How It's Made (2001–…): Season 19, Episode 11 - Tasers, Canned Soup, Jaw Harps & Mouth Bows, Diving Boards - full transcript
Tasers; Canned Soup; Jaw Harps & Mouth Bows; Diving Boards.
CAPTIONS PAID FOR BY
DISCOVERY COMMUNICATIONS
Narrator: A TASER DEVICE
FIRES BURSTS OF ELECTRICITY
TO DELIVER A HIGH-VOLTAGE,
LOW-AMP SHOCK
THAT TEMPORARILY
DISABLES THE SUBJECT.
INVENTED IN 1969 BY
AN AMERICAN AEROSPACE SCIENTIST,
THE TASER HAS BECOME A WEAPON
OF CHOICE
FOR POLICE FORCES
AROUND THE WORLD.
TODAY, WHEN AN OFFICER
REACHES FOR HIS OR HER GUN,
IT'S OFTEN ONE WITHOUT BULLETS.
FROM A CARTRIDGE ON THE FRONT,
THE TASER
FIRES ELECTRIFIED DARTS,
WHICH, ON IMPACT,
CAUSE MUSCLE CONTRACTIONS
IN THE TARGET'S SUBJECT.
THE SUBJECT IS IMMOBILIZED
BUT USUALLY RECOVERS
IN A FEW MINUTES.
THIS METAL CAPSULE CONTAINS
THE PROPELLANT, PRESSURIZED GAS.
A ROBOTIC ARM INSERTS THE
CAPSULE IN A PLASTIC CHAMBER.
THE NEXT ROBOT PLACES A PART,
CALLED THE PRIMER DISC,
ON THE CAPSULE.
IT CONTAINS CHEMICALS
TO GENERATE A MINI EXPLOSION
THAT WILL DRIVE PINS
INTO THE CAPSULE,
RELEASING THE GAS.
ANOTHER ROBOT
ADDS A PROTECTIVE SCREEN.
THAT'S THE PRIMER DISC
ON THE LEFT
AND THE SCREEN ON THE RIGHT.
THEY PUNCH OUT A ROUND PIECE
OF FOAM,
AND THE ROBOT THRUSTS IT INTO
THE CHAMBER AND TAMPS IT DOWN.
AFTER WELDING IT IN PLACE
WITH ULTRASONIC VIBRATIONS,
A ROBOT FLIPS THE UNIT UP AND
INTO A SECOND PLASTIC CHAMBER.
THE PLACEMENT LEAVES
JUST ENOUGH SPACE
BETWEEN THE INNER
AND OUTER CHAMBERS
FOR WIRE BUNDLES
TO BE INSERTED LATER.
A ROBOT THEN TUCKS THE ASSEMBLY
INTO THE PLASTIC CARTRIDGE.
IT HAS SLOTS
FOR OTHER COMPONENTS,
LIKE INSULATED
COPPER-WIRE BUNDLES.
A MACHINE WINDS THE WIRE IN
A TIGHT FIGURE-EIGHT FORMATION.
THIS WIRE WILL ELECTRIFY
THE DARTS AS THEY'RE DEPLOYED,
AND THE FIGURE-EIGHT WINDING
REDUCES THE POSSIBILITY
OF TANGLING.
A WORKER PLACES TWO BUNDLES
IN THE DESIGNATED SPACES
IN THE CARTRIDGE.
HE TOPS EACH BUNDLE WITH A PIECE
OF STRONG POLYESTER FILM.
IT KEEPS THE WIRE PACK
FROM SPRING APART
AS HE SLIDES IT OFF THE FORK AND
PRESSES IT INTO THE CARTRIDGE.
HE'S NOW READY
FOR THE BARBED TASER DARTS.
HE THREADS THE END OF EACH WIRE
BUNDLE THROUGH ONE AND KNOTS IT.
HE INSTALLS THE DARTS
IN THE CARTRIDGE,
USING A SPECIAL TOOL
TO SEAT THEM CORRECTLY.
HE SELECTS PLASTIC WEDGES --
ONE FOR EACH WIRE --
AND WRAPS THE OTHER END
OF THE WIRES AROUND IT.
HE ATTACHES ELECTRODES
TO FACILITATE THE FLOW
OF ELECTRICITY
TO THE CARTRIDGE.
THE NEXT PART
IS CALLED THE BLAST DOOR.
IT WILL BLAST APART
AND BREAK IN TWO
AS THE TASER DARTS ARE DEPLOYED.
THE ROBOT SNAPS IT IN PLACE
ON TOP OF THE CARTRIDGE.
THE DOOR IS COLOR-CODED
TO SIGNIFY THE RANGE
OF THE DART PROBES.
YELLOW INDICATES FIVE YARDS.
WITH THE COMPRESSED-AIR
CARTRIDGE COMPLETE,
THEY NOW FOCUS ON THE
TASER'S DEPLOYMENT MECHANISMS.
A TECHNICIAN
INSTALLS A LASER SYSTEM
AND TWO L.E.D. LIGHTS
IN THE PLASTIC CASING.
THE LASER IS AN AIDE FOR
AIMING THE ELECTRIFIED DARTS,
AND THE LIGHTS
WILL ILLUMINATE THE TARGET.
HE ADJUSTS THE LASER'S AIM
TO SYNC IT
WITH ONE OF THE DARTS,
USING A BULL'S-EYE TARGET
AS AN ALIGNMENT AIDE.
NEXT, THEY IMMERSE
THE HIGH-VOLTAGE BOARD
IN EPOXY RESIN
AND PUMP MORE DIRECTLY INTO IT.
THIS BOARD IS IN THE PART
OF THE TASER GUN
THAT GENERATES ELECTRICAL PULSES
WHEN THE GUN IS IN STUN MODE.
ONCE CURED,
THE EPOXY ENCAPSULATES THIS UNIT
TO INSULATE THE COMPONENTS.
THE TECHNICIAN
INSERTS THE HIGH-VOLTAGE BOARD
IN THE GUN CASING.
ALONG WITH
THE CONTROLLER BOARD --
THE BRAINS OF THE TASER --
HE ALSO INSTALLS
AN INFORMATION DISPLAY BOARD
AND MAKES
THE NECESSARY CONNECTIONS.
HE PLUGS THE ASSEMBLY
INTO A POWER SOURCE
AND TESTS THE LASER
AND L.E.D. LIGHTS.
HE SNAPS ON THE TRIGGER
AND CONFIRMS
THAT IT MAKES CONTACT
WITH THE PLUNGER
ON THE CONTROL BOARD.
HE JOINS THE OTHER HALF
OF THE TASER CASING
TO THE ONE
WITH ALL THE WORKING PARTS.
