Wintergatan - Marble Machine
Get the audio track Marble Machine by Wintergatan:
Marble Machine built and composed by Martin Molin
Video filmed and edited by Hannes Knutsson
Costume designed by Angelique Nagtegaal
See Sommarfågel music video by Wintergatan:
See Starmachine2000 music video by Wintergatan:
Swedish band Wintergatan will play live concerts starting from summer 2016.
For Press Related Questions email Elaine & Emma:
Hannes Knutssons Youtube Channel:
Special thanks to Marcus Dimbodius who has been around throughout the whole build and suggested the cymbal placement and the use of the conveyer belt for the marble transportation. Dimbodius is an artist from Gothenburg:
Martin & Co.
This week i assembled the most gorgeous machined Aluminium Bearing Housings Made by Alexcnc from the MMX Team.
They are adjustable for the Depthing of the gears. We are also implementing the new PBS - Product Breakdown System for the Whole MMX. Chris, the new project manager has introduced me to the sacred lands of Excel heaven and although there is a lot of initial work we have to do to make this function properly, the long term efficiency will improve a lot! We are taking the MMX from being a one off DIY maker project to being a scalable, fully fledged - ready to build for any competent group of people - machine. Its really great!
Enjoy and have a great day!
#wintergatan #marble #machine
If you want to SUPPORT US:
The fact that you are watching the videos and care about the music and future of Wintergatan is the best support anyone can have, I want to thank everyone who is here for that kind of support, it is really the fuel for the Wintergatan Engine.
If you apart from that further want to support the projects, we have these different options set up:
►Support by Joining the Wintergatan Youtube Channel by clicking the blue JOIN button next to subscribe or go here:
As a Member you'll have a Wintergatan badge next to your comment, long term members receive guest list tickets and early access to ticket sales for the upcoming world tour.
Why do we accept support in this way?
I, Martin, can already sustain myself 100% doing what I love to do. If you want to support artists/organisations who have not yet reached that privileged position, please consider supporting other artists/organisations who need the support more. With that said, I have too many ideas and too little time and with your support I can get more help from people around me to execute the ideas better and bring them out in the world faster. Read a longer statement on this here:
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Thanks to and for providing the CNC Machine and the 3D Printer for the Marble Machine X Project!
Noisestorm - Crab Rave
Watch 100% crab gameplay from my first solo game project Crab Champions here:
My first ever music video, created entirely with Unreal Engine 4!
Support on Spotify:
a-ha - Take On Me
ONE BILLION VIEWS on February 17, 2020 ????
“Take On Me” has been remastered in stunning 4K resolution - watch it now!
The #TakeOnMe1BN Capsule Collection is available now
???? Watch all the official a-ha videos here
???? Listen to more a-ha here
???? Subscribe to the a-ha channel and “ring the bell” to turn on notifications
At the 1986 MTV Video Music Awards, the video for Take On Me won six awards—Best New Artist in a Video, Best Concept Video, Most Experimental Video, Best Direction, Best Special Effects, and Viewer's Choice—and was nominated for two others, Best Group Video and Video of the Year. Take On Me was also nominated for Favorite Pop/Rock Video at the 13th American Music Awards in 1986.
Time and Again: The Ultimate a-ha, including the biggest hits + rare and unreleased remixes, is out now! Get your copy here:
Stay In Touch with a-ha…
???? Tour Dates
Stay In Touch with Morten Harket…
The a-ha channel is the official YouTube home of the Norwegian Pop trio a-ha, who achieved global stardom in 1985 when their debut single, “Take On Me” from the album ‘Hunting High And Low’ topped the charts in 36 different countries on its way to becoming one of the best-selling singles of all time, and the 5th most streamed song of the 20th century. a-ha struck chart gold again with “The Sun Always Shines On T.V.” and “Cry Wolf,” and recorded the theme to the 1987 James Bond film “The Living Daylights”. The a-ha YouTube channel is proud to host the music videos from these hits alongside live performance videos, lyric videos, and the solo work of band members Morten Harket (lead vocals), Paul Waaktaar-Savoy (Guitar), and Magne Furuholmen (Keyboards).
Tiger's Live Performance from Reggae Sunsplash
August 22, 1987
Bob Marley Center - Montego Bay, Jamaica
See video end credits for more info
Evolution of Music
The evolution of music from the 1680s period to the present day. in this video, I had to transcribe many songs for piano versions. Tell me if I forgot any important song.
