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HARRY F. OLSON
December 2S, ~ 901-Aprit 1!, it 982
BY CYRIL M. HARRIS
HARRY F. OLSON, pioneer in acoustics and electronic
sound recording, died on April I, 1982, at Princeton
Meclical Center at the age of eighty-one. He had been a mem-
ber of the National Academy of Sciences since 1959.
During his career of nearly forty years with RCA, Dr.
Olson developed several types of microphones for broad-
casting and recording, high-fidelity loudspeakers, phono-
graph pickups and recording equipment, underwater sound
equipment, and sound motion picture ant! public adctress
systems; he contributed substantially to the development of
the RCA magnetic tape recorder for television and the RCA
music synthesizer.
Harry F. Olson was born in Mt. Pleasant, Iowa, on Decem-
ber IS, 1901, the first of two children. Both his father, a
farmer, and mother, a talented amateur artist, were born in
Sweden and had come to this country to seek new opportu-
nity.
Their son exhibited an interest in science and technology
at an early age, which they encouraged by supplying him with
a modest shop and laboratory. While still in grade school and
with very little data on (resign, Harry built and flew mocle!
airplanes an art then in its infancy. In high school he grad-
uated to building a steam engine and a woocI-firecl boiler,
407
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408
BIOGRAPHICAL MEMOIRS
which he user! to drive a direct current generator constructed
from parts of an automobile generator he had rewound for
~10 volts. He also designecT and built an amateur radio sta-
tion, became proficient with the code, and obtained an op-
erator's license.
In 1924, majoring in electrical engineering, Harry grad-
uatec! near the top of his class from the University of Towa's
College of Engineering. G. W. Stewart, then head of the
physics clepartment, chose him to receive a graduate schol-
arship, and in 1925, he earned the M.A. degree with a thesis
on acoustic wave filters in solicis. As part-time research as-
sistant to I. A. Eldridge, he worked on polarization of light
by electron impact; while with A. Ellett he conclucted re-
search on atom beams.
One experiment, verifying the Maxwell velocity distribu-
tion of atoms, used a small boiler partially filled with cad-
mium and equipped with a narrow aperture to supply a fine
beam of atoms. The atom beam was sent through a series of
Fizeau wheels driven by the squirrel-cage rotor of an induc-
tion motor, all operating in a vacuum. The three-phase stator
windings of the induction motor were located outside the
vacuum chamber. The atom beam passed through the slots
in the wheels anct the atoms were collected on a glass plate
cooled by liquict air. They then measured the density of the
collected atoms. From the dimensions, geometry, rotational
velocity, and clensity, the researchers determined the velocity
distribution. They then reflected a narrow beam of cadmium
atoms from a rock salt crystal and found that the reflection
was specular. For his doctoral thesis, Olson carried out re-
search on the polarization of resonance radiation in mercury
and received the Ph.D. degree in 1928.
From his association with Stewart, the inventor of the
acoustic wave filter, and with Dean Car} E. Seashore, who
specialize<] in the psychology of music, Harry C)Ison clevel-
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HARRY F. OLSON
409
oped an interest in music, acoustics, and sound reproduction.
In 192S, he joiner! RCA as a member of the Research De-
partment. Except for the two-year perioc! from 1930 to 1932,
when he was associates! with the Engineering Department of
the Photophone Division of RCA in New York City, Dr. Olson
was associated with the RCA research organization continu-
ously until his retirement. In 1934 he was placed in charge
of acoustical research for the RCA Manufacturing Company.
In 1942 his Acoustical Research Laboratory was moved from
Camden, New Jersey, to the newly constructed RCA Labo-
ratories in Princeton, New Jersey, where he had a well-
equippe`1 acoustical facility, constructed under his supervi-
sion. This included a free-fielc! (anechoic) room that was the
worId's largest at that time, a reverberation chamber, ant! an
ideal listening room. He continued as director of acoustical
research until 1967, when he was appointed staff vice-presi-
clent.
Dr. Olson's work on the development of microphones for
the motion picture anc! broadcast industries resulted in mi-
crophones that founct widespread] commercial use. Especially
noteworthy were his bidirectional velocity microphones and
his unictirectional cardioid microphones. He continued to
develop new types of microphones, inclucling higher-orcler
gradient microphones, ultra-clirectional microphones, noise-
cancelling microphones, and various types of miniature mi-
crophones which were usect both in industry anti in the mil-
itary. He also developed loudspeakers that made significant
improvements in linearity anct uniformity in frequency re-
sponse of loucispeakers that were commercially available at
the time.