THEN, AN ULTRASONIC WELDER
FUSES THE CASING PARTS
AT THE TONGUE AND GROOVE SEAMS.
PROTECTING THE OUTER CASING
WITH A SHEET OF PLASTIC,
THE TECHNICIAN WELDS
A SAFETY SWITCH TO THE TRIGGER.
THIS CRITICAL PART WILL PREVENT
ACCIDENTAL DEPLOYMENT.
IN A TEST CHAMBER NOW,
THEY ACTIVATE THE TASER
WITHOUT THE AIR CARTRIDGE.
WITHOUT THE CARTRIDGE
AND ITS PROJECTILE DARTS,
THE TASER WORKS
AS A HANDHELD STUN GUN
TO ZAP THE TARGET DIRECTLY.
ONCE IT MEETS
THE TESTER'S APPROVAL,
THIS TASER IS READY
FOR THE POLICE BEAT.
A CONSUMER MODEL
IS ALSO APPROVED
FOR USE IN SOME JURISDICTIONS.
LIKE THE POLICE VERSION,
IT SHOULD DELIVER
A SHOCKING PERFORMANCE.
Narrator:
SOUP IS A LIQUID FOOD
THAT IS AS OLD
AS COOKING ITSELF.
ITS APPEAL
IS QUITE LITERALLY BIBLICAL
BECAUSE IN THE OLD TESTAMENT,
A SON TRADES HIS INHERITANCE
FOR A POT OF LENTIL SOUP.
OF COURSE, TODAY,
ONE DOESN'T HAVE TO
SACRIFICE IT ALL FOR SOUP
BECAUSE IT'S USUALLY
READILY AVAILABLE IN CANS.
WITH THE INVENTION OF CANNING
IN THE EARLY 19th CENTURY,
SOUP SOON BECAME AVAILABLE
ON DEMAND.
ON THE HOME FRONT,
THIS CAUSED QUITE A STIR.
NO NEED FOR A LONG SIMMER.
JUST OPEN THE CAN,
REHEAT, AND SOUP'S ON.
TO MANUFACTURE LENTIL SOUP,
THEY MAKE A HEARTY SOUP BASE.
THEY LOAD MEASURED AMOUNTS
INTO A HEATED MIXER,
BEGINNING WITH PURéE GARLIC.
THE MIXER'S WALLS
ARE STEAM-JACKETED
SO THE MIX WILL COOK EVENLY
WITH NO SCORCHING ON THE BOTTOM.
THE NEXT INGREDIENT
IS OLIVE OIL.
THEY ACTIVATE THE STEAM HEAT,
AND THE GARLIC BEGINS TO SIZZLE.
THEY ADD CHOPPED ONION.
THE MIXING BLADES GENTLY TOSS
THE INGREDIENTS AS THEY SAUTé.
THEY BLEND IN DICED CELERY
AND COOK UNTIL TRANSLUCENT.
THE NEXT ROUND OF INGREDIENTS
TAKES THE FLAVOR UP A NOTCH.
THEY INCLUDE CHOPPED CARROTS,
SEA SALT, AND FRAGRANT SPICES.
BALSAMIC VINEGAR
ADDS A SWEET TARTNESS
TO THIS LENTIL-SOUP BASE.
THEY'RE NOW READY
TO LIQUIFY THE INGREDIENTS.
THEY OPEN THE TAP,
AND FILTERED WATER SPILLS IN.
AS THE SOUP BEGINS TO SIMMER,
THEY ADD CRUSHED
AND DICED TOMATOES.
THE FINAL INGREDIENT
FOR THIS ROBUST LENTIL-SOUP BASE
IS SPINACH.
MIXING IT
MAKES FOR A COLORFUL SWIRL,
AND, AS THE INGREDIENTS COOK,
THEY BECOME
INCREASINGLY AROMATIC.
MEANWHILE, RAW, PEELED POTATOES
RIDE A STEEP
AND SLATTED CONVEYOR UPWARD.
THE SLATS KEEP THE POTATOES
FROM ROLLING BACK
AS THEY MAKE THE CLIMB
UP TO A HOPPER.
FROM THE HOPPER,
THE POTATOES SLIDE DOWN A CHUTE
AND INTO A REVOLVING DRUM
WITH CROSS-CUTTING BLADES.
THE BLADES CUT THE SPUDS INTO
SMALL CUBES AND SPIT THEM OUT.
AFTER A TRIP
PAST A METAL DETECTOR,
THE POTATO CUBES LAND IN A BIN.
IN SMALL-CUBE FORM,
THEY'LL COOK FASTER LATER.
NEXT, LENTILS, HARD AND DRIED,
SURGE IN A STEADY STREAM
ONTO A REVOLVING ROUND TABLE.
THE TABLE HAS OPENINGS THAT LEAD
TO LITTLE CHUTES WITH DOORS.
THEY OPEN TO FUNNEL THE LENTILS
INTO CANS
MOVING ON A CONVEYOR BELOW.
THIS ENSURES THAT A SPECIFIC
AMOUNT IS FED INTO THE CANS.
PARTIALLY COOKED GREEN BEANS
AND THE RAW POTATO CUBES
NOW FLOW
ONTO A SECOND REVOLVING TABLE.
THE CANS WITH THE LENTILS HAVE
NOW MOVED INTO POSITION BELOW.
THE VEGGIES FALL THROUGH
THE HOLES AND INTO THE CANS.
THE CANS, WITH MOSTLY
UNCOOKED INGREDIENTS,
NOW HEAD TOWARDS
THE PISTON FILLER.
IT PIPES THE STEAMING HOT
VEGETABLE-SOUP BASE
DIRECTLY FROM THE KETTLE MIXER
INTO THE CANS,
FILLING THEM TO THE BRIM.
IMMERSED IN THE HOT LIQUID,
THE LENTILS, POTATOES,
AND GREEN BEANS
AT THE BASE OF THE CAN
COOK A LITTLE AND SOFTEN UP.
SENSORS DETECT THE APPROACH
OF THE CANS AND CUE THE LIDS.
THE LIDS DROP ONE BY ONE
ONTO THE CANS BELOW.
A DEVICE THEN
INTERLOCKS THE RIMS OF THE CANS
AND THE LIDS
FOR A HERMETIC SEAL.
THE CANS MOVE INTO ANOTHER LANE
AND TRAVEL PAST
AN X-RAY MACHINE.
IT SCANS THE SOUP INSIDE
FOR METAL CONTAMINANTS
LIKE STRAY BOLTS OR SCREWS.
IF THE IMAGES ARE CLEAR,
THE CANS OF SOUP MOVE ON
TO A GIANT PRESSURE COOKER.
