Description: Two-way, reflex-loaded, dynamic loudspeaker. Drive-units: 1" (25mm) PAL pure-aluminum dome tweeter, 6.7" (170mm) MLP mica/polymer-cone woofer. Crossover: third-order, quasi-Butterworth at 1.5kHz. Frequency range: 54Hz-22kHz on-axis. Sensitivity: 89dB/2.83V/m. Nominal impedance: 8 ohms.
Dimensions: 14" by 8¼" by 11". Shipping weight: 40 lbs/pair.
Serial number of units reviewed: 11810/1.
Price: $650/pair-$900/pair, depending on finish. Approximate number of dealers: 240.
Manufacturer: Paradigm Group, 11-919 Fraser Drive, Burlington,…
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Sidebar 1: Specifications
Sidebar 2: Measurements
The Paradigm was quite sensitive, at an estimated 86.5dB/2.83V/m (B-weighted). Its impedance (fig.1) dropped to 4 ohms briefly in the lower midrange, but was otherwise benign. The timing of the rear-firing port is indicated by the "saddle" in the magnitude curve at 42Hz, the frequency of the lowest note of the 4-string double bass and bass guitar. Other than a small wrinkle in the traces at 25kHz, indicating the presence of an ultrasonic tweeter resonance, there are no artefacts due to cabinet resonances apparent.
Fig.1 Paradigm Reference Studio/…
Robert J. Reina wrote about the revised Paradigm Reference/20 in February 2001 (Vol.24 No.2):
The Paradigm Reference/20 has been upgraded since my original review in Vol.20 No.2. As well as a thicker front baffle, the updated version has much more cosmetically appealing softened edges on its cabinet that, Paradigm claims, improves tweeter dispersion. New damping material on the tweeter and a larger midrange magnet have been added since my 1997 review samples, as well as upgraded resistor inductors and minor crossover adjustments. It's been a while since I heard the original Reference/20s…
Robert Deutsch wrote about the Paradigm Reference/20 in May 2002 (Vol.25 No.5):
I wondered what the Quicksilver Horn Mono amplifier would sound like driving a speaker with average sensitivity, and, given its low gain, whether the preamp would have sufficient output for this type of setup. As it happened, as an adjunct to a review I was working on for Stereophile Guide to Home Theater, I had on hand a pair of Paradigm Reference Studio/20s, and I thought that using these speakers would provide a good test of the Horn Mono's performance in a more conventional system.
The results…
"I've got a great idea, RL," said John Atkinson to me one fine fall morning five years ago, as we relaxed over cappuccino and croissants in the slowly rotating editorial suite of the imposing Stereophile Tower that---surmounted by a heroic statue of J. Gordon Holt, thumb down, lip curled, great bronze cigarette glowing triode-red---rises like a Tube Trap of the Gods to dominate the downtown skyline of our round brown town of La Villa Real de la Santa Fe de San Francisco de Asis. In a paroxysm of the editorial euphoria that comes upon him when he suddenly envisions page after page of…
Paul L. Althouse
BRAHMS: Choral Songs, Opp.17, 42, 63, 93a, &104
Edwin Ortner, Arnold Schoenberg Choir
Teldec 92058-2 (CD only). Wolfgang Mohr, exec. prod.; Roland Streiner, rec. prod.; Franz Honegger, eng. DDD. TT: 65:20 We tend to know Brahms from his larger works: four symphonies, four concertos, the Requiem, some overtures. But unless you know some of these pieces, you can't really know his full range. Here's the place to start! The Arnold Schoenberg Choir, numbering about 45, sounds rich and warm (not at all British), and responds beautifully to Ortner's generous…
BRAHMS: Choral Songs, Opp.17, 42, 63, 93a, &104
Edwin Ortner, Arnold Schoenberg Choir
Teldec 92058-2 (CD only). Wolfgang Mohr, exec. prod.; Roland Streiner, rec. prod.; Franz Honegger, eng. DDD. TT: 65:20 We tend to know Brahms from his larger works: four symphonies, four concertos, the Requiem, some overtures. But unless you know some of these pieces, you can't really know his full range. Here's the place to start! The Arnold Schoenberg Choir, numbering about 45, sounds rich and warm (not at all British), and responds beautifully to Ortner's generous…
Carl Baugher
BOB DYLAN: The Times They Are A-Changin'
