{"id":25593,"date":"2021-03-28T20:36:12","date_gmt":"2021-03-28T18:36:12","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=25593"},"modified":"2025-11-14T14:06:23","modified_gmt":"2025-11-14T12:06:23","slug":"vermeer-audio-two","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/spdif-dac-reviews\/vermeer-audio-two\/","title":{"rendered":"Vermeer Audio TWO"},"content":{"rendered":"

Review organized by Marc Loubeau \/ Prestige Audio Diffusion<\/a>
\nReview sample provided by Vermeer Audio<\/a>
\nRetail price including VAT: 24.990 Euro<\/h4>\n

Vermeer Audio<\/h3>\n

Vermeer Audio is a relatively new French company that was started by a group of technicians and passionate investors that have roots in another famous French company, Audio Aero. After being founded by the original owner in 1997, Audio Aero was owned by a family from 2005 to 2013. Bruno Ginard, a passionate audiophile since the end of the \u201970s and a friend of the new owner, became a partner and stockholder of the company in 2006. In 2010, Bruno’s wife, Sabine, joined the company for the back office job. Bruno was involved in the development of the flagship “LaSource” and a couple of years later the “LaFontaine”. When Audio Aero went into bankruptcy, Bruno and Sabine found it impossible to abandon the fantastic products with which they had spent so much time and so, with the help of Audiophile friends, they decided to buy the rights and all the patented technology. Eventually, while working on the development of an exciting new product, it was decided to create a new company to further the development of what would become the “TWO”.<\/p>\n

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But what to call this new company? While pondering the options, the idea was to find a simple name that was synonymous with quality and art. George, an audiophile for 40 years and one of the partners and Golden Ears of the company, is also an art and painting restorer, specialized in the Dutch School. He proposed to call the company “Vermeer Audio” because Vermeer was the most representative painter of the Dutch School. And thus, the new company name was born.<\/p>\n

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TWO Universal Control Center<\/h3>\n

The TWO was initially created on the platform of the Audio Aero “LaFontaine”, further developed and drastically improved. The Vermeer team opted for the “LaFontaine” rather than the “LaSource” because the former contained the most recent technological developments. Vermeer refers to the TWO as a “Universal Control Center” because it is a three-in-one product: an analog preamp, a network renderer, and a DAC. It can be at the heart of multi-source analog\/digital systems and it can function as the integrated front end of a minimalistic system with the addition of only a server and active speakers.<\/p>\n

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Equipped with a tube output stage with volume and balance control, the TWO can be connected directly to a power amplifier. Importantly, analog input signals remain 100% analog. The volume is controlled in the analog domain via a very high-quality attenuation ladder. If desired, the volume control can be bypassed and its output set to a fixed 2, 3 or 4 Volts. For the tube stage, Vermeer selected the sub-miniature NOS dual triode 6021 which are cryogenically treated and then directly soldered on the PCB board for perfect contact.<\/p>\n

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The unit has a simple but sophisticated look with a centrally-placed VFD display graced by three buttons on either side. The sloping front panel makes that the buttons are recessed at varying depths which makes the deepest ones somewhat tricky to depress.<\/p>\n

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Not that you’d use these buttons very often, though, since the absolutely gorgeous remote control has buttons for all of the unit’s functionality. Most functions can also be operated from the unit’s front panel but switching to and from standby can only be done from the remote.<\/p>\n

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The remote control’s battery compartment lid is held in place by magnets, making for a seamless look and no possibility of it ever breaking.<\/em><\/p>\n

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Three integral hard-material cones with a rounded tip guarantee wobble-free placement but the hard and slippery material (and the absence of rubber) takes away any friction which makes that the TWO is rather easily pushed off the Artesania Modular Floor Rack’s hard Tankwood upper surface. However, I can confirm that a hard coupling is sonically ideal for this device so it’s best not to use rubbery underlay materials.<\/p>\n

