How It's Made (2001–…): Season 19, Episode 8 - Bamboo Bicycles/Chainsaw Art/Breath Mints/Manual Motorcycle Transmissions - full transcript

Narrator:
THE BAMBOO BICYCLE WAS INVENTED
IN ENGLAND IN THE 19th CENTURY,

AND THE IDEA NEVER
REALLY WENT ANYWHERE UNTIL NOW.

THE MODERN BAMBOO BICYCLE

IS A HIGHLY ENGINEERED
PIECE OF WORK --

ONE THAT TAKES ADVANTAGE OF
BAMBOO'S STEELY STURDINESS

AND ITS ABILITY
TO ABSORB VIBRATIONS.

AT A TIME WHEN BICYCLES
ARE OFTEN MADE

OF HIGH-TECH CARBON FIBER
AND EXOTIC ALLOYS,

THE BAMBOO BIKE TAKES THINGS
IN A WHOLE NEW DIRECTION.

BAMBOO CANE IS A GRASS
THAT'S INCREDIBLY STURDY.

AND BECAUSE IT'S FAST-GROWING,



A BICYCLE MADE FROM IT
IS AS GREEN AS IT GETS.

THE FRAME BUILDER STARTS WITH
THE STRONGEST SPECIES OF BAMBOO.

EACH CANE
IS SCRUTINIZED TO CONFIRM

THAT IT'S PERFECTLY STRAIGHT
AND STRUCTURALLY SOUND.

HE MEASURES AND MARKS EACH ONE
TO A PRECISE LENGTH.

TO AVOID FRAYING THE EDGES
OR SPLITTING EXTERIOR FIBERS,

HE MAKES THE CUTS SLOWLY.

HE SMOOTHES THE FRESHLY CUT ENDS
AGAINST A DRUM SANDER

AND TAPERS THEM A BIT
TO FIT INTO STEEL JOINTS.

ONCE SATISFIED WITH THE FIT,

HE REMOVES THE BAMBOO CANES
FROM THE STEEL JOINTS.

HE SPRAYS AN ACETONE CLEANING
SOLUTION INTO THE JOINTS

AND THEN SCRUBS
WITH A WIRE BRUSH

TO PREPARE THEM FOR BONDING
TO THE BAMBOO CANES.



A TOTAL OF FIVE STEEL JOINTS

WILL HOLD THE BAMBOO BICYCLE
FRAME TOGETHER.

IT'S NOW TIME FOR THE ASSEMBLY.

HE PROBES THE CAVITY
OF EACH BAMBOO CANE

TO CONFIRM
THERE ARE NO OBSTRUCTIONS

AND TO DETERMINE HOW FAR INSIDE
TO INSERT A FOAM PLUG.

THIS PLUG WILL PREVENT ADHESIVE

FROM RUNNING THROUGH
THE ENTIRE CANE DURING BONDING.

USING A LONG SYRINGE,

HE INJECTS FAST-SETTING
EPOXY ADHESIVE INTO THE CANE.

THIS SEALS THE PLUG TO THE
INSIDE WALL OF THE BAMBOO CANE.

ONCE PLUGS HAVE BEEN INSTALLED
IN ALL THE CANES,

HE SNAKES PLASTIC TUBING
THROUGH THE STEEL JOINTS

AND CAULKS THE GAPS.

THIS TUBING IS A DELIVERY SYSTEM

FOR THE NEXT APPLICATION
OF EPOXY ADHESIVE

THAT WILL SEAL THE STEEL JOINTS
TO THE BAMBOO FRAMEWORK.

WITH THE PLASTIC TUBING
NOW INSTALLED

IN ALL THE STEEL JOINTS,
HE REASSEMBLES

THE BAMBOO BICYCLE FRAME
AND DOUBLE-CHECKS THE GEOMETRY.

THIS IS KNOWN AS THE DRY FIT.

IT'S ONE LAST CHANCE TO PERFECT
THE FIT AT THE JOINTS.

HE'LL SAND THE ENDS
OF THE BAMBOO

OR EVEN CUT A NEW CANE,
IF NEEDED.

MOST FRAMES NEED AT LEAST
A LITTLE TWEAKING AT THIS STAGE.

ONCE IT'S JUST RIGHT,

HE SECURES THE BIKE FRAME
IN A JIG.

HE INSERTS A BIT OF EPOXY PUTTY

BETWEEN THE BAMBOO CANE
AND THE STEEL JOINT.

