Dick Olsher

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Dick Olsher  |  Dec 18, 2015  |  First Published: Jun 01, 1995  |  5 comments
In 1995, as the compact disc enters its second decade of commercial reality, it's fair to say that the associated hardware has come of age, exorcising at last the digital gremlins of time-base jitter and quantization noise. Digital-processor maturation is particularly evident in the design of the all-critical D/A processor. The simplistic digital circuitry of yesterday has given way to considerable design sophistication that deals directly with jitter and low-level nonlinearities.
Dick Olsher  |  May 07, 1995  |  0 comments
A.C. Wente of Bell Telephone Labs was apparently the first person to get the bright idea (in the 1930s) of measuring sound transmission in a small room. A loudspeaker at one point reproducing pure tones of constant power, and a microphone at another point measuring sound-pressure levels, gave him the means to assess the room's impact on sound quality. The measured frequency response was so ragged that I'm positive the venturesome Dr. Wente was duly shocked.
Dick Olsher  |  Jun 30, 2009  |  First Published: Jan 30, 1995  |  0 comments
Neither its rather pedestrian name nor Manley Labs' own literature gives much of a clue as to the 175 monoblock's special pedigree. Where are the bands, the fanfare?! After all, the rolling-out of a 6L6–based high-power audiophile-grade tube amplifier definitely qualifies in my book as a momentous occasion. Deplorably, such happenings are rare indeed; the 6L6 has been unjustly neglected in high-end circles.
Dick Olsher  |  Sep 20, 2013  |  First 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  |  Aug 26, 2011  |  First Published: Mar 01, 1994  |  0 comments
Thanks to Ben Peters, there's an electrostatic lifeline in Holland. Founded about 25 years ago, his company, Audiostatic, struggled through the 1980s, but with distribution by SOTA Industries, it's now on firm footing in the US. In fact, SOTA's Jack Shafton told me that all assembly and some manufacturing are now conducted in the US. My ES-100 samples came from the first US production run.
Dick Olsher, Various  |  Jan 29, 1995  |  First Published: Jan 29, 1994  |  0 comments
Lee de Forest filed for a US patent on his "Audion"—the first triode—on October 25, 1906, but never could explain why it worked (footnote 1). It was up to Armstrong and Langmuir, in their pioneering work, to place the hard-vacuum triode on firm scientific ground. When the US entered World War I in April 1917, the Army had to rely on French tubes. Six months later, Western Electric was mass-producing the VT-1 receiving tube and the VT-2 transmitting tube. However, it was only in the decade following World War I, as designers became conversant with the triode amplifier, that many of the crucial elements of tube amplification were nailed down. Technical issues such as coupling two gain stages and selection of optimal coupling impedance were already resolved by the mid-1920s. The triode ruled supreme until the tetrode came along in 1926, followed in 1929 by the pentode from Philips's research laboratories in Holland.
Dick Olsher  |  Apr 04, 2004  |  First Published: Jan 01, 1994  |  0 comments
MACH 1 Acoustics? Cute name. Mach 1 is, of course, the speed of sound—the speed at which a loudspeaker's acoustic output is forever constrained to travel. Quite a fitting choice for Marc McCalmont, Marine and jet pilot turned speaker designer. Marc retired to Wilton, NH together with Melissa. (Oops, that should be MLSSA, the well-known acoustic analysis system—not Marc's girlfriend.)
Dick Olsher  |  Apr 10, 2005  |  First Published: Oct 10, 1993  |  0 comments
MartinLogan's Gayle Sanders has almost single-handedly raised the electrostatic/dynamic hybrid loudspeaker to a position of prominence in the High End. First, there was the MartinLogan Monolith (reviewed in Vol.8 No.3 and Vol.9 No.3), followed by the much more affordable Sequel (reviewed in Vol.11 No.12, Vol.12 Nos.8, 9, and 12, and Vol.14 No.2). Then came the subject of this review, the Quest, and most recently the diminutive Aerius, reviewed by JA elsewhere in this issue.
Dick Olsher  |  May 07, 2006  |  First Published: Jul 07, 1993  |  0 comments
As audio enters its second digital decade, it gives me great pleasure to proclaim a great audio truth: to groove is divine, to error-correct ain't so benign.
Dick Olsher  |  Nov 21, 2012  |  First 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.

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