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Build Your Own Marimba and Wrap Your Own Mallets!

by RocketScientist on July 22, 2008

Table of Contents

License: Attribution Non-commercial Share Alike (by-nc-sa) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Intro: Build Your Own Marimba and Wrap Your Own Mallets! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

File Downloads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

step 1: Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

step 2: Cutting the Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

step 3: Tuning the Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

step 4: Tuning the Overtones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

step 5: Building the Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

step 6: Adding String Supports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

step 7: Stringing the Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

step 8: Resonators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

step 9: You're finally done!!! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

step 10: Malllet Wrapping Parts and Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

step 11: Assembling the Stick and Core . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

step 12: Cut the Stick and Sand the Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

step 13: Wrapping the Mallet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

step 14: Crowning and Finishing the Mallet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

step 15: Some Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Related Instructables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

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http://www.instructables.com/id/Build-Your-Own-Marimba/
License: Attribution Non-commercial Share Alike (by-nc-sa)

Intro: Build Your Own Marimba and Wrap Your Own Mallets!
Let me start by explaining where and from whom I got help. I used this website to get some basic information on how wide and long to cut the marimba bars. In
fabrication I got help from one family member who helped rough cut some of the bars. The rest is all my work.

I am a mallet percussionist who loves the marimba. About four years ago I had a problem. Though I loved percussion, I had no way of practicing at home. There were
cheap options. I could have bought a bell kit. But I hate the sounds they make. I wanted a very large five octave marimba but didn't have the money to simply purchase
one (7000+ dollars). So I decided against all common sense I would build one.

The goal: build a five octave marimba, without spending a fortune. Use whatever supplies are available to keep the cost low. (The keys are made from an oak tree which
was struck by lightning several years ago!)

I hope this instructable will inspire others but I want to give a word of warning. This is an extremely ambitious project and will likely takes a year or two for the average
individual (like me) to complete.

Some notes about the included audio recording:

The marimba was playing using the same mallet across the entire five octave range. for this reason, the mallet I chose was a little too hard for the lowest note, and a little
too soft for the highest note.

http://www.instructables.com/id/Build-Your-Own-Marimba/
File Downloads

C Scale Arpeggios Across the Instrument.aiff (2 MB)

[NOTE: When saving, if you see .tmp as the file ext, rename it to 'C Scale Arpeggios Across the Instrument.aiff']

step 1: Materials
By all means, get creative! Use whatever materials you might have laying around to complete this project and don't be afraid to borrow power tools from your neighbor.
Before you rush out to Lowe's think first and make sure you couldn't use something else instead. As you can probably imagine, the total cost of the project will be heavily
dependent on the builder's creativity and the availability of supplies. However I can tell you I managed to construct my marimba with less than 200 dollars.

For now let me just state the basic components of a marimba and the materials you will need.

The Bars - this is where everything begins. The bars can be made from nearly any material, but to qualify as a marimba it must be wood. Feel free to experiment with
different types of wood before construction. But it is important for the wood to be completely dried out (not green at all). My oak material came from a tree which was
struck by lightning.

The Frame - for me, this was the next step after building the bars. The frame can be made from anything. This includes wood or even steel. Use whatever you are
comfortable with.

The Resonators - Nothing difficult here. Though anodized aluminum is very pretty PVC pipe works just as well.

Those are the basic parts of a marimba but you will also need some specialty equipment.

Musical Tuner - How much you invest in a tuner will be reflected in your marimba. If you just want something to practice with (like me) then a 30 dollar tuner will do just
fine. Otherwise, if you want to tune overtones, use a strobe tuner (300+ dollars).

Belt Sander - You will be using this a lot so get something comfortable.

Drill - You will need to drill holes through the width of the bars for the marimba string. I suggest a drill press but a hand drill will work just fine.

Table Saw - for making all those cuts.

Band Saw - not essential but recommended if you will be cutting bass notes.

Miter Saw - really handy with the frame and resonators

http://www.instructables.com/id/Build-Your-Own-Marimba/
step 2: Cutting the Bars
Preparation - What you want? Do you want one octave, or five? Is your instrument going to be pentatonic or chromatic? Once you know what notes you want I suggest
you look at this website . I would suggest using the dimensions of an evenly graduated marimba. This will make the frame easier to build.