Relaxing Sleep Music • Deep Sleeping Music, Relaxing Music, Stress Relief, Meditation Music
Relaxing sleep music for deep sleeping and stress relief. Fall asleep to beautiful nature videos and use the relaxing music (Flying by Peder B. Helland) as sleeping music, soothing meditation music, relaxation music, study music and more. Stream or download music from Soothing Relaxation:
???? Track information:
Composer: Peder B. Helland
Buy or stream this album:
Buy this track:
Buy this video as an MP3 file:
License this track:
Follow Soothing Relaxation on...
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Listen to more relaxing music:
???? Message from the composer and creator of Soothing Relaxation:
I am a composer from Norway and I started this channel with a simple vision: to create a place that you can visit whenever you want to sit down and relax. I compose music that can be labeled as for example: sleep music, calm music, yoga music, study music, peaceful music, beautiful music and relaxing music. I love to compose music and I put a lot of work into it.
Thank you very much for listening and for leaving feedback. Every single day I am completely astonished by all your warm support and it really inspires me to work even harder on my music. If you enjoy my work, I would be very happy if you decided to subscribe and join our community. Have a wonderful day or evening!
- Peder B. Helland, composer for Soothing Relaxation
Music composed by Peder B. Helland.
Footage/photos licensed from:
• Videoblocks: Various artists
☀️ Relevant hashtags:
#relaxingmusic, #relax, #soothingrelaxation, #music, #sleep
Musician Explains One Concept in 5 Levels of Difficulty ft. Jacob Collier & Herbie Hancock | WIRED
23-year-old musician, composer and multi-instrumentalist Jacob Collier explains the concept of harmony to 5 different people; a child, a teen, a college student, a professional, and jazz legend Herbie Hancock.
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Musician Explains One Concept in 5 Levels of Difficulty ft. Jacob Collier & Herbie Hancock | WIRED
Provided to YouTube by DistroKid
Swisco · Joby Tennant
℗ 964560 Records DK
Released on: 2020-01-17
Auto-generated by YouTube.
Casey Cangelosi Sleight of And Evil Hand
by Casey Cangelosi 2013. Commissioned by Tom Sherwood for the 2013 Atlanta Symphony Modern Snare Drum Competition.
BLACKJACK Michael Beil 2012 musikFabrik
BLACKJACK für 17 Instrumente mit Live-Audio und Live-Video
Musik : Michael Beil
Regie : Thierry Bruehl
Leitung : Otto Tausk
Klangregie : Paul Jeukendrup
Alexander Schubert - Laplace Tiger pt 1
Laplace Tiger (2009) 12'
For drum kit, arm-sensors, live-electronics and live-video
Performed by Jonathan Shapiro.
All information at:
The use of sensors at the forearm of the player allows the complete control of the live electronics and the structuring of the piece. Furthermore the player's movement is the exclusive material for the live video.
Based on these technical possibilities I tried to realize a piece that works like a huge convolution. The acoustically played material is temporarily shifted, processed and then interweaved through the motions of the performer. Apart from this sound synthesis is playable with the sensors to extend the musical language of the drum set. But the idea is that both the processed sounds and the additional elements are all controllable by and hence linked to the movement of the player - focusing the generation of sound as much on the physical presence of the player as possible. The pyramiding of sound shreds, live-electronics and the percussion itself aims at a highly condensed performance somewhere between contemporary classical music and electronica.
The title of the piece is inspired by the laplace demon - a thought experiment describing a model using total determination. This is to evoke the question of how a system of this complexity is totally reproducible - which it is not in this case. The concept of the piece is a very structured progression of about 100 scenes, which are clearly defined - but within these cells there is a great amount of freedom for the performer on a micro level. This allows the interpreter to react to and play with the fine details and nuances arising from slight gestures and to have the freedom to develop the interlacing between the acoustic drumming and the folded, temporarily shifted processing.
Evan Chapman - Mobile by Glenn Kotche *HD*
I know I already have a video of Mobile up, but this is a redone version for my audition for the So Percussion Summer Institute. Enjoy!
Alexander Schubert - Sensate Focus Decoder Ensemble
For bass clarinet, percussion, violin (or viola/cello), e-guitar (or electric zither), live-electronics and animated light
Performed by Decoder Ensemble
Jonathan Shapiro - Percussion
Carola Schaal - Bass Clarinet
Sonja Lena Schmid - Cello
Leopold Hurt - Zither
Video recording: 22.11.2015
Huddersfield Contemporary Music Festival
Written for PlusMinus Ensemble
Abstract: Cats were reared in a light-tight box in which the only source of illumination was a 9-psec strobe flash every 2 sec. This allowed them to experience visual form but they did not experience visual movement. Most sampled signals are not simply stored and reconstructed. But the fidelity of a theoretical reconstruction is a customary measure of the effectiveness of sampling. Sensate focusing is a term usually associated with a set of specific sexual exercises for couples or for individuals. Each participant is encouraged to focus on their own varied sense experience, rather than to see orgasm as the sole goal of sex.