HERE, THE CONTENTS COOK UNDER
PRESSURE FOR ABOUT A HALF HOUR.
PRESSURE-COOKING SIMULATES
THE EFFECT OF A LONG SIMMER
IN A FRACTION OF THE TIME.
THE SOUP THEN COOLS
FOR 10 MINUTES.
IT IS NOW THOROUGHLY COOKED
AND PRESERVED.
NOW ON THEIR SIDES
WITH GLUE APPLIED,
THE CANS OF LENTIL SOUP
ROLL OVER LABELS,
AND THE LABELS ADHERE.
THEY PRODUCE MORE THAN 15,000
CANS OF LENTIL SOUP AN HOUR
AT THIS FACTORY.
THAT'S 105,000 CANS
IN ONE SHIFT.
IT'S ENOUGH
TO FEED A SMALL CITY.
Narrator:
THE JAW HARP AND THE MOUTH BOW
ARE AMONG THE EARLIEST
MUSICAL INSTRUMENTS.
A CHINESE DRAWING
FROM THE 4th CENTURY B.C.
IS BELIEVED TO BE THE FIRST
RECORD OF A MUSICIAN
PLAYING A JAW HARP,
AND CAVE PAINTINGS
IN SOUTHERN FRANCE
FROM 15,000 B.C.
DEPICT SOMEONE
PLAYING A MOUTH BOW.
THE MOUTH BOW
IS A STICK OF WOOD
WITH A SINGLE STRING
THE MUSICIAN PLUCKS OR STRUMS,
WHILE ALTERING THE
VIBRATION-GENERATED SOUND
BY MOUTH.
THE JAW HARP
IS A METAL INSTRUMENT.
THE MUSICIAN
PLUCKS ITS FLEXIBLE TONGUE
TO PRODUCE A TWANGING SOUND,
WHICH HE THEN MODULATES
WITH MOUTH POSITIONS
AND BREATHING.
THIS CRAFTSMAN
MAKES THE JAW HARP'S FRAME
OUT OF 1/10 OF AN INCH THICK
SQUARE STEEL ROD.
HE MEASURES AND MARKS THE
REQUIRED LENGTH AND BEND POINTS.
HE CUTS THE LENGTH
WITH A STANDARD HACKSAW...
CLAMPS THE ROD IN A VICE...
THEN SLIPS METAL PIPES
OVER THE ENDS
TO PREVENT THEM
FROM TWISTING AS HE BENDS THEM
TO FORM THE ARMS OF THE FRAME.
HE ALIGNS THE ARMS,
LEAVING JUST ENOUGH SPACE
BETWEEN THEM
TO ALLOW THE TONGUE
TO VIBRATE WITHOUT OBSTRUCTION.
FOR THE INSTRUMENT
TO PRODUCE QUALITY SOUND,
THE ARMS MUST BE PERFECTLY
PARALLEL TO EACH OTHER --
THEIR EDGES IN MIRROR IMAGE.
HE MARKS THE TONGUE'S POSITION
IN BETWEEN THE ARMS
AND FILES DOWN THE METAL
WITHIN THE MARKINGS.
THIS CREATES A NOTCH
IN WHICH THE TONGUE WILL SIT.
THE TONGUE
IS MADE OF SPRING STEEL --
A TYPE OF STEEL,
WHICH WHEN BENT,
RESUMES ITS ORIGINAL SHAPE.
BEFORE ATTACHING IT,
HE SAWS A TINY UNDERCUT
IN EACH SIDE OF THE NOTCH.
THEN HE INSERTS THE TONGUE
AND HAMMERS THE UNDERCUT SIDES
TO COMPRESS THEM OVER THE TONGUE
AND LOCK IT INTO POSITION.
HE HEATS THE TIP OF THE TONGUE
WITH A PROPANE TORCH.
ONCE THE METAL SOFTENS
ENOUGH TO BEND,
HE ANGLES THE TIP TO FORM
WHAT'S CALLED THE TRIGGER.
THEN HE HEATS THE END
OF THE TRIGGER
AND BENDS IT INTO A LOOP.
THIS IS WHAT
THE MUSICIAN'S FINGER STRIKES
TO MAKE THE TONGUE VIBRATE.
FINALLY, HE FILES
THE TONGUE'S EDGES SHARP --
A LAST DETAIL TO IMPROVE
THE INSTRUMENT'S SOUND QUALITY.
TO MAKE A MOUTH BOW,
HIS FIRST STEP
IS TO FIND A STICK
THAT'S BETWEEN ROUGHLY 1 1/2
TO 6 1/2 FEET LONG,
NOT TOO HEAVY,
AND IDEALLY
WITH A "T" SHAPE AT THE END.
IN HIS WORKSHOP,
HE CLAMPS IT IN A VICE,
TRIMS IT TO THE REQUIRED LENGTH,
AND, USING A RASP,
FILES THE KNOTS FLAT.
HE FILES THE TOP END UNTIL IT'S
ABOUT 2/10 OF AN INCH THICK.
THIS FORMS THE MOUTHPIECE,
WHICH YOU HOLD GENTLY
TO YOUR LIPS
WHILE PLUCKING THE STRING.
THE STRING
VIBRATES THE MOUTHPIECE,
PRODUCING SOUNDS THAT YOU ALTER
BY CHANGING THE SHAPE
OF YOUR MOUTH.
HE DRILLS A HOLE TOWARD THE BASE
OF THE MOUTHPIECE
FOR THE STRING,
THEN, JUST BELOW THAT,
FILES A NOTCH FOR THE BRIDGE
THAT SUPPORTS THE STRING.
JUST BELOW THE NOTCH, HE HAMMERS
IN A STEEL NAIL CALLED THE PIN.
HE DRILLS A 2/10 OF AN INCH HOLE
AT THE "T"-SHAPED END
OF THE STICK.
THIS IS WHERE HE'LL INSERT
THE TUNING PEG,
WHICH HE CONSTRUCTS
OUT OF A WOOD KNOB AND DOW.
HE MAKES THE STRING
FROM A LENGTH OF PIANO WIRE.
HE FORMS A LOOP AT ONE END
BY TWISTING IT WITH PLIERS
AROUND AN AWL.
HE FEEDS THIS END
THROUGH THE HOLE
AT THE BASE OF THE MOUTHPIECE...
...AND HOOKS THE LOOP
ONTO THE PIN.
THEN HE THREADS THE OTHER END
OF THE STRING
THROUGH A HOLE IN THE SHAFT
AT THE TUNING PEG
AT THE BOTTOM OF THE STICK.
HE TURNS THE PEG
TO TIGHTEN THE STRING.
