How It's Made (2001–…): Season 9, Episode 7 - Racing Shells/Stainless Steel Sinks/Leather/Pedal Steel Guitars - full transcript
Find out how racing shells, stainless steel sinks, leather, and pedal steel guitars are made.
CAPTIONS PAID FOR BY
DISCOVERY COMMUNICATIONS, LLC
Narrator:
TODAY ON "HOW IT'S MADE"...
RACING SHELLS...
...STAINLESS-STEEL SINKS...
...LEATHER...
...AND PEDAL STEEL GUITARS.
THE RACING SHELL IS A HIGH-TECH
ROWBOAT THAT'S BUILT FOR SPEED.
LONG AND EXCEPTIONALLY NARROW,
IT'S DESIGNED
TO CUT THROUGH WAVE DRAG
AND LEAVE THE COMPETITION
IN ITS WAKE.
RACING SHELLS ARE MADE FOR
SINGLE ROWERS, CALLED SCULLERS,
FOR PAIRS, OR ENTIRE CREWS.
THEY'RE CUSTOM-MADE
TO PRECISE SPECIFICATIONS.
RACERS NEED TO TRAVEL LIGHT
TO MAINTAIN SPEED,
SO THESE BOATS ARE MADE
FROM REINFORCED CARBON FIBER,
WHICH WEIGHS A LOT LESS
THAN WOOD.
FIRST, SEVERAL OF THESE
CARBON-FIBER SHEETS
ARE LAYERED IN A MOLD
AND TRIMMED ALONG THE EDGE.
TEXTURED THERMOPLASTIC CALLED
HONEYCOMB GETS A SPRAY OF GLUE
AND IS THEN PRESSED ONTO
THE CARBON-FIBER PLIES.
SANDWICHED BETWEEN LAYERS
OF CARBON FIBER,
THE HONEYCOMB WILL SERVE
AS THE SHELL'S CORE,
LENDING SOME LIGHTWEIGHT
REINFORCEMENT
TO THE DELICATE HULL.
NEXT, THE ENTIRE BOAT
IS WRAPPED IN BREATHER CLOTH
AND A PLASTIC BAG
SO THAT THE AIR CAN BE VACUUMED
FROM BETWEEN THE LAYERS.
THE BREATHER CLOTH
IS A PERMEABLE LAYER
THAT PREVENTS THE PLASTIC
FROM STICKING TO THE MOLD
AND CREATING AIR POCKETS.
NEXT, THE SHELL GOES
INTO A LONG OVEN,
WHICH MELTS THE GLUE
THAT'S BEEN IMPREGNATED
IN THE CARBON MATERIAL,
FUSING THE LAYERS TOGETHER.
THE SHELL BAKES AT 210 DEGREES
FOR 8 HOURS.
THEN THE PLASTIC AND
BREATHER CLOTH ARE PULLED AWAY.
AND THE BOAT IS PRIED OUT OF
THE MOLD USING PLASTIC WEDGES.
THE HULL COMES OUT
IN ONE SOLID PIECE,
AND A PRIMER PAINT SPRAYED
INTO THE MOLD EARLIER
HAS ADHERED
TO THE SHELL'S SURFACE.
WORKERS CHECK THE WEIGHT,
WHICH HAS TO BE EXACTLY
WHAT THE CUSTOMER ORDERED.
NEXT, THEY REINFORCE
THE BOAT'S COCKPIT
WITH SEVERAL
CARBON-FIBER BULKHEADS.
FOAM IS GLUED ON THE INSIDE RIM
OF THE RACING SHELL,
USING A PIECE OF WOOD
AS A GUIDE.
GLUE IS APPLIED
AROUND THE BULKHEADS.
THEN THE COCKPIT PANEL
IS LOWERED
SO THAT IT ADHERES
TO THE GLUED AREAS
AND RESTS ON TOP OF THE FOAM
THAT'S BEEN INSTALLED
ALONG THE EDGES.
NEXT, A COMPUTERIZED TOOL
DRILLS HOLES
FOR THE HARDWARE AND RIGGERS
AND WORKERS TRIM THE RIM
FROM STERN TO BOW.
THEY SMOOTH THE HOLES' FINISH
WITH A GRINDING TOOL.
AND NOW IT'S OVER
TO THE PAINT STATION
FOR SOME SANDING AND PRIMING.
ANY FLAWS ARE MARKED FOR REPAIR
BECAUSE THE SLIGHTEST
IMPERFECTION
COULD AFFECT THE BOAT'S ABILITY
TO SPEED THROUGH THE WATER.
ONCE THE BOAT
IS PERFECTLY SMOOTH,
IT GETS A HIGH-GLOSS
URETHANE COATING.
NEXT, A FIN IS INSTALLED
FOR A LITTLE STABILITY.
A LASER GUIDE HELPS ALIGN IT
INTO PERFECT POSITION.
A RUDDER GOES INTO THE BOTTOM
OF THE BOAT.