By the way, a higher pitch marimba will require much less sanding and can be finished relatively quickly.

Once you have your goal and dimensions in mind, use a table saw cut the wood. try to keep the grain running the length of the bar and avoid big knots in the center of the
bar. If it looks nice it will likely sound nice. At this stage you're only aiming for a brick like shape. Don't worry if it is a little rough.

Don't worry about tuning the bars yet. That comes next.

http://www.instructables.com/id/Build-Your-Own-Marimba/
step 3: Tuning the Bars
Before you begin take a moment to find the nodes of each bar. The nodes are the points which vibrate the least when the center of the bar is struck. The curve of the
marimba bar should be between these two nodes. It might be helpful to make a few guidelines with a pencil or sharpie. Finally, if you want to stain or varnish do so now
before you begin tuning. If all this terminology is going over your head, look at that website I told you about.

Once you are ready use a belt sander to begin removing mass in small increments. Feel free to smooth out the surfaces and add any artistic effects you may desire.
Periodically, check your progress with the chromatic tuner. You can do this by holding the bar approximately at one of the nodes and striking the center. As you remove
mass, the bar's frequency will decrease. If you are tuning a bass note I suggest you cut a chunk out of the bottom first. This should be done with a band saw and will
make sanding a lot faster.

It is important not to sand too much too fast. If you do, the bar will heat up. The change in temperature will affect the tone produced. So when tuning the notes try to keep
the temperature consistently around room temperature.

If you make a mistake and sand too much (making the note flat) don't worry it can be fixed. I found the simplest way was to trim the ends of the bar, making the length
shorter. 1/8 of an inch goes a long way.

As previously discussed keep in mind temperature will have a great impact on each bars frequency. Just try to keep an "optimum operating temperature" in mind. Mine
sounds great at 80 degrees Fahrenheit. But it is twenty cents sharp at 50 degrees.

step 4: Tuning the Overtones

An Instructables community member (thank you luvtheteddie) had a few questions on how to tune the overtones. My advice seemed to help so I'm adding that
information here.

OK... To tune the overtones you will need one of two things,

A. Strobe Tuner
B. Audio Spectrum Analyzer

I suggest the Strobe Tuner especially if you are a musician. Personally I consider Peterson Strobe Tuners to be the best and they also make a Strobe Tuner app for the
Iphone/Itouch. I only included the Spectrum Analyzer to give you an alternative.

Yes you can tune the fundamental frequencies and the overtones of all bars just by shaping the undercut of the bar.
Before we get into how to shape the curve, let's review the proper ratios between the overtones. For Marimba and Vibraphone builders it is 1:4:9.88. For Xylophone
builders it is 1:3:6.

Now, to tune the overtones you should follow the template in the pictures below.
To tune the Fundamental frequency (1), sand in the center.
To tune the second overtone (4), sand just outside the center
To tune the third (9.88), sand close to the ends of the arc.

Now here is where it gets tricky...Changing one overtone, will change the frequencies of the other two!
For this reason, you have to first get the ratios between frequencies correct, and then sand evenly across the curve until you arrive at the fundamental (hopefully with the
ratios intact.)

If you mess up and tune something too low, you cannot (to my knowledge) fix the problem without reducing the length of the bar.

Additionally, you will notice the overtones become increasingly more difficult to tune as you begin to work with higher and higher notes. This is because the sample
size/duration/sustain of the higher notes become shorter and shorter. This also makes the overtones more difficult to hear. So do you want to tune the overtones of the
upper register? I don't know. You'll just have to play it by ear. (I'm sorry... couldn't resist a bad pun)

Optional:
I highly recommend you read this research article:
Nonuniform Beams with Harmonically Related Overtones for use in Percussion Instruments
by Felipe Orduna-Bustamante
published in the Journal of the Acoustical Society of America
December 1991
http://www.instructables.com/id/Build-Your-Own-Marimba/
step 5: Building the Frame
So...Several splinters later and your all finished tuning the notes you want on your instrument. Now you need to build a frame to hold the keys.

