All language subtitles for How.Its.Made.S20E13.Gut.Strings.and.Absinthe.1080p.AMZN.WEB-DL.DDP2.0.H.264-SLAG_track4_[eng]

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Narrator: THE INSTRUMENTS
IN THE VIOLIN FAMILY

HAVE A DISTINCT SOUND

CREATED IN LARGE PART BY
THE TYPE OF STRINGS THEY HAVE.

WHILE THERE ARE STRINGS

MADE OF SYNTHETIC MATERIALS
OR METALS ON THE MARKET,

TRADITIONAL STRINGS ARE MADE

OF A SPECIFIC PART
OF A CERTAIN ANIMAL.

STAY TUNED FOR THE DETAILS.

[ SLOW CLASSICAL MUSIC PLAYS ]

PLAYING AN INSTRUMENT IN
THE VIOLIN FAMILY TAKES GUTS --

LITERALLY.

THAT'S BECAUSE
THE INSTRUMENT'S FOUR STRINGS

ARE MADE OF SHEEP INTESTINES.

THE TWO THINNER,
HIGHER NOTE STRINGS

ARE MADE OF PLAIN GUT.

THE TWO THICKER,
LOWER NOTE STRINGS

HAVE A GUT CORE
WRAPPED IN SILVER WIRE,

THEN SILK THREAD WOUND AROUND
THE EXTREMITIES.

THE INTESTINES,
EACH ROUGHLY 65 FEET LONG,

COME FROM LOCAL SLAUGHTERHOUSES

AND ARRIVE ALREADY EMPTIED,
CLEANED, AND SALTED.

THE FIRST STEP
IS TO SOAK THEM IN COLD WATER

FOR ONE TO TWO DAYS.

THIS STARTS A CONTROLLED,
VERY SMELLY DECOMPOSITION

WHICH HELPS LOOSEN UP
THE INTESTINES' COMPONENTS.

NEXT, USING A HALF PIECE
OF WOOD CANE,

THE STRING MAKER SCRAPES OFF

THE OUTER LAYERS OF FAT
AND MUCOSA MEMBRANES.

THEN, FIVE TIMES A DAY
FOR A WEEK,

HE SOFTENS THE GUT
IN AN ALKALINE POTASH BATH

AND PULLS IT AGAINST
A HANDMADE COPPER THIMBLE.

THIS GENTLY SCRAPES AWAY
THE WASTE REMNANTS

UNTIL THE GUT IS A TUBE
OF PURE, TRANSPARENT MUSCLE,

AT WHICH POINT HE SLICES IT
WITH A SPLITTING HORN

INTO TWO GUT RIBBONS
OF DIFFERING WIDTHS.

THE THINNER, RIGHT ONE
FOR MAKING VIOLIN STRINGS,

THE THICKER, LEFT ONE

FOR MAKING CELLO
AND DOUBLE BASS STRINGS.

DURING THE SCRAPING PHASE,
GUTS SOMETIMES BREAK APART.

RATHER THAN DISCARD
THESE PIECES,

THE STRING MAKER
KNOTS THEM TOGETHER

TO PRODUCE FULL-LENGTH STRANDS.

THE STRING MAKER'S ASSISTANTS

CUT THE GUT RIBBONS
INTO 23-FOOT LENGTHS

AND BLEACH THEM FOR FOUR DAYS.

THIS PREVENTS THE GUT
FROM TURNING BROWN.

THEN THEY COUNT OUT
THE NUMBER OF STRANDS REQUIRED

TO PRODUCE
THE VARIOUS SIZE STRINGS --

FROM SIX TO MAKE
THE THINNEST VIOLIN STRING

ALL THE WAY UP TO 120 TO MAKE
THE THICKEST DOUBLE BASS STRING.

THEY TIE THE ENDS IN A LOOP

AND HOOK THEM UP
TO A TWISTING MACHINE,

THEN TURN THE MACHINE'S CRANK

AND TIGHTLY TWIST
THE GUT RIBBONS TOGETHER

TO FORM ONE STRONG,
SINGLE STRING.