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LAN Connectivity<\/h3>\n

Rather than adding a CD or SACD mechanism to the unit, Vermeer opted for a LAN board which is more in line with most people’s current requirements. Roon<\/a> is on the roadmap but the development has been slowing down due to the Covid19 situation. Thus, for now, the LAN port allows UPnP connectivity only. But this does not mean that it cannot be used with Roon. A USB-connected Roon server will see the TWO as a USB DAC without any problems. The limitation is currently only for the network renderer functionality.<\/p>\n

While the current absence of RoonReady renderer functionality may be seen as a limitation, I have found that UPnP (and SqeezeLite or MPD) actually have certain advantages over Roon in terms of sound quality. In short: they both sound tighter and snappier, see the Aqua LinQ<\/a> review for all the specifics. While Roon is the undisputed industry standard in terms of user convenience and RoonReady can also sound very good depending on the implementation in the chosen hardware, I often use Roon in tandem with HQPlayer<\/a> to get the best of both worlds. The single snag is that this requires that the streaming endpoint is also HQP-compatible.<\/p>\n

When HQP is not available and Roon is not an option then I prefer to use either UPnP with jRiver on a Windows computer-controlled via jRemote on an iPad or SqueezeServer+SqueezeLite on a dedicated Music Server and outputting the signal either via AES\/EBU or USB, and controlled via iPeng on an iPad.<\/p>\n

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The DAC inside the TWO is no ordinary OEM-chip but what Vermeer calls the 32\/384 Vermeer Audio Re-sampling module. This concerns a further evolution of the S.T.A.R.S Module used previously which was, in turn, an evolution of the original Anagram technology which also used in certain Audiomeca products, such as the Enkianthus DAC that I owned and liked a lot. The Re-sampling module handles all-digital signal processing at 32 bit 384 kHz combined with an ultra-low jitter clock design based around a high-grade natural quartz crystal resulting in less than 1\u00b5s of RMS Jitter. The DAC handles up to 24\/192kHz PCM via USB or any of its other traditional digital inputs and DoP DSD 64\/2.8Mhz via the USB input. When using the LAN port, PCM Data is supported up to 32\/384 kHz and DSD up to 11.28 Mhz.<\/p>\n

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<\/p>\n

Running In, Standby, and Warming Up<\/h3>\n

The unit that I received is a “demo model” that has been in use for several months and thus should be well run-in. When set to standby, the TWO enters a tube-saving state in which the high voltage to the tubes is turned off but the filament remains powered and most of the other circuits inside the unit also remain powered. With all of the essential components in the signal path still powered on, this allows for quick warm-up times.<\/p>\n

When not planning to use the TWO for 24 hours, it is advised to switch it off completely in order to save on tube life. The manual states that the unit will require 30 minutes to an hour to reach its best performance after having been switched on. Prior to connecting it, I had let the unit acclimatize non-powered for several days prior to connecting it. Although it does sound great even when cold and even better when warmed up for 30 minutes, I found that the TWO kept improving hour upon hour that it played. I’m not entirely sure if it really needed all that time, or that I just got more swept away by it as time passed, but I do know that it sounded flabbergastingly good in the second listening session the next day.<\/p>\n

Tube Life<\/h3>\n

The tube life is specified at over 10.000 hours. Based on in-house experience with the use of these tubes by Vermeer Audio, the user can expect a minimum of 4 to 5 years of use. That is, if you have the willpower to keep from repeatedly extending the listening session way beyond your normal behavior;-)<\/p>\n

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Review Context<\/h3>\n

Price-wise, as well as function-wise, it makes sense to compare the Vermeer TWO with the CH Precision C1<\/a> DAC. In this comparison, like the C1, the TWO will take perform the central role of a digital hub driving the CH Precision A1.5<\/a> power amplifier and Martin Logan ESL15A<\/a> and Magico S1 Mk2 loudspeakers. As sources for this, I will use the Antipodes K50<\/a> Music Server via a Jorma AES\/EBU<\/a> cable, direct Ethernet and a range of USB cables, and various CD transports.<\/p>\n

