At Quality Record Pressings in Salina, Kan., the influx of orders for vinyl records continues to be so great how the staff continues to be turning away requests since September. This resurgence in pvc pellet popularity blindsided Gary Salstrom, the company’s general manger. The company is definitely five-years old, but Salstrom has been making records to get a living since 1979.
“I can’t tell you how surprised I am just,” he says.
Listeners aren’t just demanding more records; they would like to pay attention to more genres on vinyl. Since many casual music consumers moved onto cassette tapes, compact discs, and after that digital downloads over the past several decades, a small contingent of listeners passionate about audio quality supported a modest industry for certain musical styles on vinyl, notably classic jazz and orchestral recordings.
Now, seemingly everything within the musical world is becoming pressed as well. The Recording Industry Association of America reported that vinyl record sales in 2015 exceeded $400 million from the U.S. That figure is vinyl’s highest since 1988, and it also beat out revenue from ad-supported online music streaming, such as the free version of Spotify.
While old-school audiophiles plus a new wave of record collectors are supporting vinyl’s second coming, scientists are considering the chemistry of materials that carry and also have carried sounds within their grooves over time. They hope that by doing this, they will enhance their capacity to create and preserve these records.
Eric B. Monroe, a chemist at the Library of Congress, is studying the composition of some of those materials, wax cylinders, to learn the direction they age and degrade. To help you using that, he is examining a tale of litigation and skulduggery.
Although wax cylinders might appear to be a primitive storage medium, these people were a revelation at that time. Edison invented the phonograph in 1877 using cylinders wrapped in tinfoil, but he shelved the project to function on the lightbulb, in accordance with sources with the Library of Congress.
But Edison was lured into the audio game after Alexander Graham Bell with his fantastic Volta Laboratory had created wax cylinders. Utilizing chemist Jonas Aylsworth, Edison soon created a superior brown wax for recording cylinders.
“From an industrial viewpoint, the information is beautiful,” Monroe says. He started focusing on this history project in September but, before that, was working at the specialty chemical firm Milliken & Co., giving him a distinctive industrial viewpoint in the material.
“It’s rather minimalist. It’s just adequate for the purpose it must be,” he says. “It’s not overengineered.” There is one looming trouble with the beautiful brown wax, though: Edison and Aylsworth never patented it.
Enter Thomas H. MacDonald of American Graphophone Co., who basically paid people off and away to help him copy Edison’s recipe, Monroe says. MacDonald then declared a patent on the brown wax in 1898. However the lawsuit didn’t come until after Edison and Aylsworth introduced a brand new and improved black wax.
To record sound into brown wax cylinders, every one would have to be individually grooved having a cutting stylus. Although the black wax might be cast into grooved molds, permitting mass manufacture of records.
Unfortunately for Edison and Aylsworth, the black wax had been a direct chemical descendant of your brown wax that legally belonged to American Graphophone, so American Graphophone sued Edison’s National Phonograph Co. Fortunately for your defendants, Aylsworth’s lab notebooks showed that Team Edison had, the truth is, developed the brown wax first. The companies eventually settled away from court.
Monroe has been able to study legal depositions from the suit and Aylsworth’s notebooks because of the Thomas A. Edison Papers Project at Rutgers University, that is endeavoring to make over 5 million pages of documents related to Edison publicly accessible.
Utilizing these documents, Monroe is tracking how Aylsworth along with his colleagues developed waxes and gaining a much better idea of the decisions behind the materials’ chemical design. For instance, within an early experiment, Aylsworth made a soap using sodium hydroxide and industrial stearic acid. At that time, industrial-grade stearic acid was really a roughly 1:1 combination of stearic acid and palmitic acid, two fatty acids that differ by two carbon atoms.
That early soap was “almost perfection,” Aylsworth remarked in his notebook. But after a couple of days, the outer lining showed indications of crystallization and records made using it started sounding scratchy. So Aylsworth added aluminum towards the mix and discovered the best mixture of “the good, the bad, and also the necessary” features of the ingredients, Monroe explains.