IT ACTS AS A SHIM TO CENTER
THE CANE IN THE FITTING.

HE THEN WRAPS ELECTRICAL TAPE
AROUND THE GAPS

WHERE THE STEEL JOINTS
MEET THE BAMBOO CANES.

THIS TAPE IS LOW-TACK,

SO IT WON'T PULL UP BAMBOO
FIBERS WHEN IT'S REMOVED.

YET THE SEAL IS STRONG ENOUGH

TO KEEP EPOXY ADHESIVE
FROM DRIPPING OUT

AS HE NOW INJECTS IT
INTO ONE OF THE JOINTS.

HE CUTS A TINY SLIT IN THE TAPE
TO MONITOR THE FLOW.

AND WHEN EPOXY
STARTS TO LEAK OUT,

HE KNOWS THERE'S ENOUGH
FOR A FULL BOND.

HE TAPES UP THE SLIT
TO CLOSE OFF THE OVERFLOW

AND CLAMPS
THE END OF THE PLASTIC TUBING

WITH A CLOTHESPIN.

HE INJECTS EPOXY
INTO ALL FIVE JOINTS.

ONCE ALL THE GAPS
HAVE BEEN FILLED,

HE LEAVES THE ASSEMBLY TO DRY.

12 HOURS LATER,
HE UNBINDS THE JOINTS.

THEY'RE NOW SOLIDLY FUSED
TO THE BAMBOO

TO HOLD THE FRAME TOGETHER.

THE PLASTIC TUBING

HAS ALSO BONDED
TO THE INSIDE OF THE JOINTS.

HE JUST CUTS THE ENDS.

HE GRINDS OFF THE EXCESS EPOXY

FOR A SMOOTHER TRANSITION
FROM THE STEEL TO THE BAMBOO.

ONCE THE BIKE FRAME
HAS BEEN CLEANED

AND ENGRAVED
WITH THE BRAND NAME,

HE STAINS THE BAMBOO
WITH A POLYURETHANE FINISH.

THIS SEALS THE PORES OF
THE BAMBOO AGAINST WATER DAMAGE

AND ENHANCES THE TEXTURE
OF THE WOODY FIBERS.

HE PAINTS THE JOINTS
WITH AUTOMOTIVE-QUALITY PAINT,

AND IT'S READY
FOR A SET OF WHEELS.

THIS BAMBOO BICYCLE FRAME
HAS BEEN 40 HOURS IN THE MAKING.

AS AN ECO-FRIENDLY
MODE OF TRANSPORTATION,

IT SHOULD BE A TRAILBLAZER.

Narrator:
WHEN THE MOTORIZED CHAINSAW
CAME ON THE SCENE IN THE 1920s,

IT REVOLUTIONIZED
THE FORESTRY INDUSTRY.

FROM THEN ON,
IT WAS ONLY A MATTER OF TIME

BEFORE SOME CREATIVE LUMBERJACKS
STARTED LOGGING EXTRA TIME

WITH THEIR TRUSTY TOOL,

USING THE CHAINSAW
LIKE A SCULPTOR'S CHISEL

OR A PAINTER'S BRUSH.

THESE CHAINSAW SCULPTURES
RUN THE GAMUT

FROM CARTOONLIKE CHARACTERS

TO REALISTIC REPRODUCTIONS
OF WILDLIFE.

THIS ARTISTIC ENDEAVOR DOES
COME WITH SIGNIFICANT RISK.

ONE WRONG MOVE WITH THE CHAINSAW

CAN CAUSE SERIOUS INJURY
OR WORSE.

AT THE REQUEST OF LANDOWNERS
AND GOVERNMENTS,

THIS PARTICULAR LOGGER ARTIST
CUTS DOWN BUG WOOD --

PINE TREES KILLED
BY MOUNTAIN PINE BEETLES.

BRANDISHING A CHAINSAW
WITH A 16-INCH BLADE,

HE'LL TRANSFORM THIS LOG
INTO A TURKEY.

THE FIRST CUT
FORMS A HIGHER BACK,

WHICH WILL EVENTUALLY
BECOME THE TAIL FEATHERS.

THE SECOND CUT
ESTABLISHES THE TOP OF THE HEAD.

THEN, HE CUTS AWAY WOOD
IN BETWEEN

TO BEGIN SHAPING THE BODY.

HE REMOVES WOOD FROM THE FRONT

TO BEGIN FORMING
THE TURKEY'S BEARD AND BREAST.

