![]() Some sophisticated audiophiles bemoaned a perceived lack of detail and veiled quality to its sound. With its pentagonal cabinet that faced eight of its nine identical 4-inch, full-range drivers at the reflecting wall behind the speaker, its designer Amar Bose sought to have it mimic the way we hear in concert halls and imbue its sound with a giant soundstage and spatial realism that was unsurpassed.īeyond any success of its spatial trickery, the 901 had its issues - the combination of its small cabinet and unusual dispersion pattern required equalization at both ends of the frequency spectrum, and it was (not surprisingly) room and placement sensitive. Introduced in 1968 by a then four-year-old concern named after its MIT-educated founder, the 901 neither looked, nor sounded, like any speaker that had come before it. There may be no singular product in modern audio history that has generated more accolades, derision, or pure controversy than the Bose 901 loudspeaker. Julian Hirsch’s review of the Bose 901 in 1968 helped set off one of the greatest and longest-lasting audiophile debates. ![]()
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