JUST AS ON A VIOLIN OR A GUITAR,
THE TAUTER THE STRING,
THE HIGHER THE NOTE IT PRODUCES.
[ CREAKING ]
[ CREAKING CONTINUES ]
THE FINAL STEP
IS TO POSITION THE BRIDGE --
A HARDWOOD DOW --
IN ITS NOTCH,
UNDER THE TENSE STRING.
BY ELEVATING THE TOP
OF THE STRING,
THE BRIDGE PREVENTS IT
FROM CUTTING INTO THE STICK.
THE MOUTH BOW AND THE JAW HARP
ARE PLAYED ALONE
OR ALONGSIDE OTHER INSTRUMENTS
IN THE FOLK MUSIC OF NUMEROUS
CULTURES AROUND THE WORLD.
Narrator: THE EARLIEST KNOWN
REFERENCE TO A DIVING BOARD
APPEARS IN A HIEROGLYPHIC
FROM 480 B.C.
IT DEPICTS A MAN PLUNGING
HEADFIRST INTO A POOL OF WATER
FROM A PLATFORM.
TODAY, DIVING BOARDS
ARE STANDARD EQUIPMENT
AT NEIGHBORHOOD
AND BACKYARD SWIMMING POOLS.
ONE END OF THE DIVING BOARD
IS FIXED
TO GIVE THE OTHER END
THE BOUNCE REQUIRED
FOR A BIG-SPLASH CANNONBALL
OR A GRACEFUL SWAN DIVE.
TO MAKE THE DIVING-BOARD SHELL,
WORKERS LOAD A SHEET
OF ACRYLIC
INTO A CLAMPING MACHINE
THAT TRANSPORTS IT INTO AN OVEN.
THE OVEN HEATS THE SHEET FOR
ABOUT 30 SECONDS TO SOFTEN IT.
THEN, A FORMING MACHINE
APPLIES SUCTION
TO DRAW THE SOFTENED ACRYLIC
TIGHTLY OVER A MOLD
IN THE SHAPE
OF TWO DIVING BOARDS.
FANS BLOW COOL AIR,
HARDENING THE ACRYLIC
TO THIS SHAPE WITHIN SECONDS.
THEY EXTRACT THE MOLDED ACRYLIC,
THEN SAW IT IN HALF TO SEPARATE
THE TWO DIVING-BOARD SHELLS.
THEY COAT THE SHELL SURFACE IN
A RESIN AND FIBERGLASS MIXTURE.
THIS TOOL
IS CALLED A CHOPPER GUN
BECAUSE IT CHOPS AND SHREDS
THE FIBERGLASS STRING,
THEN SHOOTS IT OUT
DRENCHED IN RESIN.
THEY ROLL IT TO COMPRESS THE
FIBERS AND PUSH OUT AIR POCKETS.
ANY TRAPPED AIR WOULD CREATE
A WEAK SPOT IN THE DIVING BOARD.
AFTER LETTING THE RESIN DRY
AND HARDEN FOR 30 MINUTES,
THEY BEGIN
FILLING THE SHELL CAVITY
WITH 2/10 OF AN INCH THICK
FIBERGLASS MAT.
THEY DRENCH THE MAT IN RESIN,
ROLLING IT OVER
TO ENSURE EVERY FRACTION
OF AN INCH GETS WELL-SATURATED.
THEN THEY LAY DOWN
ANOTHER FIBERGLASS MAT,
THIS ONE A BIT THINNER
AND SATURATED
WITH THE EXISTING RESIN.
THE DIVING BOARD'S CORE
IS MADE OF LAMINATED WOOD,
WHICH IS SEVERAL THIN LAYERS
OF WOOD GLUED TOGETHER.
LAMINATED WOOD
IS ACTUALLY STRONGER
THAN A SOLID PIECE OF WOOD.
AFTER ROUNDING THE TOP EDGE,
THEY LAY TWO WOOD-LAMINATE CORES
OVER THE
RESIN-SATURATED FIBERGLASS MATS.
THEY POSITION CLAMPS
TO HOLD THE CORES IN PLACE.
BUT BEFORE TIGHTENING,
THEY INSERT METAL SPACERS
TO ENSURE THE CORES
ARE CORRECTLY POSITIONED
WITHIN THE SHELL.
ONCE THE POSITIONING IS PERFECT,
THEY TIGHTEN THE CLAMPS,
THEN LET THE RESIN CURE
AT ROOM TEMPERATURE
FOR A HALF HOUR OR SO.
THEN THE CLAMPS COME OFF,
AND WORKERS COVER THE CORES
WITH AN EVEN THICKER FIBERGLASS
MAT IMPREGNATED WITH RESIN.
THIS IS THE BOTTOM
OF THE DIVING BOARD.
THEY MAKE SURE THE MAT
IS CENTERED...
THEN MANUALLY FORM IT
TO THE SHAPE OF THE BOARD,
PUSHING OUT THE AIR POCKETS
AS THEY GO.
THEY SPRAY ON
SOME DECORATIVE PAINT,
THEN PUT THE BOARD IN AN OVEN
FOR 24 HOURS TO CURE.
WHEN IT COMES OUT,
THEY USE A DIAMOND BLADE
TO SAW OFF THE EXCESS FIBERGLASS
AROUND THE EDGE.
THEN THEY DO A FINAL TRIMMING
TO MAKE THE EDGE NEAT
AND SMOOTH.
THEY MASK THE SIDES WITH TAPE,
LEAVING ONLY THE TOP EXPOSED.
THIS IS WHERE THEY'LL NOW APPLY
A ROUGH TEXTURE --
A SAFE, NON-SLIP SURFACE.
FIRST, THEY ROLL ON
A THIN COAT OF RESIN.
ONTO THAT, THEY SPRINKLE A LAYER
OF SILICA SAND,
MAKING SURE TO COVER THE SURFACE
THOROUGHLY AND EVENLY.
THE SAND STICKS TO THE RESIN,
WHICH SETS AND CURES
IN ABOUT 15 MINUTES.
AFTER SWEEPING OFF THE
EXCESS SAND THAT DIDN'T ADHERE,
THEY ROLL ON A COAT
OF LAMINATING RESIN,
WHICH BONDS TO THE SAND,
GIVING THE SURFACE A CLEAN,
FINISHED LOOK.
THEY PULL OFF THE TAPE
AND APPLY THE
MANUFACTURE'S DECAL TO THE SIDE.
THE DIVING BOARD IS NOW ALL SET
TO BE INSTALLED
ON A STAND
AT THE EDGE OF THE DEEP END
TO AWAIT ANYONE
READY TO TAKE THE PLUNGE.