All info at:
Alexander Schubert — Sugar, Maths, and Whips w/ score
Sugar, Maths, and Whips for Violin, Double Bass, Piano, Percussion, and Electronics by Alexander Schubert
Performed by Ensemble Intégrales
Purchase studio recording here:
This video was uploaded with permission from Alexander Schubert
NON-COMMERCIAL USE (posted for divulgation and educational purposes only). If you have copyright concerns about this video email scorefollower [at] gmail [dot] com
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meditation no.1 for solo snare drum
2011 by Casey Cangelosi, commissioned by Majestic for the U.S. release of the Prophonic snare series.
Ken Ueno - ...blood blossoms... w/ score
Ken Ueno (b. 1970)
... for amplified sextet (bass clarinet, piano, percussion, electric guitar, cello and bass)
Score is kindly provided by Project Schott New York (PSNY) under Schott Music, and can be purchased here:
Personal website of Ken Ueno
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So Percussion performs John Cages Third Construction
Construction is the title of several pieces by American composer John Cage, all scored for unorthodox percussion instruments. The pieces were composed in 1939--42 while Cage was working at the Cornish School of the Arts in Seattle, Washington and touring the West Coast with a percussion ensemble he and Lou Harrison had founded. The series comprises three Constructions.
Composed in 1941 and dedicated to Xenia Kashevaroff-Cage, to whom Cage was then married and who played in his percussion orchestra. Third Construction is scored for four percussionists. There are 24 sections of 24 bars each, and the rhythmic structure is rotated between the players: 8, 2, 4, 5, 3, 2 for the fourth, 2, 8, 2, 4, 5, 3 for the first, etc.
Chaya Czernowin — Sahaf w/ score
support us on Patreon : :
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more info below ⤵
performed by Ensemble Nikel
Sahaf (Drift), for saxophone, e-guitar, percussion and piano by Chaya Czernowin (1995)
Featured Composer #6
uploaded with permission from Chaya Czernowin, Schott Music, and Ensemble Nikel.
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Lachenmann, Interieur I for solo percussionist, performed by Michael Compitello
About the piece:
At a time during the 1960s in which many composers in Europe and the US began working in electronic music studios in a search for new sounds, Helmut Lachenmann asserted that not only could acoustic instruments create original colors, but that there's something special about the physical gesture of producing sound that is essential to the vibrancy of music. His music uses sound—the gradual transition between closely related sounds, and the bold crashing of conflicting timbres—against one another as an argument, both for the importance of acoustic music, and for the need to constantly rethink traditional means of expression and conventional playing techniques.
I'm sure every percussionist has played a piece where they thought this composer must have never heard or seen a single percussion before instrument in his life. With Lachenmann this isn't the case: not only does he have a deep knowledge of the instruments' capabilities, he's also famous for using primarily non-traditional playing techniques, expanding the repertoire of sounds each instrument can produce. Throughout Intérieur I you'll hear me making—I hope!—beautiful marimba, cymbal, triangle and timpani sounds; you'll also hear me scratch, scrape and crash my way through some other, more original colors. I think Intérieur is a really important piece for percussionists to get to know because of how perfectly it's suited to percussion's greatest strength: the potential to produce a startlingly diverse range of colors and dynamics. It's a whole piece about sound, where timbre determines both the small gestures within the piece and the overall structure!
