Heard in light of the succeeding models of Magnepans (or Maggies), the 3.7 is a hybrid fertilization of Winey’s true-ribbon design and the company’s more recent ventures into quasi-ribbon technology (as in the Model 1.7s), and it sounds unlike any of its ancestors. It is the culmination of Winey’s art. The technological ins and outs, and their workings, are things the company is trying to keep as secret as Iran its atomic research programs.  Maybe they fear being reverse-engineered. No surprise there.
In saying it doesn’t sound like its ancestors, I mean to suggest, before going into detail that the 3.7s do not sound at all discontinuous as they have in the past, but rather as if cut from a whole cloth. Before this (and perhaps the same with the 1.7, which I haven’t heard), the perceptive listener could hear the differences between the ribbon tweeter, the midrange, and the separate bass planar elements, and these differences were audible not only as difference in rise time, but also as a kind of characteristic texture. As Winey’s speaker designs evolved, there was greater continuity within the system, but still, one could pretty much guess where the crossover points were. No longer. With the 3.7 continuousness is so flawless that the speaker sounds as if there are no crossover points. And so, the first thing we heard this day was a unified field of sound.