Julian Hirsch’s review of the Bose 901 in 1968 helped set off one of the greatest and longest-lasting audiophile debates.
There may be no singular product in modern audio history that has generated more accolades, derision, or pure controversy than the Bose 901 loudspeaker. 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. 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.
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