THEN, SINCE THE GUTS
HAVE BEGUN TO DRY OUT A BIT,

THEY REHYDRATE THE STRING

TO RESTORE A CONSISTENT LEVEL
OF MOISTURE.

THEN THEY TWIST IT AGAIN
AND TRANSFER IT,

ALONG WITH ADDITIONAL STRINGS,
TO A DRYING FRAME.

THERE'S NO SET DRYING TIME.

THEY MONITOR EACH STRING
INDIVIDUALLY AROUND THE CLOCK.

AS A STRING DRIES,

IT SHRINKS IN DIAMETER
BUT GROWS IN LENGTH,

CREATING SLACK.

SO, THEY REPEATEDLY REMOVE
AND RETWIST

UNTIL IT DRIES COMPLETELY,

AT WHICH POINT IT STABILIZES.

THIS DRYING
AND RETWISTING PROCESS

CAN TAKE UP TO SEVEN DAYS.

THE STRING IS READY

WHEN IT'S HARD AND STIFF
AND SLIGHTLY YELLOWED.

AT THAT STAGE,
THEY RUB IT WITH HORSEHAIR --

THE TRADITIONAL EQUIVALENT
OF COARSE SANDPAPER.

IT MAKES THE STRING SMOOTH
AND EVEN THROUGHOUT.

NEXT, THEY FINE-POLISH
THE STRING

WITH ABRASIVE, DRIED GRASS

IN A CLOTH THAT'S BEEN MOISTENED
WITH OLIVE OIL.

SOME STRING MAKERS
USE ALMOND OIL

AND PUMICE OR POWDERED GLASS
AS THE ABRASIVE.

THEY SEVER THE STRINGS
FROM THE DRYING FRAME

AND CUT THEM
TO STANDARD LENGTHS.

THESE STRINGS WILL BE
FOR A CHILD-SIZE VIOLIN,

SO THEY'RE 100 CENTIMETERS LONG.

TO PRODUCE THE CORRECT SOUNDS,

THE INSTRUMENT'S
TWO LOWER-NOTE STRINGS

MUST BE CONSIDERABLY THICKER
THAN THE OTHERS.

THE PROBLEM IS
THIS THICKNESS IN GUT ALONE

WOULD PRODUCE A DULL SOUND,

SO THEY WRAP THE STRING
IN STERLING SILVER WIRE --

SILVER BEING
SEVEN TIMES DENSER THAN GUT.

THIS GIVES THE STRING
THE RIGHT SOUND

AND A LOUD, BRILLIANT TONE
WITH MINIMAL THICKNESS.

NEXT, FOR DECORATION,

THEY WRAP THE TOP AND BOTTOM
OF THESE GUT-CORE STRINGS

WITH SILK THREAD.

ON A VIOLIN STRING,

THE SILK RUNS ABOUT A CENTIMETER
LONG ON EACH END.

ON A LONGER CELLO STRING,
LIKE THIS ONE,

ABOUT 5 CENTIMETERS.

THE FINISHED STRING

IS READY TO BE INSERTED
INTO ITS RETAIL PACKAGING.

THERE ARE LESS EXPENSIVE
SYNTHETIC STRINGS ON THE MARKET,

HOWEVER,
PARTICULARLY FOR EARLY MUSIC,

MANY MUSICIANS PREFER
THE SOUND AND FEEL

OF TRADITIONAL GUT STRINGS --

MADE BY HAND TODAY
JUST AS THEY WERE CENTURIES AGO.

Narrator: ABSINTHE
IS A STRONG ALCOHOLIC DRINK

WITH A COLORFUL HISTORY.

DURING THE LATE 1800s
AND EARLY 1900s,

DRINKING
THIS ANISE-FLAVORED SPIRIT

WAS THE RAGE
AMONG EUROPEAN BOHEMIANS.