THEN, HE REMOVES WOOD FROM
THE SIDES TO SHAPE THE WINGS.

AS THIS IS A TURKEY
IN A STRUTTING POSE,

THE WINGS
ARE THRUSTING DOWNWARD.

AFTER SHAPING THE BREAST FURTHER
AND CARVING THE FEET,

HE PUTS DOWN THE CHAINSAW,
PICKS UP A PENCIL,

AND OUTLINES 19 TAIL FEATHERS.

THEN, HE GENTLY CARVES HIS LINES
WITH THE TIP OF THE CHAINSAW.

HE ALSO CARVES
THE OUTLINES OF THE FEATHERS

LOCATED UNDER THE TAIL FEATHERS.

THEN,
USING THE TIP EVER SO LIGHTLY,

HE MAKES DELICATE LINES
INSIDE EACH FEATHER.

THE ROUGH SHAPE NOW COMPLETE,

HE BEGINS
WORKING ON THE FINER DETAILS,

SUCH AS
SCULPTING EACH WING FEATHER.

THEN, HE CARVES SOME EVEN FINER
DETAILS WITH A DIE GRINDER --

A TOOL WHICH TAKES
INTERCHANGEABLE BITS.

HE USES A CONE-SHAPED BIT
TO CARVE THE TURKEY'S TOES,

THEN A SANDING DISK
TO PROPORTION THE BREAST,

THEN A SMALL WHEEL TO CARVE
THE LOWER BREAST FEATHERS.

NOW HE TACKLES THE SNOOD --

THAT FLAP OF SKIN
OVER THE TURKEY'S BEAK.

HE MAKES IT CURVED, RATHER
THAN HANGING STRAIGHT DOWN,

TO MAKE THE TURKEY
LOOK AS THOUGH IT'S MOVING.

TO CRAFT THE EYES, HE USES
A TOOL HE RIGGED UP HIMSELF

BY ATTACHING A MODIFIED BOLT
TO A DIE GRINDER.

THE EYES ARE
THE ARTISTIC TURNING POINT.

THEY ADD THE FIRST HINT
OF FACIAL EXPRESSION.

USING THE CONE-SHAPED BIT AGAIN,

THE ARTIST SHAVES OFF WOOD
UNDERNEATH THE EYES

SO THEY'LL PROTRUDE SOMEWHAT.

THEN, USING A VARIETY OF BITS,

HE DOES SOME TOUCH-UPS
ON THE SNOOD

AND SCULPTS THE SAC OF SKIN
UNDER THE TURKEY'S NECK.

THEN,
HE TAKES THE EYE TOOL AGAIN,

BUT THIS TIME TO BRAND
LITTLE CIRCLES ON THE SKIN SAC,

TO GIVE IT A REALISTIC TEXTURE.

WITH THE CARVING NOW COMPLETE,
THE BURNING BEGINS.

USING A SMALL GAS TORCH,
HE SCORCHES THE WOOD.

THE RAISED AREA BECOMES
DARKER THAN THE RECESSED AREAS,

GIVING THE FEATHERS
CONTRAST AND DEPTH.

THE LAST STEP IS SOME FINER,
DETAILED TEXTURING.

HE ATTACHES A SOFT WIRE BRUSH
TO A DRILL

AND SMOOTHES OUT
THE TIPS OF THE FEATHERS.

HE COATS THE FINISHED CARVING
IN A SEALER --

A HOMEMADE CONCOCTION
OF EQUAL PARTS MINERAL SPIRITS,

HEAVY-DUTY MARINE VARNISH,
AND BOILED LINSEED OIL.

THIS SEALER GIVES THE SURFACE
A RICH, SEMIGLOSS LUSTER.

BUT, MORE IMPORTANTLY,
IT PROTECTS THE WOOD

AGAINST THE ELEMENTS,
WHICH IS CRITICAL,

GIVEN THAT THESE CARVINGS
ARE USUALLY DISPLAYED OUTDOORS.

THIS SPECIALLY DESIGNED SEALANT

IS THE KEY TO THE LONGEVITY
OF THESE CARVINGS.

IT FORMS A SUIT OF ARMOR
AGAINST PRECIPITATION

AND THE SUN'S ULTRAVIOLET RAYS,

YET THE SEALANT
ISN'T AN AIRTIGHT SHIELD.

IT STILL LETS THE WOOD BREATHE,

WHICH IS CRITICAL
FOR PREVENTING MOLD GROWTH.

