How It's Made (2001–…): Season 4, Episode 4 - Conga Drums/Metal Plating/Buttons - full transcript
Learn about the beat behind conga drums, get the hard facts about metal plating, and find out what's cute about creating buttons.
CAPTIONS PAID FOR BY
DISCOVERY COMMUNICATIONS, INC.
Narrator:
TODAY ON "HOW IT'S MADE"...
CONGA DRUMS...
...METAL PLATING...
...AND BUTTONS.
THE CONGA DRUM MAY BE A STAPLE
OF LATIN-AMERICAN MUSIC,
BUT IT WAS DEVELOPED
FROM AN ANCIENT AFRICAN DRUM
MADE FROM AN ANIMAL SKIN
STRETCHED OVER
A HOLLOW TREE TRUNK.
TODAY, THEY STRETCH THE HIDE
OVER A WOOD
OR FIBERGLASS CYLINDER.
AS YOU'RE ABOUT TO SEE,
MAKING CONGAS TAKES PLENTY
OF HANDS-ON SKILL.
[ CONGA DRUMS PLAY ]
THESE CONGAS ARE MADE OF ASH,
A WOOD THAT HAS GOOD ACOUSTICS.
THAT MEANS
SOUND RESONATES OFF OF IT
RATHER THAN BEING ABSORBED
INTO IT.
FIRST, THE DRUM MAKER
CUTS THE CURVED SLATS
THAT WILL FORM THE DRUM'S BODY,
CALLED THE SHELL.
HE TRACES A SLAT-SHAPED TEMPLATE
ON A RECTANGULAR PIECE OF WOOD.
THEN, USING A BAND SAW,
HE CUTS ALONG THE TRACE LINE,
CREATING A CURVE ON THE OUTSIDE
AND INSIDE SURFACES.
THEN HE MOVES TO A BENCH SAW,
A SAW WHOSE BLADE CAN BE
ADJUSTED TO DIFFERENT ANGLES.
HE CLAMPS THE PIECE
ONTO A TEMPLATE
AND ANGLES THE EDGE.
HE FLIPS THE PIECE OVER...
...AND ANGLES THE OTHER EDGE.
THE DRUM MAKER APPLIES
CARPENTER'S GLUE TO BOTH EDGES
AND CLAMPS THE SLATS
TOGETHER IN A CIRCLE
ON A SPECIALLY DESIGNED FORM.
THE NUMBER OF SLATS
PER DRUM VARIES,
DEPENDING ON THE DIAMETER
OF THE SHELL.
THE LARGER THE DIAMETER,
THE LOWER THE CONGA'S SOUND.
THE GLUE DRIES IN 24 HOURS.
IT COMES OFF THE FORM
LOOKING LIKE THIS BONGO SHELL,
BUT TALLER.
THE DRUM MAKER NOW MOUNTS
THE DRIED SHELL ON A WOOD LATHE.
USING A TOOL CALLED
A WOOD GOUGE,
HE SHEARS OFF
ABOUT .2 OF AN INCH,
ROUNDING THE OUTSIDE
OF THE SHELL.
THEN HE USES A SERIES
OF WOODWORKING TOOLS
TO ADD DECORATIVE DETAILING.
ONCE THAT'S DONE,
HE SMOOTHES THE SHELL'S SURFACE,
USING THREE PROGRESSIVELY
FINER GRAINS OF SANDPAPER.
THEN HE EITHER LEAVES THE WOOD
ITS NATURAL COLOR OR STAINS IT.
A THICK COAT OF OIL-BASED
LACQUER PROTECTS THE WOOD
FROM BOTH DRYNESS AND HUMIDITY.
NOW FOR THE ESSENTIAL HARDWARE.
FIRST, SIDE PLATES
MADE OF CHROME-PLATED STEEL.
THEIR JOB IS TO ANCHOR
THE DRUM'S ANIMAL-SKIN HEAD.
THEY'RE BOLTED TO THE SHELL.
NEXT, THE DRUM MAKER
FEEDS A STEEL STRIP
THROUGH A BENDING MACHINE.
ITS HIGH-PRESSURE ROLLERS
CURVE THE STRIP,
FORMING THE DRUM'S RIM.
THEN HE RIVETS V-SHAPED
STEEL PIECES ONTO THE RIM.
ELSEWHERE IN THE WORKSHOP,
THEY PREPARE THE COWHIDE THAT
WILL BECOME THE DRUM'S HEAD.
FIRST THEY SOAK IT
IN A CORROSIVE BATH
OF COLD WATER AND LIME.
THIS LITERALLY BURNS THE HAIR
OFF THE HIDE.
AFTER TWO OR THREE DAYS,
THEY REMOVE THE SKIN AND SCRAPE
OFF ANY STUBBORN HAIRS.
THEN THEY STRETCH IT
OVER A CIRCULAR FRAME,
LEAVING IT TO DRY
AT ROOM TEMPERATURE
FOR A COUPLE OF DAYS.
AFTER CHROME-PLATING THE RIM,
IT'S TIME
FOR THE FINAL ASSEMBLY.
THEY STRETCH THE HEAD
OVER THE SHELL
AND CLASP IT IN PLACE
WITH THE RIM.
THEY HOOK THE V's
TO THE SIDE PLATES,
THEN ADJUST THE TENSION
TO TUNE THE INSTRUMENT.
THE LAST STEP IS TO TRIM OFF
THE EXCESS SKIN.
NOW THE MUSICAL HANDIWORK
CAN BEGIN.
Narrator: PLATING IS A LAYER
OF METAL COATING AN OBJECT
MADE OF A DIFFERENT TYPE
OF METAL.
THE PURPOSE CAN BE DECORATIVE,
AS IN SILVER PLATING,
OR PRACTICAL.
WITH INDUSTRIAL PARTS,
FOR INSTANCE,
ZINC OR CADMIUM PLATING
PREVENTS THE UNDERLYING METAL
FROM RUSTING,
WHILE NICKEL OR CHROME PLATING
PROTECTS AGAINST WEAR.
