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Dick Olsher Posted: May 06, 2015 Published: May 01, 1989 0 comments
The Lazarus, a slim, quite elegant unit finished in black with red and gray legends, lived up to its advance billing: it literally rose from the dead! Out of its coffin (ie, shipping box) and plugged into the wall, it showed no signs of life. Troubleshooting revealed a blown AC mains fuse. That in itself was not a major problem, but what worried me was the root cause of the trouble. Preamplifiers as a rule are not power-hungry, so a current surge at turn-on sufficient to destroy the 250mA slow-blow mains fuse appeared symptomatic of a major circuitry failure.
Dick Olsher J. Gordon Holt Posted: Aug 13, 2014 Published: Aug 01, 1985 2 comments
885gale.promo250.jpgThe Gale loudspeaker dates back to the early 1970s. As I understand it, the basic design resulted from a collaboration of Ira Gale and Sao Win, who were college classmates at the time. Their speaker proved very popular in England and was subsequently imported to the USA during the mid-1970s by Audio Technica. Recently, Techport (the folks who import the Perreaux line) has taken over US distribution.

While the Gales have undergone same changes through the years, their distinctive appearance and, according to some, their equally distinctive sonic "flavor," have continued to earn the respect of critical listeners all over the world. Nonetheless, these speakers have also sustained their fair share of criticism; not everybody likes them. This sort of continuing disagreement usually means that what is at issue is a "different" kind of sound—a product that sounds quite unlike others, yet somehow offers a high enough degree of musical satisfaction to appeal to a lot of serious audiophiles. Of such products are cults made.

Dick Olsher Posted: May 09, 2014 Published: Aug 01, 1984 0 comments
It has been my experience that $400 or thereabouts is about the least one can pay for a pair of speakers with the expectation of audiophile-calibre sound.
Dick Olsher Posted: Apr 10, 2014 Published: Feb 01, 1986 0 comments
Very few products exude opulence as do the Rowland amplifiers: the massive chassis, the gold finish, those sculpted handles on the front plate. For some strange reason the amp reminds me of Brutus Beefcake, the golden boy of professional wrestling, upon whom I stumbled one night while flipping through the myriad channels of our cable TV. The visual impact is the same: beefy. And then there's the price: also beefy.
Dick Olsher Posted: Feb 13, 2014 Published: Mar 01, 1992 1 comments
666kiseki.jpgKoetsu. Kiseki. Keebler. Products from all of these firms are shrouded in at least a bit of mystery. Do I believe that Koetsu cartridges are hand-built by an octogenarian samurai swordsmith, or that Kisekis are imported from the planet Vulcan, or that Keebler's cookies are baked by elves? Not really. But it does help to liven up the domestic audio scene.

"Look, son—see what Scottie just beamed down."

"Gee, Dad, it's big and blue with a gold spot on the front, and it kind of looks like a cartridge."

"Nice guess, son. No ordinary cartridge, this one. Let me tell you about the Vulcan analog freak in Hong Kong..."

Dick Olsher Posted: Sep 20, 2013 Published: Nov 01, 1994 0 comments
John Stronczer, Bel Canto Design's technical spark plug, meets my definition of an electronics renaissance man, ranging as he does from designing single-ended amps that glow in the dark (the Orfeo) to digital processors (the Aida). Actually, digital circuitry is one of John's specialties, dating back to his days at Honeywell.
Dick Olsher Posted: Jul 18, 2013 Published: Nov 01, 1992 1 comments
Designer Dr. Roger West got his first taste of electrostatic transducers many years ago during a stint with Janszen (remember the Janszen tweeter?). To realize the potential of the full-range electrostatic loudspeaker (ESL), he and Dr. Dale Ream formed a new company dedicated to ESL research and development. West describes this company, Sound-Lab Corp., as "the electrostatic speaker specialists."
Dick Olsher Posted: Feb 19, 2013 Published: Dec 01, 1989 0 comments
666rm9amp.jpgDo you believe in beginner's luck? If so, some of your personality traits should be quite predictable. Let's see. You're very likely an optimist with a "bull-market" mentality, play the lottery, and, most important, bought a CD player within a year of its introduction, or a solid-state amp in the '60s. You're apt to mail in a profusion of bingo cards (you know, the kind Stereo Review is full of) and spend hours perusing specifications in the hope of finding a kernel of truth in all of that chaff. You'd particularly be appalled at that fellow I ran into the other day, who had bought an AR-1 in 1956 and waited another decade before buying another speaker—just to make sure stereo wasn't a fad. Hey, relax, I won't turn you in; the mere fact that you're reading Stereophile is sufficient reason for redemption.
Dick Olsher Posted: Nov 21, 2012 Published: Jan 01, 1993 0 comments
In its comparatively few years in the marketplace, the line-level preamplifier appears to have established commercial parity with its full-function big brother. That this was inevitable was clear as far back as the mid-'80s. The advent of the CD and the proliferation of digital sources argued for a modular approach to preamp design. In such an environment, line-level sources (eg, DAT, CD, even analog tape) deserve special attention.
Dick Olsher Posted: Feb 24, 2012 Published: Jun 01, 1990 0 comments
Ten seconds to ignition. Relax, buckle in, and welcome to Stereophile's Good Times time machine. Flux capacitors fully energized. Ignition. Not to worry, that slight tingling sensation is perfectly normal. Roll back your calendar to...June 28, 1933. We're at the Eighth Annual convention of the Institute of Radio Engineers in Chicago. Harry Olsen is on the podium, describing a new wide-range cone loudspeaker for high-fidelity sound reproduction.

Quiet, please, Mr. Olsen is about to describe the disadvantages of multiple–drive-unit systems. "The radiating surfaces must be separated by a finite distance, with the result that this system will exhibit peculiar directional characteristics in the overlap region where the sound radiation issues from both sources. To reduce this effect to a minimum, the overlap region must be confined to a very small range which requires an elaborate electric filter system for allocating the frequency bands of the units. The greater space required for the two loudspeakers is another important factor. The cost of two separate field structures and vibrating systems will be considerably greater than that of a single unit."

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