{"id":31188,"date":"2022-03-15T21:35:03","date_gmt":"2022-03-15T19:35:03","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=31188"},"modified":"2022-03-20T22:44:36","modified_gmt":"2022-03-20T20:44:36","slug":"denafrips-ares-ii-pontus-ii-venus-ii-and-terminator-plus","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/spdif-dac-reviews\/denafrips-ares-ii-pontus-ii-venus-ii-and-terminator-plus\/","title":{"rendered":"Denafrips Ares II, Pontus II, Venus II, and Terminator Plus"},"content":{"rendered":"

Review samples supplied by Vinshine Audio<\/a><\/h4>\n

Retail prices including 21% VAT:
\nAres II: 915 euro
\nPontus II: 1951 euro
\nVenus II: 3308 euro
\nTerminator Plus: 7.055 euro<\/h4>\n

For this review, I will be comparing the Ares II, Pontus II, Venus II, and Terminator Plus directly to one another. The only DAC missing in this list is the older original Terminator. All four DACs use Denefrips’ proprietary discrete R2R conversion technique and all use a high-quality linear power supply, even the most affordable Ares II. With similar design goals and even similar specs, this might lead one to wonder just how exactly these DACs differ from one another. And perhaps more to the point, whether the performance of each successive model up the ladder actually justifies spending the extra money. Well, this is precisely what I intend to find out!<\/p>\n

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From top to bottom: Ares II, Pontus II, Venus II, and Terminator Plus<\/em><\/p>\n

Basic Specifications<\/h3>\n

Below, I have published the most important specs. As you will see, on the surface, there seem to be only small differences between the models. So, as it often is in matters audio, the proof of the pudding will be in the eating.<\/p>\n

Ares II<\/h3>\n

Inputs: 2x Coax, 2x TOSlink, USB
\nOutputs: Balanced\/Unbalanced<\/p>\n

Proprietary R2R + DSD Architecture
\nTrue balanced 24BIT R2R + 6BIT DSD (32 steps FIR Filters)
\nLow Thermal Effect, High Precision Hand-Matched 0.01% Resistors
\nFEMTO Crystal 45.1548MHz, 49.152Mhz
\nLow Noise Power Supply
\nFIFO Buffer
\nDigital Signal Processing via FPGA
\nLicensed\u00a0Thesycon USB Driver\u00a0For Windows Platform<\/p>\n

Pontus II<\/h3>\n

Inputs: Coax, BNC, 2x AES\/EBU, TOSlink, I2S on HDMI, USB
\nOutputs: Balanced\/Unbalanced<\/p>\n

Proprietary R2R + DSD Architecture
\nTrue balanced 24BIT R2R + 6BIT DSD (32 steps FIR Filters)
\nLow Thermal Effect, High Precision Hand-Matched 0.01% Resistors
\nFEMTO Crystal 45.1548MHz, 49.152Mhz
\nEncapsulated Ultra Low Noise Power Supply
\nAdaptive FIFO Buffer Reclocking
\nNew Improved DSP Digital Signal Processing FPGA Code
\nDSD1024, PCM1536 Supports On USB & I\u00b2S Input
\nProprietary USB Audio Solution via STM32F446 Advanced AMR Based MCU
\nLicensed Thesycon USB Driver For Windows Platform<\/p>\n

Venus II<\/h3>\n

Inputs: Coax, BNC, 2x AES\/EBU, TOSlink, I2S on HDMI, USB
\nOutputs: Balanced\/Unbalanced<\/p>\n

Proprietary R2R + DSD Architecture
\nTrue balanced 26BIT R2R + 6BIT DSD (32 steps FIR Filters)
\nLow Thermal Effect, High Precision Hand-Matched 0.005% Resistors
\nEncapsulated Premium Ultra Low Noise Power Supply
\nTCXO – Temperature-Compensated Crystal Oscillator
\nAdaptive FIFO Buffer Reclocking
\nNew Improved Digital Signal Processing FPGA Code
\nDSD1024, PCM1536 Supports On USB & I\u00b2S Input
\nProprietary USB Audio Solution via STM32F446 Advanced AMR Based MCU
\nLicensed Thesycon USB Driver For Windows Platform<\/p>\n

Terminator Plus<\/h3>\n

Inputs: Coax, 2x AES\/EBU, TOSlink, I2S on HDMI, 2x I2S on RJ45, USB
\nClock in\/out: 49.152Mhz\/45.1584Mhz
\nOutputs: Balanced\/Unbalanced<\/p>\n

