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

My own takeaway from this experiment was that whilst one could introduce just a bit more conventional image focus, it
diminishes what makes the HRS-120 so special in the first place. Whilst the Sopranino effects were particularly
obvious by subtractive contrast when removed, they weren't even close to being as substantial or musically relevant
as my addition of Zu's Submission subwoofer. In fact I thought them detractive and overpriced.
Closure. Hifi often amounts to the dubious art of filling stale old
wine into glam new bottles. Here the German Physiks HRS-
120 is genuinely different. But it isn't different just for the sake
of it or any associated bragging rights. Like Sven Boenicke's
mostly omni B10, the HRS-120 celebrates undenatured tone
and soundstage communism, not synthetic timbres with single
seat exclusivity. On realistic tone density it is the antithesis of
lean thin nervous modern hifi sonics. On soundstaging it
imitates life by being a bit amorphous, very chewy and pretty
much independent of position. By radiating across its entire
bandwidth in a single dispersion pattern, continuousness and
coherence, which as suggestive terms are often bandied about
for far less, acquire new and deeper meaning. This goes
beyond even the best of widebanders with which it otherwise
shares expanded driver bandwidth, by moving its single
crossover point to 240Hz. Yet all conventional widebanders get
beamy with rising frequency. The HRS-120 does not.