All language subtitles for How.Its.Made.S20E08.Thinning.Shears.and.Pastries.1080p.AMZN.WEB-DL.DDP2.0.H.264-SLAG_track4_[eng]

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Narrator:
THINNING SHEARS ARE SCISSORS

WITH AT LEAST
ONE COMB-LIKE BLADE.

WHEN THE BLADES COME TOGETHER,

SOME HAIR FALLS BETWEEN
THE TEETH OF THE COMB,

AND THAT HAIR IS CUT

WHILE OTHER STRANDS
ARE LEFT INTACT.

A FEW QUICK SNIPS,

AND THIS HANDY TOOL CAN DO A LOT
FOR YOUR STYLE.

IT'S OFTEN NECESSARY
TO GO MANY LENGTHS

TO ACHIEVE THE RIGHT LOOK.

STYLISTS USE THINNING SHEARS
TO LAYER A CUT FROM THE INSIDE.

THIS REMOVES BULK
TO GIVE HAIR HEIGHT.

WHEN IT COMES
TO IMPROVING YOUR HAIRDO,

THINNING SHEARS DEFINITELY HAVE
THE TEETH FOR THE JOB.

THEY START
WITH STAINLESS-STEEL RODS.

THE RODS RIDE
A MAGNETIZED CONVEYOR

UP TO AN INDUCTION HEATER.

IT HEATS EACH ROD FROM THE ENDS

UNTIL IT BECOMES
WHITE-HOT AND SOFT.

THE ROD IS NOW READY
FOR FORGING.

A WORKER MOVES THE HOT ROD
BACK AND FORTH OVER A DIE

AS A HAMMER SLAMS INTO IT.

THIS FLATTENS AND FORMS IT

INTO THE SHAPE
OF TWO SCISSOR BLADES.

THE FORGING LEAVES A LOT OF
EXCESS STEEL AROUND THE BLADES.

THEY CUT AWAY THAT EXCESS.

REHEATED NOW,

A WORKER PLUNGES THE BLADES
INTO A LEAD BATH.

THEN HE DIPS THEM IN OIL,
STANDING BACK AS THEY FLAME UP.

THE LEAD BATH
AND THE QUICK COOLDOWN

HARDEN THE STEEL.

ANOTHER WORKER THEN CLAMPS
A BLADE INTO POSITION.

A CUTTING WHEEL
ROLLS INTO ACTION

AND CARVES A COMB PROFILE
INTO THE BLADE.

A CONSTANT FLOW
OF WATER-BASED COOLANT

KEEPS THE TEMPERATURE

OF THE CUTTING WHEEL
AND THE SCISSOR PART DOWN,

OTHERWISE THE CUTTING PROCESS

COULD CAUSE THEM BOTH
TO OVERHEAT

AND COMPROMISE
THEIR STRENGTH AND INTEGRITY.

THIS IS THE THINNING SCISSOR
BLADE BEFORE CUTTING,

AND THIS IS THE BLADE
WITH ITS NEW TEETH.

AT THE NEXT WORKSTATION,

A ROBOT TRANSFERS A BLADE

TO AN AUTOMATED
GRINDING MACHINE.

THE MACHINE GRINDS BOTH
THE FRONT AND SIDES OF THE TEETH

TO SMOOTH THE ROUGH EDGES.

THIS ROBOTIC SYSTEM PROCESSES

UP TO 150 SCISSOR BLADES
AN HOUR.

NEXT, IT'S INTO A TUMBLER
FILLED WITH SYNTHETIC PEBBLES.

AS THE THINNING BLADES
BOUNCE AROUND,

FRICTION HAPPENS.

THIS SMOOTHES MORE ROUGH EDGES,

ESPECIALLY THE HANDLES
AND FINGER RINGS

THAT DIDN'T UNDERGO GRINDING
AT THE ROBOT STATION.

AFTER ABOUT FOUR HOURS,

A MAGNETIC CONVEYOR
RETRIEVES THEM.

THEN THE MIDSECTION,

WHERE THE TWO BLADES
ARE TO BE JOINED,

RECEIVES HANDS-ON ATTENTION
AS A WORKER SMOOTHES IT

USING A FINE
ABRASIVE SANDING BELT.

THEY MOVE ON
TO THE STRAIGHT SCISSOR BLADE.

AN EMPLOYEE HONES IT AGAINST
A HORIZONTAL GRINDING WHEEL.