Proprietary R2R + DSD Architecture
\nTrue balanced 26BIT R2R + 6BIT DSD (32 steps FIR Filters)
\nMatched Precision Thin Film 0.005% R-2R Network Arrays
\nEncapsulated Flagship Ultra Low Noise Power Supply
\nHigh-end Oven Controlled Crystals OCXO
\nTotal isolation of Digital and R-2R Boards
\nAdaptive FIFO Buffer Reclocking
\nNew Improved Digital Signal Processing FPGA Code
\nDSD1024, PCM1536 Supports On USB & I\u00b2S Input
\nProprietary USB Audio Solution via STM32F446 Advanced AMR Based MCU
\nLicensed Thesycon USB Driver For Windows Platform<\/p>\n

Clock Mode<\/h3>\n

When looking in the Terminator Plus manual regarding Clock Mode,\u00a0 I found two options that seemed similar: COAX (No clock output) and I2S-A (Clock out disable). Upon checking with Vinshine Audio<\/a>, Alvin Chee kindly confirmed that there is no difference between the two options and that the extra entry is simply a placeholder in the FPGA program yet to be utilized.<\/p>\n

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Review Context<\/h3>\n

This review will be split into two parts. First, I will start with my most neutral digital source which is the Grimm MU1<\/a> server (set to no internal hardware oversampling), connected via a Jorma RCA digital cable. While I am aware that many users will use USB, I have found that the results with this connection vary greatly in response to the implementation of the interface on either end. For that reason, in spite of the theoretical disadvantage of being inherently synchronous, will I start with the tried-and-trusted S\/PDIF format.<\/p>\n

In all my tests so far, the Jorma AES\/EBU cable<\/a> yields the best sound quality but because the Ares II does not offer an AES\/EBU input, I will use the second-best S\/PDIF RCA version of the Jorma cable so that we have equal circumstances for all DACs.<\/p>\n

Second, I will employ the Antipodes K50<\/a> server and its USB output, to assess the differences with S\/PDIF and to see how the DACs respond.<\/p>\n

As a reference, I will use the Aqua Formula xHD<\/a> DAC. All DACs, including the Aqua, are connected using the very neutral and refined Driade Flow Link Reference 808<\/a> RCA interlink. For the four Denafrips DACs, I started with a stock power cable and carried out my first comparisons. After that, I substituted the stock cables for Belden 19364<\/a> cables with Oyaide C-004<\/a> IEC and Bals schuko connectors, which are the same cables that power all my other equipment.<\/p>\n

The rest of the system consists of the CH Precision L1<\/a> preamp, connected to the A1.5 power amp<\/a> using an AudioQuest Fire<\/a> RCA interlink. The speakers are Magico S1 MkII, connected with Jorma Trinity<\/a> speaker cable.<\/p>\n

NOS and Phase<\/h3>\n

As I have already found as part of earlier Denafrips reviews that I prefer the NOS setting (no oversampling and no filter), I will be using all four DACs in this mode.<\/p>\n

Note that the manuals for three of these DACs mention that a lit Phase LED means Positive Phase while the Ares II manual deviates by mentioning that Phase LED Off means Positive Phase. Going by ear, it sounds like in actuality this is reversed and thus in line with the operation of the other three DACs. Perhaps it will be good if Denafrips checks this and amends the online manual accordingly.<\/p>\n

<\/p>\n

Listening Round One – SPDIF<\/h3>\n

All four DACs have seen prior use and should be run in. Nevertheless, they were all connected to power simultaneously and allowed several days to acclimatize.<\/p>\n

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When switched on, all four DACs get comfortingly warm to the touch, but not hot. I will start my listening with the Grimm MU1 music server as a source, connected via Jorma S\/PDIF cable.<\/p>\n

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Ares II<\/h3>\n

Despite its small size, the entry-level 915-euro Denafrips Ares II DAC is still surprisingly heavy. As with the other Denafrips products, it contains a fully linear power supply built around a beefy toroid transformer in combination with a large bank of small capacitors.<\/p>\n

From the first notes, it’s clear that even the Ares II is a full-blood Denafrips product. There’s just no thickening, blurring, or veiling anywhere to be found. The sound is crisp and clear yet also refined and fluid and with a nice free flow.<\/p>\n