YOU CAN PLATE
ALMOST ANY TYPE OF METAL.
LET'S FOLLOW SOME
STEEL AEROSPACE PARTS
AS THEY'RE ABOUT TO BE PLATED
WITH CADMIUM
TO MAKE THEM
CORROSION-RESISTANT.
FOR THE PLATING METAL
TO BOND PROPERLY,
THE STEEL SURFACE MUST BE FREE
OF CONTAMINANTS
SUCH AS OIL AND GREASE.
WORKERS SUSPEND THE PARTS
OVER A VAT OF BOILING
CHEMICAL SOLVENTS.
AS THE HOT VAPOR COMES IN
CONTACT WITH THE COLDER METAL,
IT CONDENSES,
DRIPPING DOWN INTO THE VAT
AND TAKING ANY CONTAMINANTS
ALONG WITH IT.
THE REMAINING SOLVENT
RESIDUES EVAPORATE,
LEAVING THE PARTS
SQUEAKY-CLEAN AND DRY.
NEXT, A WORKER
WEARING PROTECTIVE CLOTHING
SANDBLASTS THE PARTS
WITH ALUMINUM OXIDE POWDER,
A STRONG ABRASIVE.
THIS ROUGHENS UP THE SURFACE
SO THAT THE PLATING METAL
WILL ADHERE BETTER.
THE MOST COMMON PLATING METALS
FOR INDUSTRIAL PURPOSES
ARE ZINC, CHROME, AND NICKEL.
THINK MOTORCYCLE PARTS
OR SINK FAUCETS.
DECORATIVE ITEMS,
ON THE OTHER HAND,
ARE MOST LIKELY TO BE PLATED
IN TIN, BRASS, GOLD, OR SILVER.
TRADITIONAL TEA SETS,
FOR INSTANCE,
ARE OFTEN MADE OF SILVER-PLATED
COPPER OR ZINC.
THE PLATING PROCESS
IS CALLED ELECTROPLATING
BECAUSE THE KEY IS ELECTRICITY.
THEY START BY TYING STRANDS
OF COPPER WIRE
TO A COPPER SUPPORT FRAME.
COPPER IS THE BEST METAL
FOR CONDUCTING ELECTRICITY.
THEN THEY ATTACH THE STEEL PARTS
THEY'LL BE PLATING.
WHEN THEY HOOK UP THE SUPPORT
TO AN ELECTRIC CURRENT,
ELECTRICITY WILL RUN FROM
THE SUPPORT THROUGH THESE WIRES
RIGHT TO THE PIECES.
THEY DO THE ELECTROPLATING
IN A TANK.
AFTER FILLING IT WITH WATER,
THEY ADD A HANDFUL OF CHEMICALS
TO HELP CONDUCT ELECTRICITY,
BECAUSE WATER ALONE
WON'T CONDUCT IT SUFFICIENTLY.
ALONG THE SIDES OF THE TANK,
IN BAGS, ARE METAL BASKETS.
THEY CONTAIN BARS OR BALLS
OF THE PLATING METAL --
IN THIS CASE, CADMIUM.
WORKERS CONNECT THE SUPPORT
FRAME WITH THE STEEL PARTS
TO THE NEGATIVE TERMINAL
OF AN ELECTRIC SOURCE --
THE BASKETS OF CADMIUM
TO THE POSITIVE TERMINAL.
THEN, THEY SWITCH ON
A STEADY D.C. CURRENT
NO STRONGER THAN SIX VOLTS.
THE ELECTRICITY DISSOLVES
THE CADMIUM,
PLACING THE PARTICLES
WITH A POSITIVE CHARGE.
THEY TRAVEL THROUGH THE WATER
AND ATTACH THEMSELVES TO THE
NEGATIVE-CHARGED STEEL PARTS.
THIS CREATES A SMOOTH AND EVEN
LAYER OF CADMIUM.
THIN PLATING REQUIRES
JUST A FEW MINUTES IN THE TANK.
THICK PLATING, SEVERAL HOURS.
THEN WORKERS RINSE THE PARTS
IN WATER FOR ABOUT A MINUTE
TO REMOVE THE CHEMICAL RESIDUES.
TO MAKE THE PARTS
EVEN MORE RUST-RESISTANT,
WORKERS IMMERSE THEM
IN A SERIES OF COMPOUNDS.
THIS TRIGGERS A CHEMICAL
REACTION IN THE PLATING,
ENHANCING ITS ABILITY
TO WITHSTAND CORROSION.
THIS REACTION, HOWEVER,
CHANGES THE COLOR.
A FINAL RINSE IN HOT WATER,
AND THIS CADMIUM-PLATED STEEL
AEROSPACE PART IS FINALLY READY.
FROM START TO FINISH,
THE PROCESS HAS TAKEN
ABOUT 90 MINUTES.
TO PLATE WITH CHROME OR GOLD,
THEY HAVE TO USE
A CHEMICAL COMPOUND
CONTAINING GOLD OR CHROMIUM.
THAT'S BECAUSE ELECTRICITY
CAN'T DISSOLVE
SOLID CHROMIUM WELL ENOUGH,
AND IT CAN'T DISSOLVE SOLID GOLD
AT ALL.
THE COMPOUND DISSOLVES
IN THE BATH LIKE SALT,
BUT THEN SOLIDIFIES
ONCE IT REACHES
THE OBJECT BEING PLATED.
METAL PLATING IS VERY DURABLE,
BUT IF SUBJECTED
TO A LOT OF WEAR AND TEAR,
THE OBJECT WILL EVENTUALLY
HAVE TO BE REPLATED.
Narrator: HAVE YOU EVER WONDERED
WHY MEN'S BUTTONS
ARE TRADITIONALLY
ON THE RIGHT SIDE OF A GARMENT
AND WOMEN'S ON THE LEFT?
