Changes

Before hearing his new design for the first time, although confident that his new design would produce a more faithful replication of the "live" listening experience, Amar Bose was unsure as to whether his new "direct/reflected" design would be a small audible improvement or a large one over his earlier design and the best commercially available loudspeakers. The new pentagonal design, named the Model 901, was a very unconventional design for speakers at the time (which were generally either full-size [[floorstanding]] units or [[bookshelf]] type speakers accompanied by a subwoofer that handled only the very lowest frequencies). The Model 901 premiered in 1968 and was an immediate commercial success, and the Bose Corporation grew rapidly during the 1970s.  

Before hearing his new design for the first time, although confident that his new design would produce a more faithful replication of the "live" listening experience, Amar Bose was unsure as to whether his new "direct/reflected" design would be a small audible improvement or a large one over his earlier design and the best commercially available loudspeakers. The new pentagonal design, named the Model 901, was a very unconventional design for speakers at the time (which were generally either full-size [[floorstanding]] units or [[bookshelf]] type speakers accompanied by a subwoofer that handled only the very lowest frequencies). The Model 901 premiered in 1968 and was an immediate commercial success, and the Bose Corporation grew rapidly during the 1970s.  

<br>

<br>

Amar Bose believes that imperfect knowledge of psychoacoustics limits the ability to adequately characterize quantitatively any two arbitrary sounds that are perceived differently, and to adequately characterize and quantify all aspects of perceived quality. He believes, for example, that [[Distortion#Audio distortion|distortion]] is much over-rated as a factor in perceived quality in the complex sounds that comprise music, noting that a [[sine wave]] and a [[square wave]] (a hugely distorted sine wave) are audibly indistinguishable above 7 k[[Hertz|Hz]]. Similarly, he does not find measurable relevance to perceived quality in other easily measured parameters of loudspeakers and electronics, and therefore does not publish those specifications for Bose products. The ultimate test, Bose insists, is the listener's perception of audible quality (or lack of it) and his or her own  preferences.<ref>[http://www.aes.org/e-lib/browse.cfm?elib=1390 Amar Bose 1968 AES paper "On The Design, Measurement, and Evaluation of Loudspeakers"]</ref>

Amar Bose believes that imperfect knowledge of psychoacoustics limits the ability to adequately characterize quantitatively any two arbitrary sounds that are perceived differently, and to adequately characterize and quantify all aspects of perceived quality. He believes, for example, that [[Distortion#Audio distortion|distortion]] is much over-rated as a factor in perceived quality in the complex sounds that comprise music, noting that a [[sine wave]] and a [[square wave]] (a hugely distorted sine wave) are audibly indistinguishable above 7 k[[Hertz|Hz]]. Similarly, he does not find measurable relevance to perceived quality in other easily measured parameters of loudspeakers and electronics, and therefore does not publish those specifications for Bose products. The ultimate test, Bose insists, is the listener's perception of audible quality (or lack of it) and his or her own  preferences.<ref>[http://www.aes.org/e-lib/browse.cfm?elib=1390 Amar Bose 1968 AES paper "On The Design, Measurement, and Evaluation of Loudspeakers"]</ref>

*2004 - '''151 SE environmental speakers'''

*2004 - '''151 SE environmental speakers'''

*2009 - '''791 Virtually Invisible speakers'''

*2009 - '''791 Virtually Invisible speakers'''

<br>

<br>

== Awards ==

== Awards ==