This is a time to get creative. There are only a few rules to a marimba frame so as long as you abide by those rules; you don't need to worry about how the frame might
affect the quality of sound produced by the instrument. And those rules are...

1. The bars must be supported by "marimba string".

2. The string must be supported by braces in between the marimba keys. (Next step.)
3. The frame will also hold your resonators. (if you choose to build them).

Bear those three rules and facts of a marimba frame in mind as you craft it and you should be fine. I suggest you lay out your tuned keys on a large flat surface to get the
dimensions for your frame.
You should also consider how high you want the playing surface to be off the ground.

Note in the pictures the frame follows the path of the bars and the string that will later run through the instrument.

http://www.instructables.com/id/Build-Your-Own-Marimba/
step 6: Adding String Supports
The marimba string supports are essential because they provide a level playing surface. You will need a lot of these, but fortunately they can be easy to make if you can
find the materials.

I suggest aluminum rods. Use a band saw to cut the rods to an appropriate length. They should be long enough to accommodate your thickest bar. You will need to split
one end of each support to so the string can lay in it. I suggest mounting each rod in a vice grip and using a hack saw to split the aluminum. Then use a screw driver and
a good old fashioned hammer to open up the supports into a nice "Y" shape.

If you are recycling some old aluminum like I did, you may need to put a coat of paint on them so they all look uniform.

Finally to mount the supports into the frame you will need to drill holes into the frame at the appropriate intervals for the supports. Your drill bit should be a little small than
your supports. Once done, return to the screwdriver and hammer to coerce the supports into their new home.

Notice in second picture below you can see a nylon string running though the braces. This should give you an idea of how it all fits.

step 7: Stringing the Bars

Don't give up yet! You're almost ready to play a tune! You've got a frame and keys, now you need marimba string. You could use some professionally made marimba
string, or you could do what I did and use climbing rope. Yep! It works great! But whatever string you decide to use, make sure you drill holes in the bars large enough to
accommodate your choice.

These holes should be drilled through the nodes of each bar. (Again, you can find the nodes by figuring out where the bar vibrates least when you strike it in the center.)
Also, you should drill the holes on each bar an equal distance from the playing surface. If you don't you won't get a level surface.

Once you're done, that's it! Play a tune! Be happy with yourself! But it you want to go the extra mile, carry forth to the next step.

http://www.instructables.com/id/Build-Your-Own-Marimba/
step 8: Resonators
This is actually the easiest and maybe quickest part of the build. Resonators will make your instrument a lot louder and give the bars a much more "full" and "warm"
sound. All that is required is a little understanding of physics.

The material for the resonators can be almost anything. Just look for something that will hold water without leaking. That is essentially what you're doing. For me, PVC
pipe works great. You will need the tubing and plastic test caps.

Now for some physics! Don't worry this is really simple.

L = 340/ (4f)
Length (in meters) is equal to the speed of sound divided by the quantity of four times the frequency of the note.

Frequency is measured in Hertz. You should use your mad Google-ing skills and look up the frequencies of your notes if you don't already know them.

I suggest you cut your resonators a little longer than you need. Trim off a little at a time, and hold it under the correct bar as you play it. When it sounds good and full,
you're done with that resonator. Relax. This doesn't take that long and you won't make an extremely costly mistake.

Exactly how you mount your resonators under your bars us up to you. You just need to get them there. Don't be afraid to drill screws into your resonators to hold them (if
you choose to do things that way). The resonators will still resonate. If you are making resonators for bass notes, you can curve and bend your resonators to fit under the
instrument. Of course the beauty of PVC is you can buy PVC joints that are already bent.

step 9: You're finally done!!!

If you have actually done this, congratulations! If you were a thrifty and smart engineer/musician, then you have successfully created a pretty decent practice instrument
for significantly less than you could have bought one.

So go get started and play something "epic" to celebrate your success.

Ah but wait! Perhaps you have no mallets to work with. If this is the case continue forth!

http://www.instructables.com/id/Build-Your-Own-Marimba/
step 10: Malllet Wrapping Parts and Materials
In terms of parts, you will need a mallet stick and core.
The stick should be made of wood. The material for the core is up to you.