LEGEND HAS IT
THAT THIS ENABLED A MAN
TO UNBUTTON HIS COAT
WITH HIS LEFT HAND
WHILE DRAWING A SWORD
WITH HIS RIGHT.
WEALTHY WOMEN, MEANWHILE,
HAD THEIR BUTTONS
SEWN ON THE LEFT SIDE
TO MAKE IT EASIER
FOR THEIR RIGHT-HANDED MAIDS
TO DRESS THEM.
ONE WAY TO MAKE PLASTIC BUTTONS
USES A MULTILAYER SHEET
OF SYNTHETIC RESIN --
HENCE THE INDUSTRY TERM,
SHEET BUTTONS.
WORKERS START BY MIXING
LIQUID POLYESTER RESIN
WITH A CATALYST TO GEL IT.
THEY POUR THE MATERIAL
INTO A REVOLVING DRUM,
WHICH DISPERSES IT EVENLY.
THEY SPRAY A SOLUTION CONTAINING
AN ULTRAVIOLET PIGMENT
ON THIS FIRST LAYER ONLY.
YOU'LL SEE WHY LATER ON.
FOR THIS PARTICULAR MODEL,
THEY MAKE GROOVES IN THE RESIN
WHILE IT'S STILL MALLEABLE.
THIS WILL CREATE A DESIGN.
AFTER ABOUT FIVE MINUTES,
THE RESIN GELS AND THEY CAN MIX
AND ADD A SECOND LAYER
IN A DIFFERENT COLOR.
BESIDES BUILDING UP
THE THICKNESS OF THE SHEET,
THE RESIN FLOWS
INTO THE FIRST LAYER'S GROOVES,
CREATING A DESIGN
OF CONTRASTING LINES.
ONCE THIS SECOND LAYER GELS,
THEY MIX AND POUR IN
A THIRD COLOR.
THE DRUM SPINS
FOR ANOTHER 10 TO 15 MINUTES
UNTIL ALL LAYERS CURE.
A RESIN SHEET CAN BE COMPRISED
OF UP TO 4 DIFFERENT
COLOR LAYERS.
WORKERS CAN NOW
REMOVE THE SHEET.
IT'S HARDENED ENOUGH
TO BE CUT INTO BUTTONS,
BUT IT'S STILL FLEXIBLE ENOUGH
NOT TO CRACK WHEN CUT.
THEY FEED EACH SHEET
INTO A PRESS
THAT'S OUTFITTED WITH THE DIE
FOR THAT PARTICULAR
BUTTON MODEL.
THE PRESS PUNCHES OUT CIRCLES
IN THE DIAMETER OF THE BUTTON.
THESE CIRCLES ARE CALLED BLANKS.
HERE, YOU CAN SEE
THE DIFFERENT COLOR LAYERS.
THE BLANKS MOVE ON
TO THE MACHINING CENTER,
WHERE THEY'LL BE TRANSFORMED
INTO BUTTONS.
AUTOMATED EQUIPMENT
LOADS THEM ONTO CAROUSELS
WITH THE BACK OF THE BLANK
FACING OUTWARD.
HOW DOES THE LOADER KNOW
WHICH SIDE IS WHICH?
REMEMBER
THAT ULTRAVIOLET SOLUTION
THE WORKERS SPRAYED ONTO
THE FIRST LAYER OF RESIN?
A U.V. DETECTOR SCANS EACH BLANK
TO MAKE SURE THE FIRST LAYER
IS FACING UPWARD.
IF IT ISN'T, THE MACHINE
REJECTS THE BLANK,
THEN FLIPS AND RELOADS IT.
THE CAROUSELS FIRST
RUN THE BACK OF THE BLANK
AGAINST A SERIES
OF CUTTING HEADS.
THE HEADS ARE CHANGED ACCORDING
TO THE MODEL BEING PRODUCED.
FOR THIS ONE, THE HEADS
GRADUALLY CARVE A CURVED BACK.
THE EQUIPMENT THEN TRANSFERS THE
BLANK ONTO A SECOND CAROUSEL,
EXPOSING THE FRONT SIDE
THIS TIME.
AGAIN, A SERIES OF CUTTING HEADS
GRADUALLY CARVE
THE FRONT OF THE BUTTON.
THE SHAPE OF THIS MODEL
EXPOSES THE DIFFERENT
COLOR LAYERS UNDERNEATH,
CREATING A VEINED EFFECT.
THE LAST CUTTING HEAD
DRILLS THE HOLES.
HERE, YOU CAN SEE
THE FULL PROGRESSION
FROM BLANK TO BUTTON.
NOW THEY POLISH THE BUTTONS
FOR SEVERAL HOURS
IN DRUMS CONTAINING ABRASIVE
CERAMIC STONES AND PUMICE.
THEN WORKERS FLUSH THE DRUMS
WITH WATER.
THE HEAVY POLISHING STONES
SINK TO THE BOTTOM
WHILE THE LIGHTWEIGHT BUTTONS
FLOAT TO THE SURFACE
AND SPILL OUT.
THE BUTTONS THEN GO INTO DRUMS
THAT CONTAIN SILICON WAX
AND THOUSANDS
OF TINY WOODEN PEGS.
WHILE THE DRUMS SPIN,
THE PEGS ACT AS A CARRIER,
DISTRIBUTING
AN EVEN COAT OF WAX.
AS THE BUTTONS EXIT THE DRUMS,
THE PEGS ARE SCREENED OUT.
FROM HERE, PLAIN BUTTONS
ARE OFTEN CUSTOM-DYED
TO MATCH FABRIC SWATCHES
PROVIDED BY CLOTHING
MANUFACTURERS.
Narrator: YOU'VE SEEN
HOW THEY MANUFACTURE
SOME TYPES OF PLASTIC BUTTONS,
JUST A FEW OF THE MANY STYLES
ON THE MARKET.
THERE ARE SEVERAL DIFFERENT WAYS
TO PRODUCE THESE HANDY
LITTLE FASTENERS.