THE SYSTEM OF ROPES
THAT'S ATTACHED NEXT
WILL ALLOW THE ROWERS TO STEER.
THIS BOAT COMES WITH SPECIAL
SHOES AND SLIDING SEATS
THAT ALLOW ROWERS TO PUT A LOT
OF LEG POWER INTO THEIR STROKES.
FINALLY, THE RIGGING EQUIPMENT
FOR THE OARS GOES IN.
NOW THIS SLEEK RACING SHELL
IS READY TO HIT THE WATER.
WHEN WE RETURN,
TURNING STAINLESS STEEL
INTO A SPARKLING NEW SINK.
Narrator:
THE STAINLESS-STEEL SINK
IS AN INVENTION BORN
OF PATRIOTISM.
IT EVOLVED DURING WORLD WAR II
WHEN SINKS WERE OFTEN MADE
FROM COPPER-NICKEL MATERIAL
CALLED MONEL.
WHEN THAT MATERIAL WAS NEEDED
FOR THE WAR EFFORT,
STAINLESS STEEL WAS DRAFTED
FOR USE ON THE HOME FRONT,
AND IT'S STILL ON KITCHEN DUTY
TO THIS DAY.
STAINLESS STEEL IS LIGHTWEIGHT
AND HEAVY-DUTY,
WHICH MAKES IT GREAT FOR SINKS.
THE PROCESS BEGINS WITH A LARGE
SHEET OF STAINLESS STEEL,
UNCOILED AND SLICED INTO PIECES
CALLED BLANKS.
EACH BLANK GOES UNDER
A 1,000-TON PRESS.
AS THE PRESS DESCENDS,
A PUNCH RISES FROM BELOW,
STRETCHING THE STEEL
INTO A ROUGH SINK SHAPE.
THIS PROCESS ALSO TRANSFORMS
THE STEEL ON A MOLECULAR LEVEL,
HARDENING IT.
WORKERS BRUSH LUBRICANT IN
AND AROUND THE SINK BOWL
TO MAKE IT EASIER
TO STRETCH IT AGAIN.
THE BOWL GOES UNDER THE SAME
PUNCH PRESS A SECOND TIME
FOR MORE PRECISE SHAPING.
THIS SECOND WORKING OF THE STEEL
HARDENS IT EVEN MORE.
NOW THE SINK GOES UNDER
A DIFFERENT PUNCH DEVICE
THAT CUTS OUT A DRAIN HOLE
AND FORMS A LIP AROUND IT.
AS COOLANT FLUSHES THE SINK,
AN ABRASIVE BELT
GRINDS THE SURFACE
TO GIVE IT A BRUSHED LOOK.
NEXT, A SINK BOWL SLIDES
INTO A WELDING MACHINE.
A SECOND SINK BOWL IS LINED UP
AGAINST THE FIRST ONE.
INSIDE, AN ELECTRODE WELDS
THE TWO SINKS TOGETHER.
USING ENORMOUS FORCE,
A ROLLER MOVES ACROSS THE SEAM
TO FLATTEN IT.
A GRINDING BELT BEHIND
THE ROLLER SANDS IT DOWN.
NOW THAT THE SEAM JOINING THE
TWO SINKS IS LEVEL AND SMOOTH...
...IT'S TIME TO GIVE
THE SINK'S RIM SOME SHAPE.
THIS DIE FORMS RECESSES
ALONG THE SINK'S PERIMETER.
THESE RECESSES GIVE THE SINK
A SLEEK LOOK
AND COLLECT WATER RUNOFF.
ANOTHER PRESS TRIMS THE RIM
AND GIVES IT A BEVEL FINISH,
WHICH SOFTENS THOSE ROUGH EDGES.
NOW, USING A PUNCH CUTTER,
WORKERS PIERCE THE BACK RIM
OF THE SINK
TO MAKE HOLES FOR FAUCETS
AND A SOAP DISPENSER.
THEN THEY GRIND AND BUFF
THE SINK TO A FINE FINISH.
IT'S A VERY INTENSIVE PROCESS
THAT TAKES ABOUT 25 MINUTES.
THE COMPANY'S TRADEMARK
IS EMBOSSED ON THE SINK.
THEN THE SINK'S DRAINS
ARE PLUGGED
AND A SUBSTANCE
SIMILAR TO LATEX PAINT
IS SPRAYED ONTO THE OUTSIDE.
THE FINISH WILL MUFFLE THE SOUND
OF CLATTERING DISHES
AND PROTECT THE OUTSIDE
OF THE SINK FROM CONDENSATION.
IT TAKES ABOUT 2 1/2 HOURS TO
MAKE A STAINLESS-STEEL SINK --
A FUNCTIONAL AND STYLISH
ADDITION TO ANY KITCHEN.
COMING UP,
TURNING HAIRY COWHIDES
INTO BUTTERY-SMOOTH LEATHER.