During WorIct War IT, Dr. Olson and the group he led
workoct on various military projects with an emphasis on un-
derwater sound! and antisubmarine warfare. This work in-
cluded significant improvements in sonar transducers; the
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410
BIOGRAPHICAL MEMOIRS
development of an acoustic proximity fuse for depth charges,
. · · · . ~ · · ~
and voice communication transducers tor use In noisy env~-
ronments. During the academic years from 1940 to 1942, he
also lectured in acoustical engineering at Columbia Univer-
sity.
Following World War IT, Dr. Olson continuer! his research
in sound reproduction. One of his experiments, now consid-
ered a classic, determined the preferrer! bandwidth for the
reproduction of music. Previous experimenters had found
that listeners seemed to prefer a high-frequency cutoff of
5000 Hz for reprocluced music. Dr. Olson carried out an
experiment in which a small orchestra sat behind a visually
opaque but acoustically transparent screen. The screen in-
corporatec3 a concealed low-pass acoustical filter having an
upper frequency cutoff of 5000 Hz. This filter could be
opened or closed, allowing either the full range of frequen-
cies to pass or the range only below 5000 Hz. The listeners
were asked to select their preference between two conditions:
full bandwidth or restricted bandwicith. There was over-
whelming preference in favor of the full bandwidth. Next,
the orchestra was replaced with a sound-reproduction system
where the loudspeakers were located in the position of the
orchestra, behind the screen. When the sound system was
free of distortion, the listeners preferrer! the full bandwidth.
But when he introducect small amounts of nonlinear clistor-
tion, the restricted bandwidth was preferred, thus demon-
stratin~ clearIv the importance of high Quality in audio sYs-
~--~ --------rig --em- ~~-~
tems.
Early in 1950, RCA asked Dr. Olson to develop a team in
his laboratory to make significant improvements in magnetic
tape recording that could lead to the magnetic tape recording
of television signals. To accomplish this wouIc! require a
breakthrough in the quality of both the magnetic tape ant!
the recording heacis. The 3M Company was selected as the
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HARRY F. OLSON
411
collaborator for providing the special tape needed for this
new process. In May 1956, after several years of develop-
ment, the system was completed and was moved from his
laboratory in Princeton to the NBC Studios in New York City,
where it provided the worId's first broadcast of tape-recorded
color television signals. Dr. Olson then started a project in
tape-coating technology in his laboratory. When finally de-
veloped, this equipment was transferred, as a unit, to RC\s
newly created Magnetic Products Division in Indianapolis,
where it was used in the commercial production of magnetic
tapes.
Dr. Olson's interest in musical acoustics led to the devel-
opment, with Herbert Belar, of the RCA Electronic Music
Synthesizer. Music synthesizers have become commonplace
since the advent of transistors and integrated circuits. But in
the era of vacuum tubes and relays, of which the RCA device
was constructed, the production of an arbitrarily selected au-
dio signal by means of a synthesizer was a considerable
achievement. At first, Olson and Belar's synthesizer was used
at the RCA Laboratories at Princeton to compose musical
selections that were issued as records. It was later moved to
the Electronic Music Center at Columbia University, where it
is still in use.
For his achievements, Dr. Olson received many honors
and awards, including the Modern Pioneer Award of the Na-
tional Association of Manufacturers ~ ~ 940), the John H. Potts
Medal of the Audio Engineering Society (1952), the Samuel
L. Warner Medal of the Society of Motion Picture and Tele-
vision Engineers (1955), the John Scott Medal of the City of
Philadelphia (1956), the Achievement Award of the IRE Pro-
fessional Group on Audio (1956), the John Ericsson Medal
of the American Society of Swedish Engineers (1963), the
Emile Berliner Award of the Audio Engineering Society
(1965), and the Institute of Electrical and Electronic Engi-
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412
BIOGRAPHICAL MEMOIRS
neers' Mervin }. Kelly Medal (1967), Consumer Electronics
Award (1969), and Lamme Medal (1970~.
He was awarclect the first Silver Medal in engineering
acoustics of the Acoustical Society of America in 1974 and in
1981 was given the GoIct Medal of the Society with the fol-
lowing citation: ". . . for his innovative anct lasting contribu-
tions in acoustic transduction, sound reproduction, elec-
tronic music and speech synthesis, and his service to the
Society." He server! on the Executive Council of the Society
from 1937 to 1940, as vice-president from 1942 to 1944,
presiclent-elect from 1951 to 1952, anct president from 1953
to 1954. He was, in aciclition, associate editor of the Journal
of the Acoustical Society of America for thirty years.