The combination of stearic acid and palmitic is soft, but way too much of it makes for the weak wax. Adding sodium stearate adds some toughness, but it’s also responsible for the crystallization problem. The rigid pvc compound prevents the sodium stearate from crystallizing whilst adding some additional toughness.
In fact, this wax was a tad too tough for Aylsworth’s liking. To soften the wax, he added another fatty acid, oleic acid. But most of these cylinders started sweating when summertime rolled around-they exuded moisture trapped through the humid air-and were recalled. Aylsworth then swapped the oleic acid for any simple hydrocarbon wax, ceresin. Like oleic acid, it softened the wax. Unlike oleic acid, it added a vital waterproofing element.
Monroe has become performing chemical analyses on collection pieces along with his synthesized samples so that the materials are the same and therefore the conclusions he draws from testing his materials are legit. For example, he can look into the organic content of the wax using techniques like mass spectrometry and identify the metals within a sample with X-ray fluorescence.
Monroe revealed the initial is a result of these analyses recently in a conference hosted through the Association for Recorded Sound Collections, or ARSC. Although his initial two efforts to make brown wax were too crystalline-his stearic acid was too pure along with no palmitic acid inside it-he’s now making substances that are almost identical to Edison’s.
His experiments also suggest that these metal soaps expand and contract quite a bit with changing temperatures. Institutions that preserve wax cylinders, for example universities and libraries, usually store their collections at about 10 °C. Rather than bringing the cylinders from cold storage instantly to room temperature, which is the common current practice, preservationists should permit the cylinders to warm gradually, Monroe says. This will likely minimize the worries in the wax and minimize the probability that this will fracture, he adds.
The similarity between your original brown wax and Monroe’s brown wax also shows that the material degrades very slowly, which happens to be great news for folks like Peter Alyea, Monroe’s colleague at the Library of Congress.
Alyea would like to recover the info saved in the cylinders’ grooves without playing them. To do so he captures and analyzes microphotographs from the grooves, a strategy pioneered by researchers at Lawrence Berkeley National Laboratory.
Soft wax cylinders were perfect for recording one-off sessions, Alyea says. Business folks could capture dictations using wax and did so up in to the 1960s. Anthropologists also brought the wax to the field to record and preserve the voices and stories of vanishing native tribes.
“There are ten thousand cylinders with recordings of Native Americans within our collection,” Alyea says. “They’re basically invaluable.” Having those recordings captured in the material that appears to endure time-when stored and handled properly-might appear to be a stroke of fortune, but it’s not too surprising taking into consideration the material’s progenitor.
“Edison was the engineer’s engineer,” Alyea says. The changes he and Aylsworth made to their formulations always served a purpose: to make their cylinders heartier, longer playing, or higher fidelity. These considerations along with the corresponding advances in formulations triggered his second-generation moldable black wax and in the end to Blue Amberol Records, that had been cylinders made out of blue celluloid plastic as an alternative to wax.
But when these cylinders were so great, why did the record industry change to flat platters? It’s easier to store more flat records in less space, Alyea explains.
Emile Berliner, inventor of the gramophone, introduced disc-shaped gramophone records pressed in celluloid and hard rubber around 1890, says Bill Klinger. Klinger may be the chair of the Cylinder Subcommittee for ARSC along with encouraged the Library of Congress to get started on the metal soaps project Monroe is focusing on.
In 1895, Berliner introduced discs depending on shellac, a resin secreted by female lac bugs, that could be a record industry staple for many years. Berliner’s discs used a combination of shellac, clay and cotton fibers, and several carbon black for color, Klinger says. Record makers manufactured countless discs by using this brittle and relatively inexpensive material.