IT'S ALSO FLEXIBLE, MOVING WITH

THE NATURAL EXPANSION
AND CONTRACTION OF THE WOOD.

AN INFLEXIBLE SEALANT WOULD
CRACK, LETTING WATER SEEP IN.

THIS DURABLE, PROTECTIVE FINISH

MAKES THE CHAINSAW-CARVED STATUE
NOT ONLY A STATEMENT PIECE

BUT ALSO AN INVESTMENT PIECE.

Narrator: BAD BREATH
CAN RUIN YOUR SOCIAL LIFE,

BUT SUCK ON A MINT, AND YOU'LL
BE BREATHING A SIGH OF RELIEF.

MINT CANDIES WERE FIRST
INTRODUCED IN BRITAIN IN 1790

AND WERE INITIALLY
USED TO SOOTHE INDIGESTION.

LATER, THEIR BREATH-FRESHENING
QUALITIES WERE DISCOVERED,

AND THEY BECAME KNOWN
AS BREATH MINTS.

OUT OF CONSIDERATION
FOR THEIR COSTARS,

ACTORS OFTEN
SUCK ON A MINT OR TWO

BEFORE SHOOTING
A ROMANTIC SCENE.

BAD BREATH
CAN BE A REAL SCENE-SPOILER

IN THE MOVIES
AND IN EVERYDAY LIFE.

THEY MAKE
THESE TABLET-STYLE MINTS

IN VARIOUS COLORS AND FLAVORS.

FOR A LIME-FLAVORED MINT,
INGREDIENTS INCLUDE SORBITOL --

A SUGAR-FREE SWEETENER --

MAGNESIUM STEARATE,
WHICH ACTS AS A BINDER,

AND LIME OIL
FOR THAT REFRESHING FLAVOR.

THEY LOAD MEASURED AMOUNTS
OF THE INGREDIENTS

INTO A V-SHAPED BLENDER.

THEY'LL BE PRODUCING
A 300-POUND BATCH

THAT WILL YIELD 600,000 MINTS.

THAT GREEN STUFF
IS A PREMIX OF COLOR AND OIL.

HE SCREWS THE LID TIGHTLY
ONTO THE BLENDER.

IT TUMBLES THE INGREDIENTS
FOR 45 MINUTES.

THE MAGNESIUM STEARATE BEGINS
TO BIND THE VARIOUS ELEMENTS.

THEY THEN MIX
BLUE AND YELLOW PIGMENT

TO PRODUCE A VIBRANT GREEN ONE.

THE PIGMENT IS A BOOSTER

TO ENHANCE THE GREEN COLOR
OF THE MINT

AND REFLECT THE LIME FLAVOR
OF THE CANDIES.

AFTER ONE MORE SPIN
IN THE BLENDER,

THE MIXTURE
IS READY TO BE PRESSED.

IT FLOWS OUT OF THE BLENDER
AND INTO A BIG BIN.

ONCE THE BIN IS FULL,

THEY DELIVER IT
TO THE TABLET-PRESSING MACHINE.

HERE, THEY SCOOP THE MIX

INTO TWO HOPPERS
THAT HAVE SIEVES ON TOP.

THE SIEVES SCREEN OUT
ANY LARGE CLUMPS.

THE REST OF THE MIX FALLS
INTO THE ROTARY TABLET PRESS.

THIS IS ACTUALLY
THE SAME KIND OF MACHINE

THAT THE PHARMACEUTICAL INDUSTRY
USES FOR MAKING PILLS.

IT SPINS IN A BLUR TO PUNCH OUT
1,800 TABLETS A MINUTE.

THEY SLOW THE PRESS TO A CRAWL
TO GIVE US A CLOSE-UP LOOK.

THE GRANULATED MIXTURE
FLOWS IN METERED AMOUNTS

INTO DIES IN THE ROTATING WHEEL.

UPPER AND LOWER PUNCHES
MEET IN THE DIES

TO COMPRESS
THE MINT-CANDY INGREDIENTS.

THIS FUSES THE MIXTURE
INTO HARD TABLETS.

AFTER THE COMPRESSION,

THE LOWER PUNCHES RISE
AND EJECT THE CANDIES.

THE MINTS AND THE EXCESS POWDER
FALL DOWN A CHUTE.

AT THE ACTUAL SPEED,

THE MACHINE CHURNS OUT
DOZENS OF MINTS

FASTER THAN
YOU CAN BLINK AN EYE.