Materials

3/8 inch dowel rod (3/8 is just my personal preference. Use whatever is most comfortable.)
Round Core (In the pictures following, I use a "bouncy ball" I bought in the Grocery Store for 25 cents.)
Yarn
Needle (a relatively big one)
Scissors

Some notes on the Core

You have a lot of options here. The material for the core will have the largest impact on the tone produced. A hard core like a wooden crafts ball will work well for the
upper ranges of a marimba, but will sound horrible on the lower ranges. For a relatively soft core, I've found "bouncy balls" or rubber balls are the best bet.

step 11: Assembling the Stick and Core

You should drill a hole in the core to allow for the stick. Be careful not to drill all the way through the core. To make things a little easier, I suggest you seat the core in
some vice grips.

Once you have a hole, use some wood glue or epoxy to connect the core to the stick.

http://www.instructables.com/id/Build-Your-Own-Marimba/
step 12: Cut the Stick and Sand the Edges
Wait! Why didn't we cut the stick first and then glue it in place?
Nothing wrong with that. It is just my personal preference to do it this way.
Otherwise I'm never really sure long to cut the stick to make it even with the other mallets.

Once the mallet is cut to length, take it to a sander and remove those uncomfortable 90 degree angles.

http://www.instructables.com/id/Build-Your-Own-Marimba/
step 13: Wrapping the Mallet
The mallet is sanded to be comfortable; the glue/epoxy has dried; now you're ready to start wrapping.

Start by tying a knot just below the core. Then, begin wrapping over the top, and then under.

Over, Under, Over, Under....

Be sure to count the number of wraps around the mallet. If you want a set of mallets to sound the same, the number of wraps must be equal. Each time the yarn crosses
the top of the mallet, that's one wrap. If you're still confused about this, watch the YouTube video.

The mallets I'm wrapping here will have 100 wraps each.

step 14: Crowning and Finishing the Mallet

OK. To end the seemingly never ending process of wrapping, you need to cut about an arm's length of yarn between the mallet head and the yarn you are wrapping with.
(Let me specify this is still a single strand of yarn beginning with the knot you tied and ending at the point you just cut.)

Tie the free end of the yarn to your needle.

Now to crown the top and bottom of the mallet. I prefer starting with the top.
You need to push the needle in (at an angle) at the top of the mallet, and pull it out.
Do this over and over, going in a circle around the mallet head. This process makes sure your hard work won't come unraveled soon.

Once you finish with the top, the same needs to be done at the bottom.

After you're finished, I suggest crowning once more at the top, but this time you will tie a knot there. (As in the pictures.) Don't worry too much about the knot. I've
wrapped several sets of mallets and only once have I had this knot come undone.

http://www.instructables.com/id/Build-Your-Own-Marimba/
step 15: Some Examples
These are all mallets I have wrapped myself. I prefer wrapping my mallets as opposed to buying professional mallets because I have control over color, weight, core
material, overall length, and so on and so forth.

And if you are curious about the white/black mallets, I used yarn which transitions between the two colors. In other words, those white/black mallets are wrapped with one
continuous stand, not two.

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http://www.instructables.com/id/Build-Your-Own-Marimba/
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Comments
50 comments Add Comment view all 61 comments

Darmani says: Aug 29, 2010. 10:14 PM REPLY

No offense, but no way that is a marimba and i bet it doesnt sound like one either... and your "mallets" are wrong too, again i dont want to offend you the
instructable is good, but thats not a marimba...

pmartinez says: Aug 27, 2010. 1:40 PM REPLY

Very nice, a friend has a marimba (here in Costa Rica), that is over 80 years old and you can still get a very nice sound out of it. Great instructable, I'm going
to make one. What wood do you think is best: teak, cedar, mahogany, pine, any recommendation?

Kasm279 says: Aug 29, 2010. 9:26 AM REPLY

Mahogany probably would be your best bet, Marimbas usually use softer wood as they have a softer, more mellow sound than a Xylophone or a
Vibraphone.

