Original subtitles

--Captions by VITAC-- www.vitac.com

CAPTIONS PAID FOR BY DISCOVERY COMMUNICATIONS

Narrator: TODAY ON "HOW IT'S MADE"...

FISH RUBBINGS.

CLAY SHOOTING MACHINES.

ALMONDS.

AND HIGH-END MOTORCYCLES.

FISHERMEN LIKE TO EXAGGERATE ABOUT THE SIZE OF THEIR CATCHES.

IN 19th CENTURY JAPAN,

FISH RUBBINGS WERE USED FOR ACTUAL DOCUMENTATION.

FISHERMEN COATED THE FISH WITH NON-TOXIC INK

AND RUBBED IT ON PAPER TO TRANSFER THE IMAGE.

THEY CALLED THIS FORM OF RECORD-KEEPING GYOTAKU.

OVER TIME, THE PRACTICE OF FISH RUBBINGS

HAS EVOLVED INTO AN ART FORM.

WHY PAINT A PICTURE WHEN YOU CAN PRINT ONE USING THE REAL THING?

THE ARTIST TRACES THE OUTLINE OF THE FISH ONTO A FOAM BLOCK.

FOLLOWING THAT OUTLINE, HE CUTS OUT A FISH-SHAPED CAVITY.

HE SETS THE FISH IN THE CAVITY.

THE FOAM WILL KEEP THE FISH LEVEL

AND STABLE DURING PRINTING.

HE TUCKS PAPER WADDING INTO THE MOUTH

TO KEEP IT OPEN FOR A MORE INTERESTING PRINT.

HE ALSO INSERTS WADDING UNDER THE GILL FLAPS

TO IMPEDE THE FLOW OF FLUIDS FROM THE FISH.

HE PROPS UP THE FINS WITH PINS

AND LEAVES THEM TO DRY OVERNIGHT IN THIS ELEVATED POSITION.

THIS WILL GIVE THE RUBBED IMAGE THE ILLUSION OF ACTION.

HE WRAPS COSMETIC SPONGES AROUND WINE CORKS

AND TAPES THEM AT THE BASE.

THESE IMPROVISED INK APPLICATORS

WILL EVENTUALLY PROVIDE A SMOOTH FINISH WITH NO BRUSH STROKES.

HE MAKES ONE FOR EACH COLOR, PLUS A FEW EXTRA FOR BLENDING.

NEXT, HE SELECTS DIFFERENT INK COLORS

TO CREATE A BLUISH GREEN SHADE

THAT'S CLOSE TO THE ONE ON THE BLUEGILL.

HE ADDS POPPYSEED OIL TO THIN THE INKS A BIT

AND BLENDS IT ALL WITH A PALETTE KNIFE.

WITH THE FINS NOW DRY AND STIFF, HE REMOVES THE PINS.

WITH A METAL PROBE, HE PULLS UP A FIN

THAT HADN'T BEEN RAISED EARLIER.

HE PLACES A PAPER TOWEL BETWEEN THE FOAM SUPPORT BLOCK

AND THE FISH.

HE PATS A GREENISH BLACK COLOR ONTO THE GILLS

AND TAIL USING A FOAM BRUSH.

THIS PROCESS LEAVES SOME SMEARS ON THE PAPER TOWEL,

BUT THAT'S WHAT IT'S THERE FOR.

SWITCHING TO ONE OF THE IMPROVISED APPLICATORS,

HE APPLIES THE BLUISH GREEN INK

TO THE UPPER PART OF THE FISH'S BODY.

HE DABS A YELLOW COLOR ONTO THE BELLY OF THE FISH.

HE ADDS A BIT OF RED TO THE CHEST

BECAUSE DURING SPAWNING,

IT USUALLY TURNS THIS COLOR.

HE PLACES A PIECE OF PAPER UNDER A FIN

AS HE COATS IT WITH GREEN INK.

THEN HE REMOVES THE PAPER TOWEL

THAT HAS PROTECTED THE FOAM SUPPORT BLOCK FROM SMUDGES

AND PLACES THE FISH BACK IN THE CAVITY.

HE LIGHTLY SPRAYS A SHEET OF RICE PAPER WITH WATER.

THIS MAKES IT EASIER TO MANIPULATE,

AS HE DRAPES THE DAMP PAPER ONTO THE INKED FISH.