He was a member of the American Society of Motion Pic-
ture anct Television Engineers, Fellow of the American Phys-
ical Society, Fellow of the Institute of Electrical ant! Electronic
Engineers, anct Fellow of the Acoustical Society of America.
Dr. Olson was an honorary member, a founder, anct past-
president of the Audio Engineering Society. He was also a
member of Tau Beta Pi and Sigma Xi and received an hon-
orary D.Sc. degree from Iowa Wesleyan College.
Dr. Olson was the author of numerous acoustical studies
ant! contributed to more than 130 articles and professional
papers. His books, Elements of Acoustical Engineering (1940,
~ 947), Dynamical Analogies ~ ~ 942, ~ 958), Musical Engineering
(1952), Acoustical Engineering (1957), and Music, Physics and
Engineering ~ ~ 966), are widely used by students and engineers
throughout the world. Acoustical Engineering ant! Dynamical
Analogies, particularly, are considered! standard! reference
texts in the field anct have been translated into Russian and
Japanese. Dr. Olson hell! more than one hundred] U.S. pat-
ents awarder! on devices and systems in the field of acoustics,
a partial list of which follows. The titles given here are de-
scriptive and are not the actual titles recorcled on the patents.
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HARRY F. OLSON
413
Many of his patents are considered to be fundamental as,
for example, patents on the velocity microphone, the car-
dioict microphone, functional sound absorbers, the electronic
music synthesizer, the air-suspension loudspeaker, and the
electronic sounc! absorber.
Harry Olson retirect in ~ 967 but continued as a consultant
to RCA Laboratories for several years thereafter. He is sur-
vivec! by his wife, the former Lorene Johnson of Morris, Il-
linois, whom he marriec! in 1935. In their early years, Lorene
helped him to prepare the manuscripts for his many books
and articles. Like his mother, she was an amateur artist, and
her prominently clisplayed oil paintings enlivened his office
walls throughout his career.
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414
BIOGRAPHICAL MEMOIRS
HONORS AND DISTINCTIONS
DEGREES AND HONORARY DEGREES
1924 B.E., University of Iowa
1925 M.S., University of Iowa
1928 Ph.D., University of Iowa
1932 E.E. (Professional), University of Iowa
1959 D.Sc. (Honorary), Iowa Wesleyan
MEMBERSHIPS
Tau Beta Pi
Sigma Xi
Acoustical Society of America, Past-President
Audio Engineering Society, Past-President
Society of Motion Picture and Television Engineers
Institute of Electrical and Electronic Engineers
American Society of Swedish Engineers
American Physical Society
National Academy of Sciences
HONORS AND AWARDS
1940 Modern Pioneer Award of the National Association of Man-
ufacturers
1952 John Potts Gold Medal of the Audio Engineering Society
1955 Samuel L. Warner Gold Medal of the Society of Motion Pic-
ture and Television Engineers
1956 The John Scott Medal of the City of Philadelphia
1956 The Achievement Award of the Institute of Radio Engi-
neers
1963 John Ericsson Gold Medal of the American Society of Swed-
E. .
IS. ~ IlglIleerS
1965 The Emile Berliner Award
1967 Mervin I. Kelly Medal of the Institute of Electrical and Elec-
tronic Engineers
1969 Consumer Electronics Award of the Institute of Electrical
and Electronic Engineers
1970 Lamme Gold Medal of the Institute of Electrical and Elec-
tronics Engineers
1974 The First Silver Medal of the Acoustical Society of America
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HARRY F. OLSON
PATENTS
1932 Velocity Microphone
1932 Unidirectional Cardioid Microphone
1935 Double Voice Coil Loudspeaker
1940 Multiple Flare Horn
1941 Line Microphone"Shotgun Microphone"
1942 Multiple Loudspeakers
1949
1950
1950
1951
1953
1958
1961
1961
1961
1963
1964
Air Suspension Loudspeaker
Synthetic Reverberation
Functional Sound Absorbers
Single Element Cardioid Microphone
Noise Discriminator, Threshold Type
Electronic Music Synthesizer
Speech Analyzer
Electronic Sound Absorber
Music Composing Machine
Stereophonic Loudspeaker
Stereophonic Disk System
415
1,885,001
1,892,645
2,007,748
2,203,875
2,228,886
2,269,284
2,490,466
2,493,638
2,502,016
2,539,671
2,645,684
2,855,816
2,971,058
2,983,790
3,007,362
3,104,729
3,118,977
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416
BIOGRAPHICAL MEMOIRS
SELECTED BIBLIOGRAPHY
1926
With I. A. Eldridge. Polarization by electron impact. Phys. Rev.
