
This will be the last installment for this Musser M55 vibraphone overhaul. In part one I had a general look at the vibe and worked on the note bed. In part two I did the main structural build. In this part I am essentially doing everything else, and I mean everything!
This seemingly happens a lot with vibraphones. I have said in the past that I think that they are probably the hardest instrument to get working correctly. Oh, it is easy to get them working OK, like most percussion instruments the common conception is that they are simple and therefore easy to repair. Indeed I seem to get comments and requests from people who intend to do precisely that, using my site as an instructional manual. This is totally contrary to the to the consistent message I deliver in the posts and the reason why I write them and make the videos. Obviously this is always going to happen, and there is nothing I can do about it, but it does annoy me somewhat, after all this is my livelihood.
With the frame complete I started looking at the damping mechanism. The little screw above, is one of the main connections on the instrument. The damper system is a fundamental aspect of a vibraphone. Besides the mallets, this is a massive part of player expression, so why am I seemingly on my own when it comes to spending care and time making them work smoothly and silently? I had to re-engineer every single moving component in the damper system.
My best friend thinks that I can be disparaging about the way percussion instruments are made, I guess that he is correct, but what irks me the most is that I am working on supposedly top quality professional instruments sent to me by top professional musicians and orchestras, etc. These instruments are premium products at premium prices, but what I see continuously is a lack of knowledge and skill at the design stage, and penny-pinching in production. Probably the root cause of my outbursts is a frustration with myself for not ever having the time to make a selection of instruments that I can show people – I simply do not have a stock, they are made on commission and then they are gone. The instrument that I haven’t made yet is a vibraphone, and I think that this should be high on my new agenda.