Even without having started comparisons, it’s clear that tonal saturation is not this DAC’s forte. In an absolute sense, it just sounds quite lean and thin. In other words, it’s not very full or rich-sounding. Nonetheless, the DAC has no trouble delivering on a level that makes me want to hear more.<\/p>\n

Apart from sounding lean, the Ares II sounds very linear and very neutral. The sound is remarkably detailed for a DAC at this price level and also surprisingly airy and refined. The music is always fast and upbeat and with very good transient behavior, and on the surface, good bass articulation. Most of the time, the Ares II sounds sparkly and quite articulate, but with some music, especially when it is of the slower and less incisive sort, sometimes, the transients can seem slightly rounded. That said, this Ares is certainly not a slow DAC and the sound also does not stick to the speakers but while the soundstage is free in all directions, I’ve experienced more room-filling sound and although I would absolutely not call the Ares II blurry or indistinct in itself, I know from earlier experience that the Venus and the Terminator manage more distinct placement and definition within the stage.<\/p>\n

Overall, the Ares II comes across as revealing and precise, but thanks to its fluidity and refinement, it does not sound dry or overly technical. Given its sub-1000-euro price, the DAC performs admirably but if funds allow it and the accompanying system has high-end aspirations, I would recommend spending more. And what better DAC to look at next than the next model in the Denafrips lineup?<\/p>\n

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Pontus II<\/h3>\n

With the Pontus II, the retail price doubles to just below 2000 euro. If ever there was a case of specs not telling the whole story, this is it! When comparing the published specs for the Ares II and the Pontus II, the underlying R2R DAC technology seems to be identical and the only differences seem to be an ultra-low-noise encapsulated power supply (instead of low-noise non-encapsulated), Adaptive FIFO buffering (instead of apparently non-adaptive), and improved DSP. That, and a considerably nicer case along with more inputs. But is that worth double the price? As I would soon find out, absolutely!<\/p>\n

It is indicated that the Pontus adopted many of the technologies found in the Terminator DAC but this is not further specified. But clearly, more has changed internally than just the points noted above, for the Pontus II offers much fuller tonality and significantly more robust bass, with more color, substance, and conviction. If the Ares II’s most notable quality is its refinement and flair, the Pontus’ most notable quality is its powerful and decisive delivery.<\/p>\n

The DAC’s robust stance carries through from the bass into the midrange and the treble, making for a remarkably muscular and expressive delivery. Now, I must say, we’re getting closer to the benchmark that I am used to hearing, mind you, normally from DACs that cost multiples…<\/p>\n

The Pontus II is darker than the Ares II and also a little darker in an absolute sense, although the Ares II also feels a little tipped up in the treble because its bass is leaner. Hearing the beautifully fast and articulate bass and the crisp transients with the Pontus II also confirms that the Ares II can indeed sometimes sound slightly round on the transients. However, don’t put too much weight on this as that doesn’t prevent it from sounding compelling and musical. But the Pontus II is clearly better in every single way, and it makes a particularly strong case for itself with its fuller timbre and richer tonal saturation. For this aspect alone, I feel that it’s worth the extra cost, even without considering the enhanced precision, clearer definition, and increased expression.<\/p>\n

But that’s not even the end of my praise. The Pontus II also raises the dynamic envelope with more incisiveness and stronger impact, leading to an overall more dynamic presentation. This is another strong argument for choosing this model over the Ares II. Finally, the Pontus II sounds more spacious and the soundstage has more depth, which makes it more fascinating to listen to and brings the performance closer to reality.<\/p>\n

While the Ares II certainly surprised me with the offered quality at the price, it’s only with the Pontus II that I start to feel that I could use it in my day-to-day work for reviewing as well as enjoyment. Yes, it is that<\/em> good!<\/p>\n

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Venus II<\/h3>\n

For 1300 euros more than the Pontus II, you can buy the Venus II. Purely spec-wise, the differences appear small again: 26 bit R2R instead of 24 bit, High Precision Hand-Matched 0.005% Resistors instead of High Precision Hand-Matched 0.01% Resistors, and a Temperature Compensated Crystal Oscillator TCXO instead of a\u00a0 FEMTO Crystal. But as I know from experience, higher precision components can lead to an impressive increase in performance.<\/p>\n