28~6~: 1151.
1928
With A. Ellett. Reflections of atoms by crystals. Phys. Rev.,
31~4~:643.
Polarization of resonance radiation in mercury. Phys. Rev.,
32(3):443.
1929
With A. Ellett and H. A. Zahl. The reflection of atoms from crys-
tals. Phys. Rev., 34~31:493.
1930
With Irving Wolff. Sound concentrator for microphones. J. Acoust.
Soc. Am., 1 (3) :410.
1931
The ribbon microphone. l. Soc. Motion Pict. Eng., 16~6~:695.
A new high efficiency theater loudspeaker of the directional bade
type. i. Acoust. Soc. Am., 2~4~:485.
Mass controlled electrodynamic microphones; the ribbon micro-
phone. I. Acoust. Soc. Am., 3~1~:28.
1932
Recent developments in theater loudspeakers of the directional
baffle type. J. Soc. Motion Pict. Eng., 18~5) :571.
The velocity microphone. RCA Broadcast News., 5:6.
1933
With Frank Massa. A high quality ribbon receiver. Proc. Inst. Radio
Eng., 21~5~:673.
With Julius Weinberger and Frank Massa. Unidirectional ribbon
microphone. l. Acoust. Soc. Am., 6~21: 139.
On the collection of sound in reverberant rooms with special ref-
erence to the application of the ribbon microphone Proc. Inst.
Radio Eng., 21 (5) :655.
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HARRY F. OLSON
1934
417
With Frank Massa. Applied Acoustics. Philadelphia: P. Blakiston's Son
& Co.
A new cone loudspeaker for high fidelity sound reproduction.
Proc. Inst. Radio Eng., 22~11:33.
With Frank Massa. On the realistic reproduction of sound with
particular reference to sound motion pictures. I. Soc. Motion
Pict. Eng., 23~2) :22.
With Richard Carlisle. A lapel microphone of the velocity type.
Proc. Inst. Radio Eng., 22~12~:1354.
1936
Sound reinforcing systems. RCA Rev., 1~11:49.
With Frank Massa. A compound horn loudspeaker. J. Acoust. Soc.
Am., 8~1~:48
A new monitoring telephone receiver. T. Soc. Motion Pict. Eng.,
27~51:537.
With R. A. Hackley. Combination horn and direct radiator loud-
speaker. Proc. Inst. Radio Eng., 24~121:1557.
A unidirectional microphone. l. Soc. Motion Pict. Eng., 27~3~:284.
1937
Horn loudspeakers, part 1. RCA Rev., 1 (21:68.
Horn loudspeakers, part 2. RCA Rev., 2~41:265.
1938
Ultra directional microphone. RCA Broadcast News, 28:32.
A horn consisting of manifold exponential sections. I. Soc. Motion
Pict. Eng., 30~5) :511.
1939
The unidirectional microphone. RCA Broadcast News, 30:3.
Line microphones. Proc. Inst. Radio Eng., 27~7~:438.
Multiple coil, multiple cone loudspeakers. J. Acoust. Soc. Am.,
10~1):305.
1940
Elements of Acoustical Engineering. New York: D. Van Nostrand Com-
pany.
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418
BIOGRAPHICAL MEMOIRS
1941
Tone guard. I. Acoust. Soc. Am., 12~3~:374.
Line microphones. [. Soc. Motion Pict. Eng., 36~31:302.
Extending the range of acoustic reproducers. Proc. Radio Club
Am., 18~1~:1.
1943
Dynamical Analogies. New York: D. Van Nostrand Company.
1944
The action of direct radiator loudspeakers. I. Acoust. Soc. Am
16~1): 1.
Polydirectional microphone. Proc. Inst. Radio Eng., 32~21:77.
1946
With John Preston. Wide range loudspeaker developments. RCA
Rev., 7~21:155.
Functional sound absorbers. RCA Rev., 7~41:508.
Gradient microphones. I. Acoust. Soc. Am., 17~31:192.
1947
Elements of Acoustical Engineering, 2d ed. New York: D. Van Nos-
trand Company.