CONSERVATIVES OF THE DAY
SAW IT AS DANGEROUS AND IMMORAL

AND SUCCEEDED
IN GETTING ABSINTHE BANNED

IN SEVERAL COUNTRIES.

THE TRADITIONAL WAY
TO DRINK ABSINTHE

IS TO POUR ONE PART
INTO A GLASS,

STRADDLE A SPECIALLY DESIGNED
SLOTTED SPOON

HOLDING A SUGAR CUBE
OVER THE GLASS,

THEN, VERY SLOWLY, DRIP
THREE TO FIVE PARTS ICE WATER

DIRECTLY ONTO THE CUBE,

DISSOLVING THE SUGAR
INTO THE DILUTING SPIRIT.

THIS TRANSFORMS THE DRINK
FROM CLEAR TO CLOUDY

AND DRAWS OUT
THE SUBTLE FLAVORS AND AROMAS

OF THE HERBAL INGREDIENTS.

YOU CAN DO THIS
WITH A SINGLE GLASS

OR SEVERAL USING A TRADITIONAL
ABSINTHE FOUNTAIN --

A LARGE MOUNTED GLASS VESSEL

WHICH DISPENSES THE ICE WATER
THROUGH MULTIPLE SPIGOTS.

THIS 180-YEAR-OLD
FRENCH DISTILLERY

MAKES BOTH WHITE AND GREEN
VERSIONS OF ABSINTHE.

EACH IS MADE FROM A DIFFERENT
COMBINATION AROMATIC PLANTS.

HOWEVER, FOR BOTH,

THE PRIMARY INGREDIENTS ARE
GREEN ANISE AND GRAND WORMWOOD.

BOTH ALSO CONTAIN FENNEL.

THE WHITE ABSINTHE
HAS MORE OF IT.

AND ONLY GREEN ABSINTHE
CONTAINS ADDITIONAL PLANTS,

SUCH AS PETTY WORMWOOD,
HYSSOP, MINT, AND CHAMOMILE.

THE DISTILLERY WORKERS
POUR THE RECIPE INGREDIENTS

INTO A COPPER STILL.

THEY PUMP IN HIGHLY CONCENTRATED
ALCOHOL MADE FROM WHITE GRAPES.

THE PLANTS SOAK
IN THIS ALCOHOL BASE OVERNIGHT,

GRADUALLY IMBUING THE ALCOHOL

WITH THEIR RESPECTIVE FLAVORS
AND AROMAS.

THIS PROCESS
IS CALLED MACERATION.

THE NEXT DAY,
DISTILLATION BEGINS.

THEY HEAT THE STILL
WITH PRESSURIZED STEAM.

AFTER ABOUT 45 MINUTES,

THE SPIRIT REACHES
THE BOILING POINT,

AND A FLOATING GAUGE
MONITORING ITS ALCOHOL LEVEL

SLOWLY RISES

AND FLOWS OUT THE NECK
OF THE STILL.

HOWEVER, WHAT COMES OUT DURING
THE FIRST 10 MINUTES OR SO

HAS TO BE DISCARDED.

IT'S WHITE, OILY,
AND HAS A 90% ALCOHOL LEVEL.

WHAT FOLLOWS
IS THE GOOD STUFF --

CRYSTAL CLEAR,

WITH AN AVERAGE ALCOHOL LEVEL
OF 78% TO 80%.

THIS STREAMS STEADILY
OUT OF THE STILL

FOR ABOUT THREE TO FIVE HOURS,

FOLLOWED BY A WEAK TAIL-END FLOW

THAT THEY DISCARD
LIKE THE FIRST FLOW.

THEN THEY DILUTE
THIS DISTILLED SPIRIT WITH WATER

TO REDUCE THE FINAL ALCOHOL
LEVEL OF THIS WHITE ABSINTHE

TO 60%.

TO MAKE GREEN ABSINTHE,
BEFORE THAT FINAL DILUTION,

THEY PUMP THE WHITE ABSINTHE
THROUGH A BURLAP BAG

CONTAINING A SPECIFIC PLANT --

THE IDENTITY OF WHICH
THE DISTILLERY WON'T DIVULGE.

