At the same time, the Absolute Time Signature draws a soundstage of extraordinary breadth and depth, which goes hand in hand with clear boundaries at the edges. In this way, the side and back rows of the orchestra in particular lose themselves even less in a diffuse imaginary space, but always remain airy and audible; regardless of whether the orchestra is playing fortissimo or pianissimo. So at no time is there any doubt as to where each instrument is positioned in the orchestra and what size it is. This is especially true for the various wind sections. The now excellently opened sound stage in combination with the powerful dynamics and the inspiring timbres make the intermezzo an experience that gets under your skin. You can see it, I've found my personal favorite. Now you could come up with the idea of approaching the Absolute Time Signature in stages, in which you invest in two Absolute Time one after the other and then cascade them. However, Ideon had already pointed out to me in advance that with such a concept, the level of a single signature cannot be reached. The reasons are fewer cables, which minimizes losses and reduces external interference, a shorter, interference-free signal path and the superior power supply of the Signature. But I can't quite stop it: I don't have two Absolute Time available, but I do have a 3R Master Time and an Absolute Time. But this attempt is rather disappointing. This setup can't come close to the Signature, in fact I have the impression that even compared to an Absolute Time alone, it doesn't bring any advantage that would justify the additional investment. At this point, I break off all further attempts, especially since our editor-in-chief reminds me once again with a serious expression on his face that the report is due.