THIS ALIGNS THE CUTTING EDGE.

HE INSERTS THE THREADED SCREWS
IN HOLES

IN A STRAIGHT-EDGED BLADE

AND IN THE CORRESPONDING
COMB-LIKE BLADE.

HE BRINGS THE TWO TOGETHER

AND THEN TIGHTENS THE SCREWS
TO A SPECIFIC TORQUE.

TOO TIGHT OR TOO LOOSE,

AND THESE THINNING SHEARS
WON'T OPERATE SMOOTHLY.

WITH AN EMERY BOARD,
HE GENTLY FILES THE SHEARS

TO GET RIDE OF LINGERING DUST
FROM THE EXTENSIVE GRINDING.

HE NOW TESTS THEIR FUNCTION.

IT ISN'T ENTIRELY SMOOTH,

SO HAMMERS A SECTION
OF THE COMB BLADE TO LEVEL IT.

IT NOW MOVES MORE FREELY
AGAINST THE STRAIGHT BLADE.

AND NOW THE ULTIMATE TEST --

HE TRIES THEM OUT
ON A LOCK OF ARTIFICIAL HAIR,

AND HE CONFIRMS
THAT THESE THINNING SHEARS

ARE AS SHARP AS THEY LOOK.

NEXT, THE BLADE COMES UP AGAINST
A SPINNING LEATHER BELT.

THIS TAKES IT FROM MERELY SHARP
TO RAZOR-SHARP.

IT ALSO POLISHES THE BLADE
TO A MIRROR FINISH.

A COMPUTERIZED LASER

BURNS THE BRAND NAME AND MODEL
INFORMATION INTO THE SHEARS.

THEY SCREW A BRASS NUB
TO THE FINGER RING

TO GIVE THE PINKIE FINGER
SOMETHING TO REST AGAINST.

THESE THINNING SHEARS
ARE NOW READY FOR SHIPMENT.

SOON, THEY'LL BE IN THE THICK
OF THINGS AT THE BEAUTY SALON.

Narrator: WOODEN WAGON WHEELS

ROLL THROUGH THE TUMBLEWEEDS
OF ANOTHER TIME.

FIXED TO COVERED WAGONS,

THEY TRANSPORTED SETTLERS
TO THE AMERICAN WEST

IN THE 18th AND 19th CENTURIES.

THERE ARE NOW CITIES
AND FREEWAYS

WHERE WAGON WHEELS
ONCE BLAZED TRAILS,

BUT MAKING THEM
IS NOT A LOST ART.

A THRIVING NOSTALGIA INDUSTRY

KEEPS THESE BIG WOODEN WHEELS
TURNING.

WAGON WHEELS ARE IN DEMAND FOR
HISTORICAL RE-ENACTMENT EVENTS,

MUSEUMS, AND THE MOVIES.

THE WHEELWRIGHT CARVES THE HUB

FROM A CHUNK OF STRONG,
ROT-RESISTANT OAK.

AS IT SPINS ON A LATHE,
HE CUTS IT TO LENGTH.

HE STOPS THE LATHE

AND MARKS MEASUREMENTS
FOR THE WAGON WHEEL'S PROFILE,

SIZING IT
FOR REINFORCING METAL HOOPS.

HE RESUMES CARVING,

USING THE PENCILED LINES
AS A GUIDE.

HE TRANSFORMS THE OAK BLANK
INTO A BARREL-SHAPED DESIGN,

WHICH IS TRADITIONAL FOR
WAGON WHEEL HUBS OF THE 1870s.

WITH THE HUB NOW CLAMPED
IN ANOTHER MACHINE,

HE USES A MECHANIZED CHISEL
TO PUNCH OUT REGULAR SPOKE HOLES

KNOWN AS MORTISES.

HE ANGLES THE EDGE OF EACH HOLE

TO RECEIVE THE TENON END
OF THE SPOKE.

HE SLIDES STEEL HOOPS
ONTO THE HUB

AT THE ENDS AND IN THE CENTER.

IT'S A SNUG FIT,
BUT IT'S NOT QUITE TIGHT ENOUGH.

A HYDRAULIC PRESS SQUEEZES
THE HOOPS AROUND THE HUB

TO PROVIDE
JUST THE RIGHT TENSION.

THE HOOPS WILL ACT
AS A CONSTRICTING FORCE

TO KEEP THE WOOD FROM SPLITTING.