SO, FORGIVE US
IF WE BUTTONHOLE YOU
TO STAY TUNED
AND WATCH SOME MORE.
ARCHEOLOGISTS
HAVE UNEARTHED BONE BUTTONS
DATING BACK
TO PREHISTORIC TIMES.
THE ANCIENT GREEKS AND ROMANS
USED BUTTONS
TO FASTEN AND DECORATE
THEIR CLOTHING.
EUROPEANS WORE BUTTONS
STRICTLY FOR ADORNMENT
UNTIL ABOUT THE 1200s.
THAT'S WHEN FITTED GARMENTS
BECAME THE TREND,
FASTENED BY A LONG ROW
OF BUTTONS DOWN THE FRONT.
THE RICH WORE BUTTONS
MADE OF SILVER OR GOLD,
SOMETIMES SET
WITH PRECIOUS GEMSTONES.
ORDINARY PEOPLE WORE BUTTONS
MADE OF BRONZE OR WOOD.
THIS IS ANOTHER WAY
TO MAKE PLASTIC BUTTONS
USING POLYESTER RESIN.
ONLY INSTEAD OF TURNING IT
INTO SHEETS,
THEY POUR THE RESIN
INTO LONG METAL TUBES.
HERE, THEY'RE MIXING
TWO DIFFERENT COLORS
TO CREATE A DESIGN
IN THE PLASTIC.
THE TUBES GO INTO AN OVEN,
WHERE THEY BAKE AT 212 DEGREES
FAHRENHEIT FOR ABOUT AN HOUR
UNTIL THE LIQUID RESIN HARDENS.
ONCE THE TUBES COOL OFF,
WORKERS REMOVE THE CONTENTS.
THESE LONG RESIN RODS
WILL BECOME
WHAT THE INDUSTRY CALLS
ROD BUTTONS.
THE RODS GO INTO A MACHINE
CALLED THE SLICER.
ITS SHARP CARBIDE BLADE
CHOPS THE LONG RODS
INTO BUTTON-SIZED BLANKS.
HERE'S WHAT THAT LOOKS LIKE
IN SLOW MOTION.
IT'S NO USE SHOWING YOU THIS
AT REGULAR SPEED.
IT WOULD BE BUT A BLUR.
THIS MACHINE CUTS
UP TO 700 BLANKS PER MINUTE.
BLANKS CUT FROM RESIN RODS
RUN THROUGH
THE SAME MACHINING CENTER
AS THOSE CUT FROM RESIN SHEETS.
IN THE LAST SEGMENT,
WE SHOWED YOU THE MACHINING
STEPS IN SLOW MOTION.
HERE'S WHAT THEY LOOK LIKE
AT ACTUAL SPEED.
ANY TYPE OF BUTTON
CAN BE ENGRAVED
WITH A COMPANY NAME OR LOGO.
THEY DO THIS
USING A COMPUTER-PROGRAMMED
LASER MACHINE.
THE LASER BEAM BURNS
THE LETTERING INTO THE PLASTIC.
WORKERS VISUALLY INSPECT
THE FINISHED BUTTONS
TO MAKE SURE THAT NONE
HAVE DEFECTS.
A THIRD WAY
TO MAKE PLASTIC BUTTONS
IS A METHOD CALLED
THERMOSET COMPRESSION,
A TECHNIQUE THAT COMBINES
BOTH HEAT AND PRESSURE
TO MOLD THE BUTTON'S SHAPE.
AS WE SEE HERE IN SLOW MOTION,
THE RAW MATERIAL
ISN'T LIQUID RESIN,
BUT RATHER MELAMINE POWDER.
A PILL-MAKING MACHINE --
THE KIND PHARMACEUTICAL
COMPANIES USE --
COMPRESSES THE POWDER
INTO PILL-SHAPED BLANKS.
HERE'S WHAT THAT PILL-MAKING
ACTION LOOKS LIKE
AT ACTUAL SPEED.
TO TRANSFORM THESE PILLS
INTO BUTTONS,
WORKERS LOAD THEM ONTO A PRESS.
THE PRESS USES HIGH PRESSURE
TO FORCE EACH PILL
INTO A BUTTON MOLD
FOR A PERIOD
OF 40 TO 60 SECONDS,
DEPENDING ON THE SIZE
OF THE BUTTON.
AT THE SAME TIME,
IT HEATS THE MOLD
TO 325 DEGREES FAHRENHEIT.
THIS BAKES THE MELAMINE
INTO HARD PLASTIC.
THEY COOL THE MOLDED BUTTONS
IN A BASIN OF COLD WATER.
SOME SPECIALTY BUTTONS
WILL BE GOLD-PLATED,
BUT NOT BEFORE SOAKING
IN A CHEMICAL BATH
TO CLEAN THEIR SURFACE
SO THAT THE PLATING
WILL BOND WELL.
AS A RULE, ONLY MATERIALS
THAT CONDUCT ELECTRICITY
CAN BE METAL-PLATED.
PLASTIC, OF COURSE,
IS NONCONDUCTIVE.
THIS COMPANY HAS MANAGED
TO DEVISE A WAY
TO GOLD-PLATE PLASTIC BUTTONS.
EXACTLY HOW
IS A CLOSELY GUARDED SECRET
IT'S NOT WILLING TO DIVULGE.
AFTER PLATING THE BUTTONS
IN COPPER, A 12-HOUR PROCESS,
THEY PLATE THEM IN NICKEL,
WHICH TAKES
JUST A COUPLE OF MINUTES,
AND FINALLY, IN 24-KARAT GOLD,
WHICH TAKES JUST A FEW SECONDS.
A MERE ONE OUNCE OF GOLD
IS ENOUGH TO PLATE
180 POUNDS OF BUTTONS.
THERMOSET COMPRESSION BUTTONS
ARE A LOWER-END PRODUCT
USED PRIMARILY FOR UNIFORMS.