IF YOU HAVE ANY COMMENTS
ABOUT THE SHOW,
OR IF YOU'D LIKE TO SUGGEST
TOPICS FOR FUTURE SHOWS,
DROP US A LINE AT...
DISCOVERY COMMUNICATIONS
Narrator: A TASER DEVICE
FIRES BURSTS OF ELECTRICITY
TO DELIVER A HIGH-VOLTAGE,
LOW-AMP SHOCK
THAT TEMPORARILY
DISABLES THE SUBJECT.
INVENTED IN 1969 BY
AN AMERICAN AEROSPACE SCIENTIST,
THE TASER HAS BECOME A WEAPON
OF CHOICE
FOR POLICE FORCES
AROUND THE WORLD.
TODAY, WHEN AN OFFICER
REACHES FOR HIS OR HER GUN,
IT'S OFTEN ONE WITHOUT BULLETS.
FROM A CARTRIDGE ON THE FRONT,
THE TASER
FIRES ELECTRIFIED DARTS,
WHICH, ON IMPACT,
CAUSE MUSCLE CONTRACTIONS
IN THE TARGET'S SUBJECT.
THE SUBJECT IS IMMOBILIZED
BUT USUALLY RECOVERS
IN A FEW MINUTES.
THIS METAL CAPSULE CONTAINS
THE PROPELLANT, PRESSURIZED GAS.
A ROBOTIC ARM INSERTS THE
CAPSULE IN A PLASTIC CHAMBER.
THE NEXT ROBOT PLACES A PART,
CALLED THE PRIMER DISC,
ON THE CAPSULE.
IT CONTAINS CHEMICALS
TO GENERATE A MINI EXPLOSION
THAT WILL DRIVE PINS
INTO THE CAPSULE,
RELEASING THE GAS.
ANOTHER ROBOT
ADDS A PROTECTIVE SCREEN.
THAT'S THE PRIMER DISC
ON THE LEFT
AND THE SCREEN ON THE RIGHT.
THEY PUNCH OUT A ROUND PIECE
OF FOAM,
AND THE ROBOT THRUSTS IT INTO
THE CHAMBER AND TAMPS IT DOWN.
AFTER WELDING IT IN PLACE
WITH ULTRASONIC VIBRATIONS,
A ROBOT FLIPS THE UNIT UP AND
INTO A SECOND PLASTIC CHAMBER.
THE PLACEMENT LEAVES
JUST ENOUGH SPACE
BETWEEN THE INNER
AND OUTER CHAMBERS
FOR WIRE BUNDLES
TO BE INSERTED LATER.
A ROBOT THEN TUCKS THE ASSEMBLY
INTO THE PLASTIC CARTRIDGE.
IT HAS SLOTS
FOR OTHER COMPONENTS,
LIKE INSULATED
COPPER-WIRE BUNDLES.
A MACHINE WINDS THE WIRE IN
A TIGHT FIGURE-EIGHT FORMATION.
THIS WIRE WILL ELECTRIFY
THE DARTS AS THEY'RE DEPLOYED,
AND THE FIGURE-EIGHT WINDING
REDUCES THE POSSIBILITY
OF TANGLING.
A WORKER PLACES TWO BUNDLES
IN THE DESIGNATED SPACES
IN THE CARTRIDGE.
HE TOPS EACH BUNDLE WITH A PIECE
OF STRONG POLYESTER FILM.
IT KEEPS THE WIRE PACK
FROM SPRING APART
AS HE SLIDES IT OFF THE FORK AND
PRESSES IT INTO THE CARTRIDGE.
HE'S NOW READY
FOR THE BARBED TASER DARTS.
HE THREADS THE END OF EACH WIRE
BUNDLE THROUGH ONE AND KNOTS IT.
HE INSTALLS THE DARTS
IN THE CARTRIDGE,
USING A SPECIAL TOOL
TO SEAT THEM CORRECTLY.
HE SELECTS PLASTIC WEDGES --
ONE FOR EACH WIRE --
AND WRAPS THE OTHER END
OF THE WIRES AROUND IT.
HE ATTACHES ELECTRODES
TO FACILITATE THE FLOW
OF ELECTRICITY
TO THE CARTRIDGE.
THE NEXT PART
IS CALLED THE BLAST DOOR.
IT WILL BLAST APART
AND BREAK IN TWO
AS THE TASER DARTS ARE DEPLOYED.
THE ROBOT SNAPS IT IN PLACE
ON TOP OF THE CARTRIDGE.
THE DOOR IS COLOR-CODED
TO SIGNIFY THE RANGE
OF THE DART PROBES.
YELLOW INDICATES FIVE YARDS.
WITH THE COMPRESSED-AIR
CARTRIDGE COMPLETE,
THEY NOW FOCUS ON THE
TASER'S DEPLOYMENT MECHANISMS.
A TECHNICIAN
INSTALLS A LASER SYSTEM
AND TWO L.E.D. LIGHTS
IN THE PLASTIC CASING.
THE LASER IS AN AIDE FOR
AIMING THE ELECTRIFIED DARTS,
AND THE LIGHTS
WILL ILLUMINATE THE TARGET.
HE ADJUSTS THE LASER'S AIM
TO SYNC IT
WITH ONE OF THE DARTS,
USING A BULL'S-EYE TARGET
AS AN ALIGNMENT AIDE.
NEXT, THEY IMMERSE
THE HIGH-VOLTAGE BOARD
IN EPOXY RESIN
AND PUMP MORE DIRECTLY INTO IT.
THIS BOARD IS IN THE PART
OF THE TASER GUN
THAT GENERATES ELECTRICAL PULSES
WHEN THE GUN IS IN STUN MODE.
ONCE CURED,
THE EPOXY ENCAPSULATES THIS UNIT
TO INSULATE THE COMPONENTS.
THE TECHNICIAN
INSERTS THE HIGH-VOLTAGE BOARD
IN THE GUN CASING.
ALONG WITH
THE CONTROLLER BOARD --
THE BRAINS OF THE TASER --
HE ALSO INSTALLS
AN INFORMATION DISPLAY BOARD
AND MAKES
THE NECESSARY CONNECTIONS.
HE PLUGS THE ASSEMBLY
INTO A POWER SOURCE
AND TESTS THE LASER
AND L.E.D. LIGHTS.
HE SNAPS ON THE TRIGGER
AND CONFIRMS
THAT IT MAKES CONTACT
WITH THE PLUNGER
ON THE CONTROL BOARD.
HE JOINS THE OTHER HALF
OF THE TASER CASING
TO THE ONE
WITH ALL THE WORKING PARTS.
THEN, AN ULTRASONIC WELDER
FUSES THE CASING PARTS
AT THE TONGUE AND GROOVE SEAMS.