AbstractDragon says: Aug 29, 2010. 8:42 PM REPLY

Pine and cedar are both softer than mahogany.

discontinuuity says: Aug 29, 2010. 1:01 PM REPLY

I thought at first you were making a thumb piano (which some call a marimba). Would it be right to call yours a type of xylophone or is it different?

jeffconnelly says: Aug 29, 2010. 2:50 PM REPLY

The "thumb piano" you refer to can be known as a Kalimba. But yes, this is similar to a xylophone. See below for more info.
http://www.differencebetween.net/object/difference-between-xylophone-and-marimba/

africa-rich says: Aug 2, 2010. 4:59 AM REPLY

Greetz from Africa ...

I've got 2 questions I've been searching the web about - but can't find any answers.

Any comments or help would be appreciated.

Thanks Rich

Q1: Arrangement of Notes / Bars

Why are the notes/bars on a Marimba (or Xylophone) arranged from:

High-to-Low from Left-to-Right ?

This arrangement is opposite to a Piano, but is the same as a drum kit.

I'm guessing it has to do with placing the lower notes under the right hand (usually the stronger hand) ?

But, is it the higher or lower notes that need the hardest strike to sound ?

Q2: Curved Keyboard

I've never seen a curved keyboard arrangement - i.e. one which is shaped in an arc, placing all of the bars at a more consistent and natural distance from
each arm / elbow.

Has this been tried ?

Would there be any special problems with this set-up ?

http://www.instructables.com/id/Build-Your-Own-Marimba/
 pdorazio says: Aug 28, 2010. 1:18 PM REPLY
The bars are arranged like a piano. Look at the pictures in this Instructable: Bigger bars (lower) on the left. I'm not a percussionist, but I think both the
high notes and the low notes should sound with the same strike.

Applejuice11 says: Aug 27, 2010. 11:57 AM REPLY

Thank you so much for this! I've bene planning on making my own mallets for a while but could not figure out an approprian core. Thanks!

takerofrabbits says: Jun 18, 2010. 11:46 AM REPLY

awesome! i just started a marimba building the keys out of some hard maple. going pretty good so far.

helloxfriends says: Jun 12, 2010. 7:38 PM REPLY

oh, I see now that you write it was less than $200. Is this the money it took for everything except the power tools?

helloxfriends says: Jun 12, 2010. 3:11 PM REPLY

How much did it cost to build the marimba?

JcBeaver says: May 30, 2010. 8:21 PM REPLY

Thanks for teaching me how to make yarn mallets!

NuclearGears says: Apr 30, 2010. 1:11 PM REPLY

If you want a marimba that sounds close to a professional one I would recommend soft woods. I'm not saying you should go out and buy rosewood but soft
woods resonate a lot more then hardwoods, creating a better sound quality.

ruppert says: May 1, 2010. 12:06 AM REPLY

Actually, rosewood is a hardwood. A very hard wood. This is one of the things that contributes to its desirable sound.

NuclearGears says: May 6, 2010. 6:42 PM REPLY

Haha. My bad

Appollo64 says: Apr 11, 2010. 9:35 AM REPLY

I'm gonna try making my own mallets. What would be the best kind of string to use?

ruppert says: May 1, 2010. 12:37 AM REPLY

I've made a lot of mallets my self, and have seen the cores of many major mallet brands after I have worn out the yarn. I have used multiple types of yarn
including cotton, wool, nylon, acrylic, and blends of those. They all give you a different sound. I'd recommend making your first mallets out of acrylic just
because it's the easiest to find and generally the cheapest. From there experiment and see what you like. For cores I like to use mainly two different
types of tape. Friction tape and rubber splicing tape. Both can be found at hardware stores. You can use these by simply wrapping it around the end of
the dowel you're using for the mallet shaft. Friction tape by its self will be a very hard core, and the rubber splicing tape will be a very soft core. So, for
mallets in between I use a combination of the two comprised of mainly of friction tape with a small number of layers or rubber splicing tape on top of
that. I would suggest caution using wood or plastic cores without some substantial padding on them. Depending on the type of wood or plastic the mallet
could dent the marimba bars. That's very bad if you're playing on rosewood instrument that costs thousands of dollars.

