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John Atkinson and I were On the Road, whistling down I-95 in a big, Kona Blue Metallic 2011 Ford Edge Ltd with voice-command everything. To paraphrase Raoul Duke at the very beginning of Hunter S. Thompson's Fear and Loathing in Las Vegas, we were somewhere around Princeton, New Jersey—not quite the edge of the desert—when the drugs began to take hold. Just as in the original text, "there was a terrible roar all around us, and the sky was full of what looked like huge bats, all swooping and screeching and diving around the car . . ." I decided that there was no point in mentioning the bats to JA. He'd bought the Criterion Collection DVD of Terry Gilliam's film version of Fear and Loathing at Princeton Record Exchange. He knew about the bats.

Saturday, March 12, 7:30pm: Clogs, Shara Worden, and the Brooklyn Youth Chorus will perform at Merkin Concert Hall (129 West 67th Street, New York). The performance is part of Merkin’s inaugural Ecstatic Music Festival. Stereophile readers who have enjoyed John Atkinson’s 2007 recording, Attention Screen: Live at Merkin Hall (available here), will be familiar with the rich, inviting sound of the space.

Despite not offering design aid, many loudspeakers created with the NRC's testing and listening laboratories share some common philosophies. Chief among these is the belief that flat amplitude response is far and away the most significant factor in listener preferences and thus should be the paramount design goal. Many NRC-influenced loudspeakers share steep crossover slopes, wide dispersion, smooth off-axis response, and pay considerable attention to the way the loudspeaker interacts with the listening room.

Hales Audio makes another loudspeaker—the System Two reviewed here—that is very similar to the Signature, but much less expensive (footnote 1). Because the System Two is such a close relation to the Signature—it uses identical drivers, a nearly identical crossover, and similar cabinet construction—and costs nearly 2 kilobucks less, I was eager to hear what the smaller system had to offer. Because the Signature was recommendable at $4850, the System Two just might be a bargain at $3000 if it even came close to the Signature's musicality.

Appearing in person and each giving presentations lasting 30 minutes, will be representatives from Audio Research, Ayre Acoustics, B&W, Classé, Finite Elemente, GoldenEar, Harmonic Resolution, Linn, Meridian, Peachtree Audio, Transparent, and Wilson Audio, while Stereophile editor John Atkinson will be demonstrating the benefits of high-resolution audio and the evils of MP3, using the master files of some of his recordings.

Other highlights of Music Matters 6 will include the world debut of the new B&W PM1 Prestige Monitor loudspeaker, presented by its designer, Dr. John Dibb; Meridian's new DSP 3200 digital active bookshelf speaker system and the Media Core 200 digital music system; as well as the new VX-R stereo amplifier from Ayre. Audio Research will debut the Reference Anniversary Preamplifier; and Linn’s Gilad Tiefenbrun will introduce the updated Akurate DS system. Classé’s Dave Nauber will debut the new CP-800 digital preamplifier; HRS will present the MXR Reference stand; Transparent Audio’s Transparent’s Josh Clark and Karen Sumner will transport the audience in a musical time machine with a wide variety of music genres—classical, blues, jazz, rock, and contemporary independent music; and Sandy Gross of GoldenEar will demonstrate the Triton Two loudspeakers, which impressed the heck out of Stereophile's scribes at the 2011 CES.

Seating is limited, please RSVP to (206) 524-6633 or on-line at www.definitive.com. Light hors d'oeuvres & refreshments will be served.