PROTECTING THE OUTER CASING
WITH A SHEET OF PLASTIC,
THE TECHNICIAN WELDS
A SAFETY SWITCH TO THE TRIGGER.
THIS CRITICAL PART WILL PREVENT
ACCIDENTAL DEPLOYMENT.
IN A TEST CHAMBER NOW,
THEY ACTIVATE THE TASER
WITHOUT THE AIR CARTRIDGE.
WITHOUT THE CARTRIDGE
AND ITS PROJECTILE DARTS,
THE TASER WORKS
AS A HANDHELD STUN GUN
TO ZAP THE TARGET DIRECTLY.
ONCE IT MEETS
THE TESTER'S APPROVAL,
THIS TASER IS READY
FOR THE POLICE BEAT.
A CONSUMER MODEL
IS ALSO APPROVED
FOR USE IN SOME JURISDICTIONS.
LIKE THE POLICE VERSION,
IT SHOULD DELIVER
A SHOCKING PERFORMANCE.
Narrator:
SOUP IS A LIQUID FOOD
THAT IS AS OLD
AS COOKING ITSELF.
ITS APPEAL
IS QUITE LITERALLY BIBLICAL
BECAUSE IN THE OLD TESTAMENT,
A SON TRADES HIS INHERITANCE
FOR A POT OF LENTIL SOUP.
OF COURSE, TODAY,
ONE DOESN'T HAVE TO
SACRIFICE IT ALL FOR SOUP
BECAUSE IT'S USUALLY
READILY AVAILABLE IN CANS.
WITH THE INVENTION OF CANNING
IN THE EARLY 19th CENTURY,
SOUP SOON BECAME AVAILABLE
ON DEMAND.
ON THE HOME FRONT,
THIS CAUSED QUITE A STIR.
NO NEED FOR A LONG SIMMER.
JUST OPEN THE CAN,
REHEAT, AND SOUP'S ON.
TO MANUFACTURE LENTIL SOUP,
THEY MAKE A HEARTY SOUP BASE.
THEY LOAD MEASURED AMOUNTS
INTO A HEATED MIXER,
BEGINNING WITH PURéE GARLIC.
THE MIXER'S WALLS
ARE STEAM-JACKETED
SO THE MIX WILL COOK EVENLY
WITH NO SCORCHING ON THE BOTTOM.
THE NEXT INGREDIENT
IS OLIVE OIL.
THEY ACTIVATE THE STEAM HEAT,
AND THE GARLIC BEGINS TO SIZZLE.
THEY ADD CHOPPED ONION.
THE MIXING BLADES GENTLY TOSS
THE INGREDIENTS AS THEY SAUTé.
THEY BLEND IN DICED CELERY
AND COOK UNTIL TRANSLUCENT.
THE NEXT ROUND OF INGREDIENTS
TAKES THE FLAVOR UP A NOTCH.
THEY INCLUDE CHOPPED CARROTS,
SEA SALT, AND FRAGRANT SPICES.
BALSAMIC VINEGAR
ADDS A SWEET TARTNESS
TO THIS LENTIL-SOUP BASE.
THEY'RE NOW READY
TO LIQUIFY THE INGREDIENTS.
THEY OPEN THE TAP,
AND FILTERED WATER SPILLS IN.
AS THE SOUP BEGINS TO SIMMER,
THEY ADD CRUSHED
AND DICED TOMATOES.
THE FINAL INGREDIENT
FOR THIS ROBUST LENTIL-SOUP BASE
IS SPINACH.
MIXING IT
MAKES FOR A COLORFUL SWIRL,
AND, AS THE INGREDIENTS COOK,
THEY BECOME
INCREASINGLY AROMATIC.
MEANWHILE, RAW, PEELED POTATOES
RIDE A STEEP
AND SLATTED CONVEYOR UPWARD.
THE SLATS KEEP THE POTATOES
FROM ROLLING BACK
AS THEY MAKE THE CLIMB
UP TO A HOPPER.
FROM THE HOPPER,
THE POTATOES SLIDE DOWN A CHUTE
AND INTO A REVOLVING DRUM
WITH CROSS-CUTTING BLADES.
THE BLADES CUT THE SPUDS INTO
SMALL CUBES AND SPIT THEM OUT.
AFTER A TRIP
PAST A METAL DETECTOR,
THE POTATO CUBES LAND IN A BIN.
IN SMALL-CUBE FORM,
THEY'LL COOK FASTER LATER.
NEXT, LENTILS, HARD AND DRIED,
SURGE IN A STEADY STREAM
ONTO A REVOLVING ROUND TABLE.
THE TABLE HAS OPENINGS THAT LEAD
TO LITTLE CHUTES WITH DOORS.
THEY OPEN TO FUNNEL THE LENTILS
INTO CANS
MOVING ON A CONVEYOR BELOW.
THIS ENSURES THAT A SPECIFIC
AMOUNT IS FED INTO THE CANS.
PARTIALLY COOKED GREEN BEANS
AND THE RAW POTATO CUBES
NOW FLOW
ONTO A SECOND REVOLVING TABLE.
THE CANS WITH THE LENTILS HAVE
NOW MOVED INTO POSITION BELOW.
THE VEGGIES FALL THROUGH
THE HOLES AND INTO THE CANS.
THE CANS, WITH MOSTLY
UNCOOKED INGREDIENTS,
NOW HEAD TOWARDS
THE PISTON FILLER.
IT PIPES THE STEAMING HOT
VEGETABLE-SOUP BASE
DIRECTLY FROM THE KETTLE MIXER
INTO THE CANS,
FILLING THEM TO THE BRIM.
IMMERSED IN THE HOT LIQUID,
THE LENTILS, POTATOES,
AND GREEN BEANS
AT THE BASE OF THE CAN
COOK A LITTLE AND SOFTEN UP.
SENSORS DETECT THE APPROACH
OF THE CANS AND CUE THE LIDS.
THE LIDS DROP ONE BY ONE
ONTO THE CANS BELOW.
A DEVICE THEN
INTERLOCKS THE RIMS OF THE CANS
AND THE LIDS
FOR A HERMETIC SEAL.
THE CANS MOVE INTO ANOTHER LANE
AND TRAVEL PAST
AN X-RAY MACHINE.
IT SCANS THE SOUP INSIDE
FOR METAL CONTAMINANTS
LIKE STRAY BOLTS OR SCREWS.
IF THE IMAGES ARE CLEAR,
THE CANS OF SOUP MOVE ON
TO A GIANT PRESSURE COOKER.
HERE, THE CONTENTS COOK UNDER
PRESSURE FOR ABOUT A HALF HOUR.
