Shafts will need universal-joints between modules. NO stage will ever be level enough or stable enough for rigid connections. I found that out the hard way with parade floats.

Martin, be careful with the length of the shafts. There is a level of backlash that needs to be accounted for which will affect your timing.

I liked the chaos of the old machine. I've always loved marble mazes and other such things since I was a child.

Watching Martin slowly descend to madness over the last few years is not something I expected when I started watching.

I'm here for the bodybuilding arc when we find out Martin needs to put on 10 kilos of weight to effectively power the marble machine.

Please, Martin, don't forget to take into consideration the size and heights of the transportation vehicles by which you will have to move the Marble Machine from one Gig to another. I know this may sound silly, but in the case of touring (I have done many tours as a backliner) the ability to assemble and disassemble the equipment and the ease and speed of transport, loading and unloading are key parameters to consider.

Martin's going to get some powerful glutes hitting those pedals during an 1+ hour concert

So Instead of a single "music box played by marbles" that can be played like a musical instrument, we now have an entire stage show. I'm also concerned that there may end up being too many module sections. You have to be able to pack and ship this entire thing from show to show with all of its moving parts then everything has to be perfectly aligned, stabilized, and connected at each set up. It would be incredible to see, I'm just unsure of it's practicality at the size it's becoming.

Those 10 meter long shafts are going to be a beast to make. You will be dealing with perpendicularity errors and alignment problems constantly as you get further along with your build. A recommendation would be to look into splined shafts. That's the automotive term for what amounts to an involute gear profile on a male shaft and a female involute profile on a receiver. It's commonly used in steering columns where you do not want backlash and it allows for axial translation. That would allow for your machine to be broken up into multiple sections for transportation if you go down this massive machine road, which would be really cool.

Every new complete redesign makes it less likely that this project will ever be finished.

Martin 2 years ago: complexity made MMX infeasible

I think the tangled mess was part of the beauty. Separating it makes it feel less like an interconnected machine and more like a bunch of inviduao machines that just happen to be powered by the same hand-crank/motor

Just make sure you design it to fit through common door sizes, so you don't have to unassemble it every time.

Be careful having 3 programming wheels. The synchronization between all of them might be tricky (especially considering the level of tightness you aim to achieve)

I'm just thinking about the logistics behind storing/transporting this behemoth. As Chief Brody once said: "We're gonna need a bigger boat"

Me 10 seconds into the video thinking god damn Martin has actually gone insane this time.

Considering the elevation, this project will also end up making you a health and safety expert!

It’s 2050 and the MM50 is 86 meters wide and has 48 different marble sizes lol

Confirmed: Martin has finally gone bonkers :)

Martin I have loved your vision throughout the whole process. I personally feel the more compact machine designs were more aesthetically pleasing. To me a musical instrument is about one person operating a machine, not an orchestra. I care less about tight music, more artistic vision. You always warn about feature creep. Different size marbles, tighter music, etc. I don’t want to see you fail again. Still following your journey! Really hoping to hear more of your music. This is what I fell in love with.