https://www.soundandvision.com/content/svs-prime-wireless-pro-powered-speakers-review

SVS’ omission of a USB input, I have already mentioned. It’s not a deal-breaker for me, and likely not for most others. Another absence I felt a bit more keenly is the lack of any global equalization options built into the speaker hardware, such as bass-shelving options to compensate for near-wall/free-space locations, midrange EQ to aid desktop placement, or treble-tilt to adjust for room character or listener taste. I understand why SVS might elect to leave this out for simplicity’s sake and to keep owners from doing more sonic harm than good. Anyway, the Prime Wireless Pros are frankly too large for typical desktop uses.

At day’s end, these are mostly quibbles, though quibbling’s what they pay me for. SVS’ Prime Wireless Pro is an outstanding solution for a one-box or rather a two-box sound system that more than scratches the surface of what audiophile listening is all about. They’re accurate and dynamic to a fault, ultra-compact, easy to set up and use, and more than able to fill even medium-sized rooms at serious-listening levels without stumbling. You’d be hard-pressed to duplicate this recipe with individual components and passive speakers of similar size at twice the price. Or more.

https://www.hifinews.com/content/elac-concentro-s-503-loudspeaker

This performance all comes together in a standmount speaker that isn’t without faults, but that on the whole sounds spectacular considering its size. Playing the iconic theme from ‘The Book Of Boba Fett’, composed by Ludwig Göransson [Walt Disney Records], it’s really all there. The epic scale, eye-opening wavefront when the massive percussion beats down, and the chants resounding away into the distance – it’s a magnificent, dynamic result.

For sure, the S 503 requires a bit of power, not that it bothered the Hegel Reference H590 amplifier [HFN Oct ’19] that I used. You just have to be prepared to give the volume knob a good twirl to realise a truly rousing performance. But trust me, you will.

https://www.stereophile.com/content/paradigm-founder-120h-loudspeaker

Here’s one more example of how satisfying the Founders are. On some systems, ride cymbals played with a brush sound like white noise, the drummer’s taps barely discernible as separate events. With these speakers, there’s a crispness to the treble, neither forward nor recessed, that renders delicate cymbal work without smearing. Chico Hamilton’s ride cymbal on his quintet’s “Passin’ Thru,” from the album of the same name (16/44.1, Qobuz), is all there.

My main criticism of the 120H, and it’s mild, is that with most recordings, I didn’t find them completely involving at lower levels. They need to be played with some oomph to make recordings come alive. Below 75dB at the listening position, there wasn’t always enough kick, excitement, or presence. For me, this wasn’t a problem: I like my music loud.

I didn’t know you could buy such a great sounding speaker at this price. I didn’t know a speaker at this price could scale into systems that are literally 10x-15x their price. The thing I think we need to remove is the term “at this price.” The Union 6 is an exceptional speaker at pretty much any price. Zu makes more expensive speakers, and they are better, but the Union 6 could easily be someone’s first and last speaker. They retain everything that I love about my Soul VIs in a more affordable package, and provide 80% of the performance in nearly every criteria. I wish more companies would build entry level products like Zu does. The Union 6 has my highest recommendation, and is easily the best passive speaker I have heard under $3000. It will scale easily into $15k or $20K systems, and sounds great with a modern well designed $2000 integrated.

e—the TD1.2 also projects out into the listening area in a way that includes a good deal of the space between the speakers and the listener. In a recording where the brass section plays loudly, for example, or a singer really sings to the balcony, that projected sound extends into the listening room in an approximation of what happens in live music. The effect allows for a greater sense of immediacy and listener involvement than a more ‘contained-box’ soundstage does.” I also included the following clarification: “I don’t associate this soundstage projection with ‘forwardness.’ For one thing, it only happens when the recording has an element that projects to the front as it would in real life. It is not a consistent characteristic across most recordings. And second, the TD1.2 is not at all hyped up or overly ‘hot’ sounding, as is often the case with forward-sounding speakers. On the contrary, the TD1.2 is remarkably revealing without sounding forced or aggressive. Its grain-free, detailed-without-brightness quality is one of its endearing attributes, actually.” If memory serves me, the larger TD2.2 does this “breathe into the room” effect even better than the TD1.2 did.