SHEET BUTTONS AND ROD BUTTONS
ARE HIGHER QUALITY,
THE STANDARD CHOICE FOR EVERYDAY
AND HIGHER-END CLOTHING.
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, INC.
Narrator:
TODAY ON "HOW IT'S MADE"...
CONGA DRUMS...
...METAL PLATING...
...AND BUTTONS.
THE CONGA DRUM MAY BE A STAPLE
OF LATIN-AMERICAN MUSIC,
BUT IT WAS DEVELOPED
FROM AN ANCIENT AFRICAN DRUM
MADE FROM AN ANIMAL SKIN
STRETCHED OVER
A HOLLOW TREE TRUNK.
TODAY, THEY STRETCH THE HIDE
OVER A WOOD
OR FIBERGLASS CYLINDER.
AS YOU'RE ABOUT TO SEE,
MAKING CONGAS TAKES PLENTY
OF HANDS-ON SKILL.
[ CONGA DRUMS PLAY ]
THESE CONGAS ARE MADE OF ASH,
A WOOD THAT HAS GOOD ACOUSTICS.
THAT MEANS
SOUND RESONATES OFF OF IT
RATHER THAN BEING ABSORBED
INTO IT.
FIRST, THE DRUM MAKER
CUTS THE CURVED SLATS
THAT WILL FORM THE DRUM'S BODY,
CALLED THE SHELL.
HE TRACES A SLAT-SHAPED TEMPLATE
ON A RECTANGULAR PIECE OF WOOD.
THEN, USING A BAND SAW,
HE CUTS ALONG THE TRACE LINE,
CREATING A CURVE ON THE OUTSIDE
AND INSIDE SURFACES.
THEN HE MOVES TO A BENCH SAW,
A SAW WHOSE BLADE CAN BE
ADJUSTED TO DIFFERENT ANGLES.
HE CLAMPS THE PIECE
ONTO A TEMPLATE
AND ANGLES THE EDGE.
HE FLIPS THE PIECE OVER...
...AND ANGLES THE OTHER EDGE.
THE DRUM MAKER APPLIES
CARPENTER'S GLUE TO BOTH EDGES
AND CLAMPS THE SLATS
TOGETHER IN A CIRCLE
ON A SPECIALLY DESIGNED FORM.
THE NUMBER OF SLATS
PER DRUM VARIES,
DEPENDING ON THE DIAMETER
OF THE SHELL.
THE LARGER THE DIAMETER,
THE LOWER THE CONGA'S SOUND.
THE GLUE DRIES IN 24 HOURS.
IT COMES OFF THE FORM
LOOKING LIKE THIS BONGO SHELL,
BUT TALLER.
THE DRUM MAKER NOW MOUNTS
THE DRIED SHELL ON A WOOD LATHE.
USING A TOOL CALLED
A WOOD GOUGE,
HE SHEARS OFF
ABOUT .2 OF AN INCH,
ROUNDING THE OUTSIDE
OF THE SHELL.
THEN HE USES A SERIES
OF WOODWORKING TOOLS
TO ADD DECORATIVE DETAILING.
ONCE THAT'S DONE,
HE SMOOTHES THE SHELL'S SURFACE,
USING THREE PROGRESSIVELY
FINER GRAINS OF SANDPAPER.
THEN HE EITHER LEAVES THE WOOD
ITS NATURAL COLOR OR STAINS IT.
A THICK COAT OF OIL-BASED
LACQUER PROTECTS THE WOOD
FROM BOTH DRYNESS AND HUMIDITY.
NOW FOR THE ESSENTIAL HARDWARE.
FIRST, SIDE PLATES
MADE OF CHROME-PLATED STEEL.
THEIR JOB IS TO ANCHOR
THE DRUM'S ANIMAL-SKIN HEAD.
THEY'RE BOLTED TO THE SHELL.
NEXT, THE DRUM MAKER
FEEDS A STEEL STRIP
THROUGH A BENDING MACHINE.
ITS HIGH-PRESSURE ROLLERS
CURVE THE STRIP,
FORMING THE DRUM'S RIM.
THEN HE RIVETS V-SHAPED
STEEL PIECES ONTO THE RIM.
ELSEWHERE IN THE WORKSHOP,
THEY PREPARE THE COWHIDE THAT
WILL BECOME THE DRUM'S HEAD.
FIRST THEY SOAK IT
IN A CORROSIVE BATH
OF COLD WATER AND LIME.
THIS LITERALLY BURNS THE HAIR
OFF THE HIDE.
AFTER TWO OR THREE DAYS,
THEY REMOVE THE SKIN AND SCRAPE
OFF ANY STUBBORN HAIRS.
THEN THEY STRETCH IT
OVER A CIRCULAR FRAME,
LEAVING IT TO DRY
AT ROOM TEMPERATURE
FOR A COUPLE OF DAYS.
AFTER CHROME-PLATING THE RIM,
IT'S TIME
FOR THE FINAL ASSEMBLY.
THEY STRETCH THE HEAD
OVER THE SHELL
AND CLASP IT IN PLACE
WITH THE RIM.
THEY HOOK THE V's
TO THE SIDE PLATES,
THEN ADJUST THE TENSION
TO TUNE THE INSTRUMENT.
THE LAST STEP IS TO TRIM OFF
THE EXCESS SKIN.
NOW THE MUSICAL HANDIWORK
CAN BEGIN.
Narrator: PLATING IS A LAYER
OF METAL COATING AN OBJECT
MADE OF A DIFFERENT TYPE
OF METAL.
THE PURPOSE CAN BE DECORATIVE,
AS IN SILVER PLATING,
OR PRACTICAL.
WITH INDUSTRIAL PARTS,
FOR INSTANCE,
ZINC OR CADMIUM PLATING
PREVENTS THE UNDERLYING METAL
FROM RUSTING,
WHILE NICKEL OR CHROME PLATING
PROTECTS AGAINST WEAR.
YOU CAN PLATE
ALMOST ANY TYPE OF METAL.