THEY LET THE PLANT SOAK
IN THE ABSINTHE

FOR A SPECIFIC LENGTH OF TIME.

THIS DRAWS OUT
THE PLANT'S CHLOROPHYLL,

WHICH COLORS THE SPIRIT
BRIGHT GREEN.

THEN THEY DILUTE WITH WATER

TO OBTAIN THE TARGET
ALCOHOL LEVEL OF 62%,

SLIGHTLY HIGHER
THAN WHITE ABSINTHE.

THAT EXTRA BIT OF ALCOHOL
HELPS PRESERVE THE CHLOROPHYLL.

IN THE DISTILLERY'S
IN-HOUSE LABORATORY,

QUALITY-CONTROL TECHNICIANS TEST
A SAMPLE FROM EACH BATCH

TO VERIFY THE ALCOHOL CONTENT.

ABSINTHE CONTAINS ABOUT 20%
MORE ALCOHOL THAN MOST SPIRITS.

THE LAB MONITORS
THE LEVEL OF THUJONE,

A CHEMICAL COMPOUND IN WORMWOOD,

THE DRINK'S
SECOND KEY INGREDIENT.

THUJONE CONTENT IS REGULATED

TO VARYING DEGREES
IN MANY COUNTRIES.

THE EUROPEAN UNION PERMITS

UP TO 35 PARTS PER MILLION,
FOR EXAMPLE,

WHILE CANADA, NO MORE
THAN 7 PARTS PER MILLION.

THE DISTILLERY, THEREFORE,

BOTTLES SEVERAL VERSIONS
OF ABSINTHE,

TAILORING THE WORMWOOD PORTION
OF THE RECIPE

TO THE EXPORT DESTINATION.

WHITE ABSINTHE
HAS A STRONG ANISE TASTE,

WELL BALANCED WITH WORMWOOD,

WHEREAS GREEN ABSINTHE,
CONTAINING MORE PLANTS,

HAS A MORE COMPLEX FLAVOR.

WHILE WHITE IS TYPICALLY BOTTLED
IN CLEAR GLASS,

GREEN IS ALWAYS BOTTLED
IN DARK-COLORED GLASS.

THAT'S BECAUSE CHLOROPHYLL,

THE PLANT PIGMENT
THAT PRODUCES THE GREEN COLOR,

IS HIGHLY SENSITIVE TO LIGHT.

WITHOUT DARK GLASS
SHIELDING IT FROM EXPOSURE,

THE GREEN ABSINTHE INSIDE
WOULD TURN YELLOW

AND EVENTUALLY BROWN.

THIS WOULD HAVE NO EFFECT
WHATSOEVER ON THE TASTE,

HOWEVER, THE POTENT DRINK

KNOWN IN 19th-CENTURY FRANCE

AS LA FéE VERTE,
THE GREEN FAIRY,

WOULD LOSE SOME OF ITS MAGIC.

Narrator: THERE ARE REPORTS

OF ARCHAEOLOGISTS FINDING
EVIDENCE OF BELTS AND BUCKLES

DATING BACK TO THE 6th
and 7th CENTURIES IN BRITAIN.

DECORATIVE BELT BUCKLES

APPEAR TO HAVE BEEN WORN
FOR THE FIRST TIME

AS SYMBOLS OF STATUS
IN THE 1500s

THROUGHOUT REGIONAL SPAIN.

TODAY,
HAND-ENGRAVED BELT BUCKLES

ARE PRIZED NOT ONLY
AS FASHION ACCESSORIES

BUT AS INSPIRED EXAMPLES
OF WORKMANSHIP AND ART.

THE BUCKLE MAKER WELDS SMALL
STAINLESS STEEL RODS TOGETHER

TO FORM THE BACK OF THE BUCKLE.

AFTER PLACING THEM
IN A WELDING FIXTURE,

HE PRECISION-WELDS THEM.