HE RUBS THE PAPER ONTO THE INKED FISH TO TRANSFER THE IMAGE.

THIS TAKES SKILL AND THE RIGHT TOUCH.

ONCE HE'S FINISHED,

THE ARTIST PEELS THE PAPER AWAY FROM THE FISH

AND EXAMINES THE RUBBING.

AFTER THE INK HAS DRIED,

HE LIGHTLY SPRAYS THE RUBBING WITH WATER

AND THEN A WATER-BASED DYE.

THE DYE PROVIDES BACKGROUND COLOR

BUT DOESN'T AFFECT THE OIL-BASED INK GUARD.

HE BRUSHES WHEAT PASTE ONTO A SECOND PIECE OF RICE PAPER.

THIS PAPER WILL SERVE AS AN EXTRA LAYER OF REINFORCEMENT

FOR THE FISH RUBBING.

HE WETS THE RUBBING THOROUGHLY.

AN ASSISTANT SLOWLY LOWERS THE WET PRINT ONTO THE PAPER

AS THE ARTIST SMOOTHES THE RUBBING,

ENSURING THERE ARE NO WRINKLES AS IT ADHERES.

THE IMAGE OF THE FISH'S EYE DOESN'T TRANSFER DURING RUBBING,

SO HE PAINTS ONE.

HE DEFINES THE PUPIL WITH BLACK WATERCOLOR

AND PAINTS THE IRIS YELLOW.

THE PAINTED EYE ADDS A SOULFUL EXPRESSION TO THE PRINT.

THE FISH RUBBING IS NOW READY TO BE MOUNTED

TO A MORE RIGID PAPER BACKING FOR EXTRA SUPPORT.

HE TRIMS THE BORDERS, ENSURING THAT THEY'RE SYMMETRICAL

AND THE CORRECT MEASUREMENTS.

HE THEN TAPES THE FISH RUBBING TO THE MOUNTING BOARD

AND SIGNS IT.

WITH NUMEROUS AND EXTENSIVE DRYINGS BETWEEN STEPS,

IT HAS TAKEN SEVERAL WEEKS TO PRODUCE THIS FISH RUBBING.

Narrator: CLAY SHOOTING MACHINES LAUNCH THE FLYING TARGETS

USED IN THE SPORT OF CLAY PIGEON SHOOTING.

THE SAUCER-SHAPED TARGETS ARE CALLED CLAY PIGEONS

BECAUSE THEY REPLACE THE ORIGINAL TARGETS, LIVE PIGEONS.

SHOOTING MACHINES CAN LAUNCH THE TARGETS

AT VARIOUS INTERVALS, ANGLES AND VELOCITIES.

THIS COMPANY HAS BEEN BUILDING

CLAY SHOOTING MACHINES SINCE 1927.

OLDER MODELS LIKE THIS ONE WERE HEAVY STEEL CLUNKERS

THAT RAN ON HIGH VOLTAGE,

WERE DIFFICULT TO MOVE AROUND AND WEREN'T TERRIBLY PRECISE.

TODAY'S MACHINES WEIGH FROM JUST 88 TO 220 POUNDS.

NOT ONLY ARE THEY EASILY PORTABLE,

THEY RUN ON JUST 12 VOLTS

AND PERFORM WITH GREAT PRECISION.

THE MACHINE'S STURDY BASE IS CONSTRUCTED FROM THICK STEEL.

ITS PARTS WERE CUT BY A COMPUTER-GUIDED LASER

THEN WELDED TOGETHER.

THE BASE DESIGN ENABLES THE MACHINE

TO MOVE BOTH LATERALLY AND VERTICALLY.

THE FIRST COMPONENT THE WORKER ATTACHES TO THE BASE

IS THE FRAME.

MADE OF DURABLE EPOXY-COATED CAST ALUMINUM,

IT SUPPORTS ALL THE MACHINE'S KEY COMPONENTS.

ONE OF THEM, THE MAIN SHAFT ASSEMBLY FOR THE THROWING ARM,

IS ALREADY INSTALLED.

A TECHNICIAN CONNECTS THE FRAME TO THE BASE

WITH HEAVY-DUTY BOLTS.

THIS SLOT IN THE FRAME ALLOWS THE MACHINE TO TILT VERTICALLY,

UP TO 65 DEGREES.

HE ATTACHES A STEEL EXTENSION FOR THE THROWING PLATE

ACROSS WHICH THE THROWING ARM MOVES THE CLAY PIGEON.