I had heard the Venus<\/a> DAC before as part of my original review, but the Venus II DAC really surprised me when hearing it after the Pontus. To be honest, the Venus II did not immediately establish itself as a better DAC than the Pontus II. This has a lot to do with the fact that it is tonally very different. Rather than sounding full, slightly dark, and robust, it sounds agile, open, and airy. But in place of the deep tonal saturation of the Pontus II, the Venus II sounds leaner and less impactful in the bass. The DAC feels more controlled, and because of this, less propulsive and festive. But after having readjusted to the new presentation, I also hear several notable improvements.<\/p>\n

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The Venus II sounds considerably more open and airy, and in terms of detail, refinement, and transparency, it is most definitely more precise. But rather than become dry, the Venus II is actually considerably more fluid than the Pontus II. Actually, the latter now sounds dry in comparison. The Venus II is considerably leaner than the Pontus II, and to be honest, it really is a little lean in an absolute sense, but it’s not for a lack of bass depth. Rather, the extremely high precision makes that there is simply zero blur, thickness, or overhang. While the Pontus II may have had that instantly likable foot-tapping quality, once I go back to it, I dearly miss the extra transparency and refinement of the Venus II.<\/p>\n

The imaging is also different from the Pontus II. Instead of the seemingly round sonic ball that “hangs” in the room around the speakers and the listener with the Pontus II, there is now a vertically flatter plane that extends more deeply in all directions but seems to possess less height. I’m sure it’s a psychoacoustic effect but nonetheless a difference between the two DACs.<\/p>\n

Although the Venus II is clearly superior in every audiophile sense and it is supremely refined and fluid and in no way dry, I do feel that it has more of a cerebral delivery than the Ares II and the Pontus II. It seems to be so very precise and controlled that it becomes less groovy and less emotionally appealing.<\/p>\n

I should add that this is most evident in a direct comparison. When casually listening to the Venus II for a longer period during the writing of this review, I no longer noticed the DAC’s business-like approach, rather, there were several instances when I was amazed at its resolution and rhythmic precision.<\/p>\n

In conclusion, the Venus II may be less immediately likable but it offers a measure of precision, linearity, transparency, focus, refinement, air, and fluidity, that the other two DACs simply can’t achieve. I have deep respect for the DAC and think it offers benchmark performance at its price level but now I really wonder what the Terminator Plus has to offer.<\/p>\n

<\/p>\n

Terminator Plus<\/h3>\n

The Terminator Plus is Denafrips’ top DA Converter. Compared to the Venus II, at more than double the price, the Terminator Plus offers a full-size, very heavy, and very sturdy casing, and a much more elaborate power supply, containing more capacitors than I can count.<\/p>\n

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Again, the devil is in the details: Matched Precision Thin Film 0.005% resistors instead of High Precision Hand-Matched 0.005% Resistors and a High-end Oven Controlled Crystals OCXO instead of a Temperature Compensated Crystal Oscillator TCXO. That’s all the difference that I can find from looking at the published specifications. But as I already found during my initial review<\/a>, the Terminator Plus is in a category of its own. So, let’s see how it compares to the Venus II.<\/p>\n

Oh yes, with the Terminator Plus, it seems that we are getting it all! Both the fluidity and airy flair of the Ares II, as well as the expression and impact of the Pontus II are represented in full swing, but with even further enhanced bass articulation, transient speed, and rhythmic expression, as well as even further increased linearity and transparency. Interestingly, the Terminator Plus’ timbre and tonality are more in line with the Ares II and the Venus II, leaving the Pontus II to be the odd one out in terms of its darker and super-robust sound.<\/p>\n

Importantly, while the Terminator Plus is clearly the most precise and most revealing DAC of the quartet, it’s not more clinical but it actually has an increased boogie factor compared to the Venus II and it most definitely can stir the soul.<\/p>\n

On the surface, it seems to be less sonorous in the bass than the Pontus II, but along with the best bass-articulation that I have heard from a DAC, the Terminator Plus adds a deeper foundation that none of the other DACs unveiled. Underneath the superficially light-footed approach, there is now a welcome sense of grounding and authority, but without ever sounding slow or heavy-handed. Likewise, while the Terminator Plus also leans to the analytical side just like the Venus II, here, it does not result in less groove or an otherwise technical or matter-of-fact sound.<\/p>\n

As with the previous steps, I must conclude that this final step up is still well-worth the extra money. And the Terminator Plus is not only good for the money, I’d even go as far as counting it among the select group of DACs that I consider to offer the best that can be achieved even at double the DACs price. It is so extremely good that the only deciding factors could be system synergy\/taste and budget, but there is simply no arguing about its performance.<\/p>\n

