Concept and construction of the HEDD Type 20 MK2
Already during the unpacking of the HEDD Type 20 MK2 several points reveal themselves, which arouse my curiosity, but let's devote ourselves first to the standard analysis. At first glance, the HEDD Type 20 MK2 monitors remind me a bit of the recently tested Eve Audio 3070 midfield speakers, which both visually and conceptually address the same target group. Both prefer a 3-way design with DSP control and turn in terms of performance data already clearly towards midfield, although the dimensions are still quite compact.
With 15.4 kg per monitor box and the dimensions HxWxD 280 mm x 358 mm x 338 mm, the HEDD Type 20 MK2 still proves to be quite compact, but can no longer be operated as a typical nearfield monitor with a placement on the desk. In any case, this requires appropriate stands and, if possible, control room dimensions, which should cover at least 30 square meters. However, anyone who is willing to spend just under €2,000 per monitor box will probably also have professional rooms with the appropriate dimensions and acoustic optimization. Why is this important?
Well, similar to a powerful tube amplifier, which also ignites its sweet spot only at a certain volume, it also requires a slightly higher listening volume for midfield speakers to be able to optimally examine the dynamics and the frequency interaction of the individual components. The opulent and unusual distribution of the power reserves of the HEDD Type 20 MK2 already shows that it is possible to draw from the full range. An even distribution of 300 watts each among the components 7" woofer, 4" midrange and 2" AMT tweeter provide a comparatively huge headroom, especially in the midrange and treble, which allows relaxed listening even at higher volumes.
Visually, the HEDD Type 20 MK2 leaves an extremely tasteful impression. The rounded corners of the housing and the very clean transitions of the individual components are of the highest quality and convey a very valuable impression. What surprises me, however, is the complete lack of any form of rubber or foam feet in the scope of delivery. Sure, almost all monitor stands have a padded support, but put the box only twice on the floor and you can see the first haptic effects on very tasteful, but highly scratch-prone surface. Three small LEDs on the front inform about the regular operating status, (green), overload (red) and standby (white).
The back
On the back of the HEDD Type 20 MK2 is an extensive armada of a total of nine controls, divided into 3 levels a 3 knobs to implement the personalized sound. Starting with a volume control, which varies the applied signal by +/- 12 dB, an On / Off switch of the patented Lineariser, which allows a phase optimization at a response of less than 10 ms and a COP switch, whose function we will come to in a moment. This is followed by the sound processing, which can process the bass and treble ranges by +/- 4 dB each, as well as a separate Bass Range control, which allows either a neutral function, an extension of the bass range (while reducing the SPL), or a high pass at 80 Hz for subwoofer operation. The last row offers input selection, system input sensitivity, and three different desk filters that can compensate for a console's dispersion range. Below that are XLR analog In, AES In and AES Through for daisy chaining.
We plug a hole ...
Now we come to the COP switch, which distinguishes between the positions Ported and Closed and whose function I have actually never encountered before in my entire career. Already during the unpacking I noticed a plastic block wrapped with soft rubber, which also has a screwable "puller" and which I initially mistook for a pad. The approach, however, is as simple as it is ingenious!
Perhaps one or the other will know the tonally different alignment of a guitar cabinet, depending on whether it is a closed, or an open variant. Especially with smaller housings, one tends to keep the back of the speaker open in order to create a more voluminous bass response in the interaction with the room acoustics, while closed cabinets are more compressed and generate a more mid-focused sound. In the near-field monitor range, a similar sound behavior could be noticed with the legendary NS-10, which sounded horrible overall, but had a well-defined midrange due to the lack of a bass reflex port.
A similar approach is taken by the HEDD Type 20 MK2 with its "stopper". Within seconds attached, one changes the sound of the monitor radically. Attention, do not forget to activate the DSP accordingly. So much is already revealed in advance to the practical part, the sound changes so strongly that one is close to perceiving a second pair of speakers.
The HEDD Type 20 MK2 in practice
First of all, you have to realize that the HEDD Type 20 MK2 is a real powerhouse. The total of 900 watts of output power indeed easily manage to fulfill its midfield mission. To experience the optimal sound, you should sit at least 1.50 meters away from the speakers, better twice that and then drive the system a bit higher in volume if necessary. In return, you get a brilliant sound performance, which is located in the high-end range. Ale Standatds such as depth, spatial resolution and signal separation are at the highest level.
It should be known by now that AMT tweeters have nothing left of the sharp basic alignment of the first generations. However, the fact that a tweeter is driven with 300 watts, with which even the midrange driver is already very potent, is very unusual. The result is an extremely relaxed basic sound that doesn't cause any hearing fatigue even at high volumes. The fact that a three-way system can trump especially in the midrange, where most 2-way systems have their crossover hole, is self-explanatory, which also significantly shapes the basic sound of the HEDD Type 20 MK2. At first sound impression, the system seems "harder" than many competitors, but after a short listening, you do not want to give up the newly acquired control, especially in the guitar and vocal range.
The highlight of the system, however, is the ability to close the bass reflex port. Many will be familiar with the effect that with an effective bass reflex port, one is happy about the additional bass power on the one hand, but in the same breath also perceives a reduction in bass definition. It's nice when it still pushes below 80 Hz, but the physicality can also be accompanied by a loss of control under certain circumstances. If you now make use of the "tamper", the bass operating point shifts a bit higher into the low-mids and increases massively in compression there, which is especially beneficial for stringed instruments. All kinds of guitars, bass and various keyboards virtually experience a booster effect in terms of perception and basic character, without the bass range suffering. In my opinion, a real enrichment of the sound experience with a resolution that no DSP can calculate. Outstanding!
The only thing that is a bit annoying is a kind of noisegate, which opens with a soft click before the signal is played and closes with the same click after playback. At higher listening volumes this is not a problem, but at lower volumes it reduces the listening pleasure.
Conclusion
With the HEDD Type 20 MK2, the German company carries a top-class product in its portfolio. The midfield monitor convinces with excellent standard values in the area of phase fidelity, depth gradation and spatial resolution. What lifts the product far above many competitors, however, is the very high power reserve and the COP circuit, which, although at first glance seems quite simple, represents a gamechanger in the field of flexibility.
Definitely test it once, a highly recommendable product!
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