If I didn't know better, I'd suspect some kind of hands-across-the-water design coordination in this month's Spotlight System. When the people at Aperion Audio hit upon the handsome cherry veneer finish that graces the Intimus 533 Cinema HD speaker system, the last thing on their mind was the amber display, a longstanding traditional trait, incidentally, of Yamaha receivers. Nonetheless, a harmony did arise between the two golden hues. Of course, the speakers also come in a high-gloss, piano-black finish, but then, the receiver has a black chassis. This merely proves my point, doesn't it?

The big trend is smallness. Flat is the new phat. Manufacturers who want space in your home compete most effectively by taking up less of it. And, in case you hadn't heard, less is more.

For as long as I can remember (although the time scale is questionable nowadays), Yamaha has been a strong player in the AV receiver game. While Yamaha is not really a "high-end" company mentioned in the same breath with the likes of, say, Krell, Classe, or Lexicon, it certainly pioneered the behemoth, all-in-one-piece- hernia-inducing monster AV receiver starting with the $4,499 RX-Z9 several years ago (Yamaha's latest, biggest, and baddest, the 11.2-channel RX-Z11, will appear in November for $5,499).

Paul Barton doesn't merely talk about Canada's National Research Council; he preaches about the facility, acting as the Billy Graham for Canadian scientific research. And well he should. The NRC was founded to provide scientific, practical, and developmental support to Canadian companies wishing to compete in a global economy. Barton began using the NRC's facilities and its scientific minds in 1974, just two short years after he launched a modest little speaker company called PSB. Within a year, PSB released the Avante, the first speaker the company designed with the NRC's help. Since then, Barton has continued to design well-received and well-reviewed speakers, each delivered with assistance from the NRC facilities.

Why do people who spend for- tunes on their cars look askance at high-end audio equipment? They wouldn't be seen dead backing a budget SUV out of their driveways. But, when they choose the gear that mediates their relationship with music and movies, they condemn themselves to poverty. Audio systems are shadows to them. They're all the same, so why pay more? These sad people drive their $70,000 cars to Circuit City and pay three figures for a mediocre HTIB. I once wrote about portable audio for an outdoorsy men's magazine. When I suggested that high-end headphones are as valid as high-end hiking gear, the editor gave me a perplexed and somewhat dirty look.

Having hefted more than a few surround receivers into the spare berth on my equipment rack, I've earned the right to be blasé. This feeling usually turns to annoyance when I have to figure out which button on the remote control will get me into the setup menu. But all of these predictable emotions vanish when I hit my universal disc machine's play button and music starts coming out of five speakers (and a sub) in the Dolby Pro Logic II music mode. As someone who was weaned on stereo, surround still seems like something of a miracle. By the time I get around to playing a movie, I feel like a kid again.