THIS EXTENSION ENABLES AN OPTIMAL

POSITIONING OF THE THROWING PLATE.

BEFORE INSTALLING THE THROWING PLATE,

HE INSTALLS THE INDEXING SHAFT ASSEMBLY.

THE INDEXING SHAFT IS THE FINGER

THAT MOVES THE CAROUSEL FORWARD

ONE COLUMN AT A TIME.

HE MOUNTS THE STEEL THROWING PLATE.

IT HAS THREE STEEL SPRINGS ON ITS UNDERSIDE.

ONE GOES OVER THE BOLT,

ATTACHING IT TO THE FAR END OF THE EXTENSION.

THE OTHER TWO GO OVER THE BOLT, ATTACHING IT TO THE FRAME.

THESE SPRINGS KEEP THE ARM PARALLEL TO THE THROWING PLATE.

NEXT, HE SCREWS THE THROWING ARM TO THE MAIN SHAFT ASSEMBLY.

HE CHECKS THE GAP BETWEEN THE ARM AND PLATE

TO MAKE SURE THE ARM MAKES CONTACT WITH THE CLAY PIGEON

AT JUST THE RIGHT LEVEL.

IF THE ALIGNMENT'S OFF, HE ADJUSTS THE HEIGHT OF THE PLATE.

THEN HE MANUALLY TURNS THE MAIN SHAFT

TO MAKE SURE THE THROWING ARM ROTATES SMOOTHLY.

THE MACHINE RUNS ON A POWERFUL ELECTRIC MOTOR

THAT HAS AN INTEGRATED GEAR TRAIN.

THE TECHNICIAN INSTALLS THE MOTOR ON THE FRAME

BENEATH THE MAIN SHAFT ASSEMBLY.

NEXT, HE ATTACHES THE STEEL ARMING SPRING

WHICH CAN WITHSTAND UP TO 440 POUNDS OF PULL FORCE.

ITS SUDDEN RELEASE GENERATES THE PROPULSION

TO LAUNCH THE CLAY PIGEON

OF A FLYING SPEED OF MORE THAN 62 MILES PER HOUR.

HE MOUNTS THE SUPPORT BASE FOR THE CAROUSEL

THAT HOLDS THE CLAY PIGEONS,

THEN HE SCREWS THE ARMING SPRING TO THE MAIN SHAFT ASSEMBLY.

AS THE SHAFT SWINGS BACK AND FORTH,

IT STRETCHES AND RELEASES THE SPRING.

HE LINKS THE INDEXING SHAFT ASSEMBLY

TO THE MOTOR'S GEAR SHAFT.

HE INSTALLS THE CAROUSEL, MADE OF CAST ALUMINUM,

ON THE SUPPORT BASE.

THIS MODEL HAS A DIFFERENT TYPE OF MOTOR DESIGN

THAT ENABLES THE BASE TO PIVOT AUTOMATICALLY,

LAUNCHING RANDOM TRAJECTORIES.

THIS PATENTED SYSTEM INCREASES THE CAROUSEL'S CAPACITY.

BY CLICKING RETRACTABLE EXTENSIONS

ONTO THE RODS THAT SEPARATE THE COLUMNS,

THE OPERATOR CAN STACK 50 PERCENT

MORE CLAY PIGEONS IN THE CAROUSEL.

WHEN THE OPERATOR PRESSES A BUTTON ON THE REMOTE CONTROL,

THE THROWING ARM ROTATION BEGINS.

WHEN THE ARM PASSES A SPECIFIC POINT,

THE STRETCHED ARMING SPRING RELEASES, LAUNCHING THE PIGEON.

AS THE ARM CONTINUES ITS ROTATION,

THE LINKED INDEXING SHAFT MOVES THE CAROUSEL FORWARD,

DROPPING A NEW CLAY PIGEON ONTO THE THROWING PLATE.

WHEN THE ARM COMES FULL CIRCLE, RE-STRETCHING THE ARMING SPRING,

A SENSOR CUTS POWER TO THE MOTOR

UNTIL THE NEXT PRESS OF THE BUTTON.

THIS ENTIRE CYCLE TAKES JUST 2 SECONDS.

Narrator: ALMOND CONSUMPTION DATES BACK TO BIBLICAL TIMES.

THEY'RE EVEN MENTIONED IN THE OLD TESTAMENT.