Further, the TWO will also be used to perform the role of a pure analog preamp. I will assess this by feeding it the output of the Aqua Formula xHD<\/a> DAC as well the output of the CH Precision P1<\/a> phono preamp. The latter gets its input from the\u00a0Origin Live Calypso mk4<\/a> turntable with Multi-Layer Platter, Illustrious arm, and a ViRa Aidas Rainbow<\/a> MC cartridge that connects to the preamp via Vermouth Reference phono interlinks<\/a>. In this guise, the TWO will substitute the Ayon Stealth<\/a> tube preamp that I normally use for LP replay.<\/p>\n

All power cables are Belden with Bals Schuko and Oyaide C-004 IEC connectors, interlinks are CH Precision Balanced Link and speaker cables are Jorma Trinity<\/a>.<\/p>\n

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The CAT JL 5 Triode Power Amp shown on the left was not actually used in the context of this review. For this, a separate review will appear.<\/em><\/p>\n

Listening – AES\/EBU<\/h3>\n

Coming from the C1 and switching to the Vermeer that had been switched on (but not playing) for a couple of hours, in both cases using the Antipodes K50 Music Server with a Jorma AES\/EBU cable, the Vermeer TWO sounds very slightly rounder (less crisp) in the midbass and a tiny bit sweeter in the midrange. Although one could say that in this comparison it is ever so slightly warm (or is it actually neutral?) compared to the very clean and neutral Swiss (or is it actually a little cool?), subjectively and judged on its own, the TWO sounds uncolored and pure. It’s clean without sounding clinical and indeed very slightly rich but without really sounding warm. Perhaps a better word would be natural<\/em>. Whilst being open and direct, it also has an organic naturalness and an unhurried presentation along with a better fleshing out of the natural harmonics that makes it very easy to listen to.\u00a0No doubt, the tubes are responsible for some of the midrange magic.<\/p>\n

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Soundstage-wise, the Vermeer amazes with deeper imaging and a more 3D-like dimensionality to vocals and instrument sounds within the soundstage. It creates more of a palpable presence of the performers in the room, adding greatly to the sense of realism. One other aspect that stands out when comparing these two DACs is that the Vermeer intersperses more air in-between all the instruments.<\/p>\n

The C1 has very wide imaging, certainly comparable to the TWO’s but it is flatter in the depth plane. Would the tubes again be responsible for this? Maybe. But surely, the DAC design also adds to this and, of course, an analog volume control has certain advantages over a digital one (and vice versa).<\/p>\n

What’s remarkable is that, in addition to these qualities, the TWO is almost as linear and just as transparent and revealing as the particularly neutral Swiss DAC.<\/p>\n

While the C1 is indeed a little bit more linear and, in my view, ultimately slightly more neutral if also less romantic, to me, the C1’s main advantage when compared to most other DACs is in the solidity and precision of the bass. Compared to the C1, the TWO also does not possess all of the C1\u2019s “chiseled from granite” super-accurate, solid and incisive kind of bass but judged by itself, the TWO has very solid bass. It\u2019s not only full but also remarkably articulate and precise for any DAC\/preamp but especially for a tube product. While on the subject, I should mention that the TWO has none of the overly rich supersaturated “phat” or \u201ctriode\u201d kind of stereotypical tube sound. It simply sounds pure and natural, not transistory nor tubey.<\/p>\n

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The Two has very nice curves<\/em><\/p>\n

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It is Vermeer Audio’s goal to make products that sound as realistic as possible and, by extension, to have low distortion and not to add any coloration. Well, I’d say that those boxes are comfortably ticked. But still, The presence of tubes seems to pay off in the way that vocals are portrayed. There is a realistic and convincing quality to singing voices that is often associated with tube products but which often also comes along with an amount of smear in the lower registers. I’ve heard that happen with power amplifiers as well as preamplifiers, but I’m happy to report that this kind of blur is absolutely alien to the TWO. Great results so far, right? But it gets even better!<\/p>\n

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<\/p>\n

The next day<\/h3>\n

After having been switched on for 16+ hours and having switched back to the C1 the next day, my initial observation that the Swiss unit is more neutral remains, but I must admit that this time around, the difference in terms of bass robustness is not exactly earth-shattering. I have the feeling that there might be a long-term effect, maybe of stabilization, wherein the TWO gains solidity and robustness.<\/p>\n