Mechano-electronic transducers. }. Acoust. Soc. Am., 19~2~:307.
With R. A. Hackley, A. R. Morgan, and l. Preston. Underwater
sound transducers. RCA Rev., 8~4~:698.
Audio noise reduction circuits. Electronics, 118.
1949
Single element unidirectional microphone. J. Soc. Motion Pict.
Eng., 52~3) :293.
With John Preston. Directional microphone. RCA Rev., 10~3~:339.
With John Preston and D. H. Cunningham. New 15 inch duo-cone
loudspeaker. Audio Eng., 33~10~:20.
With John Preston and D. H. Cunningham. Duo-cone loud-
speaker. RCA Rev., 10~4) :490.
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HARRY F. OLSON
1950
419
With Adolph R. Morgan. A high quality sound system for the
home. Radio TV News, 15~5) :59.
With J. C. Bleazey, J. Preston, and R. A. Hackley. High efficiency
loudspeakers for personal radio receivers. RCA Rev., 11 ~ 1):80.
Sensitivity, directivity, and linearity of direct radiator loudspeakers.
Audio Eng., 34~101:5.
With John Preston. Unobtrusive pressure microphone. Audio
Eng., 34~7~:18.
1951
Direct radiator loudspeaker enclosures. Audio Eng., 35~11~:34.
Cabinets for high quality direct radiator loudspeakers. Radio TV
News, 16~5~:2.
1952
With }. Preston and I. C. Bleazey. Uniaxial microphone. IRE Trans.
Audio, AU1~4~:12.
Musical Engineering. New York: McGraw-Hill.
1953
With I. Preston and I. C. Bleazey. The uniaxial microphone. RCA
Rev., 14~11:47.
Matched line of hifi equipment. Audio Eng., 37~8~:29.
With Everett G. May. Electronic sound absorber. I. Acoust. Soc.
Am.,25~6~:1130.
1954
With John Preston. A new line of hifi loudspeakers. Radio TV
News, 51~2~:69.
With John Preston and Everett G. May. Recent developments in
direct-radiator high-fidelity loudspeakers. I. Audio Eng. Soc.,
11~4~:219.
A review of twenty-five years of sound reproduction. I. Acoust. Soc.
Am., 26~51:637.
1955
With Herbert Belar. Electronic music synthesizer. }. Acoust. Soc.
Am., 27~3~:595.
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420
BIOGRAPHICAL MEMOIRS
1956
Electronic control of noise, vibration, and reverberation. I. Acoust.
Soc. Am., 28~5~: 116.
With W. D. Houghton, A. R. Morgan, M. Artzt, l. A. Zenel, and
J. G. Woodward. A magnetic tape system for recording and re-
producing standard FCC color television signals. RCA Rev.,
15~3~:330.
With J. Preston and I. C. Bleazey. Bigradient unidirectional micro-
phone. RCA Rev., 17~4) :522.
With Herbert Belar. Phonetic typewriter. J. Acoust. Soc. Am.,
28~6~: 1072.
1957
Acoustical Engineering. Princeton: D. Van Nostrand Company.
With H. Belar. Phonetic typewriter. IRE Trans. Audio, AU5~4~:91.
1958
Dynamical Analogies, 2d ed. Princeton: D. Van Nostrand Company.
Stereophonic sound reproduction in the home. I. Audio Eng. Soc.,
6~2~:80.
With John Preston. The electrostatic uniangular microphone. J.
Soc. Motion Pict. Eng., 67~11~:751.
1959
A review of stereophonic sound reproduction. RCA Eng.,5~2~: 13.
Stereophonic sound reproduction. In: Proceedings of the Third Inter-
national Congress on Acoustics. Amsterdam: Elsevier Publishing
Company.
Acoustoelectronic auditorium. T. Acoust. Soc. Am., 31~7~:872.
1960
With Herbert Belar. Acoustics of sound reproduction in the home.
J. Audio Eng. Soc., 8~1~:7.
With John C. Bleazey. Synthetic reverberation. I. Audio Eng. Soc.,
8~1~:37.
High fidelity sound reproduction. Inst. Radio Eng. Stud. Q., p. 10.
With Herbert Belar. Time compensation for speed of talking in
speech recognition machines. IRE Trans. Audio, AU8~3~:87.
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HARRY F. OLSON
421
With H. Belar and I. Timmens. Electronic music synthesis. }.