FROM A CHUNK OF WOOD

INTO A SUBSTANTIAL
WAGON WHEEL HUB.

NOW USING TOOLS
CALLED SPOKESHAVES,

THE WHEELWRIGHT SHAPES
THE HICKORY WOOD SPOKES.

HE NARROWS THE THROAT
OF THE SPOKE TO ADD FLEXIBILITY,

WHERE IT IS TO BE INSERTED
INTO THE HUB.

HE COATS THE MORTISES
OF THE HUB WITH GLUE.

HE INSERTS THE SPOKES
INTO THE GLUED HOLES.

HE DRIVES THEM INTO PLACE
WITH A SLEDGEHAMMER.

THERE ARE 12 SPOKES IN TOTAL
FOR THIS FRONT WAGON WHEEL.

THE WHEELWRIGHT
THEN SPINS THE WHEEL

AND EYEBALLS IT TO CONFIRM

THAT THE SPOKES ROTATE
ON AN EVEN PLANE.

THEN LIKE SHARPENING A PENCIL,
HE BRINGS THE ENDS TO A POINT.

THIS PREPARES THEM
FOR THE TENON CUTTER

THAT NOW CARVES THEM
INTO PEG SHAPES

FOR INSERTION
INTO THE WHEEL RIM.

HE INSTALLS THE STEAM-BENT
WOODEN RIM IN TWO SECTIONS.

IT'S DRILLED
TO MATCH UP WITH THE SPOKES.

AT FIRST, IT'S EASY,
BUT AS THE TENSION BUILDS,

IT BECOMES TOUGHER TO INSERT
THE REMAINING SPOKES,

SO HE STRETCHES THE RIM WIDER
WITH A CLAMP.

THIS GIVES HIM
MORE ROOM TO MANEUVER

AS HE FITS THE OTHERS
INTO THE RIM HALF.

IN THE PROCESS,

HE CREATES A SLIGHT BOW
IN THE PLANE OF THE WHEEL.

IT'S A TRUSS-LIKE STATE

THAT ADDS STRENGTH
TO THE WAGON WHEEL.

NOW USING
AN ELECTRIC ROLLER MACHINE,

HE BENDS A STRIP OF STEEL
INTO A ROUND WAGON-WHEEL TIRE.

IT TAKES JUST ONE PASS
THROUGH THE ROLLERS

TO ACHIEVE THE DESIRED BEND.

THE LENGTH WILL NEED TO BE
PRECISELY MEASURED.

HE MEASURES
THE INNER CIRCUMFERENCE

WITH AN OLD WHEELWRIGHT TOOL
CALLED A TRAVELER,

TO DETERMINE JUST
HOW MUCH TWEAKING IT NEEDS.

THEN USING A TORCH,

HE CUTS THE TIRE
TO THE EXACT LENGTH REQUIRED.

HE MAKES THE TIRE SLIGHTLY
SMALLER THAN THE WHEEL ITSELF

BECAUSE IT MUST SERVE
AS A HEAVY-DUTY ELASTIC BAND

TO HOLD THE ASSEMBLED
WAGON WHEEL TOGETHER.

HE WELDS IT WHERE THE ENDS MEET,

AND THIS COMPLETES
THE WAGON-WHEEL TIRE.

HE NOW BAKES THE TIRE BRIEFLY
IN AN OPEN FIRE.

THE METAL EXPANDS
AND AT A STRATEGIC MOMENT,

THEY PULL IT OUT OF THE FLAMES.

THE TIRE HAS STRETCHED
TO THE POINT

WHERE IT CAN BE INSTALLED
ON THE WHEEL,

BUT IT'S NOT QUITE HOT ENOUGH

TO CAUSE THE WOODEN WHEEL
TO CATCH FIRE.

THEY POUR WATER ONTO THE TIRE

TO BRING IT BACK
TO A COOLER TEMPERATURE.

AS IT COOLS,
IT SHRINKS TO THE WAGON WHEEL,

CREATING
THAT ELASTIC BAND EFFECT.

NEXT, THEY PRIME AND PAINT
A MATCHING SET OF WHEELS

IN THE COLOR
OF THE CLIENT'S CHOICE.

AND WITH
THOSE FINISHING TOUCHES,

THESE WAGON WHEELS
ARE EN ROUTE TO THE PAST.

FOR FANS OF AMERICAN HISTORY,

IT'S SURE TO BE
A SENTIMENTAL JOURNEY.

