I started with the bass because it was a bit unexpected. Just so, the rest of the bandwidth was equally impressive. The biggest strength of this machine was coherent performance across the bandwidth. Its impressive bass never dominated unless that was the intention of a given recording. In most cases the midrange played the most important role just as it should. It was rich, smooth, well-differentiated, colourful though never coloured, present and palpable. There also was a peculiar fluidity which is something more than smoothness, often associated with tubes and, by me, always most appreciated. I stated already that the sound was natural and neutral. Was it warm, too? Yes, as the natural warmth each acoustic instruments possesses of its own. It's what made this presentation so seamless, so easeful yet accurate. It led to the kind of immersion in which we lose track of time. Such tonal accuracy was true for instruments and of course voices. The latter impressed not only with timbre and texture but with their powerfully emotional expressive presence. I spent an entire evening looking through my collection for particularly charismatic vocals. From Louis Armstrong to Janis Joplin, from Etta James to Marek Dyjak, from Luciano Pavarotti to Steven Tyler, I was impressed each and every time. Different genres, styles and eras during which these albums had been recorded were irrelevant. I encountered the same incredible passion and energy expressed by just their voices. I was enchanted and wanted more, losing track of time once again.

For the second part of my review, my LampizatOr BIG7 became the DAC and the Vermeer worked exclusively as preamplifier to compare it to my Modwright LS100. This juxtaposition mostly netted expected results based on my 5-year ownership of the LS100 and what I'd already heard from the TWO. The latter was more neutral than the tubed Modwright which lives a bit on the warmer lusher side of the spectrum. The Vermeer delivered the purer more transparent performance but was equally rich, tuneful and natural. Clearly the French managed its unusual combination of being neutral and natural as not just a DAC but also as linestage. Most components manage one or the other. The best combine them to get closer to live sound. The LS100 had one small advantage which, again, was somewhat expected. The treble and upper midrange of a full-on tube preamplifier—unless muffled or closed-in with a lesser model—usually fits my preferences better. It's more airy, delicate and sweet. The TWO was smooth, crisp, open and even better extended but for me, the LS100 seemed to a have a minimal advantage due to its hint of tube sweetness and delicacy. However, many (most?) might find the Vermeer's crisper, stronger more direct presentation more attractive. I wouldn't blame them. That's simply a matter of individual preference between two equally brilliant readings.

Both did an equally good job of creating a wide deep nicely layered soundstage which projected beyond the speakers and very far through the front wall. Both cast large palpable phantom images although the TWO seemed to image more precise, defined and focused. As always, my sessions included some live recordings which let me assess not just soundstaging and imaging but how a recorded acoustic ambience is conveyed. While listening to Arne Domnerus' Jazz at the Pawnshop or Patricia Barber's Companion, I couldn't declare any ultimate preference. The TWO seemed to be the more precise, with better definition and separation of instruments. The LS100 was slightly better at recreating the sensation of being in the acoustic environment where the concert happened. These differences were subtle but noticeable. The perfect preamplifier would combine aspects of either. Of course there is no perfect audio component just as there is no perfect playback. I liked both equally and for slightly different reasons.

Preference came easier when I played tracks with heavy bass. Both contenders delivered nicely extended deep powerful bass but there was no doubt that the Vermeer offered better control and definition. Whether acoustic, electric or electronic, its bass was tighter, faster and delivered with more energy. Listening to Ray Brown's double bass, I appreciated proper proportions between strings and wood, fast attacks, good sustain and a long very natural decay. While playing the soundtracks from Inception or The Dark Knight Rises, I felt the deepest seismic notes in my bones and experienced the dark ominous vibes in a very convincing immersive way. That prompted me to play another soundtrack, Alan Silvestri's Predator. Whatever you think of the film (I like it!), you should listen to the music. Not only is it great but it's a tough test for any audio system. It pushes dynamic headroom to the limits by abruptly shifting from calm quiet moments to sudden ruptures of energy which perfectly track the stealthy storyline. The TWO seemed to deliver unconstrained dynamics and energy as though it adored such instantaneous changes of pace and volume. That delivered one of the best interpretations of this music I'd ever heard.

Whilst the Vermeer Audio TWO might not have been a whole class or two beyond my Modwright LS100, it overall bettered it whilst eliminating one component from the system. The only reason for a separate preamplifier I can think of would be more sources than the Vermeer's inputs can support. Otherwise there is no valid reason left to even consider a linestage in this pricing category. As a linestage, the Vermeer is well balanced, nicely extended in the extremes, smooth, fluid, coherent, refined and particularly pure, detailed, fast and transparent. Add great soundstaging, imaging and the ability to convey a recording's ambience and the Universal Control Center moniker is perfectly earned and accurate.

Summary. Going in, I had high expectations because of Audio Aero's reputation over the years. It was no simple task for Vermeer Audio to fill those big shoes but I gladly report that they did a great job of it. Not having any Audio Aero precursors on hand for a head-to-head comparison, I can only base my findings on what I remember but do dare claim that Bruno Ginard and friends actually delivered a product of astonishing build and finish which easily lived up to my high expectations. Bruno boldly claimed that they took the LaFontaine, then with a lot of time and effort made it sing like the top-line LaSource. Now it sounded more than just a bold claim. It had become reality! What struck me first about the TWO was its true high-end combination of natural yet neutral sound. It delivered this at the very highest level yet remained incredibly immersive no matter the musical genre or its format/resolution. True, one wants to vet the quality of recordings fed to the Vermeer since the TWO differentiates them extremely well and plays them back very accurately. A wonderful recording results in an absolutely remarkable, musically engaging and tonally accurate performance which has one all too easily lose all track of time. With recordings of poor quality or one that simply isn't musically and/or emotionally persuasive, the Vermeer won't sugar-coat the truth. You won't feel willing to waste your time knowing how much more wonderful music of better quality awaits your rediscovery instead. Any good recording becomes a very special experience whether the TWO plays it as just DAC; as or converter and preamplifier. It's excellent at both. Unless one had a system at the very edge of the art or too many sources to accommodate, one may really give up on a separate linestage. There's no need for it. I finally understood why those who had bought Audio Aero components in the past held on to them for so long without any intent to let them go. I guess anybody who decides to acquire a TWO won't be willing to part with it anytime soon, either. It's simply too well built, too good-looking and too remarkable sounding!

Vermeer Audio website