Having listened to the TWO these two sessions I am now thrown off a bit as to which DAC I prefer. The Swiss remains the most linear and most neutral but compared to the TWO it lacks a bit of vibrancy, seeming to be more “matter of fact”. Of course, this is one of the typical differences between a tube amp and a transistor amp but as mentioned before, it is rare for me to hear a tube preamp with these advantages, without the usual disadvantages. Having grown accustomed to the TWO’s charming presentation, the C1 is now comparatively a little dry, and rather than having to get into the TWO’s sound, it takes some time for me to settle back into the C1’s sound. The C1 does still sound more impactful and incisive as well as slightly crisper in the midrange and therefore it appears slightly more energetic overall but this is not to say that the TWO lacks vitality. It\u2019s actually highly dynamic and there is never a sense of restraint in any way.<\/p>\n

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Ultimately, my preference for one or the other ties in with the kind of music that is played. As the C1 sounds more concrete and immediate, I tend to prefer it for electronic music and R&B where it best brings out the sense of incisive energy and rhythm. In turn, the TWO’s harmonically richer and more captivating delivery yields the best results with soul, classical, and acoustic instruments in general.<\/p>\n

Besides DAC topology and other aspects of the Vermeer’s design that influence these aspects, we are, of course, also comparing the C1, a DAC with digital volume control versus the TWO, a DAC with an analog tube preamp on board. And actually, that being the case, I must note that for the Vermeer to come this close to the C1’s superlative transparency in spite of its signal passing through the pre-amplifier, input selection, and volume control stages, something extraordinary must be going on.<\/p>\n

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Listening – USB<\/h3>\n

So far, I’ve only used the TWO’s AES\/EBU input and although I have lately stepped away from USB in favor of AES\/EBU or Ethernet, USB remains one of the most popular formats, and so, it deserves assessment.<\/p>\n

But before diving into my listening experiences, I want to mention that I was a long-time USB enthusiast until I obtained equipment that could accept an Ethernet input. When done right, direct streaming can lead to superb results. Later, after obtaining a server that outputs AES\/EBU as well as all the other formats, I got a growing suspicion that this connection provides a more robust and more predictable outcome than USB and further comparisons with other servers, streamers and CD transports also point in that direction.<\/p>\n

It’s also important to note that there are also marked differences in sound among the various USB cable brands as well as the USB interface itself. There are a couple of frequently-used chipsets of which the most well-known is probably XMOS. I found that the measure of success of a USB connection depends on the way that the interfaces on both ends work together. Some combinations are synergetic, others not so much, and some combinations can even cause issues. According to the manual, the TWO’s Asynchronous-mode USB input has been specially designed by Vermeer Audio.<\/p>\n

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Going from the Jorma AES cable to the Vermouth Reference USB<\/a> cable, the cable that sounds closest to the Jorma in terms of robustness, the USB connection sounds similarly solid, similarly-paced and just as detailed. It does, however, lose a bit of airiness and the music flows less freely than it does with the AES connection. Although refined and technically entirely correct, the sound via USB is comparatively more static. I’m probably exaggerating a little bit, but after having listened via AES\/EBU these two days, the USB connection makes for a comparatively less emotionally engaging performance. But before jumping to conclusions, let’s see how my other favorite USB cable performs.<\/p>\n

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Going to the Final Touch Audio Callisto<\/a>, this cable’s lush and airy character is closer to what the Jorma AES\/EBU connection sounds like, in terms of refinement. It’s also less static, but a portion of the Vermouth’s robustness is now missing and, compared to the AES connection, some of the overall magic remains missing.<\/p>\n

I tried a couple of other USB cables but this did not lead to better results than described above. While the USB connection sounds technically fine, it seems as if the interface imposes a kind of restraint on the musical flow. I’m not referring to a certain smoothness or warmth that is missing from a format that is technically supposed to be superior. It’s simply a limitation of the “breathing” aspect that occurs naturally in music. Along with this, comes a sense of spatial compression and a freedom-limiting metronomic aspect. It’s not about fast or slow pacing or of the overall speed but about variation. It\u2019s almost as if the USB format slightly inhibits rhythmic expression.<\/p>\n