Narrator:
FOR PEOPLE WHO NEED TO GRAB

A QUICK BITE FOR BREAKFAST,

THE INVENTION OF
THE TOASTER PASTRY IN THE 1960s

WAS THE GREATEST THING
SINCE SLICED BREAD.

FINALLY,
THE TOASTER COULD BE USED

FOR MORE THAN TOASTING BREAD,

AND THE TOASTER PASTRY WAS
DEFINITELY A SWEET ALTERNATIVE.

THE TOASTER PASTRY RETAINS
ITS SWEETNESS DURING TOASTING.

THE SYRUPY FILLING AND FROSTING
DON'T MELT OUT

AND INTO THE TOASTER.

IT'S ALL BECAUSE
OF THE INGREDIENTS

AND HOW THEY COME TOGETHER.

AT THIS FACTORY,

THEY START BY MAKING
AN ORGANIC PASTRY.

THE BLENDER OPERATOR

LOADS DRY INGREDIENTS,
LIKE RICE BRAN,

INTO THE BLENDER,

FOLLOWED BY A SUGAR SYRUP
AND MOLASSES.

IT'S THE MOLASSES THAT GIVES
THE PASTRY A BROWNISH COLOR.

HE ADDS ORGANIC PALM SHORTENING
AND ORGANIC GRANULATED SUGAR.

THE FLOUR AND WATER ARE PIPED
INTO THE BLENDER BARREL.

SPIRALING MIXERS BLEND
AND KNEAD THE DOUGH

TO THE DESIRED CONSISTENCY.

NEXT, IT'S INTO A HOPPER

THAT FEEDS THE DOUGH
BETWEEN TWO ROLLERS.

THEY SQUEEZE
AND FLATTEN THE DOUGH

INTO A SHEET THAT'S ABOUT
8/10 OF AN INCH THICK.

A CONVEYOR MOVES
THE TOASTER-PASTRY DOUGH FORWARD

TO SETS OF LARGER ROLLERS.

THEY APPLY SERIOUS PRESSURE
TO ROLL THE DOUGH MUCH THINNER.

WHEELS AT THE SIDES
FOLD BACK THE DOUGH

AS THE WIDTH EXPANDS.

A DUSTING OF FLOUR
TO THE ROLLERS

KEEPS THINGS FROM GETTING
TOO STICKY.

COMING OFF THE FINAL ROLLERS,

THE THICKNESS OF THE DOUGH HAS
BEEN REDUCED TO 2/10 OF A INCH.

AT ANOTHER STATION,

THEY WHIPPED UP A BATCH
OF CHERRY POMEGRANATE JAM.

THE JAM IS HEARTY AND THICK,

SO IT WON'T RUN
AS NOZZLES PUMP THE JAM

ONTO THE ROLLED PASTRY SHEET.

EACH TOASTER PASTRY RECEIVES
THREE STRINGS OF JAM.

THIS DEPOSITOR SYSTEM
FILLS 10 TARTS AT A TIME.

IT WORKS OUT
TO 390 TARTS A MINUTE.

A SECOND SHEET OF DOUGH HEADS
TOWARDS THE JAM-FILLED ONE.

EN ROUTE,
A SPIKED ROLLER PUNCHES HOLES

FOR VENTING STEAM DURING BAKING.

WITHOUT THESE HOLES,
THE PRESSURE WOULD BUILD

AND THE TOASTER PASTRIES
WOULD EXPLODE.

THE TOP SHEET OF PASTRY
NOW MERGES WITH THE BOTTOM ONE.

THE CONVEYOR BELTS MOVE IT
EXACTLY THE SAME SPEED,

SO THE TOP PASTRY LANDS
IN PERFECT ALIGNMENT

ON THE JAM-FILLED ONE.

A CYLINDER
WITH A BRASS GRID PATTERN

BEARS DOWN ON THE PASTRY

TO COMPRESS IT
BETWEEN THE JAM FILLINGS.

THIS FORMS POCKETS OF JAM.

A CYLINDRICAL BLADE
SLICES THE PASTRY

INTO INDIVIDUAL TARTS.

A DEVICE PULLS OFF
THE SIDE TRIMMINGS.

THE TOASTER PASTRIES

TRAVEL THROUGH
A 150-FOOT-LONG CONVECTION OVEN

HEATED TO
300 DEGREES FAHRENHEIT.

