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

My original setup as a reminder. Those boundary distances were patently insufficient.
To recapitulate, when set up properly there's rich and meaty, but not fat or sloppy tone, which doesn't change in
volume or fullness anywhere between top and bottom. There's extravagant soundstaging. There's very little
conventional box talk. There's no port resonance with its phase/timing issues. There's unusual dynamic scaling in the
macro sense. Transients are well defined and clean, but not razor-edge honed as they can be with acoustically drier
speakers. Such mellower leading-edge behavior coupled with redolent tone isn't fuzzy soft like a heavily loaded 2ndorder
THD colored sound, but clearly non-hard and non-incisive regardless. Rethm's Jacob George should find it
insufficiently illuminated, aerated and quick. On tonal bloom and transient texture, it operates in a farfield rather than
nearfield milieu. Extreme separation—what I call lucid mode—isn't part of this package. If one wished to tone down this
character and narrow its difference with 99% of all other speakers, one would select a lit-up incisive very fast amp like a
Bakoon or Job 225. You might say that this defeats the purpose. Why not celebrate this difference to its very max with
a mellow darker amp? For myself I was perhaps too deeply engrained by the conventional stereo ideal to insist that
moderation was key. I know what I like and what I think sounds right. There's not much leeway. But getting into this
inner circle with diametrically opposing means is great fun and retains sufficient personality to not require going to
caricature extremes. And the Job 225 driving the HRS-120 worked right within my inner circle whilst doing so from a
new perspective. Those are the basics, which due to unusual operation required more space than usual.