AROUND 100 A.D.,

THE ANCIENT ROMANS SHOWERED NEWLYWEDS WITH ALMONDS.

THIS RITUAL CAME FROM THE BELIEF THAT THEY INCREASED FERTILITY.

BUT TODAY, IT'S THE NUTRITIONAL VALUE OF ALMONDS

THAT KEEPS US COMING BACK FOR MORE.

ALMONDS ARE A GUILT-FREE SNACK.

THEY'RE FULL OF VITAMINS, MINERALS AND PROTEIN.

MORE THAN 80 PERCENT OF THE WORLD'S

ALMONDS COME FROM CALIFORNIA

WHERE GROWING CONDITIONS ARE IDEAL.

UPON ARRIVAL AT A PROCESSING FACILITY,

THE ALMONDS ARE STILL ENCASED IN LEATHERY HULLS.

THEY FLOW THROUGH EQUIPMENT THAT COMBS OUT DEBRIS.

THE NEXT MACHINE, CALLED A DESTONER, TARGETS ANY ROCKS.

AIR BLOWS THROUGH IT TO SEPARATE THE LIGHTER

ALMONDS FROM THE STONES.

THE ALMONDS TRAVEL BETWEEN A RUBBER ROLLER AND BELT.

THIS SPINS OFF THE HULLS AND RELEASES THE ALMONDS.

THE OPERATOR PERIODICALLY EXAMINES THE DE-HULLED ALMONDS.

VIBRATING DECKS WITH SLOTS SORT THE ALMONDS BY SIZE.

THE SYSTEM ALSO SHAKES OFF HULL MATERIAL AND VACUUMS IT UP.

THE ALMONDS HEAD TO A GRAVITY TABLE FOR FINER SEPARATION.

THE SPENT HULLS AND OTHER MATERIAL FLOAT TO ONE SIDE

WHILE HEAVIER CONTAMINANTS FLOAT TO THE OTHER.

THE IN-SHELL ALMONDS TUMBLE DOWN CHANNELS.

CAMERAS EXAMINE THE SHELLS FOR IMPERFECTIONS

AND LOOK FOR CONTAMINANTS,

THEN A BLAST OF COMPRESSED AIR KNOCKS THEM OUT OF THE FLOW.

THESE ARE SOME OF THE CONTAMINANTS

THAT HAVE BEEN REMOVED.

AT ANOTHER FACILITY, MACHINERY WILL NOW GRADE THE ALMONDS

ACCORDING TO THE CONDITION OF THEIR SHELLS.

ONCE AGAIN, THE ALMONDS FALL THROUGH THE OPEN AIR,

AND A COMPUTERIZED CAMERA SCANS THEM FOR BROKEN SHELLS

AND OTHER FLAWS.

A COMPRESSED AIR GUN THEN KNOCKS THE FLAWED ALMONDS

OUT OF THE MIX.

THE ALMONDS BOUNCE ALONG A VIBRATING GRID

AND ANY KERNELS OR MISSED SHELL FRAGMENTS FALL THROUGH.

FINALLY, PEOPLE SORT THROUGH THE ALMONDS

AND REJECT ANY THAT DON'T HAVE PERFECT SHELLS.

THEY ALSO TOSS OUT ANY CONTAMINANTS

THE MECHANIZED SORTING SYSTEM MISSED.

SOME BUYERS WILL PAY A PREMIUM FOR THE BEST NUTS.

THE ALMONDS WITH BROKEN SHELLS WILL HAVE THE SHELLS REMOVED.

THESE RAW ALMONDS ARE ALSO SORTED BY SIZE.

THEY FLOW ONTO A VIBRATING CONVEYOR.

FURTHER ALONG, THE CONVEYOR HAS HOLES.

THE SMALLER ALMONDS FALL THROUGH THESE HOLES AND INTO BINS.

THE LARGER ALMONDS CONTINUE FORWARD.

THESE LARGER KERNELS ARE WORTH MORE

AND WILL BE SOLD SEPARATELY FROM THE SMALLER ONES.

AS WITH THE IN-SHELL ALMONDS, GOOD LOOKS ARE IMPORTANT.

A CAMERA PHOTOGRAPHS THE CASCADING ALMOND KERNELS,

AND A COMPUTER SCANS THE IMAGES.

THE SYSTEM KNOCKS THE LESS-THAN-PERFECT ALMONDS

OUT OF THE PRODUCTION STREAM.

