Loudspeakers

True Grit
Dua Lipa’s ‘Illusion’ [Radical Optimism; Warner Bros, 44.1kHz/24-bit] posed the loudspeaker no challenge at all. It was able to carry the disco-tinged synths and forthright kick drum with ease, bringing both weight and scale to the backing track while the pop star’s frothy lyrics were delivered clean and grain-free.

The Ultra Evolution Pinnacle leaned towards a slightly ‘dark’ overall sound here, a lack of brightness making it both unfatiguing but limiting the impact of some midband elements. The spoken word intro on ‘Golden Liar’, from Zeal & Ardor’s eponymous 2022 album [MVKA Music; 44.1kHz/24-bit], came through better, with a rich presence and plenty of grit to the voice, while the sheer depth and resonance to its ominous drums made the composition sound huge. Chants, whistles and other ‘incidental’ effects hung toward the back of a cavernous soundstage.

This track had me reconfiguring the positioning of the speakers slightly to bring them further from the boundary wall, as the bass guitar that kicks in around halfway sounded exaggerated on first listen. But even after making a change, the Ultra Evolution Pinnacle is never going to sound shy and retiring when it comes to the low-end, and on occasion its bass performance can be startling. The looping, groove-laden bassline to The Band’s ‘Up On Cripple Creek’ [The Band; Capitol Records, 192kHz/ 24-bit] was rendered big, supple and warm but also firmly controlled – the loudspeaker in an instant sounding way above its price point.

It’s a performance somewhat like that of SVS’s more affordable Prime Pinnacle, only everything has been ramped up, and not just in the low-end. The Allman Brothers’ ‘One Way Out’, from the deluxe 2CD release of …At Fillmore East [Mercury 0600753270240], illustrated the speaker’s delicate side as it teased out crowd cheers, ride cymbal strikes and the quick-fingered musicianship on show, making it easy to become swept up in the fast-blues rhythms.

Big Business
On ‘Son Of A Preacher Man [Dusty In Memphis, Rhino Atlantic R2 8214; 96kHz/24-bit], Dusty Springfield’s vocals enjoyed an enticing, smooth timbre that was nicely lifted from the punchy trombone and sax, while the acoustic guitar-led ‘Angeles’ by Elliott Smith [Either/Or; Universal 0602557408720] impressed with its feeling of intimacy.

That said, SVS’s speaker is at its most enchanting when you play to its obvious strengths. Alan Silvestri’s orchestral score for Back To The Future […Original Motion Picture Soundtrack; Geffen, 44.1kHz/24-bit] apparently arose out of a single suggestion from the film’s director, Robert Zemeckis: ‘It’s got to be big’. And so it was through the Ultra Evolution Pinnacle, from the timpani strikes in ‘’85 Twin Pines Mall’ to the brass intro of the main theme that raised goosebumps. When the music needs scale, weight and dynamics, this imposing floorstander delivers in spades.

Hi-Fi News Verdict
The size and design of SVS’s new flagship won’t appeal to all, and nor will a voicing that favours vim and vigour over out-and-out neutrality. However, with the Ultra Evolution Pinnacle, the US manufacturer again delivers a performance that in many ways makes a mockery of the price point – particularly regards authentically deep, punchy bass and room-filling scale. Bang for your buck? Get it here.

Sound Quality: 84%