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A dac should be a set and forget device. At least in our opinion. It should not stand out but is at the same time a crucial device in your system. The Weiss DAC204 is great at “nailing” every track as fellow author Jaap describes it in his review of the DAC501. We have that same feeling once again. There is a correctness to the sound that is hard to describe. A correctness free from any audiophile words we normally use. Everything falls into place so to speak. It sounds spectacular and modest at the same time. Yung calls it the golden touch. We call it masterful.
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If we compare the DAC204 with the Sonnet Morpheus, then the Sonnet wins on versatility and user friendliness. The Morpheus has an excellent volume control, four inputs, a remote control and a screen. But in this setup, with the Canton Reference 9 monitors, we prefer the Weiss soundwise. The DAC204 is better at exposing micro details and more precise in terms of placement. Especially with the Sbooster. The stereo image is more open and music sounds more dynamic every single time. That is quite remarkable.
With the DAC204, instruments are more sharply delineated, clearer and with higher specificity. Music sounds more direct compared to the rather cautious, nuanced Morpheus. Both dacs provide a relaxing listening session where nothing is out of tune, and neither suffers from ‘digitalitis’ or sharpness. Something you can experience with inexpensive dacs. In the bass region, however, the Morpheus remains king. It has a bit more slam and body versus the airier and faster Weiss.