NEXT, THE ALMONDS HEAD TOWARDS A ROBOT.

ALONG THE WAY, ANOTHER CAMERA SENDS THE IMAGES

TO A COMPUTER SCANNER.

THIS ONE HAS BEEN PROGRAMMED TO FIND CHIPS,

SCRATCHES AND EVEN SMALL BROKEN BITS.

THE COMPUTER SENDS THE COORDINATES

OF THE DAMAGED ALMONDS TO THE ROBOT.

THE ROBOT THEN FINDS THEM AND PLUCKS THEM OUT OF THE MIX.

A HUMAN INSPECTOR NOW PICKS OUT ANY IMPERFECT ALMONDS

THAT THE ROBOTIC SYSTEM MISSED.

THEIR FLAWS ARE JUST SUPERFICIAL.

THEY STILL TASTE THE SAME,

SO THESE ALMONDS WILL BE PROCESSED INTO CHOCOLATE BARS,

ALMOND BUTTER OR MILK, BAKED GOODS AND CEREALS.

THE PERFECT ALMOND KERNELS TRAVEL FORWARD.

JUST AHEAD, MACHINERY MOVES CARDBOARD BOXES

INTO AN OPEN POSITION ON A PACKAGING CAROUSEL.

SPRAYERS APPLY GLUE TO THE BOTTOM FLAPS,

AND PUSHERS CLOSE THEM, SEALING THE BOXES.

THE ALMONDS NOW ARRIVE AT A SCALE.

IT RELEASES THEM INTO THE BOXES

IN APPROXIMATELY 50-POUND BATCHES.

THESE BIG BOXES OF ALMONDS WILL BE SHIPPED TO OTHER FACILITIES

TO BE PROCESSED INTO OTHER PRODUCTS.

SMALLER AMOUNTS WILL BE PACKAGED FOR CONSUMER USE.

A SNACK ANYONE CAN CRACK OR ENJOY PRE-CRACKED,

ALMONDS ARE A NATURAL AND NUTRITIOUS CHOICE.

NO WONDER THEY'RE CONSUMED BY THE HANDFUL.

Narrator: DURING THE GREAT DEPRESSION,

MOTORCYCLES WERE AN INEXPENSIVE TRANSPORTATION OPTION.

THEY WERE A CHEAPER WAY TO GET AROUND TOWN.

BUT THESE DAYS, A MOTORCYCLE CAN BE AN EXPENSIVE MACHINE.

NOT FOR THE PENNY-WISE, HIGH-END MOTORCYCLES ARE ENGINEERED

AND CRAFTED FOR THE RIDER WITH DISCRIMINATING TASTES.

THIS IS NOT A STANDARD MASS-PRODUCED MOTORCYCLE.

THIS PERFORMANCE CRUISER TAKES THINGS IN A DIFFERENT DIRECTION.

THE HIGH-END DESIGN IS EXECUTED WITH PRECISION,

WITH MOST PARTS MACHINED SPECIFICALLY FOR THIS BIKE.

PRODUCTION STARTS WITH A CONCEPTUAL LAYOUT.

THE DESIGNER DRAWS THE MOTORCYCLE ON A DIGITAL PAD,

PRODUCING A BLUEPRINT FOR THE MANUFACTURING PROCESS.

THE MANUFACTURER USES AIRCRAFT-GRADE ALUMINUM

TO MAKE MOST OF THE PARTS.

COMPUTERIZED TOOLS CARVE THE SOLID ALUMINUM

INTO THE DESIRED SHAPE.

THIS PART WILL BE THE MOTORCYCLE'S BELT DRIVE COVER.

THE CARVED PATTERNS MAKE IT MORE VISUALLY APPEALING,

AND THEY REDUCE THE COVER'S OVERALL WEIGHT.

THE COMPANY BUILDS THE EXHAUST SYSTEM USING STAINLESS STEEL.

A TECHNICIAN WELDS THE EXHAUST PIPES TOGETHER.

HE THEN ATTACHES SEVERAL SPRING HANGERS

TO THE STEEL PIPE ASSEMBLY.

THE NEXT PART IS AN IGNITION COIL MOUNT.

A RUBY PROBE SCANS THE PART TO FIND THE CENTER.