Lachenmann's score is bursting with innovative timbral ideas. It's also bursting with instruments, which makes getting into position to play the correct drum or cymbal at the right time one of the major challenges in learning the piece. Lachenmann gives us a lot of help: an incredibly detailed setup diagram, a score designed to be spread across three music stands, and a notation system that helps indicate where an instrument is located based on its position on the staff. However, because most of the piece involves extremely delicate combinations or progressions of sounds, practicing my footwork was one of the first challenges in learning the piece. I also decided that memorizing as much of Intérieur as possible would let me stay focused on getting into position and producing the kinds of sounds I wanted. Lachenmann emphasizes that Intérieur is a actually a very vocal and melodic piece, regardless of how disjunctive some sections may seem. This is especially important because Intérieur is written almost entirely without traditional rhythms. Lachenmann gives suggested durations for phrases and indicates rhythmic relationships through note spacing and beaming, but the performer is left to use his or her ear and the sonic characteristics of the specific instruments in the set-up to determine note length. Because of this, I tried to rely less on muscle memory in my memorization, instead latching onto the connections Lachenmann makes between gestures and how I could use the particular instruments I had to create composite sounds from multiple instruments and to make sharp transitions between sections
Another challenge in a piece with so many instruments is the mallet changes. In the interest of simplicity, Lachenmann asks for only a few types of mallets: hard wooden or yarn mallets, soft mallets, drum sticks, brushes, a tam tam mallet and a knitting needle. He is, however very specific about where and how to change sticks, even making a note in the score to practice the many switches as an integral part of the piece and asking that the changes occur quickly and don't disturb the flow of the piece. Because practicing Intérieur had me so attenuated to sound, I began to make additional mallet changes that I thought could improve the clarity of musical line without sacrificing continuity. A marimba mallet doesn't sound as rich and full on a timpano than a large timpani mallet, and using a real triangle beater or brass mallets on triangles allows them to sparkle more than the butt end of a drumstick. Although my additional mallets added a some logistic difficulties and necessitated some creative thinking, the ability to both emphasize and prioritize some of Lachenmann's gestures while making some of his brilliant timbral combinations come out was in my opinion worth it.
I hope you enjoy watching and hearing Intérieur I as much as I do playing it!
- Michael Compitello
Ian Rosenbaum performs Christopher Cerrones Memory Palace for Percussion and Electronics
Memory Palace for Percussion and Electronics
Ian Rosenbaum, percussion
Performed live at CultureHub's ReFest, NYC
December 1, 2013
More Info at
Alexander Schubert - Point Ones
For sensor-augmented conductor small ensemble (violin, cello, saxophone/clarinet, e-guitar, drum kit, piano and conductor)
performed by Nadar Ensemble
Conductor: Daan Janssens
The piece does not have a click track or a fixed tape.
English Program Notes:
In Point Ones the conductor is equipped with motion sensors and through this is able to conduct both the ensemble and the live-electronics. Most of the piece is not realized with traditional conducting but with cue gestures, that mark beginning of new passages - hence the title Point Ones. The aim is to be able to experience the live-electronics in an embodied way and to create a fully controllable instrument for the conductor.
Because of that the piece does not use a click track or other timeline-based fixed approaches.
Above those technical considerations the piece tries to play with the vocabulary of the conductor and the anticipations and traditions connected to those gestures.
It is not always predictable what the result of the conductors movement will be.
The piece is part of a sequence of sensor-based works like e.g. Your Fox's, A Dirty Gold and Laplace Tiger, in which different interaction concepts with augmented instruments and performance codes are dealt with.
German Program Notes:
Alexander Schubert - Point Ones(2012)
Für erweiterten Dirigenten, kleines Ensemble und Live-Elektronik
(für erweiterten Dirigenten, E-Gitarre, Piano, Schlagzeug, Klarinette, Violine, Cello und Live-Elektronik)
Dauer ca. 13'
In Point Ones ist der Dirigent mit Bewegungssensoren ausgestattet, womit er in der Lage ist neben dem Ensemble auch die Live-Elektronik zu dirigieren. Das Stück ist größtenteils nicht mit traditionellem Dirigat realisiert, sondern mit Cue Einsätzen, die den Beginn der Abschnitte angeben - daher der Titel Point Ones. Ziel ist es, die Elektronik durch die körperlichen Bewegungen erfahrbar zu machen und sie wie ein weiteres Instrument auf der Bühne steuern zu können. Dementsprechend ist das Stück auch ohne Clicktrack oder einer anderen vorgegebenen zeitlichen Fixierung realisiert.
Über diese technischen Faktoren hinaus soll sich das Stück auch mit dem Vokabular des Dirigenten und der Erwartungshaltung, die mit diesen Gesten verbunden sind auseinandersetzen. Nicht immer ist vorhersehbar, welche Bewegung zu welchem Resultat führen wird.
Das Stück ist somit Teil einer Reihe von sensorgestützten Werken, wie z.B. Your Fox's, A Dirty Gold und Laplace Tiger, in denen verschiedene Interaktionsmuster mit unterschiedlichen erweiterten Instrumenten und Aufführungscodes behandelt werden.
Alexander Schubert, Serious Smile - Ensemble intercontemporain
pour ensemble et capteurs sensoriels
Nicolas Crosse, « chef »
Sébastien Vichard, piano
Éric-Maria Couturier, violoncelle
Samuel Favre, percussions
Benoît Meudic, réalisation informatique musicale IRCAM
Enregistré en direct le 26.01.2018 à la Cité de la musique