Lioret cylinders came in a range of sizes: No. 1 (the size used in the Bèbè Jumeau doll); No. 2; No. 3; and this one, the No. 4, also known as the Eureka cylinder, which was designed to play on the high-end Lioretgraph Eureka phonograph. The core is a brass cylinder, unlike any other commercial phonograph record. The use of celluloid allowed finer grooves that could be inscribed at a density of 133 tpi (threads per inch). Additionally, the cylinders were recorded at 100 rpm, as opposed to the 120 rpm for Lioret's other cylinders. Combined, these factors allowed the Eureka cylinder to hold as much as 4.5 minutes of audio (Anton 2006, 108). At the time other cylinders held approximately 2 minutes. Eureka cylinders were sold for 12 to 20 francs, which was much more expensive than wax cylinders which cost 2 to 3.5 francs. The Eureka machine was also expensive at 500 francs.

To make a Lioret cylinder, a celluloid master cylinder was softened, then engraved directly. An electroplated copper mold was then made from the master. Final copies were made by placing a tube of celluloid inside the mold, softening it with hot water and expanding it to press into the grooves of the mold (Anton 2006, 27).

Lioret's phonograph business was successful for a time, but after 1900 the business withered. There were several reasons: low-priced competition from pirated Edison, Columbia and Path´ machines, growing competition from gramophone discs, lack of recordings by well-known artists, lack of capital. Large firms adopted industrial production. "More interested in inventing and improving the quality of his products than in developing the business, [Lambert] remained a craftsman, and above all an independent researcher" (Anton 2006, 42).