When USB is used, I have the feeling of listening to a very high-quality recording played back on very high-quality digital equipment. Nothing wrong with this. But with AES\/EBU, the TWO’s performance is further raised, past suspension of disbelief, to trick me into believing that I am listening to the actual real event.<\/p>\n

To be fair, though, this has been the case with every DAC that I tried this with, the Aqua Formula xHD and the CH C1 included, hence my preference for AES\/EBU and, indeed, Ethernet and the latter is what I use mostly with the C1.<\/p>\n

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Listening – UPnP<\/h3>\n

Although I started with AES\/EBU, I already mentioned my preference for Ethernet with the C1 DAC. However, I should note that not only are there marked differences among USB implementations, but the same is also true for network renderers, network players, or simply streamers, as they are most commonly referred to. This is why I started with the most robust format. But now it is time to find out how the TWO performs as a network player.<\/p>\n

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As mentioned, RoonReady is on the agenda but pending final touches. For now, the TWO’s network input can only be used with UPnP.\u00a0After connecting the unit while already powered up, the TWO immediately appears as an endpoint in jRiver Media Center – no fiddling or setup required. When using jRiver Media Center, one can use the excellent jPlay app for iPad. But besides jRiver there are countless other solutions that support UPnP and because the format truly is universal (anything UPnP will talk to anything UPnP), there is no shortage of remote control applications.<\/p>\n

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Vermeer TWO identified as Audio Renderer-111 in jRiver Media Center. After my review, the software was updated by Vermeer for successive units to show “Vermeer” instead.<\/em><\/p>\n

With the C1, Ethernet sounds a little different from AES\/EBU. That’s normal for any DAC and the same is true for the Vermeer TWO. What’s unexpected, however, is that the TWO sounds absolutely fantastic via UPnP, better, even than via a direct AES\/EBU connection. It’s got all the positive attributes of that connection along with an even more free-flowing delivery.<\/p>\n

To put this into perspective, my reference streaming endpoint is the Aqua LinQ. When used as an endpoint (either HQPlayer, UPnP, or Roon), this device provides an even tighter and more articulate sound when connected via its AES\/EBU output to the C1 than when streaming to the C1’s ethernet input directly. This is not necessarily a measure of superiority because the end result will always also tie in with user preference and system synergy but the difference is there. When doing the same with the TWO, the LinQ’s output is slightly crisper still, but it’s really only by a small margin. Only in the bass, I can hear a very slight rounding and slightly less articulation, but otherwise, the TWO sounds every bit as refined, open, and focused. Given the LinQ’s dedicated functionality and proprietary ethernet switch, this is quite remarkable.<\/p>\n

<\/p>\n

Listening – Analog Inputs<\/h3>\n

Up until now, the TWO has been listened to with its digital inputs followed by its internal DAC and tube output section. But its analog section can also be used stand-alone, as a pure analog preamp.<\/p>\n

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Any preamp with a built-in DAC has two instances where the sound is shaped: the preamp and the DAC itself. When listening to the TWO with a digital input, you hear the result of both. In an ideal world, both would be infinitely transparent and totally devoid of character, but in reality, I have never heard this to be the case. In order to find out how the TWO’s preamp sounds on its own, I conducted a small experiment using the Aqua LinQ streamer as a central digital source to provide a digital output as well as an analog output to feed both to the TWO. To this end, the LinQ’s AES\/EBU output is connected directly to the TWO via the Jorma AES\/EBU cable while the LinQ’s I2S output is connected to the Formula xHD DAC that is in turn connected to the TWO via its cinch and XLR outputs using Vermouth Reference cables<\/a>. This way, I was able to switch between the two inputs on the fly.<\/p>\n