PRESSURE-COOKING SIMULATES
THE EFFECT OF A LONG SIMMER
IN A FRACTION OF THE TIME.
THE SOUP THEN COOLS
FOR 10 MINUTES.
IT IS NOW THOROUGHLY COOKED
AND PRESERVED.
NOW ON THEIR SIDES
WITH GLUE APPLIED,
THE CANS OF LENTIL SOUP
ROLL OVER LABELS,
AND THE LABELS ADHERE.
THEY PRODUCE MORE THAN 15,000
CANS OF LENTIL SOUP AN HOUR
AT THIS FACTORY.
THAT'S 105,000 CANS
IN ONE SHIFT.
IT'S ENOUGH
TO FEED A SMALL CITY.
Narrator:
THE JAW HARP AND THE MOUTH BOW
ARE AMONG THE EARLIEST
MUSICAL INSTRUMENTS.
A CHINESE DRAWING
FROM THE 4th CENTURY B.C.
IS BELIEVED TO BE THE FIRST
RECORD OF A MUSICIAN
PLAYING A JAW HARP,
AND CAVE PAINTINGS
IN SOUTHERN FRANCE
FROM 15,000 B.C.
DEPICT SOMEONE
PLAYING A MOUTH BOW.
THE MOUTH BOW
IS A STICK OF WOOD
WITH A SINGLE STRING
THE MUSICIAN PLUCKS OR STRUMS,
WHILE ALTERING THE
VIBRATION-GENERATED SOUND
BY MOUTH.
THE JAW HARP
IS A METAL INSTRUMENT.
THE MUSICIAN
PLUCKS ITS FLEXIBLE TONGUE
TO PRODUCE A TWANGING SOUND,
WHICH HE THEN MODULATES
WITH MOUTH POSITIONS
AND BREATHING.
THIS CRAFTSMAN
MAKES THE JAW HARP'S FRAME
OUT OF 1/10 OF AN INCH THICK
SQUARE STEEL ROD.
HE MEASURES AND MARKS THE
REQUIRED LENGTH AND BEND POINTS.
HE CUTS THE LENGTH
WITH A STANDARD HACKSAW...
CLAMPS THE ROD IN A VICE...
THEN SLIPS METAL PIPES
OVER THE ENDS
TO PREVENT THEM
FROM TWISTING AS HE BENDS THEM
TO FORM THE ARMS OF THE FRAME.
HE ALIGNS THE ARMS,
LEAVING JUST ENOUGH SPACE
BETWEEN THEM
TO ALLOW THE TONGUE
TO VIBRATE WITHOUT OBSTRUCTION.
FOR THE INSTRUMENT
TO PRODUCE QUALITY SOUND,
THE ARMS MUST BE PERFECTLY
PARALLEL TO EACH OTHER --
THEIR EDGES IN MIRROR IMAGE.
HE MARKS THE TONGUE'S POSITION
IN BETWEEN THE ARMS
AND FILES DOWN THE METAL
WITHIN THE MARKINGS.
THIS CREATES A NOTCH
IN WHICH THE TONGUE WILL SIT.
THE TONGUE
IS MADE OF SPRING STEEL --
A TYPE OF STEEL,
WHICH WHEN BENT,
RESUMES ITS ORIGINAL SHAPE.
BEFORE ATTACHING IT,
HE SAWS A TINY UNDERCUT
IN EACH SIDE OF THE NOTCH.
THEN HE INSERTS THE TONGUE
AND HAMMERS THE UNDERCUT SIDES
TO COMPRESS THEM OVER THE TONGUE
AND LOCK IT INTO POSITION.
HE HEATS THE TIP OF THE TONGUE
WITH A PROPANE TORCH.
ONCE THE METAL SOFTENS
ENOUGH TO BEND,
HE ANGLES THE TIP TO FORM
WHAT'S CALLED THE TRIGGER.
THEN HE HEATS THE END
OF THE TRIGGER
AND BENDS IT INTO A LOOP.
THIS IS WHAT
THE MUSICIAN'S FINGER STRIKES
TO MAKE THE TONGUE VIBRATE.
FINALLY, HE FILES
THE TONGUE'S EDGES SHARP --
A LAST DETAIL TO IMPROVE
THE INSTRUMENT'S SOUND QUALITY.
TO MAKE A MOUTH BOW,
HIS FIRST STEP
IS TO FIND A STICK
THAT'S BETWEEN ROUGHLY 1 1/2
TO 6 1/2 FEET LONG,
NOT TOO HEAVY,
AND IDEALLY
WITH A "T" SHAPE AT THE END.
IN HIS WORKSHOP,
HE CLAMPS IT IN A VICE,
TRIMS IT TO THE REQUIRED LENGTH,
AND, USING A RASP,
FILES THE KNOTS FLAT.
HE FILES THE TOP END UNTIL IT'S
ABOUT 2/10 OF AN INCH THICK.
THIS FORMS THE MOUTHPIECE,
WHICH YOU HOLD GENTLY
TO YOUR LIPS
WHILE PLUCKING THE STRING.
THE STRING
VIBRATES THE MOUTHPIECE,
PRODUCING SOUNDS THAT YOU ALTER
BY CHANGING THE SHAPE
OF YOUR MOUTH.
HE DRILLS A HOLE TOWARD THE BASE
OF THE MOUTHPIECE
FOR THE STRING,
THEN, JUST BELOW THAT,
FILES A NOTCH FOR THE BRIDGE
THAT SUPPORTS THE STRING.
JUST BELOW THE NOTCH, HE HAMMERS
IN A STEEL NAIL CALLED THE PIN.
HE DRILLS A 2/10 OF AN INCH HOLE
AT THE "T"-SHAPED END
OF THE STICK.
THIS IS WHERE HE'LL INSERT
THE TUNING PEG,
WHICH HE CONSTRUCTS
OUT OF A WOOD KNOB AND DOW.
HE MAKES THE STRING
FROM A LENGTH OF PIANO WIRE.
HE FORMS A LOOP AT ONE END
BY TWISTING IT WITH PLIERS
AROUND AN AWL.
HE FEEDS THIS END
THROUGH THE HOLE
AT THE BASE OF THE MOUTHPIECE...
...AND HOOKS THE LOOP
ONTO THE PIN.
THEN HE THREADS THE OTHER END
OF THE STRING
THROUGH A HOLE IN THE SHAFT
AT THE TUNING PEG
AT THE BOTTOM OF THE STICK.
HE TURNS THE PEG
TO TIGHTEN THE STRING.
JUST AS ON A VIOLIN OR A GUITAR,
THE TAUTER THE STRING,
THE HIGHER THE NOTE IT PRODUCES.
