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I have always wondered if there was a way to reverse shrinkage on celluloid cylinders. The shrinkage seems to be especially prevalent on U.S. Everlastings and Lambert cylinders, more so than Albany Indestructibles. I was wondering if there is some way to fix this. Perhaps there is some concoction out there that would have the effect of reversing this shrinkage. One can only dream!

-Steve

It doesn't reverse the shrinkage, but I am able to play some of my 2 minute Indestructibles that have shrunk by using a Model H instead of the Model C. I think that the smaller stylus does better due to the grooves being closer together than they should be, which causes the C to skate and skip, while the H tracks the record correctly.

I have had good results by using the swing in the tail weight, simply nudging it to the right at the start.
By the end of play, the tail weight has moved to the left.
James.

Roaring20s wrote:I have had good results by using the swing in the tail weight, simply nudging it to the right at the start.
By the end of play, the tail weight has moved to the left.

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James.

That's what I have been doing, but it still moves too far to the left before the end of the recording and it starts skipping. It's a real shame. I just got a copy of "Slippery Hank" on U.S. Everlasting and it is a really great ragtime gem, too bad it shrank!

-Steve

oldphonographsteve wrote:I have always wondered if there was a way to reverse shrinkage on celluloid cylinders. The shrinkage seems to be especially prevalent on U.S. Everlastings and Lambert cylinders, more so than Albany Indestructibles.

I am unaware of any way to reverse celluloid shrinkage. I have bad news regarding the U.S. Everlastings, which are very thin celluloid sleeves supported by a black composite core. When they shrink sufficiently, they spit in a straight line from end-to-end. I bought an expensive one on eBay and within a year it had split completely while stored in its box. I am eyeing the others nervously!

I read somewhere that the celluloid tubes were made from a flat sheet that was curled and the edges were butted up and somehow fused together. If so, that would explain the clean straight breaks that happen as the celluloid seam pops loose suddenly.

The Edison Blue Amberols split more slowly and seldom along a straight line. I think that is due to the plaster swelling more than the celluloid shrinking. I don't recall ever seeing an Indestructible split.

I have only seen this once...
James

James, I have seen dozens of split U.S. Everlastings over the years while shopping through boxes of cylinders, to the point I am now rather hesitant to pay much for one. It's a shame, because the 4M U.S. Everlastings (band recordings) often sound every bit as good if not better than any brand I've ever heard, including directly recorded Edison Blue Amberols.

I have a few Lakeside (Montgomery Ward sold) Indestructible cylinders that have done this same exact thing.. Only about 3 of them, but I got them that way. I will use them for future experiments.. This sucks when this happens...but at least Albany Indestructibles do not do this as they are all one piece and not just a Celluloid "film" over a bakelite plastic tube like the U.S. Everlastings and Lakeside cylinders. I think that the Lakeside cylinders were made by U.S. Everlasting as they both have the same fonts and same "Film over tube" construction and even look the same except for the names printed on the rims of course.

)

Tony K.

Edison Collector/Restorer

How can one tell the difference between the U.S. Everlasting and the Indestructible?

Victrolacollector wrote:How can one tell the difference between the U.S. Everlasting and the Indestructible?

Indestructibles have a cardboard lining and metal ends, and have the celluloid stretched over both ends. They also have a patent date stamped after the title.

U.S. Everlastings have a 'composition' core, and the celluloid does not cover the ends - hence the titles are often harder to read.They do not have a patent date on the end.

Bill