Closely related to this is the TD1.2's ability to reproduce fine dynamic gradations within a virtual room. With the "Spanish Overture no. 1: Capriccio brillante on "La Jota Aragonesa" by Mikhail Glinka with Vladimir Jurowski and the London Philharmonic Orchestra (Valdimir Jurowski: 10 years), I listen with fascination to the successive forte entries of the individual instrumental groups during the orchestra's crescendo, while others still linger in the piano; this is particularly impressive when rear instrumental groups, such as the timpani, have already reached the fortissimo and the violins, still playing softly pizzicato positioned in the front of the orchestra, are not obscured by this. On top of that, there is once again this fantastic tonality: The violins sometimes sound velvety and supple, then again austere, the brass sparkles without sharpness, the woodwinds appear either woody and creaky or soft and round.

As you can read by these lines, the TD1.2 leaves me completely enchanted. I'm therefore already dreading the day when they have to make their journey back to the manufacturer. So, let’s conclude with a little musical fun: Louie Armstrong and The Dukes of Dixieland (HDTT DSD128). Louie plays wonderfully his trumpet and sings his vocal solos here on classics that were not part of his usual repertoire, such as "Dixie", "New Orleans" and "Sweet Georgia Brown", which he had never recorded before. The sound stage is again magnificent, you can exactly spot where the instruments are located in the room, and Louie gives us the honour of singing right two metres in front of us!