Narrator: LEATHER PRODUCTION
DATES BACK TO PRIMITIVE TIMES
WHEN HUMANS RUBBED FATS INTO
ANIMAL SKINS TO PRESERVE THEM.
TIMES HAVE CHANGED,
BUT LEATHER ENDURES.
FROM FOOTWEAR TO FURNITURE,
THIS TOUGH MATERIAL REMAINS
AN INTEGRAL PART OF OUR LIVES.
THIS LEATHER COMES FROM THE
HIDES OF COWS KILLED FOR MEAT.
WITHOUT TANNING, THESE COWHIDES
WOULD GO TO WASTE.
CONVERTING THEM TO LEATHER
IS A KIND OF RECYCLING.
THE FIRST STEP
IS TO CUT EACH HIDE IN HALF.
THE HIDES ARE DRAPED
OVER A SAWHORSE,
STAMPED WITH
AN IDENTIFICATION CODE...
AND SLICED DOWN THE CENTER.
TWO SMALLER PIECES WILL BE
EASIER TO HANDLE AND PROCESS
THAN ONE LARGE HIDE.
HUNDREDS OF THESE HIDE HALVES
ARE LOADED
INTO A MODIFIED CEMENT MIXER
FOR SOME SERIOUS HAIR REMOVAL.
AS THE MIXER FILLS WITH WATER,
A WORKER DUMPS IN A COMBINATION
OF SODIUM SULFYDRATE AND LIME.
A CHEMICAL REACTION
STRIPS THE HAIR FROM THE HIDES.
THE HAIRLESS HIDES
NOW GET AN ACID BATH
TO PREPARE THEM
FOR THE TANNING PROCESS.
THE TANNING ITSELF HAPPENS
INSIDE BIG WOODEN DRUMS
WITH PRONGS TO KEEP THE SKINS
FROM GETTING TANGLED.
CHROME SALTS TURN THE HIDES
A ROBIN'S-EGG BLUE
AS THEY BIND TO THE
COLLAGEN FIBERS OF THE SKINS.
THE HIDES HAVE NOW BEEN
PRESERVED INTO LEATHER.
NEXT, THE PIECES
ARE FED GRAIN-SIDE UP
INTO A MACHINE THAT SLICES THE
LEATHER TO AN EVEN THICKNESS.
THE CUTOFFS WON'T BE WASTED.
THEY'LL BE RECYCLED INTO SUEDE.
WORKERS CHECK EACH PIECE
OF LEATHER WITH A GAUGE
TO CONFIRM THAT THE THICKNESS
IS UNIFORM.
NOW IT'S BACK INTO THE WOODEN
DRUMS FOR A SECOND TANNING,
THIS TIME USING A SOLUTION
OF VEGETABLE EXTRACT,
TREE BARK, AND WATER.
DYE IS ADDED
ALONG WITH A CHEMICAL
THAT WILL MAKE THE LEATHER
WATER-RESISTANT.
THE SOLUTION
BINDS TO THE LEATHER,
GIVING IT A BROWNISH TONE.
IT'S A GENTLER PROCESS
THAN THE FIRST TANNING,
AND IT SOFTENS THE LEATHER.
NOW A MIXTURE
OF STARCH AND WATER
IS BRUSHED
ONTO THE TANNED HIDES.
THIS PASTE-LIKE SOLUTION
ALLOWS THE HIDES
TO BE PRESSED
ONTO BIG GLASS FRAMES,
WHICH ALSO HAVE BEEN MOISTENED
WITH THE SAME STARCHY MIXTURE.
THIS PROCESS ALLOWS THE LEATHER
TO DRY FLAT...
...PREVENTS IT FROM SHRINKING...
...AND STOPS THE EDGES
FROM CURLING UP.
AFTER FOUR HOURS IN A DRYER,
IT'S TIME TO REMOVE THE LEATHER.
IT EASILY PEELS AWAY
FROM THE GLASS.
A REVOLVING PAINT-GUN SYSTEM
DYES THE LEATHER.
AND NOW IT'S TIME
FOR THE FINISHING TOUCHES.
A GLAZING JACK PULLS A GLASS
CYLINDER OVER THE LEATHER,
AND THE ABRASIVE ACTION
POLISHES IT.
THIS GLASS IS VERY STRONG,
SO IT CAN DO THIS VIGOROUS WORK
WITHOUT SHATTERING.
FINALLY, HUGE HEATED ROLLERS
SMOOTH OUT ANY WRINKLES.
IT'S THE END
OF THE PRODUCTION LINE
FOR THIS BIG PILE OF LEATHER
BUT JUST THE BEGINNING
FOR SO MANY OTHER PRODUCTS.
FASHIONABLE AND TOUGH, IT'S
NO WONDER THIS ANCIENT MATERIAL
CONTINUES TO BE ONE
OF OUR FAVORITE PRODUCTS TODAY.
UP NEXT, AN INSTRUMENT
THAT'S ALMOST AS TRICKY TO BUILD
AS IT IS TO PLAY.
