I think the good news here is that I have raised the the quality of my source material.
The Beatles Abbey Road Come Together
Those of you old enough to remember land lines will understand. If not ask your grandparents.
I often wohdered how they mimilcked the sound of a rotary dial. The TA 30 makes it clear.
There is not a lot to say here. Nothing is perfect. It just gets voices right. There is no need to give examples. Pick your own demo
I suppose I could differentiate from live. It would not be easy.
We can talk about "slam" as a subset of dynamics. I chose Liz Wright title cut from her CD titled Salt. There used to be a phrase, she can really belt out a tune." Not only can Liz do it but the TA- 30 has no trouble keeping pace. Drums are rendered easily. You can hear a stick slapping skin. To me there is no perceptible lag, overshoot, or ringing.
I did find one one problem. I have never heard any system that could handle it. The Telarc recording of the 1812 Overture. The canon shots could make my apartment lights flicker. Even then it did not do anything offensive.
Stravinsky Firebird Suite by Telarc(needle drop version)
This maybe my favorite record for evaluating dynamic contrast. It goes from barely perceptible to thundering crescendo.
On this the combo rivaled a traditional system. No perceptible faults were audible to me.
Jimi Hendrix, Band of Gypsys- Machine Gun.
I don't think Hendrix was ever in the armed services, neither was I.
For those of you who don't like classical this is an equal test for dynamics.
Somehow Hendrix manages to portray the illusion of a Vietnam war "fire- fight." It builds random machine gun bursts to full blown rockets and explosions.
Yes its' 3 watts makes it truly dynamic.