USING ANOTHER FIXTURE,

THE BUCKLE MAKER ADDS A CENTER
PIN TO THE BACK OF THE BUCKLE.

AFTER PRECISION-WELDING IT
INTO PLACE,

HE MELTS THE TIP
OF THE STAINLESS STEEL PIN

INTO A SMOOTH BALL.

THIS LOCATING PIN
CENTERS THE BELT IN THE BUCKLE.

THE BUCKLE MAKER
USES A JEWELER'S SAW

TO CUT THE SHAPE OF THE BUCKLE

FROM HEAVY GAUGE
SOLID STERLING SILVER.

HE STAMPS THE COMPANY LOGO
INTO THE BACK OF THE BUCKLE.

USING PURE SILVER,

HE SOLDERS THE WELDED RODS
ONTO THE BACK OF THE BUCKLE,

ALONG WITH A STAINLESS STEEL
KEEPER TONGUE.

HE USES A JEWELER'S SAW
TO CUT OUT INITIALS,

USING THE FONT,
MATERIAL, AND SIZE

SELECTED BY THE CUSTOMER.

THE BUCKLE MAKER
USES A SOLDERING GUN

TO APPLY SOLDER
TO THE BACK OF THE LETTERS,

WHICH ARE MADE OF GOLD FILL,

A THIN LAYER OF GOLD
ON TOP OF BRASS.

HE CAREFULLY POSITIONS
THE INITIALS

ON THE STERLING SILVER BUCKLE,

WHICH HAS BEEN COVERED WITH FLUX
FOR THE SOLDERING PHASE TO COME.

TOO MUCH SOLDER
ON THE BACK OF THE LETTERS,

AND IT COULD FLOW OUT
ONTO THE BUCKLE SURFACE.

HEATING THE BELT BUCKLE

CAUSES THE SOLDER
ON THE BACK OF THE LETTERS

TO ATTACH FIRMLY
TO THE STERLING SILVER SURFACE.

THE ATTACHMENT PROCESS
HAPPENS VERY QUICKLY.

WITH A POLISHING COMPOUND
AND CLOTH POLISHING WHEEL,

HE GIVES THE BUCKLE
A BRILLIANT SHINE.

THE BUCKLE MAKER
HAND-ENGRAVES THE BUCKLE

USING ASSORTED ENGRAVING TOOLS.

HE USES A SHADING TOOL
TO ADD DEPTH TO LINES.

HE FOLLOWS GUIDELINES
DRAWN IN FELT PEN.

THE PATTERN ENGRAVED
IS CHOSEN BY THE CUSTOMER.

THE BELT MAKER ROLLS OUT
A PIECE OF TAN STRAP LEATHER.

USING A GAUGE KNIFE,

HE CUTS THE WIDTH
OF LEATHER NEEDED

TO MAKE THE BELT CHOSEN
BY THE CUSTOMER.

THE BELT MAKER
USES A VARIETY OF TOOLS

TO CUT AND SHAPE THE LEATHER.

HE CUTS THE TIP OF THE BELT.

HE PLACES THE LEATHER
IN ROOM-TEMPERATURE WATER

FOR ABOUT FIVE MINUTES.

WHEN BUBBLES STOP RISING,
THE LEATHER IS SATURATED.

AFTER THE LEATHER HAS DRIED,

HE TRANSFERS A PATTERN FROM
THE DESIGN STRIP TO THE LEATHER.

STAMPING TOOLS ALLOW HIM
TO STAMP INTRICATE DESIGNS.

USING A SWIVEL KNIFE,
HE CUTS TO A DEPTH

OF BETWEEN A QUARTER TO A THIRD
OF THE WAY THROUGH THE LEATHER.

THE INITIAL PATTERN
HAS BEEN CARVED.

WITH A BEVELER, HE DEEPENS
AND SHAPES THE CARVED LINES.

HE CHOOSES A BAR BACKGROUNDER

TO CREATE LEAF
IN THE BACKGROUND.