THE TABLETS AND
ALL THAT EXCESS POWDER

NOW FLOW
INTO A PERFORATED CYLINDER.

AS THE CYLINDER ROTATES,
THE POWDER

FLIES OUT OF THE HOLES
AND INTO THE TROUGH BELOW.

THIS IS KNOWN AS DEDUSTING.

THE MINT CANDIES,
MINUS MOST OF THE EXCESS POWDER,

SPILL OUT INTO A CONTAINER.

NEXT, THE MINTS
RIDE A REVOLVING TABLE.

THIS IS
A TABLET-COUNTING SYSTEM.

AS THE MINTS EXIT THE TABLE,

LIGHT SENSORS COUNT OUT A PRESET
AMOUNT OF MINTS FOR PACKAGING --

IN THIS CASE, 72 MINTS.

A WORKER MOVES TINS
INTO POSITION BELOW THE HOPPERS

TO CAPTURE THE MINTS.

THIS KIND OF TIN HAS BEEN USED
SINCE THE 1920s

TO CONTAIN MINTS.

IT HAS A SLIDING LID
THAT MAKES IT EASY TO OPEN.

BUT ONCE CLOSED,
IT CONTAINS THEM TIGHTLY,

PREVENTING SPILLAGE.

NOW IT'S OVER
TO THE SHRINK-WRAP DEPARTMENT.

MACHINERY DROPS A PLASTIC SLEEVE
ONTO EACH TIN AS IT RIDES BY

AND UNDER A LEVELING BRACKET.

THE TINS THEN TRAVEL
THROUGH AN OVEN,

WHERE A BLAST OF HEAT
SOFTENS THE PLASTIC SLEEVES,

CAUSING THEM TO SHRINK
TO THE TINS.

THEY EMERGE SECURELY SEALED
AND READY FOR RETAIL.

TODAY,
MINTS CAN COME IN EXOTIC SHAPES,

LIKE THESE WINE-BOTTLE MINTS.

THEY CAN BE CUSTOM-MADE
FOR ANY OCCASION,

BECAUSE, AFTER ALL, MOST
OCCASIONS CALL FOR FRESH BREATH.

Narrator:
THE TRANSMISSION IN A MOTORCYCLE

MULTIPLIES THE POWER
COMING FROM THE ENGINE

TO MOVE THE BIKE DOWN THE ROAD
AT FASTER AND FASTER SPEEDS.

THE VAST MAJORITY OF MOTORCYCLES
HAVE A MANUAL TRANSMISSION,

SO IT'S UP TO THE RIDER
TO OPERATE A LEVER

TO SHIFT INTO LOWER
OR HIGHER GEARS AS REQUIRED.

[ ENGINE REVS ]

MOST MANUAL
MOTORCYCLE TRANSMISSIONS

HAVE A PUSH-BUTTON
ELECTRIC STARTER,

BUT TRADITIONALISTS STILL PREFER
THIS OLD-STYLE TRANSMISSION

WITH A KICK STARTER.

THE TRANSMISSION CASE
IS MADE FROM ALUMINUM

THAT'S BEEN EXTRUDED
TO A STARTING SHAPE.

A SAW CUTS A PIECE
TO THE CASE LENGTH.

THEN, A SERIES
OF COMPUTER-GUIDED TOOLS

HOLLOW OUT THE INSIDE
AND BORE A POCKET

TO HOLD THE BEARING IN WHICH
THE MAIN DRIVE GEAR TURNS.

THE MAIN DRIVE GEAR

IS WHAT TAKES
POWER OUT OF THE TRANSMISSION,

ULTIMATELY ROTATING THE REAR
WHEEL OF THE MOTORCYCLE.

ONCE POLISHED,
THE TRANSMISSION CASE

IS READY TO RECEIVE
ITS 100-PLUS COMPONENTS.

WORKERS ASSEMBLE THE BEARING
IN WHICH THE MAIN SHAFT TURNS,

TRANSFERRING POWER FROM
THE ENGINE TO THE TRANSMISSION.

USING A PRESS, THEY PUSH THIS
BEARING INTO A BEARING HOUSING,

THEN BOLT IT IN PLACE,
IMMOBILIZING THE BOLT

WITH A FEW DROPS OF PERMANENT
THREAD-LOCKING FLUID.

THEN, RIGHT NEXT TO
THE MAIN SHAFT BEARING,

WORKERS BOLT THE BEARING
IN WHICH THE COUNTERSHAFT TURNS,

MAGNIFYING AND MULTIPLYING
THE POWER

WHICH THE MAIN SHAFT TRANSFERS
FROM ENGINE TO TRANSMISSION.

