Canadian company Paradigm has made a name for itself over the past 20 years with affordably priced, high-performance loudspeakers. Its Reference Series designs have garnered much praise from this magazine&mdash;I was <I>well</I> impressed by the floorstanding Series 3 Reference Studio/100 ($2300/pair) <A HREF="http://www.stereophile.com/loudspeakerreviews/105paradigm">last January</A>, my review following hard on the heels of Kalman Rubinson's enthusiastic recommendation of the smaller Studio/60 v.3 ($1600/pair) in <A HREF="http://www.stereophile.com/loudspeakerreviews/1204paradigm">December 2004</A>, while the bookshelf Reference Studio/20 ($800/pair) has been a resident of <I>Stereophile</I>'s "Recommended Components" listing ever since Bob Reina's original review in <A HREF="http://www.stereophile.com/loudspeakerreviews/628">February 1998</A>.

Canadian company Paradigm has made a name for itself over the past 20 years with affordably priced, high-performance loudspeakers. Its Reference Series designs have garnered much praise from this magazine&mdash;I was <I>well</I> impressed by the floorstanding Series 3 Reference Studio/100 ($2300/pair) <A HREF="http://www.stereophile.com/loudspeakerreviews/105paradigm">last January</A>, my review following hard on the heels of Kalman Rubinson's enthusiastic recommendation of the smaller Studio/60 v.3 ($1600/pair) in <A HREF="http://www.stereophile.com/loudspeakerreviews/1204paradigm">December 2004</A>, while the bookshelf Reference Studio/20 ($800/pair) has been a resident of <I>Stereophile</I>'s "Recommended Components" listing ever since Bob Reina's original review in <A HREF="http://www.stereophile.com/loudspeakerreviews/628">February 1998</A>.

Canadian company Paradigm has made a name for itself over the past 20 years with affordably priced, high-performance loudspeakers. Its Reference Series designs have garnered much praise from this magazine&mdash;I was <I>well</I> impressed by the floorstanding Series 3 Reference Studio/100 ($2300/pair) <A HREF="http://www.stereophile.com/loudspeakerreviews/105paradigm">last January</A>, my review following hard on the heels of Kalman Rubinson's enthusiastic recommendation of the smaller Studio/60 v.3 ($1600/pair) in <A HREF="http://www.stereophile.com/loudspeakerreviews/1204paradigm">December 2004</A>, while the bookshelf Reference Studio/20 ($800/pair) has been a resident of <I>Stereophile</I>'s "Recommended Components" listing ever since Bob Reina's original review in <A HREF="http://www.stereophile.com/loudspeakerreviews/628">February 1998</A>.

Canadian company Paradigm has made a name for itself over the past 20 years with affordably priced, high-performance loudspeakers. Its Reference Series designs have garnered much praise from this magazine&mdash;I was <I>well</I> impressed by the floorstanding Series 3 Reference Studio/100 ($2300/pair) <A HREF="http://www.stereophile.com/loudspeakerreviews/105paradigm">last January</A>, my review following hard on the heels of Kalman Rubinson's enthusiastic recommendation of the smaller Studio/60 v.3 ($1600/pair) in <A HREF="http://www.stereophile.com/loudspeakerreviews/1204paradigm">December 2004</A>, while the bookshelf Reference Studio/20 ($800/pair) has been a resident of <I>Stereophile</I>'s "Recommended Components" listing ever since Bob Reina's original review in <A HREF="http://www.stereophile.com/loudspeakerreviews/628">February 1998</A>.

I wish the domestic audio industry of 2005 were more like the pop-music industry of 2005, with its variety, vitality, and ability to reach beyond its boundaries to move people. And its sense of fun, which hi-fi often seems to entirely lack.

I wish the domestic audio industry of 2005 were more like the pop-music industry of 2005, with its variety, vitality, and ability to reach beyond its boundaries to move people. And its sense of fun, which hi-fi often seems to entirely lack.

I wish the domestic audio industry of 2005 were more like the pop-music industry of 2005, with its variety, vitality, and ability to reach beyond its boundaries to move people. And its sense of fun, which hi-fi often seems to entirely lack.

On mornings when I can get up early enough after a late-night listening session, I take the last express bus from my Brooklyn suburb to <I>Stereophile</I>'s Manhattan office. An inveterate people watcher, I notice that while my fellow travelers and I don't form a traditional queue at the bus stop, preferring instead to mill around in something that resembles a jelly donut, we still enter the bus in the order in which we arrived at the stop. The balance between individualism and social necessity is thus preserved.

On mornings when I can get up early enough after a late-night listening session, I take the last express bus from my Brooklyn suburb to <I>Stereophile</I>'s Manhattan office. An inveterate people watcher, I notice that while my fellow travelers and I don't form a traditional queue at the bus stop, preferring instead to mill around in something that resembles a jelly donut, we still enter the bus in the order in which we arrived at the stop. The balance between individualism and social necessity is thus preserved.