Forthcoming Show News
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October 10th to 12th Rocky Mountain Audio Fest, Denver, Colorado, USA
We would like to thank everyone who came to see us at the Rocky Mountain Audio Fest. We showed our Borderland MK IV loudspeakers with electronics from Vitus Audio in room 1025 and in room 1125 we showed a set of HRS-120 loudspeakers with electronics provided by our US distributor Laufer Teknik.
It was a really enjoyable show with even more to see than last year.
Our thanks to Sam Laufer, Buffer Ergman and Dave Bowkett of Laufer Teknik for their help running room 1125; to Mike Broughton for his help running room 1025 and for the great selection of music he brought, but the biggest thanks must go to Marjorie Baumert and her army of volunteers for such a well-organised and enjoyable show. If you can only visit one high-end audio show in the US, then it has to be the Rocky Mountain Audio Fest. We are already looking forward to next year.
HRS-120 Reviewed in Polish Magazine High Fidelity
An excellent review of the German Physiks HRS-120 by Wojciech Pacuła has been published in the Polish high end audio web magazine High Fidelity. It has also been republished on the 6 Moons web magazine.
Mr. Pacula initially became interested in German Physiks after hearing our PQS‑100 Plus loudspeakers at the Munich High End show in May this year. Writing about the PQS-100 Plus he said:
“……. the German Physiks-style holography was simply incredible. We kicked off with an old recording and the loudspeakers brought the studio acoustics into the difficult and quite cold exhibit room - quite literally transported it there. I had a completely different world in front of me that was coherent and brilliantly layered between what was closer and what was farther away. I did not expect that from an omnipolar, even one as expensive as this.”
In his review of the HRS-120s, which were fitted with the higher performance carbon fibre DDD drivers he wrote:
“What they render is true space and not merely a soundstage. We no longer deal with instruments and their acoustics but with the room the instruments played in – big or small but always a space surrounded by walls with its own reverb, character and timbre. Instruments and voices behave completely differently than on a soundstage as conventional speakers present it. Here they are perceived as though we sat in a live concert. The German speakers bring the recording space to us such that it seems completely unrelated to the loudspeakers or our own acoustics. Their space is far bigger than the actual size of our room would suggest or could contain. With concert recordings like the 1985 live version of Strangers In The Night by Frank Sinatra or Bob Dylan & The Band’s Before The Flood, I saw huge venues in front of me. Such adrenaline and feeling of ‘being there’ I have not enjoyed for a very long time.”
“The way these speakers draw space quite specifically was unexpected. Sound sources weren’t presented as points or small razors pointing their edges towards us but rather, as discrete spaces of cubic volumes. There were no image cutouts over against a blackground. There was no pin-point imaging as is so beloved by audiophiles. This was far closer to reality where sounds become amalgamated of reflections and direct sounds only act as a kind of pilot around which the rest becomes organized and focused. It was very apparent how differently these speakers interact with the room and how that interaction will impact the final result. First one must get acclimated. Most of us are ‘poisoned’ by the presentation of classic speakers which tend to condense and refocus the sound to solidify the point sources of emanations as strongly as possible. The HRS is different. It too condenses the sound but only up to a certain point. Beyond that the sound ‘decompresses’ before it reaches us.”
“So-called atmospheric albums became phenomenally so. This was the case with the 7 souls and Blade Runner soundtracks but also Laurie Anderson’s Bright Red. How nicely everything fit together. Out-of-phase elements that should be placed at the listener’s sides or behind his back came off in spectacular fashion. It felt like listening to a refined surround-sound recording over a large 5.1 system set up according to ITU guidelines. Here was true space behind me. Even the best conventional speakers I know only manage this in pinpoint fashion for one single head position. Here it mattered not where I sat. I could even wander across the room and the effect stayed put. Marvelous!”