Columbia CL 2105 (mono LP), CS 8905 (LP); Mobile Fidelity MFSL 1-114 (LP); Columbia CK 8905 (CD). Tom Wilson, prod. AAA/AAD. TT: 45:35 All of Dylan's early 1960s albums were well-recorded, but this one sounds especially natural. With the mix favoring vocals over the guitar/harmonica backing, this collection of stark, soul-piercing, allegorical and philosophical songs was seldom matched and never bettered by Dylan, and never even approached by the legions of folksters who followed in his wake. The Mobile Fidelity reissue is a…
BOB DYLAN: The Times They Are A-Changin'
Columbia CL 2105 (mono LP), CS 8905 (LP); Mobile Fidelity MFSL 1-114 (LP); Columbia CK 8905 (CD). Tom Wilson, prod. AAA/AAD. TT: 45:35 All of Dylan's early 1960s albums were well-recorded, but this one sounds especially natural. With the mix favoring vocals over the guitar/harmonica backing, this collection of stark, soul-piercing, allegorical and philosophical songs was seldom matched and never bettered by Dylan, and never even approached by the legions of folksters who followed in his wake. The Mobile Fidelity reissue is a…
Hank Bordowitz
THE WHO: Quadrophenia
MCA2-10004 (LP/CD). The Who, prods.; Ron Nevison, eng.; Ron Fawcus, mix. AAA/AAD? TT: 91:54 A compositionally ambitious record, Quadrophenia holds together. The story smacks of reality, the playing caught the band at a creative peak, and John Entwhistle's bass rises to formidable levels. Townshend wrote the whole thing, making remarkable use of four themes representing the protagonists' four personalities, and bringing them together at the climax. The self-production could have caused sloppy sonics, but the synths and horns create a nearly…
THE WHO: Quadrophenia
MCA2-10004 (LP/CD). The Who, prods.; Ron Nevison, eng.; Ron Fawcus, mix. AAA/AAD? TT: 91:54 A compositionally ambitious record, Quadrophenia holds together. The story smacks of reality, the playing caught the band at a creative peak, and John Entwhistle's bass rises to formidable levels. Townshend wrote the whole thing, making remarkable use of four themes representing the protagonists' four personalities, and bringing them together at the climax. The self-production could have caused sloppy sonics, but the synths and horns create a nearly…
Robert Deutsch
CHRIS NORMAN: The Beauty of the North
Chris Norman, flute; Alisdair Fraser, fiddle; Billy McComiskey; accordion, concertina; Robin Bullock, guitar; Paul Wheaton, bass
Dorian DOR-90190 (CD only). Craig D. Dory, eng.; Ronn McFarlane, Chris Norman, Brian Levine, prods. DDD. TT: 60:05 A recording of "Traditional Favorites from Québec and Maritime Canada" is far from being up my alley, but I found The Beauty of the North quite irresistible. This is charming, tuneful music, played with technical ease and great affection by Norman and colleagues. Listen to "Valse…
CHRIS NORMAN: The Beauty of the North
Chris Norman, flute; Alisdair Fraser, fiddle; Billy McComiskey; accordion, concertina; Robin Bullock, guitar; Paul Wheaton, bass
Dorian DOR-90190 (CD only). Craig D. Dory, eng.; Ronn McFarlane, Chris Norman, Brian Levine, prods. DDD. TT: 60:05 A recording of "Traditional Favorites from Québec and Maritime Canada" is far from being up my alley, but I found The Beauty of the North quite irresistible. This is charming, tuneful music, played with technical ease and great affection by Norman and colleagues. Listen to "Valse…
Larry Greenhill
JAMES HORNER: Clear and Present Danger(original soundtrack)
Milan 73138-35679-2 (CD only). James Horner, prod.; Shawn Murphy, eng. AAD. TT: 48:35
Clear and Present Danger is full of musical fireworks---percussive pianos, chimes, raspy flutes, and the most powerful bass-drum on any current recording I've heard. The main theme, evocative of Richard Rodgers' Victory at Sea, combines lyrical melodies with majestic military march tempos in an uplifting, expansive backdrop to the movie's opening scene: the rolling sea viewed from the bridge of a Coast Guard cutter.…
JAMES HORNER: Clear and Present Danger(original soundtrack)
Milan 73138-35679-2 (CD only). James Horner, prod.; Shawn Murphy, eng. AAD. TT: 48:35
Clear and Present Danger is full of musical fireworks---percussive pianos, chimes, raspy flutes, and the most powerful bass-drum on any current recording I've heard. The main theme, evocative of Richard Rodgers' Victory at Sea, combines lyrical melodies with majestic military march tempos in an uplifting, expansive backdrop to the movie's opening scene: the rolling sea viewed from the bridge of a Coast Guard cutter.…