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A few hours later I drove back toward the Ruhrgebiet with two PMR in the trunk of my car. At home I encountered an initial reality check. The specific gains I’d observed in Siegen wouldn’t duplicate with the same potency. My subsequent analysis suggested that I had overdamped my room to limit its potential for full harmonic development. I thus threw out various expensive midrange and treble absorbers I’d installed. The next audition was already better.


Subsequent experiments changed positioning. It turned out that at least in my space the PMR was quite sensitive to where and how high it was placed. It wasn’t about simply setting a bowl on a table for instant bliss. That little soap bubble busted. In real life the two PMR ended up atop my monoblocks  and between the loudspeakers, a placement which the creator had rather advised against. Even so, for me it created the most realistic impact on the upper frequencies.


Where before the tweeters seemed to reach their innate limits whenever sopranos or counter tenors hit their highest notes with real gusto, the first PMR already rectified this. Voices now scaled by simply getting louder without compromising their innate elasticity. High peaks simply shone filled with energy. So did the high strings of a symphony orchestra. This newfound realism I had previously only encountered with ion tweeters - very gratifying. The second PMR added some color and body but personally I didn’t think it was essential. If one can afford two, two are better however. I could and I did.


After a few weeks with the two bowls in my chain, I became convinced of the heightened realism they contributed. Simultaneously certain artefacts I’d erroneously pinned on my components reduced. Long-term comfort based on effortlessness without subliminal fatigue improved and greater treble transparency didn’t involve any superficial and stressed analysis. The effects were more akin to cleaning eye glasses. Your sight clears up and sharpens but colors too get more intense. This greater realism also sounded a tad more dynamic. Altogether I thought the improvements very worthwhile


Conclusion: The real magic of course continues to occur in Vienna. It remains reason for regular visits. But I’ll happily recommend an audition of this ‘singing bowl’ at Herr Jungblut’s and/or in your own four walls. The improvements I gained are otherwise duplicated only with a rather higher financial investment. Different rooms and systems could benefit even more. Only a trial will tell. Given the pricing of certain tweaks, I view HighendNovum’s prices to be very fair (including a return privilege should you not be impressed). It’s a quality product made in Germany whose raw value of materials isn’t insignificant. It goes without saying that a PMR becomes sensible only within an already finely balanced and mature system. Fundamental flaws of component interactions or room acoustics must be addressed elsewhere. Given proper conditions however, heightened listening pleasure seems almost certain.