Acoust. Soc. Am., 32~3~:311.
1961
With I. Preston and i. C. Bleazey. Personal microphones. i. Audio
Eng. Soc., 9(4) :278.
With Herbert Belar. Phonetic typewriter III. I. Acoust. Soc. Am.
33(1~: 1610.
With Herbert Belar. Aid to music composition employing a ran-
dom probability system. I. Acoust. Soc. Am., 33~9~: 1163.
1962
Loudspeakers. Proc. Inst. Radio Eng., 50~5~:730.
Analysis of the effects of nonlinear elements upon the perform-
ance of a back enclosed, direct radiator loudspeaker. I. Audio
Eng. Soc., 1 0~21: 1 56.
With Herbert Belar. Recognition of the spoken word by machine.
In: Biological Prototypes and Synthetic Systems, vol. 1. New York:
Plenum Press.
With Herbert Belar. Syllable analyzer, coder, and synthesizer for
the transmission of speech. IRE Trans. Audio, AU10(11: 11.
With Herbert Belar. Printout system for the automatic recording
of the spectral analysis of spoken syllables. J. Acoust. Soc. Am.,
34(2): 166.
Speech machine considerations. Fourth Int. Cong. Acoust. (Co-
penhagen), Paper G4.
With Herbert Belar and Ricardo deSobrino. Demonstration of
speech processing system consisting of a speech analyzer, trans-
lator, typer, and synthesizer. J. Acoust. Soc. Am., 34(10):1535.
1964
Speech processing systems. IEEE Spectrum, 1 (2) :90.
The RCA Victor dynagroove system. J. Audio Eng. Soc., 12(2):98.
Unitized stereophonic loudspeaker with acoustically augmented
separation of the sound sources. J. Audio Eng. Soc., 12(1~:40.
1965
Advances in sound reproduction. Rapp. 5th Congr. Int. Acoust.
(Liege), vol. 2.
OCR for page 422
422
BIOGRAPHICAL MEMOIRS
Passive and active acoustics in architectural enclosures. I. Acoust.
Soc. Am., 12~4~:307.
1966
Solutions of Engineering Problems by Dynamical Analogies. Princeton:
D. Van Nostrand Company.
Research in sound reproduction. RCA Eng., 12~2~:40.
With Herbert Belar and Edward S. Rogers. Research towards a
high efficiency voice communication system. I. Audio Eng. Soc.,
14~3~:233.
Sound reproduction in the home. RCA Eng., 12~2~:46.
1967
Music, Physics, and Engineering. New York: Dover Publications.
Directional microphones. I. Audio Eng. Soc., 14~4~:420.
With Herbert Belar and Edward S. Rogers. Speech processing
techniques and applications. IEEE Trans. Audio Electroacoust.,
AU-153: 120.
High quality monitor loudspeakers. dB, 1 ~ 121: 12.
1968
With John E. Volkmann and Adolph R. Morgan.360° conical wave-
front loudspeaker for New York World's Fair. I. Audio Eng.
Soc., 16~2~: 130.
1969
Home entertainment: Audio 1988. J. Audio Eng. Soc., 17~4~:654.
Direct radiator loudspeaker enclosures. I. Audio Eng. Soc.,
17~1~:22.
Calibration of microphones by the principles of similarity and rec-
iprocity. I. Audio Eng. Soc., 17~6~:654.
1970
Ribbon velocity microphones. }. Audio Eng. Soc., 18~3~:263.
1971
Electronic music synthesis for recordings. IEEE Spectrum, 8~3~: 18.
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H A RRY F. O LS O N
423
1972
Modern Sound Reproduction. New York: Van Nostrand Reinhold
Company.
Microphone thermal agitation noise. I. Acoust. Soc. Am.,
51 (2~:425.
The measurement of loudness. Audio, 56~2~: 18.
Psychology of sound reproduction. Audio, 56~6~:20.
Field type artificial voice. J. Audio Eng. Soc., 20~61:446.
1973
Gradient loudspeakers. I. Audio Eng. Soc., 21~2~:86.
How Caruso shattered wine glasses. I. Audio Eng. Soc.,21~10~:836.
1974
Field type acoustic wattmeter. I. Audio Eng. Soc., 22~5~:321.
1975
A history of high quality studio microphones. I. Audio Eng. Soc.,
24~11/12~:798.
1977
Microphones for recording. J. Audio Eng. Soc., 25~10/11~:676.
Representative terms from entire chapter:
biographical memoirs