NuclearGears says: Apr 30, 2010. 1:03 PM REPLY

I would actually recommend wool or a wool blend for the string. That's what they use in most professional mallets.

RocketScientist says: Apr 11, 2010. 9:52 AM REPLY

Generally I use 3 ply yarn for almost every mallet I make. I think you'll find it works best medium hard mallets. I do encourage you to experiment with
several different yarns but I think you'll find your core material primarily governs the sound.

NuclearGears says: Apr 30, 2010. 1:01 PM REPLY

If you didn't know, professional grade mallets usually have a "mid-core", which is basically a piece of plastic piping right around the core. Oh, and how tightly
you wrap the mallets determine how articulate they're going to be.

http://www.instructables.com/id/Build-Your-Own-Marimba/
 NuclearGears says: Apr 30, 2010. 12:58 PM REPLY
For the core I would recommend a soft plastic or a rubber ball. If you want a professional quality mallet I would use wool or a wool blend for the string.

drummerboy08 says: Apr 21, 2010. 10:06 PM REPLY

I am in the process of gathering materials to build a marimba using this Instructable(thanks by the way!) and i have a question about the resonators: what
diameter would you use for them? All of the marimbas at my school have resonators that get progressively longer and wider as the notes go lower, so do i
need to compensate for this as well? Or would a uniform diameter tube of the lengths calculated from your equation above be sufficient(say a 2" diameter for
all tubes)?

RocketScientist says: Apr 22, 2010. 7:23 AM REPLY

Glad you found the instructable so helpful!

The equation works for tubes of a .5 in or 3 in diameter. (point being diameter does not affect the resonant frequency .) However, diameter does
affect the volume.

So in general you should try to get diameters which equal the with of the bar the resonator is being made for. Sometimes this isn't possible especially if
you're using PVC like me. So just get as close as possible.

Finally, don't forget to cut the resonators about an inch longer than the equation predicts. I say this because if you can't fix "too short".

Good Luck!
R

drummerboy08 says: Apr 23, 2010. 2:28 PM REPLY

Ah, thank you so much! This was exactly the information that I needed. Now I can start figuring out exactly how much I will need.

maxxxem says: Jul 14, 2009. 11:59 AM REPLY

That tuning process will be extremely help full. I am going to build one before the summer ends.

mfulton says: Apr 22, 2010. 2:02 PM REPLY

i know knew whe maxxxem has gotten his mallett rapping skills. i shall put him out of business.

RocketScientist says: Jul 15, 2009. 11:34 AM REPLY

Hey! Very Nice Meddling!! (Solid works?) It looks very similar to the LaFavre marimba that I have a link to in the intro. How do you plan on tuning it?
(A=440 or A=442?) I'm asking because most orchestra marimbas and vibraphones are tuned to A=442 Hz while the band is tuned to A=440 Hz. (This is
because most musicians consider the slightly higher pitch to blend well with the rest of the band.)

maxxxem says: Jul 15, 2009. 6:17 PM REPLY

Yes solidworks.
It just happens that I used the Same website as you did, but I used the
"Bar Dimensions for an evenly graduated marimba" when I drew it up a few weeks ago.

Also if you look at the full size image I made it so it could be Broken down easily
AND It can be constructed into two marimbas a 2 octave bass and a 3 octave treble, if need be. But I'm probably not going do that.

Tuning? Honestly I have No idea what I'm going to tune it to. Although based on what you said I would probably tune it to A=440.
I'm no RocketScientist (lol) I am only 13 and I'm still learning the physics of sound waves and vibrations. But I think it will be Fun to build a marimba
and I'm lucky enough to have the tools to do it.

Any way I will be referring to you're wonderful Instructable and the LaFavre marimba through out the construction of (unnamed marimba project)

Happy marimba-ing
Image( if you look closely i diden't posesition the suspension bars properly)

http://www.instructables.com/id/Build-Your-Own-Marimba/
 LkArio says: Mar 13, 2010. 8:16 PM REPLY
$7000 for a marimba!? . Jesus, some acoustic pianos are cheaper than that.
A bunch of different lengths of metal, or whatever, that you hit with mallets, no complicated action, gigantic cast iron frame, hundreds of strings,
soundboard... just stupid.