Narrator:
PLAYING THE PEDAL STEEL GUITAR
TAKES QUITE A LOT OF SKILL.
YOU SLIDE A STEEL BAR
UP AND DOWN THE STRINGS
AS YOU PLUCK THEM,
ALL THE WHILE OPERATING A SYSTEM
OF PEDALS AND KNEE LEVERS BELOW.
THIS MEANS USING BOTH HANDS,
BOTH FEET, AND BOTH KNEES.
BUT A PEDAL STEEL GUITAR'S
UNIQUE SOUND
AND IMPRESSIVE RANGE
ARE WORTH ALL THE EFFORT.
[ PEDAL STEEL GUITAR PLAYS ]
TO MAKE ONE, A GUITAR MAKER
FIRST CARVES THE NECK
OF THE INSTRUMENT FROM HARDWOOD.
HE BEADS GLUE
AROUND THE EDGES OF THE NECK
AND APPLIES STRIPS
OF INTRICATE WOODEN INLAY.
ONCE THE FRETBOARD DESIGN
IS SILK-SCREENED ONTO THE TOP,
THE GUITAR NECK IS COMPLETE.
THE GUITAR MAKER
THEN OUTLINES A DESIGN
ONTO AIRCRAFT-GRADE ALUMINUM
AND CUTS IT OUT
TO MAKE AN END PLATE
FOR THE GUITAR FRAME.
HE POPS THE END PLATE
OUT OF THE HOLDING DEVICE.
THEN HE WELDS IT
TO THE REST OF THE FRAMEWORK
AND POLISHES EVERYTHING
TO A MIRROR FINISH.
NEXT, THE PART OF THE GUITAR
CALLED THE STEPS IS MACHINED.
THE HOLES IN THE STEPS WILL
BE USED TO ATTACH TUNING PEGS.
THERE'S ONE FOR EVERY STRING.
THE STEPS ARE ATTACHED TO THE
NECK JUST ABOVE THE FRETBOARD.
THIS IS THE PICKUP PLATE.
IT WILL HOLD THE DEVICE THAT
TRANSFERS SOUND TO THE AMPLIFIER
AS WELL AS A SERIES
OF METAL FINGERS.
THE FINGERS ARE MADE
FROM SEVERAL ALUMINUM PIECES
THAT ARE MACHINED
AND ASSEMBLED TOGETHER.
THE FINGERS PIVOT TO RAISE AND
LOWER THE PITCH OF THE STRINGS.
ALL OF THE FINGERS ARE FITTED
INTO THE PICKUP PLATE
AND SECURED WITH SCREWS.
THE GUITAR MAKER DOUBLE-CHECKS
THE FINGERS' MOVEMENT,
THEN HE HOOKS SPRINGS
TO THE END OF EACH ONE
TO MAINTAIN THE PROPER TENSION.
A LITTLE GREASE ENSURES THAT
THIS NEXT STEP GOES SMOOTHLY --
THE PRODUCTION
OF THE GUITAR'S CROSS-SHAFTS.
THEN IT'S ON
TO THE GUITAR'S UNDERCARRIAGE
AND THE SYSTEM OF FOOT PEDALS
AND KNEE LEVERS
THAT WILL MOVE THE FINGERS.
THE GUITAR MAKER
SCREWS SEVERAL CROSS-SHAFTS,
ONE FOR EACH PEDAL,
INTO THE UNDERCARRIAGE.
HE ATTACHES BELL CRANKS
TO THE CROSS-SHAFTS...
...THEN CONNECTS THIN STEEL RODS
FROM THE FINGERS
TO THE BELL CRANKS.
THIS SYSTEM
WILL ALLOW THE PERFORMER
TO TIGHTEN OR RELAX STRINGS
WHILE PLAYING,
WHICH GIVES THE INSTRUMENT
ITS CHARACTERISTIC SOUND.
THE GUITAR MAKER
TESTS THE KNEE LEVER.
HERE HE'S WINDING
COPPER-COATED WIRE
AROUND A CARTRIDGE
THOUSANDS OF TIMES
TO MAKE THE GUITAR'S PICKUP,
WHICH TRANSFERS SOUND FROM
THE GUITAR TO THE AMPLIFIER.
HE TAKES TWO
OF THE WIRE-BOUND CARTRIDGES
AND PLACES A MAGNET BETWEEN THEM
TO COMPLETE THE PICKUP.
THEN HE FITS IT INTO THE OTHER
SLOT IN THE PICKUP PLATE
JUST ABOVE THE FINGERS.
NOW, USING A GAUGE AND A LEVEL,
HE ADJUSTS THE PICKUP.
IT HAS TO SIT LOW ENOUGH
IN THE SLOT
THAT IT WON'T INTERFERE
WITH THE STRINGS.
THERE'S NO ROOM FOR ERROR HERE.
THE POSITIONING MUST BE EXACT
OR THE GUITAR WON'T SOUND RIGHT.
10 TO 12 STRINGS ARE ATTACHED
TO THE GUITAR NECK.