THE OPERATOR KEEPS A CLOSE WATCH
FOR LEAKING JAM.

THAT WOULD BE A SIGN

OF BAD SEALS
IN THE PASTRY POCKETS.

HE REJECTS ANY WITH LEAKS.

HE ALSO KEEPS AN EYE
ON THE COLOR

AS THE PASTRIES BROWN.

THEY SHOULDN'T BE TOO DARK
OR TOO LIGHT.

FRESH OUT OF THE MIXER,

THE PINK FROSTING NOW FLOWS
ONTO A REVOLVING BELT

THAT SPREADS IT
ONTO THE TOASTER PASTRIES

AT JUST THE RIGHT THICKNESS.

THEY'VE ADDED A BIT OF STARCH
TO THE ICING,

AND IT'S THIS STARCH THAT ALLOWS
THE ICING TO HARDEN AND SET

SO IT WON'T MELT AND DRIP INTO
THE TOASTER DURING TOASTING.

THEY SPRINKLE
GRANULATED COLORED SUGAR

ONTO THE TOASTER PASTRIES.

THEY CALL THIS TOPPING
THE CRUNCHLETS.

THE CRUNCHLETS ADD BOTH FLAVOR
AND TEXTURE TO THE PASTRY.

ONCE COOLED,
THE TOASTER PASTRIES TRANSFER

FROM ONE CONVEYOR TO ANOTHER.

A BREAKER ROLLER SNAPS THEM
AT THE CRIMP LINE

TO SEPARATE THEM
INTO GROUPS OF TWO.

THE COMPLETED TARTS
HEAD TOWARDS THE PACKAGING LINE.

AN OPERATOR DOES A VISUAL
INSPECTION AS THEY PASS BY.

MECHANICAL ARMS PUSH THE TARTS
INTO ALUMINUM WRAPPING.

HOT ROLLERS SEAL AND CUT
THE WRAP AT THE ENDS.

THIS WRAPPING PRESERVES
THE TARTS FOR EIGHT MONTHS,

NO PRESERVATIVES NEEDED.

SUCTIONING ARMS
GRAB AND OPEN CARTONS

TO ACCEPT THE FOIL-WRAPPED
TOASTER PASTRIES.

IT TAKES ABOUT AN HOUR

TO MANUFACTURE
A BOX OF TOASTER PASTRIES,

AND NOW IT'S TIME FOR A TOAST.

Narrator:
THE TYPE OF BOW USED TODAY

FOR INSTRUMENTS
IN THE VIOLIN FAMILY

ORIGINATED IN FRANCE
IN THE 1800s.

THE MASTER BOW MAKERS
OF THE DAY USED PERNAMBUCO,

A WOOD BEING IMPORTED
FROM BRAZIL TO MAKE TEXTILE DYE.

THEY CONSIDERED THIS WOOD IDEAL

DUE TO ITS STRENGTH,
DURABILITY, AND BEAUTY.

[ PLAYS CLASSICAL MUSIC PLAYS ]

TODAY, JUST LIKE
HUNDREDS OF YEARS AGO,

QUALITY BOWS ARE MADE
OF PERNAMBUCO WOOD FROM BRAZIL

AND HORSE HAIR.

TO MAKE THE WOODEN PART,
CALLED THE STICK,

THE BOW MAKER LAYS A TEMPLATE

ONTO A .4 TO .5-INCH-THICK BLOCK
OF PERNAMBUCO

AND MARKS WHERE
HE'LL MAKE HIS CUTS.

HE FOLLOWS HIS MARKINGS
WITH A BAND SAW,

CUTTING OUT
THE STICK'S BASIC SHAPE.

THEN HE PLANES THE STICK,
THINNING IT OUT,

TAPERING IT
TO NARROW TOWARD THE FRONT,

AND ANGLING THE CORNERS

TO MAKE THE SQUARE CONTOUR
OCTAGONAL.

NEXT, HE REPEATEDLY HEATS
THE STICK WITH A GAS FLAME

TO SOFTEN IT

AND GENTLY BENDS IT
AGAINST HIS KNEE.

THEN, AFTERWARD,
AGAINST A WOODEN FORM

TO GIVE THE STICK
A VERY PRECISE CURVE.

THIS IS REFERRED TO
AS THE CAMBER OF THE BOW.

NEXT, USING A HANDSAW
AND TEMPLATE,

HE CUTS OUT
A PIECE OF PERNAMBUCO

FOR THE BOW'S FRONT TIP,
CALLED THE HEAD.

