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

Final position - 1.2m from the side walls, 2m from the front wall.
There's thus absolute necessity to give the HRS-120 sufficient room to bloom. This very basic adjustment transformed
the speaker's initially very luke-warm reception as a sluggish polite warmish hazy old-timey performer into a super
spacious fleet-footed, far more resolved exciting modern speaker.
The live/playback duality. To appreciate the inherent issue raised by the HRS-120, we need to pause a moment. To
put it at its most elemental, live sound = eyes + ears and in that sequence. Even for audiophiles eyesight remains their
dominant sense. With live sound we don't need ultra-precise aural localization markers. We still get perfect
image/distance lock. Our eyes fill in those data the very moment the musicians sit down. We know exactly where
everyone is relative to us, whether they make a sound or not. Each time the bass player plucks his strings we see it. This
fills in whatever aural component might actually be masked. At home there's zero original eye information. We literally
navigate blind. Now the higher beaming frequencies become the localization beacons of our virtual imaging. And therein
lies the crux. Whilst the more diffusive somewhat amorphous German Physiks-type presentation—a wall of sound and as
such somewhat homogenous—is actually far closer to live sound per se, this presumed advantage doesn't fully account
for playback's absence of visual cues. Meanwhile the very directional radiation pattern of conventional tweeters plays to
it. As a purely aural effect it's unnatural. In the absence of visual data it's the better approximation however.