WITH A SWIVEL KNIFE,

HE MAKES
THE FINAL DECORATIVE CUTS.

THE BELT MAKER APPLIES DYE

TO THE BACKGROUND SECTIONS
OF THE CARVED LEATHER,

COMPLETING THE MOST INTRICATE
PART OF HIS WORK.

HE STAMPS IN THE MAKER'S MARK.

USING A PIECE OF SHEEPSKIN,

HE APPLIES AN OIL FINISH
TO THE BELT.

A THIN PASTE HIGHLIGHTS THE CUTS

AND GIVES THE BELT
AN ANTIQUE FINISH.

A FINAL TANNED COAT
WATERPROOFS THE BELT

AND HELPS PROTECT IT.

HE MAKES HOLES IN THE BELT.

THE BELT HAS A BEND IN IT

WHERE THE BUCKLE
WILL BE ATTACHED.

WITH CHICAGO SCREWS,

HE ATTACHES THE BUCKLE FIRMLY
TO THE BELT.

IDEALLY, THE BELT AND BUCKLE
COMPLEMENT EACH OTHER.

STRONG AND STYLISH,

METICULOUSLY HANDCRAFTED
BELT BUCKLES AND BELTS

HAVE MANAGED TO MAKE
A CLEAR FASHION STATEMENT

OUT OF BELT-TIGHTENING.

Narrator: THE LEVER LOCK

WAS INVENTED
IN THE LATE 18th CENTURY

BY AN ENGLISHMAN.

AT THE TIME, THE WARD LOCK,

WITH ITS SIMPLE,
CONCENTRIC PLATE MECHANISM,

WAS THE MAIN KIND OF LOCK
IN USE.

IT WAS MEDIEVAL TECHNOLOGY
AND FAIRLY EASY TO PICK.

THE LEVER LOCK TOOK SECURITY
TO A WHOLE NEW LEVEL.

MORE THAN TWO CENTURIES
AFTER THEIR INVENTION,

LEVER LOCKS ARE STILL
ON SECURITY DUTY.

THE MECHANISM
HASN'T CHANGED MUCH,

EXCEPT INSTEAD OF TWO LEVERS,
THERE CAN BE MANY INSIDE.

THEY FALL INTO SLOTS,

LOCKING THE BOLT
UNTIL A KEY LIFTS THE LEVERS.

THIS LEVER MECHANISM
IS VERY RUGGED.

IT WILL CONTINUE TO FUNCTION

EVEN IF DIRT OR MOISTURE
INFILTRATES THE LOCK.

IT'S WHY MANY ARMED FORCES
WILL ONLY USE THIS KIND OF LOCK.

TO MAKE THE TWO HALVES
OF THE LOCK BODY,

THEY UNCOIL
A NARROW BAND OF HEAVY STEEL.

ROLLERS STRAIGHTEN IT.

THEN A PUNCH PRESS SHAPES
AND CUTS OUT THE PART.

FOUR PUNCHES PRODUCE
A FULLY FORMED PART.

THE FRONT HALF
INCLUDES THE SIDE FLANGE,

THE KEYHOLE, A POST,
AND RIVET HOLES.

THE PARTS TUMBLE
WITH WOOD CHIPS,

AND THE FRICTION REMOVES
UNWANTED BITS CALLED BURRS.

THE CHIPS ALSO ABSORB RESIDUAL
OIL FROM PUNCH PRESSING.

THEY PUNCH OUT THE LOCK LEVERS
AND OTHER PARTS.

THEY PLATE ALL 23 PARTS
WITH YELLOW ZINC.

NEXT, RIVETS FUNNEL
INTO A NETWORK OF TUBING.

THEY TUMBLE FOUR AT A TIME
INTO AN ASSEMBLY DEVICE.

THERE ARE DIFFERENT-SIZED RIVETS
TO FIT DIFFERENT-SIZED HOLES.

THE DELIVERY SYSTEM
PUSHES THE RIVETS

UP THROUGH HOLES
IN THE ASSEMBLY DEVICE.

