Download 6Moons test report. July 2013 (PDF). - German Physiks

All speakers transition from half-space to full-space radiation at lower frequencies. The HRS-120 is full-space all the way
and thus probably 6dB more efficient than its actual rating. Why should we limit ourselves to predominantly on-axis
energy when the air surrounding us so completely can potentially deliver sound from a lot more directions? As covered
this cuts two ways. From this follows that just because the previously reviewed Manger also was a bending-wave driver,
it didn't sound anything alike. The dominant expression isn't the drivers' overlapping operational principle. It's how they
load the room. Now we're at the heart of the matter again. The HRS-120 loads our space like actual performers would.
Isn't that perfect? Not if you mean to hear the recorded venue! By activating our space, that room becomes more
dominant than ever to overlay itself on everything. Whilst this works quite well with purist recordings and for symphonic
and live performances recorded in reverberant space, close-mic'd endlessly parallel-tracked productions as the vast
majority of recordings are give up some of their core signatures of sharp separation.
What they gain even if sizzly of aspect is more natural tone. To put it cavalier but perhaps most succinctly, the
German Physiks HRS-120 gives someone a taste of a good analog tube experience without getting their hands dirty
by sticking with digital and transistors. It's a very pleasing acoustic coloration added to the recorded signal. Even so,
it's operationally far closer to a live performance than highly directional speakers. Those attempt* to play as though
they were in an anechoic chamber (obviously with no success in the lower registers but achievable in the high
frequencies in a normal room with absorptive/diffusive furnishings).
* If you think about it, German Physiks' Munich show demo had exactly that effect with their sidewall
absorbers/diffusers. Particularly effective at high frequencies, they cut back on the omni aspects of the DDD's treble to
there perform more like a forward radiator. HF reflections off their faraway front wall's floor-to-ceiling glass were too
far delayed in time and too weak in amplitude to matter. The upshot? Better soundstage specificity to better suit
people's expectations based on conventional speakers. That the real intent was to combat "terrible flutter echo" didn't
matter.