M I L L E N I A O N E • S E I S M I C 1 1 0

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reviewP R O D U C T

b y R o g e r K a n n o

“Put the two together and you have a speaker system that doesn’t justsound good for a lifestyle system, it sounds good for a system ofthisprice, period.”

… WONDERFULLY TRANSPARENT …“EXCEEDINGLY CLEAR AND NEUTRAL …

THRILLING EXPLOSIVENESS …”

Paradigm manufactures all mannerof loudspeakers, from traditional

floorstanding and bookshelf designs forstereo and home-theater applications toin-wall, in-ceiling, and even outdoormodels. One of their most recentlylaunched lines is the Reference Millenia(the misspelling is deliberate), whichcombines the slim, pleasing appearancerequired of “lifestyle” products with thehigh performance associated with theParadigm Reference name.

The latest model to be added to this lineis the MilleniaOne. Designed to be usedas one of a stereo pair or as any speakerin a multichannel system, the MilleniaOneis an ultra compact model that can bemounted on a wall, stand or shelf. Amatching Millenia subwoofer, wirelessand similar in design to the slim ParadigmReference RVC-12SQ, with dual vibration-canceling drivers is also now available.For this review, Paradigm sent along theirParadigm Reference Seismic 110 sub asthe matching MilleniaSub had not yetbeen launched.

DESCRIPTIONThe MilleniaOne is a diminutive 7.75˝ Hx 4.5˝ W x 5.75˝ D, but it weighs a stout5.6 pounds, or 6.6 pounds including thededicated stand. Its shape is oval from thefront, which gives it a softer, more roundedappearance than other Millenia models,which are quite angular. It uses the same1˝ Satin-Anodized Pure-Aluminum (S-PAL)tweeter as the other Millenia models, andan all-new 4˝ S-PAL mid/woofer similar

to that used in the step-up ParadigmReference Studio line. The rock-solidenclosure of die-cast aluminum is said toact as a heatsink for the drivers to aidin cooling, and to permit larger, morepowerful drivers than would normally beused in such a small speaker. Instead ofbeing oriented at a right angle to the rearpanel, the port extends the entire heightof the enclosure, starting at the bottomand firing out near the top. This is claimedto extend bass response.

Shown: Black Gloss

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The spring-loaded speaker terminals,designed to accept bare wire of relativelylight gauges, will not accommodate thelarge, audiophile-approved spades (or anyspades) and banana plugs that I like to use. I ended up adding extensions to my existingspeaker cables with some old AudioQuest F-14wire I had lying around. On the plus side,even though the terminals are slightly recessed,a trough molded into the rear of the speakermakes it easy to guide the wires into place.The rear mounting plate is articulated sothat it can be moved both horizontally andvertically, then tightened by hand. This platecan be replaced by a compact stand suitablefor shelf placement. If the “Ones” are purchasedas a five-speaker set, one of the stands is shorterand oriented horizontally, so that the “One”it supports can be used as a center-channelspeaker. The “Ones” are available in décor-friendly Black Gloss or White Gloss finish,with matching magnetically attached grille.

“… voices were easily distinguishableand well separated ….”

The Reference Seismic 110 subwoofer isn’ta Millenia model, but its unique appearanceand small size will make it a “lifestyle” productin the eyes of most, and it’s similar in priceto the MilleniaSub. A short cylinder lying onits side, it measures only 13.75˝ W x 13.5˝ Hx 12.6˝ D. Packed inside its tiny sealed enclosureis a unique 10˝ driver of mineral-filledcopolymer polypropylene, with a LinearCorrugated Surround that permits greater,more linear excursion, and a split voice-coilthat runs almost the entire length of theenclosure. The Seismic 110 is finished insatin black and weighs 37 pounds.

The Seismic 110’s high-excursion driver ispowered by an 850 W RMS Class-Damplifier said to be capable of 1700 W ofdynamic power. There are the usual controlsfor output level, frequency cut-off, continuouslyvariable from 30 to 150 Hz (with bypassoption), continuously variable phase(0 – 180 degrees), and trigger or auto power.Inputs consist of a single XLR jack or a stereopair of RCAs. A USB input is providedfor connection of Paradigm’s optionalPerfect Bass Kit (PBK) room-correction system.

“… wonderfully transparent midrangeand the Reference [sub’s] ability toreach down to the lowest octaves withlittle noticeable distortion were amazingfor a system of this price, let alonesuch a compact lifestyle system.”