THEY PRESS IN A PIN WHICH HELPS
ACCURATELY POSITION THIS HOUSING

WHEN IT COMES TIME
TO BOLT IT TO THE TRANSMISSION.

THEY APPLY THREAD LOCK
TO SECURE THE BUSHING

THAT HOLDS ONE OF TWO RODS
FOR THE BIKE'S SHIFT FORKS.

THEY'RE WHAT THE RIDER
MANIPULATES TO MOVE EACH GEAR

INTO A PREDETERMINED POSITION.

THEY SUSPEND THE SECOND ROD

BETWEEN THE HOUSING
AND THE TRANSMISSION CASE.

THEY INSTALL THE COUNTERSHAFT
INTO THE COUNTERSHAFT BEARING

AND LOCK IT IN WITH THE PRESS.

NEXT, WORKERS ASSEMBLE
WHAT'S KNOWN AS THE GEARSET.

THIS IS A 6-SPEED TRANSMISSION,

WHICH MEANS THERE ARE SIX GEARS
ON THE MAIN SHAFT

AND SIX ON THE COUNTERSHAFT.

EACH GEAR IS HELD TO ITS SHAFT

BY A HIGH-STRENGTH
STEEL RETAINING RING

THAT'S PLATED WITH YELLOW ZINC

TO MAKE IT EASY TO VERIFY THAT
IT'S IN THE RIGHT POSITION.

WORKERS LUBRICATE
THE BEARINGS THOROUGHLY

TO ENSURE THEY ROTATE
SMOOTHLY AROUND THE SHAFTS.

PUTTING THE GEARSET
ASIDE FOR NOW,

THEY USE THE PRESS ONCE AGAIN --

THIS TIME, TO INSTALL
THE MAIN DRIVE-GEAR BEARING

INTO THE POCKET THEY BORE FOR IT
IN THE TRANSMISSION CASE.

THE RED DISK
MERELY PROVIDES A CUSHION

TO PREVENT THE PRESS
FROM DAMAGING THE COMPONENT.

NEXT, THEY PRESS THE MAIN
DRIVE GEAR IN THE BEARING.

AGAIN, THEY USE
THE INSTALLATION DISK

TO CUSHION THE COMPONENT
FROM THE PRESS.

THEY SLIDE THE GEARSET
INTO THE TRANSMISSION CASE

AND SECURE IT WITH NINE NUTS.

THEY APPLY SEMIPERMANENT
THREAD LOCK TO EACH NUT

SO THAT THEY CAN BE UNSCREWED
IN THE FUTURE,

SHOULD THE GEARSET NEED
TO BE REMOVED FOR REPAIR.

MEANWHILE, A COMPUTER-GUIDED
MILL MACHINES THE SHIFT DRUM

OUT OF A SUPER-DURABLE
TYPE OF STEEL.

THE SHIFT DRUM ROTATES
WHEN THE RIDER SHIFTS GEARS,

MOVING THE GEARS.

AFTER COATING IT IN BLACK OXIDE
TO PREVENT AGAINST CORROSION,

THEY INSTALL IT
ON TOP OF THE TRANSMISSION CASE.

THEY ASSEMBLE THE KICK STARTER.

WHEN THE RIDER KICKS IT,
A SERIES OF GEARS

ROTATES THE MAIN SHAFT
INSIDE THE TRANSMISSION.

THE MAIN SHAFT
IS ALSO CONNECTED TO THE ENGINE,

SO THIS ROTATION
STARTS THE ENGINE.

THE KICK ARM ITSELF IS STAINLESS
STEEL. THE PEDAL, BRONZE.

BOTH TYPES OF METAL
ARE DURABLE ENOUGH

TO WITHSTAND YEARS OF KICKING
AND ARE RESISTANT TO CORROSION.

FOR DEMONSTRATION PURPOSES,

THIS TRANSMISSION CASE
HAS BEEN CUT AWAY

TO SHOW WHAT HAPPENS INSIDE
WHEN THE RIDER SHIFTS GEARS.

THE SHIFT DRUM ROTATES
30 DEGREES

TO PULL THE TRANSMISSION
OUT OF ONE GEAR,

THEN ANOTHER 30 DEGREES
TO PUT IT INTO ANOTHER --

A PERFECTLY ENGINEERED PIECE
OF MECHANICAL CHOREOGRAPHY.

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