LET'S FOLLOW SOME
STEEL AEROSPACE PARTS
AS THEY'RE ABOUT TO BE PLATED
WITH CADMIUM
TO MAKE THEM
CORROSION-RESISTANT.
FOR THE PLATING METAL
TO BOND PROPERLY,
THE STEEL SURFACE MUST BE FREE
OF CONTAMINANTS
SUCH AS OIL AND GREASE.
WORKERS SUSPEND THE PARTS
OVER A VAT OF BOILING
CHEMICAL SOLVENTS.
AS THE HOT VAPOR COMES IN
CONTACT WITH THE COLDER METAL,
IT CONDENSES,
DRIPPING DOWN INTO THE VAT
AND TAKING ANY CONTAMINANTS
ALONG WITH IT.
THE REMAINING SOLVENT
RESIDUES EVAPORATE,
LEAVING THE PARTS
SQUEAKY-CLEAN AND DRY.
NEXT, A WORKER
WEARING PROTECTIVE CLOTHING
SANDBLASTS THE PARTS
WITH ALUMINUM OXIDE POWDER,
A STRONG ABRASIVE.
THIS ROUGHENS UP THE SURFACE
SO THAT THE PLATING METAL
WILL ADHERE BETTER.
THE MOST COMMON PLATING METALS
FOR INDUSTRIAL PURPOSES
ARE ZINC, CHROME, AND NICKEL.
THINK MOTORCYCLE PARTS
OR SINK FAUCETS.
DECORATIVE ITEMS,
ON THE OTHER HAND,
ARE MOST LIKELY TO BE PLATED
IN TIN, BRASS, GOLD, OR SILVER.
TRADITIONAL TEA SETS,
FOR INSTANCE,
ARE OFTEN MADE OF SILVER-PLATED
COPPER OR ZINC.
THE PLATING PROCESS
IS CALLED ELECTROPLATING
BECAUSE THE KEY IS ELECTRICITY.
THEY START BY TYING STRANDS
OF COPPER WIRE
TO A COPPER SUPPORT FRAME.
COPPER IS THE BEST METAL
FOR CONDUCTING ELECTRICITY.
THEN THEY ATTACH THE STEEL PARTS
THEY'LL BE PLATING.
WHEN THEY HOOK UP THE SUPPORT
TO AN ELECTRIC CURRENT,
ELECTRICITY WILL RUN FROM
THE SUPPORT THROUGH THESE WIRES
RIGHT TO THE PIECES.
THEY DO THE ELECTROPLATING
IN A TANK.
AFTER FILLING IT WITH WATER,
THEY ADD A HANDFUL OF CHEMICALS
TO HELP CONDUCT ELECTRICITY,
BECAUSE WATER ALONE
WON'T CONDUCT IT SUFFICIENTLY.
ALONG THE SIDES OF THE TANK,
IN BAGS, ARE METAL BASKETS.
THEY CONTAIN BARS OR BALLS
OF THE PLATING METAL --
IN THIS CASE, CADMIUM.
WORKERS CONNECT THE SUPPORT
FRAME WITH THE STEEL PARTS
TO THE NEGATIVE TERMINAL
OF AN ELECTRIC SOURCE --
THE BASKETS OF CADMIUM
TO THE POSITIVE TERMINAL.
THEN, THEY SWITCH ON
A STEADY D.C. CURRENT
NO STRONGER THAN SIX VOLTS.
THE ELECTRICITY DISSOLVES
THE CADMIUM,
PLACING THE PARTICLES
WITH A POSITIVE CHARGE.
THEY TRAVEL THROUGH THE WATER
AND ATTACH THEMSELVES TO THE
NEGATIVE-CHARGED STEEL PARTS.
THIS CREATES A SMOOTH AND EVEN
LAYER OF CADMIUM.
THIN PLATING REQUIRES
JUST A FEW MINUTES IN THE TANK.
THICK PLATING, SEVERAL HOURS.
THEN WORKERS RINSE THE PARTS
IN WATER FOR ABOUT A MINUTE
TO REMOVE THE CHEMICAL RESIDUES.
TO MAKE THE PARTS
EVEN MORE RUST-RESISTANT,
WORKERS IMMERSE THEM
IN A SERIES OF COMPOUNDS.
THIS TRIGGERS A CHEMICAL
REACTION IN THE PLATING,
ENHANCING ITS ABILITY
TO WITHSTAND CORROSION.
THIS REACTION, HOWEVER,
CHANGES THE COLOR.
A FINAL RINSE IN HOT WATER,
AND THIS CADMIUM-PLATED STEEL
AEROSPACE PART IS FINALLY READY.
FROM START TO FINISH,
THE PROCESS HAS TAKEN
ABOUT 90 MINUTES.
TO PLATE WITH CHROME OR GOLD,
THEY HAVE TO USE
A CHEMICAL COMPOUND
CONTAINING GOLD OR CHROMIUM.
THAT'S BECAUSE ELECTRICITY
CAN'T DISSOLVE
SOLID CHROMIUM WELL ENOUGH,
AND IT CAN'T DISSOLVE SOLID GOLD
AT ALL.
THE COMPOUND DISSOLVES
IN THE BATH LIKE SALT,
BUT THEN SOLIDIFIES
ONCE IT REACHES
THE OBJECT BEING PLATED.
METAL PLATING IS VERY DURABLE,
BUT IF SUBJECTED
TO A LOT OF WEAR AND TEAR,
THE OBJECT WILL EVENTUALLY
HAVE TO BE REPLATED.
Narrator: HAVE YOU EVER WONDERED
WHY MEN'S BUTTONS
ARE TRADITIONALLY
ON THE RIGHT SIDE OF A GARMENT
AND WOMEN'S ON THE LEFT?
LEGEND HAS IT
THAT THIS ENABLED A MAN
TO UNBUTTON HIS COAT
WITH HIS LEFT HAND
WHILE DRAWING A SWORD
WITH HIS RIGHT.
