My first encounter with the Acarian Alón IV was at the 1992 Las Vegas WCES. I was doing the show report dealing with speakers, and there was already enough advance buzz about the Alón IV that I put it on my "Speakers I Must Listen To" list. And listen I did, at some length, and came away impressed with their open quality and well-defined soundstage. In discussing reviewing assignments with John Atkinson, I told him that the Alón IV was one of the speakers I wouldn't mind spending some time with. (The list also includes the WAMM, the MartinLogan Statement, and the Apogee Grand, but I'm not holding my breath.)

My first encounter with the Acarian Alón IV was at the 1992 Las Vegas WCES. I was doing the show report dealing with speakers, and there was already enough advance buzz about the Alón IV that I put it on my "Speakers I Must Listen To" list. And listen I did, at some length, and came away impressed with their open quality and well-defined soundstage. In discussing reviewing assignments with John Atkinson, I told him that the Alón IV was one of the speakers I wouldn't mind spending some time with. (The list also includes the WAMM, the MartinLogan Statement, and the Apogee Grand, but I'm not holding my breath.)

My first encounter with the Acarian Alón IV was at the 1992 Las Vegas WCES. I was doing the show report dealing with speakers, and there was already enough advance buzz about the Alón IV that I put it on my "Speakers I Must Listen To" list. And listen I did, at some length, and came away impressed with their open quality and well-defined soundstage. In discussing reviewing assignments with John Atkinson, I told him that the Alón IV was one of the speakers I wouldn't mind spending some time with. (The list also includes the WAMM, the MartinLogan Statement, and the Apogee Grand, but I'm not holding my breath.)

In audiophile circles, it is the "Stuart"&mdash;electronics designer Bob Stuart of the Boothroyd-Stuart collaboration&mdash;who has received most recognition. The contribution of industrial designer and stylist Allen Boothroyd has gone relatively unremarked. Yet as I unpacked Meridian's D600 "Digital Active" loudspeaker, I was struck by Boothroyd's ability to make the humdrum&mdash;a rectangular box loudspeaker&mdash;seem more than just that. The man has one hell of an eye for proportion. From the first Orpheus loudspeaker of 1975, through the Celestion SL6 and '<A HREF="http://www.stereophile.com/standloudspeakers/744">SL600</A&gt; (where AB did the industrial and package design), to this latest Meridian loudspeaker design, his brainchildren look "right," to the extent of making competing designs appear at minimum over-square and clumsy, if not downright ugly.

In audiophile circles, it is the "Stuart"&mdash;electronics designer Bob Stuart of the Boothroyd-Stuart collaboration&mdash;who has received most recognition. The contribution of industrial designer and stylist Allen Boothroyd has gone relatively unremarked. Yet as I unpacked Meridian's D600 "Digital Active" loudspeaker, I was struck by Boothroyd's ability to make the humdrum&mdash;a rectangular box loudspeaker&mdash;seem more than just that. The man has one hell of an eye for proportion. From the first Orpheus loudspeaker of 1975, through the Celestion SL6 and '<A HREF="http://www.stereophile.com/standloudspeakers/744">SL600</A&gt; (where AB did the industrial and package design), to this latest Meridian loudspeaker design, his brainchildren look "right," to the extent of making competing designs appear at minimum over-square and clumsy, if not downright ugly.

In audiophile circles, it is the "Stuart"&mdash;electronics designer Bob Stuart of the Boothroyd-Stuart collaboration&mdash;who has received most recognition. The contribution of industrial designer and stylist Allen Boothroyd has gone relatively unremarked. Yet as I unpacked Meridian's D600 "Digital Active" loudspeaker, I was struck by Boothroyd's ability to make the humdrum&mdash;a rectangular box loudspeaker&mdash;seem more than just that. The man has one hell of an eye for proportion. From the first Orpheus loudspeaker of 1975, through the Celestion SL6 and '<A HREF="http://www.stereophile.com/standloudspeakers/744">SL600</A&gt; (where AB did the industrial and package design), to this latest Meridian loudspeaker design, his brainchildren look "right," to the extent of making competing designs appear at minimum over-square and clumsy, if not downright ugly.

In audiophile circles, it is the "Stuart"&mdash;electronics designer Bob Stuart of the Boothroyd-Stuart collaboration&mdash;who has received most recognition. The contribution of industrial designer and stylist Allen Boothroyd has gone relatively unremarked. Yet as I unpacked Meridian's D600 "Digital Active" loudspeaker, I was struck by Boothroyd's ability to make the humdrum&mdash;a rectangular box loudspeaker&mdash;seem more than just that. The man has one hell of an eye for proportion. From the first Orpheus loudspeaker of 1975, through the Celestion SL6 and '<A HREF="http://www.stereophile.com/standloudspeakers/744">SL600</A&gt; (where AB did the industrial and package design), to this latest Meridian loudspeaker design, his brainchildren look "right," to the extent of making competing designs appear at minimum over-square and clumsy, if not downright ugly.

In audiophile circles, it is the "Stuart"&mdash;electronics designer Bob Stuart of the Boothroyd-Stuart collaboration&mdash;who has received most recognition. The contribution of industrial designer and stylist Allen Boothroyd has gone relatively unremarked. Yet as I unpacked Meridian's D600 "Digital Active" loudspeaker, I was struck by Boothroyd's ability to make the humdrum&mdash;a rectangular box loudspeaker&mdash;seem more than just that. The man has one hell of an eye for proportion. From the first Orpheus loudspeaker of 1975, through the Celestion SL6 and '<A HREF="http://www.stereophile.com/standloudspeakers/744">SL600</A&gt; (where AB did the industrial and package design), to this latest Meridian loudspeaker design, his brainchildren look "right," to the extent of making competing designs appear at minimum over-square and clumsy, if not downright ugly.

In audiophile circles, it is the "Stuart"&mdash;electronics designer Bob Stuart of the Boothroyd-Stuart collaboration&mdash;who has received most recognition. The contribution of industrial designer and stylist Allen Boothroyd has gone relatively unremarked. Yet as I unpacked Meridian's D600 "Digital Active" loudspeaker, I was struck by Boothroyd's ability to make the humdrum&mdash;a rectangular box loudspeaker&mdash;seem more than just that. The man has one hell of an eye for proportion. From the first Orpheus loudspeaker of 1975, through the Celestion SL6 and '<A HREF="http://www.stereophile.com/standloudspeakers/744">SL600</A&gt; (where AB did the industrial and package design), to this latest Meridian loudspeaker design, his brainchildren look "right," to the extent of making competing designs appear at minimum over-square and clumsy, if not downright ugly.

Remember Rube Goldberg? He was a cartoonist during the late 1920s to early 1950s who specialized in devising the most outlandish and ingenious devices ever conceived by man, before or since. A Rube Goldberg mousetrap, for example, would occupy an entire small room. In taking the bait, the mouse would tip a balance beam, dropping a steel ball into a gutter, down which the ball would roll to strike a paddle whose spin would wind up a string that hoisted a weight into the air until it reached a trigger at the top, which would then release the weight to drop onto the unsuspecting mouse. Splat!