I will admit that this is not an entirely valid comparison, of course, as the Aqua DAC and the analog cable will inevitably influence the sound differently than a direct digital connection to the Vermeer’s built-in DAC, but because I know the Aqua DAC very well, it will still give me a good handle. Also, this is also just the first step in the assessment of the TWO’s analog inputs so please bear with me.<\/p>\n

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Interestingly, compared to the AES input, the TWO’s analog input (whether via cinch or XLR) sounds more potent and upfront, trading some of the lushness and organic qualities for a more incisive boldness. Especially in the midrange, the sound is more forward and less sweet, and the soundstaging is also different, more focused and upfront and projected less behind the speakers. These differences are quite profound but once accustomed to the new presentation, I could get into it again. It’s impressively dynamic and energetic, open and communicative and when then returning to the AES input, I had to get used to the comparatively milder and more relaxed presentation again.<\/p>\n

The next question on my mind was whether the TWO’s preamp sounded bolder and more forward when accessed on its own or that the built-in DAC was responsible for the natural and organic presentation. The answer, no doubt, lies in the middle. While the Aqua DAC has a different character than the TWO, I have heard it with enough other preamps to be intimately familiar with it. Further tests using the CH Precision P1 phono preamp’s output and a comparison to two other analog preamps (see below) confirm that the TWO’s preamp section does indeed sound remarkably punchy and dynamic when accessed via its analog inputs.<\/p>\n

What this would logically mean is that the TWO’s built-in DAC, or the implementation thereof, is largely responsible for the TWO’s relaxed and organic sound as described earlier. This, in turn, leads to the somewhat unexpected result of the TWO sounding the sweetest and most stereotypically tube-like when using its own built-in DAC, even though its tube section is always in use.<\/p>\n

While one would normally assume that all inputs should sound the same (and with some all-in-one components they do indeed), the difference in character between analog and digital inputs is not all that uncommon, though. The same is true for the Ayon Stealth and in much the same was as it happens with the TWO: bolder with analog inputs and smoother with digital inputs. Most importantly, the TWO sounds superb in either mode.<\/p>\n

As I mentioned at the start of this section, using an external DAC is only the first step. Now, let’s go all the way and connect the Origin Live Calypso mk4<\/a> turntable with the CH Precision P1<\/a> phono stage.<\/p>\n

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Listening – Vinyl<\/h3>\n

Because the TWO contains a full-fledged analog preamp, analog inputs remain 100% analog throughout the entire signal path. While it was useful feeding its inputs with the output from another DAC to form first impressions of the quality and character of the preamp, when thinking of analog, the ultimate source for me is Vinyl. Granted, Reel-to-Reel can sound even better but this format can’t compete with the massive worldwide library that is available for LP’s.<\/p>\n

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Jorma AES\/EBU and Vermouth Reference Phono Cable connected to the TWO’s inputs.<\/em><\/p>\n

For this Vinyl session, the Origin Live Calypso mk4 turntable with ViRa Aidas Rainbow MC cartridge connects to the CH Precision P1<\/a> phono preamp which in turn connects via Vermouth Reference phono interlinks to the preamp. The latter is normally the Ayon Stealth (also a tube preamp), a role that is now being taken over by the Vermeer TWO. The power amp remains the CH A1.5, connected with a CH Precision Balanced Link.<\/p>\n

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All it took were a couple of bars from the Jones Girls’ Nights of Egypt intro to hear that the TWO offers a resolution, transparency and linearity that go well beyond what the Stealth can do. I always knew that the Stealth is not super highly resolving but its solid bass, tonal fullness and big dynamics go a long way to make up for this. Especially for analog replay, I find that it’s not a bad thing for a preamp to be a little less revealing as long as the musical spirit comes through. And the latter is never in question via the Ayon. I have also tried several transistor preamps in all price ranges for this purpose, but for LP playback, I always preferred the Ayon in spite of its audiophile shortcomings. But now, here’s the Vermeer TWO, ticking all the audiophile boxes: resolution, transparency, airiness, linearity, tightness, speed, and articulation and extension in both directions. Every record that I play, further confirms this. As much as I like the Ayon, the Vermeer simply performs in a higher audiophile league. But what about the emotional aspect, I hear you ask? Not to worry, as the Vermeer simply has this down, too! Call it musical, emotionally appealing, non-synthetic or non-technical, the TWO has it in spades. The TWO’s transparent and linear delivery does mean that you hear better what’s on the record and that’s only fair. Thin-sounding records are beautifully enhanced by the Ayon but, ultimately, that’s a pleasant EQ and a deviation from neutrality.<\/p>\n