WEALTHY WOMEN, MEANWHILE,
HAD THEIR BUTTONS
SEWN ON THE LEFT SIDE
TO MAKE IT EASIER
FOR THEIR RIGHT-HANDED MAIDS
TO DRESS THEM.
ONE WAY TO MAKE PLASTIC BUTTONS
USES A MULTILAYER SHEET
OF SYNTHETIC RESIN --
HENCE THE INDUSTRY TERM,
SHEET BUTTONS.
WORKERS START BY MIXING
LIQUID POLYESTER RESIN
WITH A CATALYST TO GEL IT.
THEY POUR THE MATERIAL
INTO A REVOLVING DRUM,
WHICH DISPERSES IT EVENLY.
THEY SPRAY A SOLUTION CONTAINING
AN ULTRAVIOLET PIGMENT
ON THIS FIRST LAYER ONLY.
YOU'LL SEE WHY LATER ON.
FOR THIS PARTICULAR MODEL,
THEY MAKE GROOVES IN THE RESIN
WHILE IT'S STILL MALLEABLE.
THIS WILL CREATE A DESIGN.
AFTER ABOUT FIVE MINUTES,
THE RESIN GELS AND THEY CAN MIX
AND ADD A SECOND LAYER
IN A DIFFERENT COLOR.
BESIDES BUILDING UP
THE THICKNESS OF THE SHEET,
THE RESIN FLOWS
INTO THE FIRST LAYER'S GROOVES,
CREATING A DESIGN
OF CONTRASTING LINES.
ONCE THIS SECOND LAYER GELS,
THEY MIX AND POUR IN
A THIRD COLOR.
THE DRUM SPINS
FOR ANOTHER 10 TO 15 MINUTES
UNTIL ALL LAYERS CURE.
A RESIN SHEET CAN BE COMPRISED
OF UP TO 4 DIFFERENT
COLOR LAYERS.
WORKERS CAN NOW
REMOVE THE SHEET.
IT'S HARDENED ENOUGH
TO BE CUT INTO BUTTONS,
BUT IT'S STILL FLEXIBLE ENOUGH
NOT TO CRACK WHEN CUT.
THEY FEED EACH SHEET
INTO A PRESS
THAT'S OUTFITTED WITH THE DIE
FOR THAT PARTICULAR
BUTTON MODEL.
THE PRESS PUNCHES OUT CIRCLES
IN THE DIAMETER OF THE BUTTON.
THESE CIRCLES ARE CALLED BLANKS.
HERE, YOU CAN SEE
THE DIFFERENT COLOR LAYERS.
THE BLANKS MOVE ON
TO THE MACHINING CENTER,
WHERE THEY'LL BE TRANSFORMED
INTO BUTTONS.
AUTOMATED EQUIPMENT
LOADS THEM ONTO CAROUSELS
WITH THE BACK OF THE BLANK
FACING OUTWARD.
HOW DOES THE LOADER KNOW
WHICH SIDE IS WHICH?
REMEMBER
THAT ULTRAVIOLET SOLUTION
THE WORKERS SPRAYED ONTO
THE FIRST LAYER OF RESIN?
A U.V. DETECTOR SCANS EACH BLANK
TO MAKE SURE THE FIRST LAYER
IS FACING UPWARD.
IF IT ISN'T, THE MACHINE
REJECTS THE BLANK,
THEN FLIPS AND RELOADS IT.
THE CAROUSELS FIRST
RUN THE BACK OF THE BLANK
AGAINST A SERIES
OF CUTTING HEADS.
THE HEADS ARE CHANGED ACCORDING
TO THE MODEL BEING PRODUCED.
FOR THIS ONE, THE HEADS
GRADUALLY CARVE A CURVED BACK.
THE EQUIPMENT THEN TRANSFERS THE
BLANK ONTO A SECOND CAROUSEL,
EXPOSING THE FRONT SIDE
THIS TIME.
AGAIN, A SERIES OF CUTTING HEADS
GRADUALLY CARVE
THE FRONT OF THE BUTTON.
THE SHAPE OF THIS MODEL
EXPOSES THE DIFFERENT
COLOR LAYERS UNDERNEATH,
CREATING A VEINED EFFECT.
THE LAST CUTTING HEAD
DRILLS THE HOLES.
HERE, YOU CAN SEE
THE FULL PROGRESSION
FROM BLANK TO BUTTON.
NOW THEY POLISH THE BUTTONS
FOR SEVERAL HOURS
IN DRUMS CONTAINING ABRASIVE
CERAMIC STONES AND PUMICE.
THEN WORKERS FLUSH THE DRUMS
WITH WATER.
THE HEAVY POLISHING STONES
SINK TO THE BOTTOM
WHILE THE LIGHTWEIGHT BUTTONS
FLOAT TO THE SURFACE
AND SPILL OUT.
THE BUTTONS THEN GO INTO DRUMS
THAT CONTAIN SILICON WAX
AND THOUSANDS
OF TINY WOODEN PEGS.
WHILE THE DRUMS SPIN,
THE PEGS ACT AS A CARRIER,
DISTRIBUTING
AN EVEN COAT OF WAX.
AS THE BUTTONS EXIT THE DRUMS,
THE PEGS ARE SCREENED OUT.
FROM HERE, PLAIN BUTTONS
ARE OFTEN CUSTOM-DYED
TO MATCH FABRIC SWATCHES
PROVIDED BY CLOTHING
MANUFACTURERS.
Narrator: YOU'VE SEEN
HOW THEY MANUFACTURE
SOME TYPES OF PLASTIC BUTTONS,
JUST A FEW OF THE MANY STYLES
ON THE MARKET.
THERE ARE SEVERAL DIFFERENT WAYS
TO PRODUCE THESE HANDY
LITTLE FASTENERS.
SO, FORGIVE US
IF WE BUTTONHOLE YOU
TO STAY TUNED
AND WATCH SOME MORE.
