Working Class Heroes

Bottom line is, if you’re in need of a fair amount of power and are looking for a straightforward, smartly designed, no- BS amp with a 30-year pedigree, and, just maybe, you’re not too hung-up on every ounce of nuance, NAD proves, yet again, to be a name you can count on.

Paradigm Studio 20 v.4

Paradigm’s Reference Studio Series loudspeakers has been collecting glowing reviews for over a decade. Now in a v.4 edition, the entry-level Studio 20 is a two-way stand- or shelfmount model selling for $949 the pair, before adding the matching J-29 stands ($379).

I’ve stated my preference for twoway designs before. I like their simple crossovers and appreciate a presentation that is generally more coherent than what we hear from more complex multiway designs. Incorporating several proprietary Paradigm technologies, the Studio 20 v.4 sports a 1" “GPAL” (Gold-Anodized Pure-Aluminum) dome tweeter and a 7" “SPAL” (Satin-Anodized Pure Aluminum) bass/ midrange driver. According to Paradigm, these drivers are now more rigid than before, with oversized magnet assemblies, diecast heatsink chassis, and ventilated “Apical” motor structures to improve linearity and reliability. Also, Paradigm’s “IMS/Shock-Mount” system is said to “ensure extraordinary structural integrity in this new generation of Paradigm Reference speaker enclosures.” As is typical with today’s better drivers, the bass/midrange unit does not have a dust-cap but, rather, a gold-anodized solid-aluminum phase plug, designed to improve linearity, low-frequency extension, and power handling. The speaker can be either biwired or bi-amped, and a front-firing port allows for greater flexibility with room placement (closer to the rear wall, for instance, or on a shelf).

After I’d just reviewed the excellent B&W 685 ($600), it was interesting to compare and contrast the Studio 20 v.4, which, though selling for a third more, is in many ways a similar design. If the B&W could be described as elegant, balanced, lyrical, yet full of pace and vigor, the Paradigm is—in looks and sound—a more masculine speaker.

This was immediately evident while playing John Barbirolli’s classic EMI recording of Mahler’s Symphony No. 5. The Paradigm presented a big, bold, upfront soundstage with a pinpoint image placement, lush strings, and a warm, burnished brass section. The bottom end is quite punchy and bigger sounding than you might expect; while not superextended, it rarely makes you feel like you’re missing anything. In fact, I would say the Paradigm’s bass emphasizes depth and weight, where the B&W 685 focuses more on the midbass and pacing.

On Thelonious Monk’s Brilliant Corners [Analogue Productions 45rpm LP], I appreciated how the Studio 20 v.4’s rich balance reproduced the weight and register of Sonny Rollins’ tenor saxophone (an instrument I’ve recently picked up), Oscar Pettiford’s rich “walking” bass lines, and Max Roach’s brilliant polyrhythmic drumming. Each instru-ment came across as having a sense of weight and body rarely heard from small monitor-type loudspeakers.

After several days of constant use, the Studio 20 v.4 worked up to its optimum performance levels. It retained its rich qualities, but a slight hardness in the treble with, say, Roach’s ride cymbal or the upper reaches of Monk’s piano gave way to a more natural sound; a slight hollowness in the midbass gave way to a smoother, more integrated low end.

The Paradigm Studio 20 v.4 does especially well with a deep male voice, such as Nick Cave’s (The Boatman’s Call [Mute]), which was rich and reverberant, with a natural sense of balance. But despite that front-facing port, do be certain to experiment with proximity to the rear wall. Too far back and you might get, as I did, a hole in the midrange; too far forward and you’ll gain coherence but lose the heft that is this small speaker’s strength.

The Studio 20 v.4 seems like it was born to rock. While it may not show quite the refinement and lyricism with classical music that a speaker like the B&W 685 does, put on Neil Young & Crazy Horse’s Live At The Fillmore East [Reprise] or the Zeppelin set mentioned above or The White Stripes’ Icky Thump [Third Man/Warner], and the 20 v.4’s big, bold, weighty swagger shines like a spotlight.

Conclusion

NAD and Paradigm have built long and solid reputations by giving music lovers excellent sound for very reasonable prices. In an era when the finest audio equipment—and pretty much anything else—is pricing itself increasingly out of reach, it’s reassuring that both companies are continuing in their roles as workingclass heroes.