“Bass quality was high, coherent, well articulated and reached shockingly low. I confirmed this with a vinyl Kraftwerk reissue. It proved how these slender Germans produced bigger, more powerful and saturated bass than far bigger designs. The range was both quick and dense to make particularly older recordings where the upright bass still played a lead role—John Coltrane’s Coltrane, Doris Drew’s Delightful Doris and Laurie Allyn’s Paradise—beautifully coherent.”
“While I know perfectly well that ideal speakers don’t exist, I’ve never heard anything like these for subjectively subtracting the listening room from the equation and overlaying it with the real recorded ambiance. Once you hear that, you want it. Being accustomed to traditional speakers, I completely forgot that the instruments were behind the speaker, that the stage was only a few meters wide and that the sound was only in front of me. This was space unplugged.”
Our thanks to Mr. Pacula taking the time to write such a thorough review and to High Fidelity and 6 Moons for permission to use extracts from the review.
Please click here for the review on the High Fidelity web site.
Please click here for the review on the 6 Moons web site.
Hi Fi expo, Sofia, Bulgaria
The Hi Fi expo was held at the Grand Hotel in Sofia and concluded on June 6th after four very busy days. This was the first time that such a large and comprehensive high-end audio show had been held in Bulgaria and it was hailed by all the exhibitors as an outstanding success. Saturday was especially busy with many of the participating dealers saying that they saw more visitors that day than they saw in their shops in an entire year.
Our distributor in Bulgaria, Kirov High-End, exhibited a set of German Physiks Carbon MK IVs, which were driven by Bryston electronics. The Carbons attracted a lot of interest both for their sound and their unique looks with customers commenting about the “great sound”, “great looks”, “high resolution” and “immersive sound stage”.
Our thanks to Dimitar Mladenov and his colleagues at Kirov for their hard on our behalf.
Next year’s show is provisionally scheduled for April 7th to 11th.
Please click here for the show organiser’s web site.
High End® 2010, Munich, Germany
This year’s Munich show was our most successful ever. The mood was very upbeat.
This year’s show was also the European debut of our new PQS‑100 Plus loudspeakers, which we demonstrated with electronics from Vitus Audio in Denmark. The PQS‑100 Plus performed very well and attracted complements for both its unique looks, and its sound. High Fidelity magazine awarded this system their Best Sound Award. Their Wojciech Pacuła commented:
“The sound was overwhelming but natural”…. “We started with 50’s Sarah Vaughn Jazz recorded together with a conversation the artist had with the sound engineer. My God, this was how it really sounded. The sound was not localized in front of me in a typical hi-fi soundstage. There was a different room in front of me. Instrumental localization was based on the interactions between them as they connected fluidly through the air”.
We also had our Borderland loudspeakers on demonstration. This is the MK IV version of the model we originally introduced in 1992, and it continues to be our top selling loudspeaker. It was also very popular at the show. We asked visitors what they liked most about its sound. Some liked its ability to produce detailed three-dimensional stereo images that held together in a wide range of positions in the listening room; others liked the deep, clean bass, while others liked the speed and transparency of the sound. Many people were impressed by the power of the bass produced from what is a modest sized cabinet. The general feeling expressed most often was that people liked the naturalness of the sound.
On the convention floor Absoluta Sound and Space from Italy were using a pair of our HRS‑120s with their Talia preamplifier and a pair their Janus monoblock amplifiers. These beautifully styled and built electronics sounded as good as they looked and they were an excellent match with the HRS‑120s. Massimo Lucchesi, Absoluta's Export Manager said
"We chose German Physiks to play with our
products because we knew these are demanding speakers and we have been
pleasantly surprised by their capability of faithfully reproducing the
acoustic image of the music which was played"
Despite the uncertain economic situation, attendance for the four days of the show was up 8.7% on last year to 14,869. This reinforces the Munich Show as the premier high-end audio show in the year. If you did not go this year, you should make a point to go next year. The Munich High End Show is a great place to see new products, meet people and do business. Our thanks to the High End Society for producing such an excellent show.