Denafrips Terminator Plus DAC
The Chinese company Denafrips, with sole distribution via Singapore, has in recent years been making some very well received and relatively inexpensive DACs; Audiophilia very favorably reviewed two such impressive models already: The entry level Ares II at $750 and the higher-end Pontus II at $1700.
For those interested, and in the style of an acrostic poem, the name `Denafrips’ stands for:
D-ynamic
E-xquisite
N-atural
A-ttractive
F-idelity
R-efined
I-ntoxicating
P-ure
S-ophisticated
Here, in the present review, however, we go the full monty by jumping to Denafrips’ highest level DAC, their flagship Terminator Plus ($6500). As with all Denafrips DACs, the Terminator Plus is a variation of a hybrid R-2R DAC: for conversion to analog it does utilize some R-2R resistor ladders, but, does so together internally with programmable logic devices such as a Field Programmable Gate Array (FPGA), a Complex Programmable Logic Device (CPLD) and a Programmable Array Logic (PAL).
These additional computational devices make it possible for the DAC to process DSD, process 24 bit PCM files (versus 20), and allow oversampling and filtering options, for example; something that a true/pure R-2R DAC can’t do (but might not want to do with good reason). For more on the true versus hybrid dichotomy, read here.
Special thanks to kind and responsive Alvin Chee of Vinshine Audio in Singapore, Global Sales Agent for Denafrips, for shipping a review unit. (Coincidentally, we discovered during our correspondence that we had significant overlap at the National University of Singapore some years ago while he was a student in engineering/computer science, and I was a Visiting Professor on sabbatical. But we never met.)
How does the Terminator Plus look?
Compared to the small and inert looking Ares II and the medium sized Pontus II, the Terminator Plus is massive and intimidating looking: 430 mm (L) x 380 mm (W) x 105 mm (H), 19 Kg (17”x 15” x 4.13”, 42 lbs). (It looks somewhat like a greatly enlarged version of the Pontus II.)
As such, just as with a serious turntable, one needs to dedicate a separate large and stable top to rest it upon—which I did with enthusiasm, but all the while complaining about my back while moving it!
The heavy weight comes from the formidable but very sleek looking thick solid brushed aluminum chassis (silver or black choices; my review unit was silver), and because a `dedicated encapsulated beefy (toroidal based) linear power supply unit, designed in a thick metal alloy enclosure, can be found hidden underneath the DAC board with an additional steel plate divider between them for extra shielding.’
The word `DENAFRIPS’ is boldly—but tastefully—etched on the top and front of the unit, and a handsome etched line on the curvy front panel separates a row of tiny red-colored (when lit) labeled LED lights from a row of buttons including the power button (there is no power switch on the back). The lights indicate such things as the digital input you wish to use (e.g., USB, I²S, Coaxial, among others) as well as whether you are playing a DSD file, have engaged non-oversampling (NOS), and what the PCM sampling frequency is of the file you are playing.
For example, if you are playing a 24/96 file, then both the 48k and 2X lights will turn on (48 x 2=96). Besides power on/off, some of the other buttons are used for selecting digital inputs, muting (this button together with the mode button are also very important for setting other more technical things—for those interested), selecting NOS/OS, and switching phase.
On the back of the unit, in addition to a power plug located in the middle (I like that: all my other devices have it either on the right or the left causing difficulty at times when a power cord is not quite long enough), it contains analog out (balanced and RCA), and then an impressive lengthy selection (10, yes 10) of digital inputs: 1 COAX, 1 OPT, 2 AES, 1 USB, and 3 I²S one of which is HDMI, and the other two (each different) are of RJ45 type. One can even set the appropriate pinout configuration for the I²S (from among 8 settings which I note includes PS Audio’s own standard as one for HDMI); needed since there is no one standard. (The remaining 2 BNC digital inputs (left most of the 10) are for when connecting (say) the Gaia DDC device.)