HE REFINES THE SHAPE,
FIRST WITH A RASP,

THEN WITH A FILE,
THEN WITH SANDPAPER.

THEN HE GLUES ON A BONE PLATE
TO PROTECT THE HEAD FROM DAMAGE.

HE WRAPS STRING
TIGHTLY AROUND IT

TO APPLY CONTINUAL PRESSURE
WHILE THE GLUE SETS OVERNIGHT.

THE NEXT DAY,
HE FILES DOWN THE SIDES

TO MAKE THE PLATE FLUSH
WITH THE WOOD.

USING A TRADITIONAL DRILL,

HE BORES A HOLE ABOUT 4/10
OF AN INCH DEEP INTO THE HEAD

AND CHISELS THE HOLE
INTO A TRAPEZOID SHAPE.

THIS FORMS THE HAIR BLOCK

INTO WHICH HE'LL LATER
INSERT THE HAIR.

NEXT, HE MEASURES AND MARKS
A BLOCK OF EBONY WOOD

TO BEGIN MAKING THE BOW'S FROG,

THE PIECE AT THE BOTTOM

BY WHICH THE MUSICIAN
HOLDS THE BOW

AND ADJUSTS THE TENSION
OF THE HAIR.

HE SHAPES THE BLOCK
USING FIRST A SAW,

THEN A CHISEL,

AND RASPS, FILES, AND SANDS
ALL THE SURFACES SMOOTH.

THE FROG HAS A SPACE ON TOP
CALLED THE MORTIS,

INTO WHICH HE'LL LATER
INSERT THE HAIR.

THE BOW MAKER GLUES A DECORATIVE
MOTHER-OF-PEARL ACCENT

ONTO THE SIDE,

THEN CUTS TWO SMALL PLUGS
OUT OF MAPLE WOOD.

THESE WILL ANCHOR THE HAIR
AT EACH END OF THE BOW.

HE INSERTS ONE
INTO THE FROG'S MORTIS...

...AND THE OTHER INTO
THE HAIR BLOCK IN THE HEAD.

A BOW THIS SIZE REQUIRES
A TENTH OF AN OUNCE OF HAIR.

THAT'S APPROXIMATELY
180 HORSE HAIRS.

THE BOW MAKER
BONDS THEM AT ONE END

WITH SOME MELTED ROSIN,
A STICKY PLANT RESIN,

THEN INSERTS
THIS END INTO THE FROG

AND ANCHORS IT WITH A PLUG.

THEN HE BENDS THE HAIRS

AND SLIDES ON A NICKEL-SILVER
RING CALLED A FERRULE

TO HOLD THEM TOGETHER.

MORE EXPENSIVE BOWS
OFTEN HAVE A GOLD FERRULE.

TO MOUNT THE FROG,

HE INSERTS A LONG METAL SCREW
WITH AN ADJUSTER HEAD

INTO A HOLE DRILLED
INTO THE BACK OF THE BOW.

THE SCREW OPERATES AN EYELET
CONNECTED TO THE FROG.

NOW HE COMBS THE HAIR STRAIGHT.

THE INDIVIDUAL HAIRS MUST BE
PARALLEL TO EACH OTHER

FOR THE BOW TO PERFORM PROPERLY.

HE TIES THE LOOSE ENDS
TOGETHER WITH THREAD

AND BONDS THEM WITH ROSIN.

THEN HE INSERTS THE SEALED END
INTO THE TIP

AND ANCHORS IT
WITH THAT SECOND PLUG.

BACK TO THE FROG NOW,

HE MOVES THE FERRULE
OUT OF POSITION,

SEALS THE MORTIS WITH
A MOTHER-OF-PEARL SLIDE,

THEN PUTS THE FERRULE BACK.

HE WRAPS THE PARTS OF THE STICK
THE MUSICIAN HOLDS

IN SILVER OR GOLD WIRE
AND LEATHER

TO PROTECT THE WOOD FROM WEAR

AND BRANDS THE MAKER'S NAME.

TURNING THE ADJUSTER AT THE BACK

MOVES THE FROG
FORWARD AND BACKWARD

TO ALTER THE TENSION
OF THE HAIR.

THE VIOLINIST TIGHTENS THE HAIR
BEFORE PLAYING

AND LOOSENS IT WHEN PUTTING
THE INSTRUMENT AWAY.

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