The afore described capabilities of the TD1.2 also fully benefit the reproduction of acoustic instruments. On the album Pepe Romero Flamenco! it can be heard particularly well what skill and musical maturity Pepe Romero already had at a young age. The piece "Jota" combines the highest technical ability with great musicality. With the TD1.2, the sound of the solo guitar is round and full, while at the same time the strokes of the strings are faster, more precise and more dynamic than I am accustomed to. Equally convincing for me is how the high frequency range is able to connect to the fantastic midrange without any kind of break. In the string sonatas by G.A. Rossini for two violins, cello and double bass (Salvatore Accardo - Rossini: 5 Sonate a Quattro - LIM UHD) the strings sound velvety and smooth up to the highest pitches without the slightest hint of harshness.

On top of that there is this unbelievable speed characterizing the performance. In the excellent recording of the "String Quartet Op. 76, No. 5, Finale" by Joseph Haydn (The Nordic Sound - 2L audiophile reference recordings - 24/192), the Engegård Quartet is bursting with enthusiasm and with the TD1.2 we are literally projected into the centre of the string quartet. This impression is intensified by the fact that some corners and edges remain audibly untouched without being pleasantly smoothed out.

If you now have the impression that the TD1.2 only delivers its strengths when performing voices, solo instruments or small ensembles, then I can put you at ease. The TD1.2 shows off its assets with orchestral music as well. The fact that the sound completely detaches from the speakers paired to great spatial depth is something I took for granted in this class. But the point here is how the TD1.2 does this. In the excellent recording of Ludwig van Beethoven's Symphony No. 7 with the Budapest Festival Orchestra (Beethoven: Symphony No. 7 - Channel Classics, 24/96) conducted by Iván Fischer, a huge sound stage is created not only in depth but also in width. Directly behind the speakers to the outside on the left and right, virtual walls of a concert hall are created, giving the sound firm boundaries in conjunction with an excellent depth gradation of the individual instrument groups. Even in fortissimo passages, there isn't any shadow of a doubt as to where each instrument has its place - nothing is blurred or covered up.