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Power Cables<\/h3>\n

When substituting the stock power cables for my go-to Belden 19364 cable with Oyaide C-004 IEC and Bals schuko connectors, the sonic balance shifts very noticeably and the difference can be heard with all four DACs.<\/p>\n

The difference does not so much come down to a changed level of detail or increased transparency, but it strongly affects the tonal balance and the overall solidity and conviction of the delivery. The Ares II gains more saturation and bass fullness and becomes more balanced and linear and less lean in the process, although the DAC remains quite lean in an absolute sense. The Venus II also sounds considerably fuller and more robust with the Belden cable and while this won’t entirely shift the DAC’s character from tight and lean to full and warm, the Belden cable does nudge it more in the desired neutral direction. The same enhancements can be heard with the Pontus but this DAC arguably doesn’t really need what the neutral Belden cable has to offer and honestly already sounds fantastic with the stock cable. Of course, there are better cables but then one might best look in the direction of the type of audiophile cable that doesn’t add fullness and enhances the upper midrange and treble. The Terminator Plus, finally, sounds impressive almost no matter how you place it or connect it. Of course, its amazing transparency will certainly emphasize it when you hit the sweet spot, but you have to try your best to make it sound truly bad. What remains unchanged when comparing the stock cable to the Belden cable are the linearity, transparency, and immense resolution that is inherent in all the Denafrips DACs.<\/p>\n

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As some of the photos suggest, the DACs have also been listened to when stacked on top of one another. While this is not endorsed if you want to obtain the best from any audio component, whilst swapping the order of the DACs, I found that the differences as induced by them being stacked were actually smaller than the DACs’ inherent sonic differences.<\/p>\n

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That said, of course, I have attempted to obtain the maximum in performance from each DAC by listening to the unit individually placed on an Artesania Modular rack and on top of the CH Precision C1 DAC.<\/p>\n

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Support<\/h3>\n

As I found earlier in tests with the Aqua Diva II CD transport, the C1 DAC actually makes for a superb support. Itself coupled via Artesania Carbon arms to the Artesania Exoteryc rack’s top level, the DAC is built from massive aluminum panels and has an extra-thick stainless steel bottom plate, and as a whole, its construction is massively inert. The influence of the C1 is to add a little extra solidity to the core qualities of the Exoteryc rack which I found rarely to be out of place.<\/p>\n

Placement on top of the MDF shelf that sits on top of the Artesania Aire rack’s outer frame via Neoprene discs (a non-Artesania-standard method), the DACs sound tighter and more direct, but I found that this balance is not ideal for any of the Denafrips models.<\/p>\n

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When placed directly on top of an Artesania Aire floor platform’s Carbon Arms which bypass the DAC’s own feet, the DACs become a little bit more relaxed, the imaging becomes deeper, and they gain a more organic flow.<\/p>\n

Placement on the Artesania Modular Rack (made from Panzerholz and Krion), finally, yields a tonally different sound, fuller, darker, more solid, and arguably more characterful, if also less linear, precise, and transparent than on the Exoteryc rack.<\/p>\n

While the choice between the two different Artesania racks is a matter of taste, for the sake of a direct comparison with the Aqua Formula xHD, which sits in the Exoteryc rack, I decided that all the DACs needed to be treated equally. This meant that they were ultimately judged directly on the Artesania Aire floor platform.<\/p>\n

<\/p>\n

In comparison to the Aqua Formula xHD<\/h3>\n

When compared with the Aqua, the Ares II is a little bit too much out of its depth. As described, it is a very fine DAC for the money but as one can expect, it cannot compete with a 14.000-euro DAC. But when taking one step up in the Denafrips portfolio with the Pontus II, matters already become less clear-cut.<\/p>\n

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In a direct comparison, the Pontus II feels similarly detailed and expressive as the Aqua and it is tonally actually quite close, even in terms of bass solidity and overall fullness, if a little darker in the treble. While it is the most sonorous of the four Denafrips DACs, it still recognizably has the Denafrips DNA which is geared toward a very precise audiophile sound, rather than the freer and more organic nature of the Aqua. That said, on an absolute scale, I have always regarded the Aqua as being slightly on the (c)leaner audiophile side, although it has a more organic and free-flowing nature than all the Denafrips DACs.<\/p>\n