SOME INSTRUMENTS HAVE TWO NECKS
TO ADD EVEN MORE DIMENSION
TO THE SOUND.
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, LLC
Narrator:
TODAY ON "HOW IT'S MADE"...
RACING SHELLS...
...STAINLESS-STEEL SINKS...
...LEATHER...
...AND PEDAL STEEL GUITARS.
THE RACING SHELL IS A HIGH-TECH
ROWBOAT THAT'S BUILT FOR SPEED.
LONG AND EXCEPTIONALLY NARROW,
IT'S DESIGNED
TO CUT THROUGH WAVE DRAG
AND LEAVE THE COMPETITION
IN ITS WAKE.
RACING SHELLS ARE MADE FOR
SINGLE ROWERS, CALLED SCULLERS,
FOR PAIRS, OR ENTIRE CREWS.
THEY'RE CUSTOM-MADE
TO PRECISE SPECIFICATIONS.
RACERS NEED TO TRAVEL LIGHT
TO MAINTAIN SPEED,
SO THESE BOATS ARE MADE
FROM REINFORCED CARBON FIBER,
WHICH WEIGHS A LOT LESS
THAN WOOD.
FIRST, SEVERAL OF THESE
CARBON-FIBER SHEETS
ARE LAYERED IN A MOLD
AND TRIMMED ALONG THE EDGE.
TEXTURED THERMOPLASTIC CALLED
HONEYCOMB GETS A SPRAY OF GLUE
AND IS THEN PRESSED ONTO
THE CARBON-FIBER PLIES.
SANDWICHED BETWEEN LAYERS
OF CARBON FIBER,
THE HONEYCOMB WILL SERVE
AS THE SHELL'S CORE,
LENDING SOME LIGHTWEIGHT
REINFORCEMENT
TO THE DELICATE HULL.
NEXT, THE ENTIRE BOAT
IS WRAPPED IN BREATHER CLOTH
AND A PLASTIC BAG
SO THAT THE AIR CAN BE VACUUMED
FROM BETWEEN THE LAYERS.
THE BREATHER CLOTH
IS A PERMEABLE LAYER
THAT PREVENTS THE PLASTIC
FROM STICKING TO THE MOLD
AND CREATING AIR POCKETS.
NEXT, THE SHELL GOES
INTO A LONG OVEN,
WHICH MELTS THE GLUE
THAT'S BEEN IMPREGNATED
IN THE CARBON MATERIAL,
FUSING THE LAYERS TOGETHER.
THE SHELL BAKES AT 210 DEGREES
FOR 8 HOURS.
THEN THE PLASTIC AND
BREATHER CLOTH ARE PULLED AWAY.
AND THE BOAT IS PRIED OUT OF
THE MOLD USING PLASTIC WEDGES.
THE HULL COMES OUT
IN ONE SOLID PIECE,
AND A PRIMER PAINT SPRAYED
INTO THE MOLD EARLIER
HAS ADHERED
TO THE SHELL'S SURFACE.
WORKERS CHECK THE WEIGHT,
WHICH HAS TO BE EXACTLY
WHAT THE CUSTOMER ORDERED.
NEXT, THEY REINFORCE
THE BOAT'S COCKPIT
WITH SEVERAL
CARBON-FIBER BULKHEADS.
FOAM IS GLUED ON THE INSIDE RIM
OF THE RACING SHELL,
USING A PIECE OF WOOD
AS A GUIDE.
GLUE IS APPLIED
AROUND THE BULKHEADS.
THEN THE COCKPIT PANEL
IS LOWERED
SO THAT IT ADHERES
TO THE GLUED AREAS
AND RESTS ON TOP OF THE FOAM
THAT'S BEEN INSTALLED
ALONG THE EDGES.
NEXT, A COMPUTERIZED TOOL
DRILLS HOLES
FOR THE HARDWARE AND RIGGERS
AND WORKERS TRIM THE RIM
FROM STERN TO BOW.
THEY SMOOTH THE HOLES' FINISH
WITH A GRINDING TOOL.
AND NOW IT'S OVER
TO THE PAINT STATION
FOR SOME SANDING AND PRIMING.
ANY FLAWS ARE MARKED FOR REPAIR
BECAUSE THE SLIGHTEST
IMPERFECTION
COULD AFFECT THE BOAT'S ABILITY
TO SPEED THROUGH THE WATER.
ONCE THE BOAT
IS PERFECTLY SMOOTH,
IT GETS A HIGH-GLOSS
URETHANE COATING.
NEXT, A FIN IS INSTALLED
FOR A LITTLE STABILITY.
A LASER GUIDE HELPS ALIGN IT
INTO PERFECT POSITION.
A RUDDER GOES INTO THE BOTTOM
OF THE BOAT.
THE SYSTEM OF ROPES
THAT'S ATTACHED NEXT
WILL ALLOW THE ROWERS TO STEER.