Further basic information and specifications.
The Terminator Plus has no volume control (preamplification) nor a remote control.
It does not process MQA. It is not officially `Roon Ready’ but works perfectly with Roon (that is how I used it—I had no problem).
As for its internal design, to help reduce noise, it physically isolates—in separate locations—various functions of the DAC such as power, digital signal processing, oven controlled crystal clocks (OCXO), and the R-2R ladder network itself. One can see this separation structure in the `open top’ photos.
For a complete list of specifications, go here.
A noteworthy comment before we move on: Denafrips recently released a new model, named the Terminator II (replacing the regular original Terminator). It is priced at $4500 ($2000 less than the Plus). It looks exactly the same as the Plus except for a rectangular (without etched line in the middle) versus a curvy front panel and is stated to have essentially the same design as the Terminator Plus due to `trickling down’ technology from the Plus. The specifications given are identical to those of the Plus except for the Total Harmonic Distortion (THD) + N levels: 0.0010% for the Plus versus 0.0018% for the II (so roughly speaking, the Plus has half the THD + N as does the II).
When I queried Denafrips to understand what design improvements the Plus had above the II (what justifies a $2000 difference?), I was told that in addition to the curvy anodized aluminum front panel, the Plus uses much higher-level hand-picked components including the R-2R boards and some precision premium OCXO (clocks). I have not heard the II, so I can’t offer my opinion about sound differences between these two models. Perhaps I will be able to check the II out at the upcoming October 2021 Rocky Mountain Audio Fest?
PCM and DSD processing.
Whereas the R-2R ladder architecture is used to process PCM, for DSD, however, the Terminator Plus uses a method similar to what a TI DSD1700 chip does. Together with an FPGA, it uses an impressive 32 steps FIR analogue filter hardware decoder to decode a DSD data stream. For PCM it uses a form of a segmented ladder approach so as to process 24 bit: one R-2R ladder is used for the most significant bits (out of the 24 handed it) and a second one for the least significant bits. (Variations of the segmented approach are now common in most hybrid R-2R DACs.) Then it uses an algorithm to combine the summed outputs from both R-2R ladders to get the original 24 bits in analog. In total, the Terminator Plus has onboard 8 R-2R ladder networks,1 FPGA and 3 CPLDs.
Using USB or I²S, it can process up to 24/1536 kHz PCM and DSD1024 (otherwise, using other digital inputs, 24/192 PCM and DSD64). For PCM, it would be the upsampling mode that brings a standard (much slower rate, such as 24/44.1) file up to such a high sampling rate. (The DAC does not upsample DSD.) Personally, I have a preference for NOS, and although I toyed around with OS in my listening, I almost exclusively used NOS as my default. Also, I did not use the Terminator Plus DAC together with the Denafrips Gaia Digital-to Digital (DDC) Converter unit ($1700; it is typically used to help reduce `jitter’ if need be) since I use a high-end music server as my reference (a $7000 version of the Mojo Audio Deja Vu).
Setup and use.
I used USB with my own reference music server (Mojo Audio Deja Vu with a Roon Core and internal 1TB SSD drive). I simply snapped the cable out from my reference DAC (Mojo Audio Mystique Evo Pro) into the Terminator Plus and set up a new Roon Zone. (Roon found the device as ‘USB HiRes Audio, ALSA’; I renamed it ‘Terminator Plus-USB’.) All the other reference equipment remained the same, too:
Preamp (PS Audio BHK), amps (Audio by Van Alstine DVA SET 600 mono blocks),
Speakers (Alta Audio Celesta FRM-2M). For the USB cabling, I used a 1 meter Wireworld Platinum Starlight version 7, and the new version 8 as well. All analog interconnects were high-level ones by Audio Art Cable; in particular I used XLR out from the DAC to preamp. (I experimented using RCA out too, but I liked the sound quality of the XLR better.)
For music files, in addition to my own library I used Qobuz and Tidal.