The Venus sounds more lucid, more highly resolving, and more refined than both the Pontus and the Aqua, with a clearly better low-level resolution, which is quite evident in decays and reverbs that are now much more distinct. The bass is also faster and more articulate. At the same time, perhaps because it is even tighter and cleaner than the Pontus II, the Venus II also feels a little restrained. This is an aspect that is not so easy to quantify but after the Pontus and the Aqua before it, the Venus feels less inviting or “soulful”, if that makes any sense. On the other hand, its combined set of skills does place it closer to the Aqua in terms of overall performance, if not in terms of overall character. Mostly, the difference can be likened to an amplifier with a higher damping factor (Venus) versus one with a lower damping factor (Pontus or Aqua).<\/p>\n

The Terminator Plus takes key aspects from the Pontus and Venus to bring the performance to a superlative audiophile level. It actually outperforms the Aqua in terms of precision, transparency, neutrality, nuance, and resolution, while remaining musical and involving, and avoiding tipping over into an overly clinical sound. It makes my foot tap, more so than the other three Denafrips DACs. Like the Aqua, the Terminator Plus can boogie. By comparison, the Aqua paints with broader strokes and images less distinctly, but where it still has the upper hand, is in the depth of tonal saturation and the flow of the music. This gives the Aqua a less highly resolving and less precise, but more forgiving and more easy-going, arguably more organic presentation.<\/p>\n

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Listening Round Two – USB<\/h3>\n

Now that I have assessed all four DACs using what I regard as the most predictable connection method and my preferred standard, AES\/EBU, let’s see how they perform using USB. Sure, Asynchronous transfer should be superlative to a DAC slaving to a muxed (multiplexed) clock signal. But as I have found in practice, no two USB interfaces sound alike, and despite the theoretical advantages, a USB connection often leads to an overly controlled and almost mechanical sound, at least compared to a well-implemented AES\/EBU interface. But in all fairness, I also have to hand it to the format that, when the two interfaces (server and DAC) work together perfectly, the format can achieve superlative results. In any event, Denafrips sure went the extra mile paying special attention to the USB interfaces with their proprietary solution via STM32F446 Advanced AMR Based MCU.<\/p>\n

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Switching between digital Audio (AES\/EBU, Coax, BNC) and USB on the Antipodes K50 is done via the sleek-looking web interface<\/em><\/p>\n

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Having swapped servers from the Grimm MU-1 to the Antipodes K50 connected via the Jorma S\/PDIF cable as well as the Final Touch Audio Callisto USB cable, the second comparison round could begin! For those who have not (yet) read my reviews of the MU1 and the K50, the TLDR is that the MU1 is tight and fast and most neutral and detailed, and the K50 is smooth, rich, more relaxed, and more organic.<\/p>\n

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Ares II<\/h3>\n

Starting with the Ares II, the USB sound is considerably airier and more agile than coax, as well as leaner and tighter but still with good fluidity and decent flow. With this DAC, the sound becomes more controlled with USB, but in a good manner, and certainly not overly so. However, the K50’s coax output sounds beefier in the bass, as well as tonally considerably fuller and even though the USB connection yields increased refinement and higher resolution, these two aspects compensate very nicely for the Ares II’s inherently lean character. But besides tonality, there’s another valuable aspect of the K50’s digital outputs which is that with almost every DAC, they provide a deeper and more 3D soundstage than the K50’s USB output. And indeed, with the Ares II, this is the case.<\/p>\n

Pontus II<\/h3>\n

With the Pontus II, the same benefits are heard when switching from coax to USB, but this time, the tonal balance remains well-balanced and almost as full. The bass does gain tightness and agility but overall, the sound remains sonorous and toe-tapping. And, swapping back and forth between USB and coax, I’m no longer so sure that the latter provides deeper imaging. What I hear mostly is that the soundstage is a little bit more forward with USB but that could also be a psychoacoustic phenomenon induced by the increased articulation and incisiveness. Bottom line, with this DAC, on balance, I think I prefer the tighter, faster, more detailed, and more expressive sound of USB over the more relaxed and tonally slightly fuller sound of coax.<\/p>\n