“Shellac records dominated the industry from 1912 to 1952,” Klinger says. Several of these discs are known as 78s for their playback speed of 78 revolutions-per-minute, give or require a few rpm.
PVC has enough structural fortitude to support a groove and endure a record needle.
Edison and Aylsworth also stepped the chemistry of disc records using a material known as Condensite in 1912. “I believe that is quite possibly the most impressive chemistry in the early recording industry,” Klinger says. “By comparison, the competing shellac technology was always crude.”
Klinger says Aylsworth spent years developing Condensite, a phenol-formaldehyde resin which was just like Bakelite, that was acknowledged as the world’s first synthetic plastic through the American Chemical Society, C&EN’s publisher.
What set Condensite apart, though, was hexamethylenetetramine. Aylsworth added the compound to Condensite to prevent water vapor from forming in the high-temperature molding process, which deformed a disc’s surface, Klinger explains.
Edison was literally using a lot of Condensite every day in 1914, however the material never supplanted shellac, largely because Edison’s superior product was included with a substantially higher cost, Klinger says. Edison stopped producing records in 1929.
However when Columbia Records released vinyl long-playing records, or LPs, in 1948, shellac’s days in the music industry were numbered. Polyvinyl chloride (PVC) records supply a quieter surface, store more music, and they are much less brittle than shellac discs, Klinger says.
Lon J. Mathias, a polymer chemist and professor emeritus on the University of Southern Mississippi, offers one more reason why vinyl got to dominate records. “It’s cheap, and it’s easily molded,” he says. Although he can’t talk with the precise composition of today’s vinyl, he does share some general insights in the plastic.
PVC is mostly amorphous, but with a happy accident in the free-radical-mediated reactions that build polymer chains from smaller subunits, the material is 10 to 20% crystalline, Mathias says. For that reason, PVC has enough structural fortitude to back up a groove and withstand a record needle without compromising smoothness.
Without any additives, PVC is apparent-ish, Mathias says, so record vinyl needs such as carbon black allow it its famous black finish.
Finally, if Mathias was choosing a polymer for records and funds was no object, he’d go along with polyimides. These materials have better thermal stability than vinyl, which has been proven to warp when left in cars on sunny days. Polyimides may also reproduce grooves better and provide an even more frictionless surface, Mathias adds.
But chemists are still tweaking and improving vinyl’s formulation, says Salstrom of Quality Record Pressings. He’s working with his vinyl supplier to find a PVC composition that’s optimized for thicker, heavier records with deeper grooves to present listeners a sturdier, high quality product. Although Salstrom can be amazed at the resurgence in vinyl, he’s not trying to give anyone any good reasons to stop listening.
A soft brush can usually handle any dust that settles on the vinyl record. So how can listeners handle more tenacious grime and dirt?
The Library of Congress shares a recipe to get a cleaning solution of 2 mL of Dow Chemical’s Tergitol 15-S-7 in 4 L of deionized water. C&EN spoke with Paula Cameron, a technical service manager with Dow, to discover the chemistry that can help the pvc compound end up in-and out of-the groove.
Molecules in Tergitol 15-S-7 possess hydrophobic hydrocarbon chains that are between 11 and 15 carbon atoms long. The S means it’s a secondary alcohol, so there’s a hydroxyl jutting dexrpky05 the midsection in the hydrocarbon chain to get in touch it to some hydrophilic chain of repeating ethylene oxide units.
Finally, the 7 is really a measure of the number of moles of ethylene oxide will be in the surfactant. The greater the number, the better water-soluble the compound is. Seven is squarely in water-soluble category, Cameron says. Furthermore, she adds, the surfactant doesn’t become viscous or gel-like when mixed with water.
The final result can be a mild, fast-rinsing surfactant that will get out and in of grooves quickly, Cameron explains. The not so good news for vinyl audiophiles who might want to use this in the home is the fact Dow typically doesn’t sell surfactants directly to consumers. Their customers are usually companies who make cleaning products.