A FACTORY WORKER PLACES THE BACK
OF A LOCK BODY ON THE RIVETS,

AND A HYDRAULIC PRESS
SQUEEZES THEM INTO PLACE.

HE KEEPS A STASH OF RIVETS
AT THE WORKBENCH

IN THE EVENT THAT THE TUBING
DOESN'T DELIVER.

THE BACK OF THE LOCK BODY

IS NOW READY TO RECEIVE
THE LOCK MECHANISM.

THERE ARE 240 DIFFERENT
LEVER COMBINATIONS.

THE NEXT WORKER
DETERMINES WHICH ONE TO USE.

SHE PLACES THE BOLT LEVER
IN THE CASING

AND SLIDES ALL THE OTHER LEVERS
ONTO A RIVET.

THERE ARE A TOTAL OF SIX LEVERS
IN THIS PARTICULAR PADLOCK.

SOME LOCKS HAVE MORE,
SOME HAVE FEWER.

THE MORE LEVERS THERE ARE,
THE TOUGHER THE LOCK IS TO PICK.

SHE WRAPS A METAL SPRING
AROUND A RIVET...

...AND THEN HINGES THE SHACKLE
TO A THIRD POST.

SHE SETS THE BACK HALF ASIDE

AND ASSEMBLES THE KEYHOLE COVER
TO THE FRONT PART OF THE LOCK.

SHE WINDS A SPRING AROUND A POST
AND PLACES THE COVER OVER IT.

THE SPRING WILL ALLOW THE COVER
TO BE SWUNG OPEN AND SHUT.

A RIVET SECURES
THE KEYHOLE COVER.

SHE NOW BRINGS THE TWO
LOCK BODY HALVES TOGETHER,

SO THE RIVETS FROM THE BACK
PROTRUDE THROUGH THE FRONT.

SHE FLATTENS THE RIVETS
TO HOLD THE PARTS TOGETHER.

THE NEXT PART IS THE CLEVIS.

IT'S A U-SHAPED ATTACHMENT
FOR A CHAIN

TO MAKE THE LOCK EASIER TO HANG
ONTO WHEN NOT IN LOCKDOWN MODE.

ANOTHER WORKER NOW CATEGORIZES
THE LOCKS IN SEPARATE BOXES,

ACCORDING TO THE KEY CODE.

HE LEAVES A KEY CODE I.D. CARD
IN EACH BOX.

WHEN TRANSFERRING A LOCK
FOR PAINTING,

THAT I.D. CARD GOES WITH IT.

THIS SYSTEM PREVENTS MIX-UPS,

SO THAT LATER THEY'LL BE ABLE
TO MAKE KEYS TO MATCH.

THEY SPRAY THE LOCKS
MILITARY GREEN

AND GIVE THEM FOUR COATS
FOR CORROSION RESISTANCE.

IT'S TIME TO REV UP
THE KEY CUTTER.

THERE ARE 240 KEY PROFILES

TO MATCH THE 240 LEVER LOCK
COMBINATIONS.

THE OPERATOR SETS THE BLADES
IN THE DESIRED SEQUENCE

AND CARVES THE KEYS TO GIVE THEM
THE RIGHT GEOMETRY.

WITH THE CORRECT PROFILE,

THE KEY LIFTS AND LOWERS
THE LEVERS IN THE LOCK

TO OPEN AND CLOSE IT.

A STANDARD PADLOCK
COMES WITH TWO KEYS.

IF THE OWNER LOSES THEM BOTH,

THE LOCK WILL USUALLY
NEED TO BE REPLACED.

THAT'S BECAUSE THE KEYCODE IS
NEVER WRITTEN ON THE LOCK BODY

TO AVOID TIPPING OFF THIEVES.

THE TECHNICIAN CONFIRMS
THAT BOTH KEYS WORK,

AND THIS LEVER PADLOCK IS NOW
READY TO THWART CRIMINALS

AND SAFEGUARD POSSESSIONS.

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