ARCHEOLOGISTS
HAVE UNEARTHED BONE BUTTONS
DATING BACK
TO PREHISTORIC TIMES.
THE ANCIENT GREEKS AND ROMANS
USED BUTTONS
TO FASTEN AND DECORATE
THEIR CLOTHING.
EUROPEANS WORE BUTTONS
STRICTLY FOR ADORNMENT
UNTIL ABOUT THE 1200s.
THAT'S WHEN FITTED GARMENTS
BECAME THE TREND,
FASTENED BY A LONG ROW
OF BUTTONS DOWN THE FRONT.
THE RICH WORE BUTTONS
MADE OF SILVER OR GOLD,
SOMETIMES SET
WITH PRECIOUS GEMSTONES.
ORDINARY PEOPLE WORE BUTTONS
MADE OF BRONZE OR WOOD.
THIS IS ANOTHER WAY
TO MAKE PLASTIC BUTTONS
USING POLYESTER RESIN.
ONLY INSTEAD OF TURNING IT
INTO SHEETS,
THEY POUR THE RESIN
INTO LONG METAL TUBES.
HERE, THEY'RE MIXING
TWO DIFFERENT COLORS
TO CREATE A DESIGN
IN THE PLASTIC.
THE TUBES GO INTO AN OVEN,
WHERE THEY BAKE AT 212 DEGREES
FAHRENHEIT FOR ABOUT AN HOUR
UNTIL THE LIQUID RESIN HARDENS.
ONCE THE TUBES COOL OFF,
WORKERS REMOVE THE CONTENTS.
THESE LONG RESIN RODS
WILL BECOME
WHAT THE INDUSTRY CALLS
ROD BUTTONS.
THE RODS GO INTO A MACHINE
CALLED THE SLICER.
ITS SHARP CARBIDE BLADE
CHOPS THE LONG RODS
INTO BUTTON-SIZED BLANKS.
HERE'S WHAT THAT LOOKS LIKE
IN SLOW MOTION.
IT'S NO USE SHOWING YOU THIS
AT REGULAR SPEED.
IT WOULD BE BUT A BLUR.
THIS MACHINE CUTS
UP TO 700 BLANKS PER MINUTE.
BLANKS CUT FROM RESIN RODS
RUN THROUGH
THE SAME MACHINING CENTER
AS THOSE CUT FROM RESIN SHEETS.
IN THE LAST SEGMENT,
WE SHOWED YOU THE MACHINING
STEPS IN SLOW MOTION.
HERE'S WHAT THEY LOOK LIKE
AT ACTUAL SPEED.
ANY TYPE OF BUTTON
CAN BE ENGRAVED
WITH A COMPANY NAME OR LOGO.
THEY DO THIS
USING A COMPUTER-PROGRAMMED
LASER MACHINE.
THE LASER BEAM BURNS
THE LETTERING INTO THE PLASTIC.
WORKERS VISUALLY INSPECT
THE FINISHED BUTTONS
TO MAKE SURE THAT NONE
HAVE DEFECTS.
A THIRD WAY
TO MAKE PLASTIC BUTTONS
IS A METHOD CALLED
THERMOSET COMPRESSION,
A TECHNIQUE THAT COMBINES
BOTH HEAT AND PRESSURE
TO MOLD THE BUTTON'S SHAPE.
AS WE SEE HERE IN SLOW MOTION,
THE RAW MATERIAL
ISN'T LIQUID RESIN,
BUT RATHER MELAMINE POWDER.
A PILL-MAKING MACHINE --
THE KIND PHARMACEUTICAL
COMPANIES USE --
COMPRESSES THE POWDER
INTO PILL-SHAPED BLANKS.
HERE'S WHAT THAT PILL-MAKING
ACTION LOOKS LIKE
AT ACTUAL SPEED.
TO TRANSFORM THESE PILLS
INTO BUTTONS,
WORKERS LOAD THEM ONTO A PRESS.
THE PRESS USES HIGH PRESSURE
TO FORCE EACH PILL
INTO A BUTTON MOLD
FOR A PERIOD
OF 40 TO 60 SECONDS,
DEPENDING ON THE SIZE
OF THE BUTTON.
AT THE SAME TIME,
IT HEATS THE MOLD
TO 325 DEGREES FAHRENHEIT.
THIS BAKES THE MELAMINE
INTO HARD PLASTIC.
THEY COOL THE MOLDED BUTTONS
IN A BASIN OF COLD WATER.
SOME SPECIALTY BUTTONS
WILL BE GOLD-PLATED,
BUT NOT BEFORE SOAKING
IN A CHEMICAL BATH
TO CLEAN THEIR SURFACE
SO THAT THE PLATING
WILL BOND WELL.
AS A RULE, ONLY MATERIALS
THAT CONDUCT ELECTRICITY
CAN BE METAL-PLATED.
PLASTIC, OF COURSE,
IS NONCONDUCTIVE.
THIS COMPANY HAS MANAGED
TO DEVISE A WAY
TO GOLD-PLATE PLASTIC BUTTONS.
EXACTLY HOW
IS A CLOSELY GUARDED SECRET
IT'S NOT WILLING TO DIVULGE.
AFTER PLATING THE BUTTONS
IN COPPER, A 12-HOUR PROCESS,
THEY PLATE THEM IN NICKEL,
WHICH TAKES
JUST A COUPLE OF MINUTES,
AND FINALLY, IN 24-KARAT GOLD,
WHICH TAKES JUST A FEW SECONDS.
A MERE ONE OUNCE OF GOLD
IS ENOUGH TO PLATE
180 POUNDS OF BUTTONS.
THERMOSET COMPRESSION BUTTONS
ARE A LOWER-END PRODUCT
USED PRIMARILY FOR UNIFORMS.
SHEET BUTTONS AND ROD BUTTONS
ARE HIGHER QUALITY,
THE STANDARD CHOICE FOR EVERYDAY
AND HIGHER-END CLOTHING.
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