THIS BOAT COMES WITH SPECIAL
SHOES AND SLIDING SEATS
THAT ALLOW ROWERS TO PUT A LOT
OF LEG POWER INTO THEIR STROKES.
FINALLY, THE RIGGING EQUIPMENT
FOR THE OARS GOES IN.
NOW THIS SLEEK RACING SHELL
IS READY TO HIT THE WATER.
WHEN WE RETURN,
TURNING STAINLESS STEEL
INTO A SPARKLING NEW SINK.
Narrator:
THE STAINLESS-STEEL SINK
IS AN INVENTION BORN
OF PATRIOTISM.
IT EVOLVED DURING WORLD WAR II
WHEN SINKS WERE OFTEN MADE
FROM COPPER-NICKEL MATERIAL
CALLED MONEL.
WHEN THAT MATERIAL WAS NEEDED
FOR THE WAR EFFORT,
STAINLESS STEEL WAS DRAFTED
FOR USE ON THE HOME FRONT,
AND IT'S STILL ON KITCHEN DUTY
TO THIS DAY.
STAINLESS STEEL IS LIGHTWEIGHT
AND HEAVY-DUTY,
WHICH MAKES IT GREAT FOR SINKS.
THE PROCESS BEGINS WITH A LARGE
SHEET OF STAINLESS STEEL,
UNCOILED AND SLICED INTO PIECES
CALLED BLANKS.
EACH BLANK GOES UNDER
A 1,000-TON PRESS.
AS THE PRESS DESCENDS,
A PUNCH RISES FROM BELOW,
STRETCHING THE STEEL
INTO A ROUGH SINK SHAPE.
THIS PROCESS ALSO TRANSFORMS
THE STEEL ON A MOLECULAR LEVEL,
HARDENING IT.
WORKERS BRUSH LUBRICANT IN
AND AROUND THE SINK BOWL
TO MAKE IT EASIER
TO STRETCH IT AGAIN.
THE BOWL GOES UNDER THE SAME
PUNCH PRESS A SECOND TIME
FOR MORE PRECISE SHAPING.
THIS SECOND WORKING OF THE STEEL
HARDENS IT EVEN MORE.
NOW THE SINK GOES UNDER
A DIFFERENT PUNCH DEVICE
THAT CUTS OUT A DRAIN HOLE
AND FORMS A LIP AROUND IT.
AS COOLANT FLUSHES THE SINK,
AN ABRASIVE BELT
GRINDS THE SURFACE
TO GIVE IT A BRUSHED LOOK.
NEXT, A SINK BOWL SLIDES
INTO A WELDING MACHINE.
A SECOND SINK BOWL IS LINED UP
AGAINST THE FIRST ONE.
INSIDE, AN ELECTRODE WELDS
THE TWO SINKS TOGETHER.
USING ENORMOUS FORCE,
A ROLLER MOVES ACROSS THE SEAM
TO FLATTEN IT.
A GRINDING BELT BEHIND
THE ROLLER SANDS IT DOWN.
NOW THAT THE SEAM JOINING THE
TWO SINKS IS LEVEL AND SMOOTH...
...IT'S TIME TO GIVE
THE SINK'S RIM SOME SHAPE.
THIS DIE FORMS RECESSES
ALONG THE SINK'S PERIMETER.
THESE RECESSES GIVE THE SINK
A SLEEK LOOK
AND COLLECT WATER RUNOFF.
ANOTHER PRESS TRIMS THE RIM
AND GIVES IT A BEVEL FINISH,
WHICH SOFTENS THOSE ROUGH EDGES.
NOW, USING A PUNCH CUTTER,
WORKERS PIERCE THE BACK RIM
OF THE SINK
TO MAKE HOLES FOR FAUCETS
AND A SOAP DISPENSER.
THEN THEY GRIND AND BUFF
THE SINK TO A FINE FINISH.
IT'S A VERY INTENSIVE PROCESS
THAT TAKES ABOUT 25 MINUTES.
THE COMPANY'S TRADEMARK
IS EMBOSSED ON THE SINK.
THEN THE SINK'S DRAINS
ARE PLUGGED
AND A SUBSTANCE
SIMILAR TO LATEX PAINT
IS SPRAYED ONTO THE OUTSIDE.
THE FINISH WILL MUFFLE THE SOUND
OF CLATTERING DISHES
AND PROTECT THE OUTSIDE
OF THE SINK FROM CONDENSATION.
IT TAKES ABOUT 2 1/2 HOURS TO
MAKE A STAINLESS-STEEL SINK --
A FUNCTIONAL AND STYLISH
ADDITION TO ANY KITCHEN.
COMING UP,
TURNING HAIRY COWHIDES
INTO BUTTERY-SMOOTH LEATHER.
Narrator: LEATHER PRODUCTION
DATES BACK TO PRIMITIVE TIMES
WHEN HUMANS RUBBED FATS INTO
ANIMAL SKINS TO PRESERVE THEM.
TIMES HAVE CHANGED,
BUT LEATHER ENDURES.