Everything went smoothly with no hitch.
Sound quality.
I spent a good 2 weeks leaving the Terminator Plus in use without swapping it out with my own reference DAC. My own experience is that it can take some time to adjust to new equipment of this stature and it is important to let some time go by to get used to the new environment resulting (but taking notes, of course)—before making hard judgments.
So, what did I conclude in general? Overall, the sound quality was lovely: Terminator Plus presented a large focused soundstage with warmth, clarity and air, nice separation of instruments and super dynamics; from dead quiet to couch shaking. Here are some examples:
‘Message in a Bottle’ performed live by the Italian duo (vocals by Petra Magoni vocals, Ferruccio Spinetti acoustic bass) Musica Nuda from the album Musica Nuda-Live à FIP (2007). Qobuz, 16/44.1. The song was written by Sting decades ago appearing on the The Police album, Regatta de Blanc (1979); so this jazz-pop version (with a classical touch, too; Magoni used to sing opera), is quite removed from the original, but it sure works. The recording quality is stellar, and so is the performance. Very intimate sounding and close up via the Terminator Plus; the voice and bass sound articulate and natural, almost larger than life.
Since I was at it, I decided to check out The Police original version of ‘Message in a Bottle’ on Regatta de Blanc (1979), Qobuz, 16/44.1. Not of stellar recording quality, but this rock performance, however, is unique and special; so full of energy (drums are there and they rock). The Terminator Plus rocked, too, exposing lots of punch and power: my young kids started dancing away to this, and I wanted to play a drum set.
‘You’ve Got a Secret’ from Holly Cole’s album NIGHT (24/44.1 FLAC on my library). Gentle and slow, Cole sounds so sexy and alluring on this song; it is addictive, with the deep acoustic bass (Marc Rogers), brushes on the snare drum (Davide Direnzo) and some clarinet even (Johnny Johnson). The Terminator nailed it; lots of clarity with the textures of voice and instruments nicely exposed.
Telemann: 12 Fantasias for Viola da Gamba, Ralph Rousseau, 2019 (24/96 FLAC on my library), TRPTK. This is an extraordinary performance and recording. His 7-string Viola da Gamba offers a refreshing change in sound from a cello; the album is quite captivating. The Terminator Plus displayed the instrument beautifully with richness, warmth and depth. Rousseau himself in photos has long hair and often looks just like the portraits we see of people from the 1500s; he has an unusual background as well having begun in music playing piano and bass guitar, then onto double-bass studies and even an undergraduate degree in physics. If you have not heard this recording, I suggest you check it out.
Some final thoughts
Many an audiophile knows that while ‘linearity’ is a desired feature in various high-end audio applications, linearity in price versus quality of sound generally does not exist: To get that special small percentage increase in sound quality that you want from your system might require a doubling or tripling of the price of a unit, and DACs are no exception.
With that in mind, I report here the sound quality of my reference $12,000 Mojo Audio Mystique Evo Pro DAC edged out the Terminator Plus.
(The Mystique is pure 20 bit R-2R, not hybrid, only NOS, and does not play DSD.)
When swapping back to the Mystique, the change was immediately noticeable: The Mystique’s sound stage is larger both in height and depth revealing more micro details, with transients and musical instrument harmonics displayed more vividly. Venues are more perceptible. The sound was just that dash more musical. But then again the Mystique is nearly twice the price of the Terminator Plus; it should have an edge.
Summary
A superb sounding DAC at $6500, the Terminator Plus is easy to use and can play both PCM and DSD files. It is seriously well made with a very sturdy/heavy construction. It even offers native I²S transmission using several types of cabling of your choice, it can oversample or not at your leisure, and it has other options if you wish to employ them—all of this in addition to utilizing the basics of R-2R ladders which adds to its allure. Certainly one of a handful of outstanding and competitive DACs in its price range. Very highly recommended.
Further information: Denafrips
