Harry Olson, a pioneer in musical sound
reproduction, received his B.E. degree from the
University of Iowa in 1924. He continued his
graduate studies at Iowa, taking a masters in 1925
and a Ph.D. in atomic physics in 1928. Olson
joined RCA in 1928, immediately tackling the
problem of poor quality sound in the new "talking
pictures." In 1935, Olson was placed in charge of
RCA's Camden acoustic laboratory, where he went on
to develop the electronic synthesizer with Herbert
Millar.
The interview covers Olson's groundbreaking work
in acoustic research in nearly forty years with
RCA. Olson discusses his work with microphones,
including the development of the velocity microphone
and the unidirectional microphone for use in
movies. He was also instrumental in work done on
RCA's second-order gradient microphone. The
interview offers a comprehensive discussion of
Olson's work with Herbert R. Millar to develop an
electronic music synthesizer, including both
technical discussion and the implications of
musical aesthetics. The interview continues with
comments on Olson's work with RCA's underwater
sound project for the Navy in the 1940s and his
subsequent work on loudspeakers. Olson also
discusses the potential of quadrophonic sound, the
development of the phonetic typewriter, as well as
his work on sound reinforcement systems and the
music composing machine. The interview concludes
with a brief discussion of current limitations in
loudspeakers and the potential of air-suspension
speaker systems.
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1
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Educational background
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Ph.D. degree in atomic physics
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Joins RCA in 1928
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Development of the velocity
microphone for sound pictures
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2
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Begins work on development of
unidirectional microphone
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Alleged desirability of restricted
frequency range in music and speech
reproductions
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Experiment with live orchestra,
audience, and acoustic filters
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3
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Experiment reveals need to eliminate
distortion from high-frequency
recording
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4
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on the psychology of sound
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5
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Use of a digital punched record in
synthesizer
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Sarnoff's skepticism concerning value
of synthesizer
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6
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Tests conducted to prove quality of
synthesizer
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Wuorinen releases "Time's Encomium"
recorded on Olson's electronic
synthesizer; recording wins Pulitzer
Prize
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7
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Details of first demonstration of
synthesizer
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8
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Eventual acceptance of synthesizers
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9
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Overtones as a factor in sound
quality
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10
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Difficulties in synthesizing violin
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RCA's Hollywood studios, "The Radio
Pictures Studios"
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11
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Development of directional
microphones to eliminate reverberant
sound in movie sound recording
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12
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Discussion of the shot-gun microphone
and second-ordered gradiant
microphone
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13
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Association with Dr. Wolf and Abraham
Ringle
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In charge of acoustic research after
Julius Weinberger
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14
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RCA's work on underwater sound for
the Navy during 1940s
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Development of superdirective
projectors
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15
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Loudspeaker work in connection with
theaters
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Develop horn loudspeakers for
increased directivity
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16
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Subsequent work improving the
frequency range of loudspeakers
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Development of air-suspension
loudspeaker
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Amplifiers as sources of distortion
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17
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Development of the linear detector
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18
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Beginnings of high fidelity and
development of low distortion systems
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19
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Bell Laboratories' work on
stereophonic sound
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Alexanderson's experiment in 1920s
with stereophonic sound
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20
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Early experiments in quadrophonic
sound in the 1960s
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Various advantages of quadrophonic
versus stereophonic sound
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21
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Development of phonetic typewriter
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22
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Use of memory devices in phonetic
typewriters
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23
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RCA develops letter sorter for Camden
post office
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Limitations of phonetic typewriter
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Discussion of various speech
compressors
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24
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Work on sound reinforcement systems
and auditoriums
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25
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Auditorium sound systems
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26
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Music composing machine
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27
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Work on electronic free association
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28
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Size of loudspeakers as current
limitation in sound reproduction
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Problems with electrostatic
loudspeaker
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29
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Air-suspension systems for
loudspeakers
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30
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Problems with air noise in
air-suspension speakers
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