LkArio says: Mar 13, 2010. 8:19 PM REPLY

Pfft, nevermind. I don't even really know what a marimba is. But it looks way simpler than a piano, and less polyphonic and everything.

Lorydrums says: Dec 28, 2009. 3:01 AM REPLY

hy!!
can you please give me other information about the steps to wrap a mallet because i don t understand how to go one!!!!
is there a specific drawing to do with my crewel???

thank you!!

crossfirexiv says: Sep 22, 2009. 5:06 PM REPLY

Nice! Can u post a video on how it plays? Im planning on making one.

chuck_notorious says: Aug 20, 2009. 6:15 PM REPLY

Congratulations on winning the contest and completing this project!

I hope that one day you can find some really beautiful rosewood, but I think the good quality wood gets rarer every day.

I heard a lecture by a percussion professor here in Australia who used to build marimbas when it was extremely expensive and difficult to import them. He
said that he tried many *many* Australian woods but in the end had to import padouk or rosewood to get an acceptable sound.

Have fun playing on your new instrument!

dchall8 says: Aug 19, 2009. 8:47 AM REPLY

Congratulations on winning the contest! I've been very busy this summer and missed the initial entry. I built a similar instrument for my daughters when they
were in preschool. I made mine from steel pipe (electrical conduit). I started on a marimba and had all the wood picked out but never finished it. The wood I
picked was from Lowe's. They have bundles of really cheap wood stakes (sharpened at one end). I bought a bundle and hammered each one looking for
pieces that would ring and were not musically dead. Then I cut them to size and started tuning the centers. That's as far as I got. As far as finding the nodes
of the wood, something I read on a website for tuning the pipes said the nodes were always located 22.5% of the way in from the ends of the pipe. I used
that number for the nodes of my wood pieces, too. It worked very well. You can feel that point when you hammer the wood. Hold it between your thumb and
first finger, hammer the wood in the middle, and you can tell if the spot you are holding is vibrating or not. Not vibrating means it is the node. If you hold it at
the very end, it wants to jump out of your fingers. Again, congratulations.

luvtheteddie says: Jun 22, 2009. 3:17 PM REPLY

how can i tune the overtones to make it more professional sounding? also, can i sand the arches to tune the keys? i want each key to be a certain length so
it looks pretty. im very picky about the look cuz im going to be using some padouk floorboards that are 3 inch wide by 1/2 inch thick (cut in half, of course)
and theyre not cheap, so i wanna make sure everything works perfectly

RocketScientist says: Jun 22, 2009. 7:37 PM REPLY

OK... To tune the overtones you will need one of two things,

A. Strobe Tuner
B. Audio Spectrum Analyzer

I suggest the Strobe Tuner especially if you are a musician. Personally I consider Peterson Strobe Tuners to be the best and they also make a Strobe
Tuner app for the Iphone/Itouch. I only included the Spectrum Analyzer to give you an alternative.

Yes you can tune the fundamental frequencies and the overtones of all bars just by shaping the undercut of the bar.
Before we get into how to shape the curve, let's review the proper ratios between the overtones. For Marimba and Vibraphone builders it is 1:4:9.88. For
Xylophone builders it is 1:3:6.

Now, to tune the overtones you should follow the template in the pictures below.
To tune the Fundamental frequency (1), sand in the center.
To tune the second overtone (4), sand just outside the center
To tune the third (9.88), sand close to the ends of the arc.

Now here is where it gets tricky...Changing one overtone, will change the frequencies of the other two!
For this reason, you have to first get the ratios between frequencies correct, and then sand evenly across the curve until you arrive at the fundamental
http://www.instructables.com/id/Build-Your-Own-Marimba/
 (hopefully with the ratios intact.)

If you mess up and tune something too low, you can not (to my knowledge) fix the problem without reducing the length of the bar.

