The world is full of loudspeakers and their manufacturers. Try as I might, I can’t review them all, and normally I have no problem with my limitations. But where Mordaunt-Short is concerned, a feeling of having missed the boat haunts me. Given the quality of the Alumni sat/sub set I reviewed in March (my first review of a Mordaunt-Short product), how could I have missed out on such a stellar company, especially one with a 40-year pedigree?

When a speaker company changes hands, particularly when it is sold by its founders, a new design team often comes on board. That can be a tricky affair. Like passing a baton in a relay race, if it's not handled smoothly, or if it's dropped, sometimes there's no catching up and the race is lost. That almost happened to giant Harman International when it bought Infinity from Arnie Nudell and Cary Christie. Both men ultimately left to pursue other ventures. It took years for Infinity to fully regain its footing, which it did with the rollout of the outstanding, high-tech Prelude system, reviewed by Joel Brinkley in the July/August 2000 issue of SGHT.

Odd as it may seem for a speaker review, I must begin with my first visual impression of Paradigm's new Reference Signature speakers. Granted, I usually stress that a speaker's physical appearance means little—after all, we don't buy speakers to look at them. If the current trend is any indication, though, many people don't agree, as evidenced by the proliferation of smaller, prettier, and more aesthetically sensitive speakers.

There's nothing unusual about a father who's eager to show off pictures of his kids and rave about how great they are. This is one of those moments, except Ken Hecht, the president of Phase Technology, isn't showing me pictures (I'm getting a real-life look), nor is he exaggerating how good these particular offspring are. In truth, we're not talking about little people at all. What Hecht is so proud to show me is a very special—I know, that's what they all say—home theater speaker system he's been dreaming about and working on for the better part of 15 years. It's a system that, he tells me, "will make any room sound like the best theater in the country." As if that weren't enough, he claims that the system can expand the sweet spot from the typical single-pair-of-ears hot seat to an area large enough for half a dozen or more people to sit comfortably and enjoy a movie. He's christened the system with the name Digital Audio Reference Theater System, or dARTS for short. (Thankfully, his real children have names that roll a little more easily off the tongue.)

Like three-button suits, ribbon drivers seem to go in and out of fashion arbitrarily. But there's a pattern. First, they're all the rage for their airy, transparent, detailed sound. Then they're shunned because of inherent technical limitations or their low impedances (which present a difficult load for an amplifier to drive). Or because of the complexities involved in getting them to mate with the traditional cone drivers typically used to produce low frequencies. Or because new materials and technologies have improved the performance of cone and dome drivers, which, being easier to manufacture and use, make ribbons' theoretical advantages not worth the hassle. Then there's a breakthrough in ribbon design and the cycle repeats.