FROM FOOTWEAR TO FURNITURE,
THIS TOUGH MATERIAL REMAINS
AN INTEGRAL PART OF OUR LIVES.
THIS LEATHER COMES FROM THE
HIDES OF COWS KILLED FOR MEAT.
WITHOUT TANNING, THESE COWHIDES
WOULD GO TO WASTE.
CONVERTING THEM TO LEATHER
IS A KIND OF RECYCLING.
THE FIRST STEP
IS TO CUT EACH HIDE IN HALF.
THE HIDES ARE DRAPED
OVER A SAWHORSE,
STAMPED WITH
AN IDENTIFICATION CODE...
AND SLICED DOWN THE CENTER.
TWO SMALLER PIECES WILL BE
EASIER TO HANDLE AND PROCESS
THAN ONE LARGE HIDE.
HUNDREDS OF THESE HIDE HALVES
ARE LOADED
INTO A MODIFIED CEMENT MIXER
FOR SOME SERIOUS HAIR REMOVAL.
AS THE MIXER FILLS WITH WATER,
A WORKER DUMPS IN A COMBINATION
OF SODIUM SULFYDRATE AND LIME.
A CHEMICAL REACTION
STRIPS THE HAIR FROM THE HIDES.
THE HAIRLESS HIDES
NOW GET AN ACID BATH
TO PREPARE THEM
FOR THE TANNING PROCESS.
THE TANNING ITSELF HAPPENS
INSIDE BIG WOODEN DRUMS
WITH PRONGS TO KEEP THE SKINS
FROM GETTING TANGLED.
CHROME SALTS TURN THE HIDES
A ROBIN'S-EGG BLUE
AS THEY BIND TO THE
COLLAGEN FIBERS OF THE SKINS.
THE HIDES HAVE NOW BEEN
PRESERVED INTO LEATHER.
NEXT, THE PIECES
ARE FED GRAIN-SIDE UP
INTO A MACHINE THAT SLICES THE
LEATHER TO AN EVEN THICKNESS.
THE CUTOFFS WON'T BE WASTED.
THEY'LL BE RECYCLED INTO SUEDE.
WORKERS CHECK EACH PIECE
OF LEATHER WITH A GAUGE
TO CONFIRM THAT THE THICKNESS
IS UNIFORM.
NOW IT'S BACK INTO THE WOODEN
DRUMS FOR A SECOND TANNING,
THIS TIME USING A SOLUTION
OF VEGETABLE EXTRACT,
TREE BARK, AND WATER.
DYE IS ADDED
ALONG WITH A CHEMICAL
THAT WILL MAKE THE LEATHER
WATER-RESISTANT.
THE SOLUTION
BINDS TO THE LEATHER,
GIVING IT A BROWNISH TONE.
IT'S A GENTLER PROCESS
THAN THE FIRST TANNING,
AND IT SOFTENS THE LEATHER.
NOW A MIXTURE
OF STARCH AND WATER
IS BRUSHED
ONTO THE TANNED HIDES.
THIS PASTE-LIKE SOLUTION
ALLOWS THE HIDES
TO BE PRESSED
ONTO BIG GLASS FRAMES,
WHICH ALSO HAVE BEEN MOISTENED
WITH THE SAME STARCHY MIXTURE.
THIS PROCESS ALLOWS THE LEATHER
TO DRY FLAT...
...PREVENTS IT FROM SHRINKING...
...AND STOPS THE EDGES
FROM CURLING UP.
AFTER FOUR HOURS IN A DRYER,
IT'S TIME TO REMOVE THE LEATHER.
IT EASILY PEELS AWAY
FROM THE GLASS.
A REVOLVING PAINT-GUN SYSTEM
DYES THE LEATHER.
AND NOW IT'S TIME
FOR THE FINISHING TOUCHES.
A GLAZING JACK PULLS A GLASS
CYLINDER OVER THE LEATHER,
AND THE ABRASIVE ACTION
POLISHES IT.
THIS GLASS IS VERY STRONG,
SO IT CAN DO THIS VIGOROUS WORK
WITHOUT SHATTERING.
FINALLY, HUGE HEATED ROLLERS
SMOOTH OUT ANY WRINKLES.
IT'S THE END
OF THE PRODUCTION LINE
FOR THIS BIG PILE OF LEATHER
BUT JUST THE BEGINNING
FOR SO MANY OTHER PRODUCTS.
FASHIONABLE AND TOUGH, IT'S
NO WONDER THIS ANCIENT MATERIAL
CONTINUES TO BE ONE
OF OUR FAVORITE PRODUCTS TODAY.
UP NEXT, AN INSTRUMENT
THAT'S ALMOST AS TRICKY TO BUILD
AS IT IS TO PLAY.
Narrator:
PLAYING THE PEDAL STEEL GUITAR
TAKES QUITE A LOT OF SKILL.