Additionally, you will notice the overtones become increasingly more difficult to tune as you begin to work with higher and higher notes. This is because
the sample size/duration/sustain of the higher notes become shorter and shorter. This also makes the overtones more difficult to hear. So do you want to
tune the overtones of the upper register? I don't know. You'll just have to play it buy ear. (I'm sorry... couldn't resist a bad pun)

Optional:
I highly recommend you read this research article:
Nonuniform Beams with Harmonically Related Overtones for use in Percussion Instruments
by Felipe Orduna-Bustamante
published in the Journal of the Acoustical Society of America
December 1991

Finally... Good luck on your build. If I forgot to answer something just let me know. Be sure to tell me how it works out!

and

PLEASE VOTE FOR ME :) !!!!

(Seriously I'm competing against some spectacular projects and I need all the support I can get.)

luvtheteddie says: Jun 24, 2009. 7:01 AM REPLY

you got my vote. one more question... how bog should i make my arches?

RocketScientist says: Jun 24, 2009. 8:08 AM REPLY

In general, the arch extends the full length between the nodes of the bar. (But this rule does not apply to the higher bars). So instead, I would
suggest sanding the arches wider as you tune the third overtone. When you sand the "3" sections as in the pictures above, sand the arch wider
as well as deeper. As a side note for anyone interested... You can tune the fundamental and second overtones just by sanding out a rectangular
shape rather than an arch. The only reason for the arch, is to get the third overtone.

sieg01 says: Jun 19, 2009. 8:24 PM REPLY

Nice good job! I build a small one octave pentatonic one as a proof of concept a few years back... but this got be interested in a full size one again. Post up
some of the tunes your practicing!

hacedor says: Jun 18, 2009. 1:57 PM REPLY

Very nice You've got my vote!!!

TotalyInsaneCookie says: Jun 15, 2009. 4:28 PM REPLY

Wow! Thanks so much for posting this! Now I'll actually have a way of practicing at home! Although the quality of sound probably isn't the best it's still really
helpful to practice on

RocketScientist says: Jun 15, 2009. 6:06 PM REPLY

Yea you are absolutely right. I didn't tune the overtones, just the fundamentals. So I wouldn't dream of playing my marimba in an orchestra. That was
never the intended use anyway. But if your building something just to practice with, don't be afraid of how it will sound. If I practice on my marimba and
then switch to a professional instrument the next day, I really don't notice a difference. If I go the other way and switch from professional to home-made,
then I do notice a difference. Weird I know.

JamesRPatrick says: Jun 14, 2009. 6:38 PM REPLY

You're finally done! I'm considering trying this out.

RocketScientist says: Jun 14, 2009. 6:51 PM REPLY

Wow! I'm suprised I didn't see that typo earlier. Kinda feel stupid now. Good luck with your build and let me know if you need any advise.

http://www.instructables.com/id/Build-Your-Own-Marimba/
 caitlinsdad says: Jun 13, 2009. 8:45 PM REPLY
Very nice. Maybe schools should build them that can't afford to get large band instruments. Metal tines would make it a xylophone? By the way, the rig with
the mallet bag looks like a big rolling BBQ grill with the tools in the bag. Maybe give it a nice flame paint job. :)

caitlinsdad says: Jun 13, 2009. 8:46 PM REPLY

and a longer video of playing it would be nice.

thepelton says: Jun 8, 2009. 1:36 PM REPLY

Interesting that you used Oak (Quercus Sp.). I found when I was making drum boxes that certain varieties of wood had better resonance and tone than
others. Paudauk (Peltogyne paniculata) resonated well, as did Honduran Mahogany, and Cherry (Prunus sp.) was also nice. Poplar (Populus Sp.) came out
almost dead.

RocketScientist says: Jun 8, 2009. 1:41 PM REPLY

Yea, if I were a rich student (an oxymoron if there ever was one) I would have preferred to use Paudauk or Rosewood. I did do some experiments with
different (cheap) wood types and came to the same conclusion as you, Poplar is worthless. I chose the oak because I did not have to buy any of it and I
knew I could get the lower notes with it.

thepelton says: Jun 9, 2009. 9:13 AM REPLY

If you just pick up a piece of wood and hold it in your fingertips, and rap it with the knuckle of the other hand, you will see if it is marimba-worthy.

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http://www.instructables.com/id/Build-Your-Own-Marimba/