SETUPThe MilleniaOnes are so small that theirtweeters weren’t high enough, even when Iset them on the 22˝-high stands I had onhand. I ended up placing the “Ones” atop apair of Paradigm Reference Signature S6’sand C3 center-channel speakers, also in for review. The surrounds were placed intheir usual position in my room: on 48˝-tallstands to the sides of the listening position,angled slightly toward the rear of the room.I put the Seismic 110 in the right frontcorner, where room interactions aretypically minimized—which I confirmedby running the Anthem Room Correction(ARC) system in the Anthem Statement D2A/V processor. I didn’t run PBK with theSeismic 110 sub, as ARC accomplishesessentially the same result.

“… went amazingly deep andmaintained a solid grip on the bass …devoid of boominess … crystal clear.”

ARC set the response cutoffs to 140 Hz forthe MilleniaOnes, and I adjusted the phasecontrol on the Seismic sub to get the bestbass integration possible. I noticed a touchof leanness in the upper bass that couldn’tbe cured by moving the sub, adjusting thephase, or increasing the sub’s output, butthis was quite minor in comparison to thesystem’s excellent overall sound. In fact,

the integration of the speakers’ outputswas outstanding for a system comprisingextremely small satellites, and better thananything I’ve achieved with other sat-subsystems of similar size.

SOUNDTo get an idea of the MilleniaOne’sperformance, I first listened to a stereo pairwithout the aid of a subwoofer. As expected,they didn’t extend particularly low in thebass, but I was surprised at how big andpowerful they did sound. Nils Lofgren’s guitaron “Keith Don’t Go,” from Acoustic Live (CD,Vision 820761101422), was reproducedwith a thrilling explosiveness. There was agood bit of weight behind the resonance ofthe guitar, and the strings had lightning-fastspeed. About three minutes into this track,when things really get going, there was anatural richness to the sound, but the guitarnever lost its tightly controlled character.

“… crisp and clean … full-bodied …nice immediacy and palpability …toe-tapping pace … huge soundstage… delightful percussive sounds …perfect tempo.”

Although the MilleniaOne lacked deep bass,and was even a little light in the midbass, itsmidrange was exceedingly clear and neutral,as evidenced by its reproduction of voices.Listening to Steven Page and Ed Robertsonof the Barenaked Ladies was impressive.Their good-humored interplay on “If Had a$1,000,000,” from Gordon (CD, Sire/Reprise26956-2), flowed naturally from the largesoundstage created by these speakers. Thetwo voices were easily distinguishable, andwell separated from the backing chorus,the sweet-sounding fiddle, and the lyricalaccordion. The MilleniaOnes are intendedto be used with a subwoofer, but listeningto a pair of them alone let me hear howastonishingly good they were for a smallsatellite speaker.

Adding the Reference Seismic 110 sub to the array transformed the “Ones” into a remarkably coherent, full-range speakersystem. I’ve been listening a lot lately to R.E.M.’sIn Time: The Best of R.E.M. 1988 - 2003(DVD-A,Warner Bros. 9 362483819), and itsounded excellent through the Millenia systemin both its two-channel and multichannelShown: Satin Black

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mixes. Michael Stipe’s melancholy singingon “Nightswimming” was crisp and clean, asit should be, and the piano and stringswere full-bodied. The overall sound was alittle forward, but this gave voices a niceimmediacy and palpability. The playful“Stand” had toe-tapping pace, supportedby a huge soundstage that was anchoredby a solid bass guitar. Delightfulpercussive sounds were placed throughoutthe soundstage, and the distorted electricguitar solo was in perfect tempo.

“… loud and free from distortion atwindow-rattling levels … dialoguealways remained intelligible … eachelement of this densely layeredsoundtrack was clearly andrealistically reproduced … abelievable 360-degree soundfield.”

The wonderfully transparent midrange andthe References’ ability to reach down to thelowest octaves with little noticeable distortionwere amazing for a system of this price, letalone such a compact lifestyle system. Popmusic dominated by bass beats, such asKaty Perry’s “California Gurls,” fromTeenage Dream (CD, EMI 6 84601 2), wentamazingly deep, and maintained a solid gripon the bass that was devoid of boominess.Even with all that driving bass, Perry’s cavalierlyrics and Snoop Dog’s rapping remainedcrystal clear.