But even with so-so records, the TWO offers the ease and flow that tubes typically do so very well. And, importantly, even though it craftily avoids sounding cold or technical, there is none of the thickness, smoothing, or coloration that lesser tube designs often bring. Very well done Vermeer!<\/p>\n

Upcoming other Vermeer Products<\/h3>\n

Very soon, the model THREE will be introduced, containing exactly the same DAC section, built into a less massive chassis and with the LAN board as an option. The THREE will cost 15.590 Euro for the DAC+Network player model (with the LAN board included) and 11.990 Euro for the DAC-only model.<\/p>\n

The main difference from the TWO is that the THREE does not contain the analog preamp section and thus also not its analog volume control but rather a very special digital volume control based on Leedh processing from Acoustical Beauty. This technology can also be found in some Soulution converters and recent Lumin devices.<\/p>\n

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Conclusion<\/h2>\n

Let’s get the main thing out of the way: the price. 24.999 Euro is not pocket change. But considering that it offers similar functionality as the CH C1 that commands around 40.000 Euro including the required input boards, it’s starting to look a lot better. Then, consider how much a superb analog preamp will cost and the requested sum for this 3-in-1 Universal Control Center starts to make sense. The TWO can be at the heart of multi-source analog\/digital systems and it can function as the integrated front end of a minimalistic system with the addition of only a server and active speakers. For those who would like to obtain the Vermeer DAC quality but have no need for an analog preamp, the THREE is a more cost-effective solution.<\/p>\n

It is Vermeer Audio’s goal to make products that sound as realistic as possible and, by extension, to have low distortion and not to add any coloration and I can confirm that those boxes are comfortably ticked. It’s linear, highly resolving, articulate, transparent, and clean without sounding clinical and very slightly rich but without really sounding warm. Perhaps a better word would be natural<\/em>. Whilst being open and direct, the TWO also has an organic naturalness and charm with an unhurried presentation along with superb fleshing out of the natural harmonics that makes it very easy to listen to.<\/p>\n

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Associated Equipment<\/a><\/p>\n

Videos on the Hifi-Advice YouTube Channel<\/h3>\n

How Sooloos became Roon<\/a>
\nHFA Front Page<\/a><\/p>\n

Try out Roon for yourself<\/h3>\n

Get Roon 1 month for free<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer: Vermeer Audio<\/a>
\nDistributor for the Netherlands: Aequo Audio<\/a><\/p>\n

PRESTIGE AUDIO DIFFUSION
\nDistributor for France \/ Monaco \/ Belgium \/ Luxembourg \/ French part of Switzerland<\/p>\n

Contact : Marc Loubeau
\nTel\u00a0: +33(0)6 49 89 68 88
\nEmail\u00a0:\u00a0contact@prestigeaudio-diffusion.fr<\/a>
\nWebsite: www.prestigeaudio-diffusion.fr<\/a><\/p>\n

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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n WestminsterLab Quest preamp and Rei mono power amps <\/a>\r\n\r\n <\/div>\r\n
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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Denafrips Hestia and Athena preamplifiers <\/a>\r\n\r\n <\/div>\r\n
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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Analog Preamplifiers in a Digital Streaming World <\/a>\r\n\r\n <\/div>\r\n
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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Aries Cerat preamplifiers compared – Incito S and Impera Reference <\/a>\r\n\r\n <\/div>\r\n
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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n COS D10 DAC, preamp, and network player <\/a>\r\n\r\n <\/div>\r\n
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\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Aries Cerat Hel\u00e9ne DAC and Incito S preamp <\/a>\r\n\r\n <\/div>\r\n \r\n <\/div>\r\n\r\n