[ CREAKING ]
[ CREAKING CONTINUES ]
THE FINAL STEP
IS TO POSITION THE BRIDGE --
A HARDWOOD DOW --
IN ITS NOTCH,
UNDER THE TENSE STRING.
BY ELEVATING THE TOP
OF THE STRING,
THE BRIDGE PREVENTS IT
FROM CUTTING INTO THE STICK.
THE MOUTH BOW AND THE JAW HARP
ARE PLAYED ALONE
OR ALONGSIDE OTHER INSTRUMENTS
IN THE FOLK MUSIC OF NUMEROUS
CULTURES AROUND THE WORLD.
Narrator: THE EARLIEST KNOWN
REFERENCE TO A DIVING BOARD
APPEARS IN A HIEROGLYPHIC
FROM 480 B.C.
IT DEPICTS A MAN PLUNGING
HEADFIRST INTO A POOL OF WATER
FROM A PLATFORM.
TODAY, DIVING BOARDS
ARE STANDARD EQUIPMENT
AT NEIGHBORHOOD
AND BACKYARD SWIMMING POOLS.
ONE END OF THE DIVING BOARD
IS FIXED
TO GIVE THE OTHER END
THE BOUNCE REQUIRED
FOR A BIG-SPLASH CANNONBALL
OR A GRACEFUL SWAN DIVE.
TO MAKE THE DIVING-BOARD SHELL,
WORKERS LOAD A SHEET
OF ACRYLIC
INTO A CLAMPING MACHINE
THAT TRANSPORTS IT INTO AN OVEN.
THE OVEN HEATS THE SHEET FOR
ABOUT 30 SECONDS TO SOFTEN IT.
THEN, A FORMING MACHINE
APPLIES SUCTION
TO DRAW THE SOFTENED ACRYLIC
TIGHTLY OVER A MOLD
IN THE SHAPE
OF TWO DIVING BOARDS.
FANS BLOW COOL AIR,
HARDENING THE ACRYLIC
TO THIS SHAPE WITHIN SECONDS.
THEY EXTRACT THE MOLDED ACRYLIC,
THEN SAW IT IN HALF TO SEPARATE
THE TWO DIVING-BOARD SHELLS.
THEY COAT THE SHELL SURFACE IN
A RESIN AND FIBERGLASS MIXTURE.
THIS TOOL
IS CALLED A CHOPPER GUN
BECAUSE IT CHOPS AND SHREDS
THE FIBERGLASS STRING,
THEN SHOOTS IT OUT
DRENCHED IN RESIN.
THEY ROLL IT TO COMPRESS THE
FIBERS AND PUSH OUT AIR POCKETS.
ANY TRAPPED AIR WOULD CREATE
A WEAK SPOT IN THE DIVING BOARD.
AFTER LETTING THE RESIN DRY
AND HARDEN FOR 30 MINUTES,
THEY BEGIN
FILLING THE SHELL CAVITY
WITH 2/10 OF AN INCH THICK
FIBERGLASS MAT.
THEY DRENCH THE MAT IN RESIN,
ROLLING IT OVER
TO ENSURE EVERY FRACTION
OF AN INCH GETS WELL-SATURATED.
THEN THEY LAY DOWN
ANOTHER FIBERGLASS MAT,
THIS ONE A BIT THINNER
AND SATURATED
WITH THE EXISTING RESIN.
THE DIVING BOARD'S CORE
IS MADE OF LAMINATED WOOD,
WHICH IS SEVERAL THIN LAYERS
OF WOOD GLUED TOGETHER.
LAMINATED WOOD
IS ACTUALLY STRONGER
THAN A SOLID PIECE OF WOOD.
AFTER ROUNDING THE TOP EDGE,
THEY LAY TWO WOOD-LAMINATE CORES
OVER THE
RESIN-SATURATED FIBERGLASS MATS.
THEY POSITION CLAMPS
TO HOLD THE CORES IN PLACE.
BUT BEFORE TIGHTENING,
THEY INSERT METAL SPACERS
TO ENSURE THE CORES
ARE CORRECTLY POSITIONED
WITHIN THE SHELL.
ONCE THE POSITIONING IS PERFECT,
THEY TIGHTEN THE CLAMPS,
THEN LET THE RESIN CURE
AT ROOM TEMPERATURE
FOR A HALF HOUR OR SO.
THEN THE CLAMPS COME OFF,
AND WORKERS COVER THE CORES
WITH AN EVEN THICKER FIBERGLASS
MAT IMPREGNATED WITH RESIN.
THIS IS THE BOTTOM
OF THE DIVING BOARD.
THEY MAKE SURE THE MAT
IS CENTERED...
THEN MANUALLY FORM IT
TO THE SHAPE OF THE BOARD,
PUSHING OUT THE AIR POCKETS
AS THEY GO.
THEY SPRAY ON
SOME DECORATIVE PAINT,
THEN PUT THE BOARD IN AN OVEN
FOR 24 HOURS TO CURE.
WHEN IT COMES OUT,
THEY USE A DIAMOND BLADE
TO SAW OFF THE EXCESS FIBERGLASS
AROUND THE EDGE.
THEN THEY DO A FINAL TRIMMING
TO MAKE THE EDGE NEAT
AND SMOOTH.
THEY MASK THE SIDES WITH TAPE,
LEAVING ONLY THE TOP EXPOSED.
THIS IS WHERE THEY'LL NOW APPLY
A ROUGH TEXTURE --
A SAFE, NON-SLIP SURFACE.
FIRST, THEY ROLL ON
A THIN COAT OF RESIN.
ONTO THAT, THEY SPRINKLE A LAYER
OF SILICA SAND,
MAKING SURE TO COVER THE SURFACE
THOROUGHLY AND EVENLY.
THE SAND STICKS TO THE RESIN,
WHICH SETS AND CURES
IN ABOUT 15 MINUTES.
AFTER SWEEPING OFF THE
EXCESS SAND THAT DIDN'T ADHERE,
THEY ROLL ON A COAT
OF LAMINATING RESIN,
WHICH BONDS TO THE SAND,
GIVING THE SURFACE A CLEAN,
FINISHED LOOK.
THEY PULL OFF THE TAPE
AND APPLY THE
MANUFACTURE'S DECAL TO THE SIDE.
THE DIVING BOARD IS NOW ALL SET
TO BE INSTALLED
ON A STAND
AT THE EDGE OF THE DEEP END
TO AWAIT ANYONE
READY TO TAKE THE PLUNGE.
IF YOU HAVE ANY COMMENTS
ABOUT THE SHOW,
OR IF YOU'D LIKE TO SUGGEST
TOPICS FOR FUTURE SHOWS,
DROP US A LINE AT...