My room is smaller than yours.
I have not heard the UNO XD but have heard its predecessor, UNO Fino (same form factor but with 2 x 8" woofer instead of 2 x 10" woofers) over a couple of days driven by a Silbatone 300B integrated. Really amazing sound!
The Zero XD was auditioned over a couple of days. Utimately, I bought that because the UNO XD replaced the UNO Fino, but at double the cost. The intention was for the Zero XD to be a stop gap measure, with a view to moving up the line when space permits. However, sometimes I do wonder if the Zero would not be more than good enough for the long term.
There were 3 aspects, in particular, that struck me when listening to the Zero XD:
1. stage depth - listening to the UNO Fino, I felt that the soundstage was not as deep as conventional cone speakers. However, as I was seated about 8' from the speakers, it did not really bother me, even if the stereo place starts in front of the speakers.
The Zero XD is slightly more laid back and does have a deeper, more conventional, soundstage. Most speakers project a sound stage that narrows with depth. The Zero XD does not - the back is as wide as the front.
2. image size - the Zero XD produces a startlingly realistic image size, with the right height (solo singers sound like they are about 6' +/- tall with a properly sized head).
3. separation / flow & ebb - this was noticeable with classical and choral pieces. It is relatively easy to focus on the performance as a whole or to pick an instrumental line or sound to follow and switch back and forth between them. Sounds are distinct yet a coherent part of the whole. To put it another way, one can chose to listen to the forest or the trees or both.
One interesting bit is that the dynamic flow and ebb of one sound within the soundscape does not impact or drown out the other sounds. For example, on something like Nessum Dorma, when Pavarotti goes from soft to loud, this dynamic swing does not affect/drown sound of the orchestra and the choir, and it remains easy to follow the dynamic swing of the choir or the orchestra or just sit back and enjoy the whole performance.
In some ways, the Zero XD straddles the middle ground between the best of cones and horns; the imaging, coherency and soundstaging of cones and the dynamics and immediacy of horns. Not the best in all these areas but more than good enough.
Compared to the rest of the AG range, the Zero XD parametric equaliser operates full range, from 30 - 20,000 Hz; not just for the bass region.
For some users, being able to EQ the bass region is good enough. For others, the Zero XD offers the possibility of full range DRC (digital room correction) with a calibrated microphone (once AG introduces this), without the need for third party software.
As I mentioned earlier, this was meant as a stopgap. But, oftentimes, I shake my head and smile at what AG may have unintentionally achieved. Will I upgrade to the more "conventional" XD series. Possibly...