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Venus II<\/h3>\n

My first response after hearing the Venus II was to second-guess myself. Wait… this is coax? And, hang on, this was definitely the Venus DAC? Yes, and yes. I’m glad that I did this test as it now turned out that the Venus II combines much better with the K50 than the MU1. For starters, the Venus II now sounds solid in the bass and timbrally full, as well as airy, refined, fast, and articulate, almost as if I’m hearing the USB input. More importantly, the Venus II now sounds more confident and toe-tappingly rhythmic than I have heard it with the MU1. I think that this is one of those cases where an especially great synergy is achieved. Before moving on to the USB input, I’m already inclined to state that the Venus II is most definitely a better DAC than the Pontus II… but it does require careful matching.<\/p>\n

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Switching from coax to USB, interestingly, the Antipodes’ signature fullness is largely retained, but the DAC also gains control and tightness, so much so in this case, that it becomes a bit too controlled. With the coax input, it sounded absolutely perfect, but with USB, I feel that the downsides as noted with the Grimm MU1 have returned. And because the Venus II already sounds extremely refined and detailed, it can be argued that the advantages of USB do not really pay off.<\/p>\n

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Terminator Plus<\/h3>\n

Hearing the Terminator Plus with its coax input again puts a smile on my face. This DAC sounds beautifully crisp and confident while craftily avoiding sounding too clean. And it just gets the flow right, with the Antipodes just as much as with the Grimm.<\/p>\n

When used with the Antipodes server, the Terminator Plus’ coax has a seductively creamy-smooth presentation that will probably be the go-to method for those who favor saturation and organic flow over tightness and precision. And it will also work well when the DAC is used in systems that lean to the analytical-clinical side or are just a little too lean-sounding in their overall balance.<\/p>\n

For me, however, there is no doubt in my mind, as no matter how involving the coax connection sounds, it’s nowhere near as precise as with USB. And with the Terminator Plus, the USB connection does not come with the usual penalty of inducing too much control. With USB, it’s not just the drums or bass that benefit, but the superiority of the format is also clear when listening to left-hand low piano notes, which are clearer in pitch, more incisive, and much more percussive. It all leads to a rendition that is not only involving and toe-tapping but also sounds most realistic. Clearly, the Terminator Plus matches extremely well with the Antipodes K50. And since it sounds best with USB, I’d wager a guess that the Antipodes K30 might achieve very similar results for considerably less money.<\/p>\n

Summing Up<\/h3>\n

Ultimately, although the Terminator has the fullest sound of the quartet, the Aqua sounds tonally richer and more saturated, and the CH C1 even more so. This leads me to conclude that the Denafrips family sound in general is a little on the lean and slightly analytical side. This, then, becomes a matter of personal preference (higher precision versus deeper organic flow), as well as one of system setup. For instance, when I use the fuller and more solid-sounding Aries Cerat Impera II as a preamp instead of the CH L1, the case for the Denafrips DACs is already changing. And what if one were to use warmer or richer-sounding speakers?<\/p>\n

In certain aspects, the Denafrips house sound is reminiscent of what I heard with the Weiss DAC502<\/a> and the COS D10<\/a> DACs, and to some extent, also the Mola-Mola Tambaqui<\/a>. I won’t say that all DACs perform on the same level across the board as they ultimately all have their respective qualities, for instance, the Weiss being particularly resolute and robust and the Mola-Mola being especially noteworthy for being precise as well as organic. But what they all share is a highly articulate, fast, linear, transparent, and precise sound, and what makes the case for Denafrips so appealing is that these DACs achieve this high audiophile standard at lower than usual prices.<\/p>\n

\"\"<\/p>\n

Conclusion<\/h2>\n

With this review, I have reached two important conclusions. The first one is that Denafrips makes truly excellent DA Converters. The second one is that it is, indeed, well-worth investing more to step up to the next model, if you have the funds. Even if the four DACs seem to be more similar than different when going from the specs alone, each next model brings profound improvements to the table. The long and short of it is that the Ares II is really good for the money, the Pontus occupies the sweet spot in terms of performance for the money, and while the Terminator Plus costs relatively much, is also the very best. Denafrips has my highest respect for all four DACs in their respective price categories but my favorite two DACs are the Pontus and the Terminator Plus. The former already scratches the surface of the true high-end and the latter is so good that it makes life difficult even for DACs that cost considerably more.<\/p>\n

All four Denafrips are great performers but especially the Pontus II and the Terminator Plus are highly recommended!<\/p>\n

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More Denafrips<\/h3>\n

Venus<\/a>
\nTerminator Plus<\/a><\/p>\n

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

External Links<\/h3>\n

Manufacturer: Denafrips<\/a>
\nAvailable from: Vinshine Audio<\/a><\/p>\n

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