“… easily transitioned from theatmospheric musical score and theechoing sounds of birds to extremedynamics …”

The DTS-HD Master Audio soundtrack onthe Gladiator Blu-ray is a favorite of mine,and Paramount has reissued it with remasteredvideo; its picture quality is now worthy ofthis Oscar-winning film and its outstandingsoundtrack. Although the massive sounds ofbattle in this film can sometimes overwhelmspeakers, the Millenia system kept everythingin check without sacrificing dynamics or highoutput levels. In the opening scenes, the musicand sounds of wind were calm and enveloping,unlike what was about to follow. When the

battle began, the catapults and explosions,which can sound harsh through some systems,were frighteningly realistic and loud, but didnot distort. During the rooftop chase in theBD edition of The Bourne Ultimatum, thespeakers easily transitioned from the atmos-pheric musical score and the echoing soundsof birds to extreme dynamics as the chasemoved inside, to claustrophobic hallways.

There is plenty of low bass throughout TheHurt Locker, but chapter 8, in which a desertpatrol is ambushed by a sniper, will test thelow-frequency extension and output of anysystem. As the final shot rang out and anempty shell casing fell to the ground in slowmotion, the Paradigm system sent a low-frequency wave rolling through my room.The ominous rumble was truly subsonic,and completely filled the room without thesubwoofer giving any sign of distress orany indication of its location. The launchsequence in Apollo 13 was not only loud andfree from distortion at window-rattling levels,the coherence and integration of the outputsof the five identical satellites and the subwooferwere outstanding. Dialogue always remainedintelligible, even as massive booster rocketsroared, the orchestral score filled thebackground, and objects in the commandmodule rattled. In fact, each element of this densely layered soundtrack was clearlyand realistically reproduced, creating abelievable 360-degree soundfield.

COMPARISONThis is a fair amount to pay for a small sat-subsystem, but more than half of the price is forthe Seismic 110 subwoofer. At first glance,that might seem disproportionate, but theMilleniaOne is so good that it deserves asub of this caliber. And with a sub that cango as low and play as loud as the Seismic 110,there’s really no need for the MilleniaOne toreproduce much bass. This lets it concentrateon reproducing the midrange and treblefrequencies, where it excels. Put the twotogether and you have a speaker systemthat doesn’t just sound good for a lifestylesystem, it sounds good for a system of thisprice, period.

I didn’t have another sat-sub system oreven a budget speaker system on hand fordirect comparisons, but I did have an arraycomprising Paradigm Reference’s SignatureS6, C3, ADP3, and SUB 1 at six times theprice. It might seem ridiculous to comparethe MilleniaOnes and Seismic 110 to a systemcosting nearly six times as much, but both

are Paradigm Reference systems, and therewas a similar familial sound. Granted, theSignature system, with its much largerspeakers all around, and the six-driver SUB 1,went even deeper and played noticeably louder,but the Millenia system will play plenty loudand deep for almost anyone in a small tomid-size room.

The clarity of the Millenia system’smidrange and treble were close to thoseof the Signatures, but the high frequenciesweren’t as silky smooth. For example,though cymbals weren’t splashy with theMillenias, they lacked that sparkling qualityexhibited by the Signatures’ wonderfulberyllium tweeters. The acoustic guitar on Nils Lofgren’s "Keith Don’t Go" waspowerful and dynamic through theMillenias, but the metallic sound of thestrings lacked that last touch of refinementand detail that the Signatures deliver.

“For those who want attractive lifestylespeakers that can be placed just aboutanywhere and won’t break the bank,this system will reward them withfantastic sound.”

Although it couldn’t match the performanceof the Signatures, the fact that the MilleniaOnesplus Seismic 110 could even be compared tosuch reference-quality speakers is quite anaccomplishment for a décor-friendly lifestylesystem. After all, many people don’t want abig, expensive speaker system like theSignatures. For those who want attractivelifestyle speakers that can be placed just aboutanywhere and won’t break the bank, this systemwill reward them with fantastic sound.

CONCLUSIONLifestyle speakers—those that melt intorather than dominate a room—typicallysacrifice some performance to achieve theircompact size and good looks. But with theParadigm Reference MilleniaOne speakersand Seismic 110 subwoofer, there was littlesuch compromise. If I were looking for acompact lifestyle system, this one would beat the top of my list. The MilleniaOnes andSeismic 110 cost a little more than manysmall sat-sub systems, but a lot less than Iwould have expected considering theiroutstanding performance.

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Seismic 110 cutaway

State-of-the-art driver technology.