ONCE IT'S BEEN LOCATED,

A SOFTWARE-DRIVEN CUTTER DESCENDS,

AND ETCHES BRAND INFORMATION AND ARTWORK

INTO THE BLACK ANODIZED ALUMINUM.

THIS STEEL STRUCTURE WILL SERVE AS THE MOTORCYCLE'S SKELETON.

THE TECHNICIAN INSTALLS THE 100-HORSEPOWER,

FUEL-INJECTED V-TWIN ENGINE.

HE THEN MOUNTS THE SIX-SPEED TRANSMISSION SYSTEM

TO THE ENGINE.

IT'S EQUIPPED WITH A HIGH TORQUE SHAFT

THAT'S SHORTER THAN USUAL TO MAKE THE SYSTEM MORE COMPACT.

HE BOLTS IT IN PLACE.

THE STEERING STEM HAS A FRAMEWORK AT THE BASE

WITH THREE OPENINGS KNOWN AS THE TRIPLE CLAMP.

HE SLIDES THE STEM INTO THE TUBE ON THE FRAME

AND SCREWS A BEARING ONTO THE TOP.

HE FASTENS IT WITH A NUT

THAT WILL KEEP THE BEARING PRESSURIZED.

HE INSTALLS A SECOND TRIPLE CLAMP

ON THE TOP OF THE ASSEMBLY.

THE CENTER HOLE FITS ONTO THE NUT.

HE SECURES IT WITH A STEERING HEAD NUT.

HE INSERTS THE SUSPENSION FORK INTO THE OTHER TWO OPENINGS

IN THE TRIPLE CLAMPS AND MAKES SOME ADJUSTMENTS.

HE PLACES A CARBON-FIBER WHEEL BETWEEN THE FORK TUBES.

HE INSTALLS THE AXLE THAT LINKS THE SUSPENSION

TO THE FRONT WHEEL HUB

AND TIGHTENS THE TITANIUM NUTS ON THE AXLE FOR A BETTER FIT.

NEXT, HE CONNECTS A SIX-PISTON BRAKE SYSTEM

TO THE SUSPENSION FORK

AND TIGHTENS THE BOLTS THAT HOLD IT IN PLACE.

THIS COMPLETES THE FRONT WHEEL ASSEMBLY.

HE NOW ATTACHES THE HANDLEBARS, COMPLETE WITH DASHBOARD GAUGES,

CONTROLS AND SIDE-VIEW MIRRORS.

HE MAKES THE FINAL CONNECTIONS FOR THE ELECTRONICS.

HE ENCASES THE GAUGES AND WIRING WITH A PART

CALLED THE FRONT COWLING.

THE SHAPE DIVERTS AIR OVER THE RIDER

AND AWAY FROM HIS OR HER FACE.

A TWO-PIECE GAS TANK WILL PROVIDE MORE CAPACITY.

THE TANKS HAVE BEEN CARVED FROM A SOLID ALUMINUM BAR,

A PROCESS THAT'S TAKEN OVER 60 HOURS.

THE TANK ON THE RIGHT SIDE

BECOMES PART OF THE FRAME STRUCTURE,

PROVIDING ADDITIONAL STRENGTH.

HE LOOPS BELT DRIVE PULLEYS AROUND SHAFTS TO TRANSFER POWER

FROM THE TRANSMISSION TO THE REAR WHEEL.

THE MOTORBIKE IS NOW READY FOR THE BELT DRIVE COVER

WE SAW PRODUCED EARLIER.

WHILE PROTECTING THE BELT DRIVE,

THIS COVER ALSO GIVES THE MOTORBIKE A DISTINCTIVE LOOK.

HE MOUNTS THE LEFT FOOT PEG

TO THE FRAME THROUGH A HOLE IN THE PULLEY COVER.

THIS HIGH-END MOTORCYCLE IS NOW READY TO HIT THE OPEN ROAD.

MAKING IT HAS TAKEN 2 WEEKS.

PREPRODUCTION FITTINGS WITH THE CLIENT

HAVE DICTATED THE POSITION OF THE FOOT PEDALS,

HANDLEBARS, AND THE SEAT.

IT'S BEEN TAILOR-MADE FOR A PRECISION RIDE.

IT COSTS MORE THAN MANY MID-RANGE CARS,

BUT THIS HIGH-END BIKE ISN'T FOR THE BUDGET CROWD.

IT'S FOR THOSE WHO WANT A ONE-OF-A-KIND RIDE.