YOU SLIDE A STEEL BAR
UP AND DOWN THE STRINGS
AS YOU PLUCK THEM,
ALL THE WHILE OPERATING A SYSTEM
OF PEDALS AND KNEE LEVERS BELOW.
THIS MEANS USING BOTH HANDS,
BOTH FEET, AND BOTH KNEES.
BUT A PEDAL STEEL GUITAR'S
UNIQUE SOUND
AND IMPRESSIVE RANGE
ARE WORTH ALL THE EFFORT.
[ PEDAL STEEL GUITAR PLAYS ]
TO MAKE ONE, A GUITAR MAKER
FIRST CARVES THE NECK
OF THE INSTRUMENT FROM HARDWOOD.
HE BEADS GLUE
AROUND THE EDGES OF THE NECK
AND APPLIES STRIPS
OF INTRICATE WOODEN INLAY.
ONCE THE FRETBOARD DESIGN
IS SILK-SCREENED ONTO THE TOP,
THE GUITAR NECK IS COMPLETE.
THE GUITAR MAKER
THEN OUTLINES A DESIGN
ONTO AIRCRAFT-GRADE ALUMINUM
AND CUTS IT OUT
TO MAKE AN END PLATE
FOR THE GUITAR FRAME.
HE POPS THE END PLATE
OUT OF THE HOLDING DEVICE.
THEN HE WELDS IT
TO THE REST OF THE FRAMEWORK
AND POLISHES EVERYTHING
TO A MIRROR FINISH.
NEXT, THE PART OF THE GUITAR
CALLED THE STEPS IS MACHINED.
THE HOLES IN THE STEPS WILL
BE USED TO ATTACH TUNING PEGS.
THERE'S ONE FOR EVERY STRING.
THE STEPS ARE ATTACHED TO THE
NECK JUST ABOVE THE FRETBOARD.
THIS IS THE PICKUP PLATE.
IT WILL HOLD THE DEVICE THAT
TRANSFERS SOUND TO THE AMPLIFIER
AS WELL AS A SERIES
OF METAL FINGERS.
THE FINGERS ARE MADE
FROM SEVERAL ALUMINUM PIECES
THAT ARE MACHINED
AND ASSEMBLED TOGETHER.
THE FINGERS PIVOT TO RAISE AND
LOWER THE PITCH OF THE STRINGS.
ALL OF THE FINGERS ARE FITTED
INTO THE PICKUP PLATE
AND SECURED WITH SCREWS.
THE GUITAR MAKER DOUBLE-CHECKS
THE FINGERS' MOVEMENT,
THEN HE HOOKS SPRINGS
TO THE END OF EACH ONE
TO MAINTAIN THE PROPER TENSION.
A LITTLE GREASE ENSURES THAT
THIS NEXT STEP GOES SMOOTHLY --
THE PRODUCTION
OF THE GUITAR'S CROSS-SHAFTS.
THEN IT'S ON
TO THE GUITAR'S UNDERCARRIAGE
AND THE SYSTEM OF FOOT PEDALS
AND KNEE LEVERS
THAT WILL MOVE THE FINGERS.
THE GUITAR MAKER
SCREWS SEVERAL CROSS-SHAFTS,
ONE FOR EACH PEDAL,
INTO THE UNDERCARRIAGE.
HE ATTACHES BELL CRANKS
TO THE CROSS-SHAFTS...
...THEN CONNECTS THIN STEEL RODS
FROM THE FINGERS
TO THE BELL CRANKS.
THIS SYSTEM
WILL ALLOW THE PERFORMER
TO TIGHTEN OR RELAX STRINGS
WHILE PLAYING,
WHICH GIVES THE INSTRUMENT
ITS CHARACTERISTIC SOUND.
THE GUITAR MAKER
TESTS THE KNEE LEVER.
HERE HE'S WINDING
COPPER-COATED WIRE
AROUND A CARTRIDGE
THOUSANDS OF TIMES
TO MAKE THE GUITAR'S PICKUP,
WHICH TRANSFERS SOUND FROM
THE GUITAR TO THE AMPLIFIER.
HE TAKES TWO
OF THE WIRE-BOUND CARTRIDGES
AND PLACES A MAGNET BETWEEN THEM
TO COMPLETE THE PICKUP.
THEN HE FITS IT INTO THE OTHER
SLOT IN THE PICKUP PLATE
JUST ABOVE THE FINGERS.
NOW, USING A GAUGE AND A LEVEL,
HE ADJUSTS THE PICKUP.
IT HAS TO SIT LOW ENOUGH
IN THE SLOT
THAT IT WON'T INTERFERE
WITH THE STRINGS.
THERE'S NO ROOM FOR ERROR HERE.
THE POSITIONING MUST BE EXACT
OR THE GUITAR WON'T SOUND RIGHT.
10 TO 12 STRINGS ARE ATTACHED
TO THE GUITAR NECK.
SOME INSTRUMENTS HAVE TWO NECKS
TO ADD EVEN MORE DIMENSION
TO THE SOUND.
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