Gustard R30 Review

Introduction

When Gustard releases a new DAC, it always makes waves in the audiophile world. In recent years, the lineup has expanded into clearly defined tiers. The R26 carved out a reputation as Gustard’s R2R entry point—warm, organic, and three-dimensional. It was often compared to the A26 and X26 III, where the X26 III in particular stands out with its built-in OCXO clock, providing better clarity, dynamics, and sharper imaging, while keeping the same tonal character as the R26 and A26.

At a higher level sits the X30, which showed just how far delta-sigma could be pushed, with exceptional precision, imaging, and micro-detail. It set a new benchmark for Gustard’s engineering, offering near reference-grade sound.

Now we have the R30, positioned at a similar price point as the X30 but designed with a different philosophy. Where the X30 is about absolute resolution and transparency, the R30 aims to combine that level of refinement with a smoother, more natural tone and a holographic, R2R-like stage. This review explores how the R30 stacks up not only against the X30, but also in relation to the R26—since many R26 owners are naturally considering whether the R30 is their next upgrade—and finally, how it holds its ground against the Denafrips Terminator II.

Context and Setup

All DACs were given a fair chance. The R30, X30, and Terminator II were burned in for two weeks, left powered on and playing continuously throughout.

• Source: Soundaware D2 streamer with clean USB output

• Cable: A.L.A Audio Red Series USB cable (used for consistency, since the Terminator II does not offer LAN input)

• Preamplifier: ANK Level 5 Mentor

• Power Amplifier: Denafrips Apollo

• Speakers: Kharma Ceramique 3.2 FE

This chain is one I know intimately, and it reveals both strengths and shortcomings without mercy.

First Impressions

Bill Evans Trio — My Foolish Heart (Waltz for Debby)

This track has long been a benchmark for me when judging space, texture, and subtle dynamics. Through the R30, the separation and layering were simply remarkable—you could not only hear the snare brushes, but also feel their rounded texture and body. Cymbals floated distinctly above and behind, their decay trailing naturally into the acoustic space. What impressed me most was the ability to perceive the exact distance between cymbals and snare in true three-dimensional space, with both depth and width—there was genuine spatial layering and realism.

Switching back to the X30, the presentation was still excellent, with crisp piano tone and well-defined drums. Yet it felt ever so slightly flatter, a touch more two-dimensional. The instruments were present and clearly placed, but they seemed to sit on a plane rather than within a fully developed three-dimensional soundfield. The difference is subtle, not night and day, but enough that the R30 was able to draw me deeper into the performance.

Eva Cassidy — Fields of Gold

This recording demands both tonal smoothness and vocal refinement, especially at peaks where some DACs can become edgy or fatiguing. Through the R30, Cassidy’s voice remained silky, polished, and natural—even when she leaned into higher notes. The intimacy was remarkable—her presence felt close, delicate, and deeply human. The accompanying instruments were organic and balanced, with guitar strums carrying natural body and resonance. The whole track unfolded with a smoothness that avoided fatigue, whereas the X30, with its ultra-defined character, could ever so slightly lose some of that polished refinement and edge toward sounding clinical.

Norah Jones — Come Away With Me

The opening piano notes were rendered with stunning realism—lifelike in tone, weight, and resonance. When the snare entered, the R30 projected it not just between the speakers, but holographically, wrapping around the listener and even appearing from behind in a fully three-dimensional field. Norah’s voice remained coherent and smooth at peaks, giving the performance a polished, refined intimacy. Compared with the X30, the contrast was clear: the X30 etched every detail with precision, but the R30 transported me directly into the room with the musicians.

Rival Consoles — Now Is

Made entirely with analogue synthesizers, this track creates a shifting, layered soundscape that demands both depth and control. The Terminator II and the R30 excelled here, each producing a massive, holographic stage that extended far beyond the speakers, with sounds appearing to float around the room. The X30 still impressed with note clarity and separation, but it couldn’t quite match the immersive layering of the R30 and Terminator II. Between the R30 and the Terminator II, the differences were small—the R30 offering slightly more energy and transient bite, the Terminator a touch more relaxed—but both were spectacular.

R30 vs Denafrips Terminator II

This comparison is fascinating because the differences are subtle. Both DACs deliver huge, multilayered 3D soundstages reminiscent of high-end R2R designs. The R30 comes across as slightly more forward and lively—it has more attack, and the centre image feels tighter and more locked-in. The Terminator II, in contrast, is a touch more laid-back, with a smoother, more relaxed presentation. Neither is “better” outright—it’s a matter of preference. If you like energy and immediacy, the R30 grabs you; if you prefer flow and ease, the Terminator II soothes you. But make no mistake: these two are closer than you’d expect.

R30 vs R26

This one is simple: the R30 is better in every respect. Where the R26 offered warmth and musicality, the R30 provides that plus far more accuracy, clarity, and imaging precision. The soundstage is not only larger but also more complex and layered. It feels more polished, more refined, and more tonally accurate. Vocals, especially female voices, come across as more intimate and engaging, with an emotional pull that the R26 hinted at but couldn’t fully deliver. It’s not a subtle upgrade—it’s a big step up, and at its price point, the R30 feels like a true high-end product.

R30 vs X30

Here, the differences are more about character than magnitude. The X30 is brilliant at what it does: it presents recordings with a perfectly neutral, highly transparent clarity, placing instruments with surgical precision. Micro-detail and note separation are first class. But while its presentation is impressively wide and clean, it can feel a touch flatter in depth—more planar than fully holographic.

The R30, by contrast, is less about spotlighting individual details and more about immersion. It smooths the edges without losing resolution, presenting strings, snares, and cymbals with a more natural timbre. Imaging is deeper, more layered, and convincingly three-dimensional. Instruments don’t just occupy fixed points in space; they float within a holographic soundscape that extends well beyond the speakers. Bass retains the same depth and punch as the X30, but with a richer sense of weight and texture. Treble shifts from the X30’s chrome-like shine to a sweeter, more bronze-like glow. Vocals, too, feel more human, with inflections rendered organically rather than etched.

Verdict

The R30 is Gustard’s most accomplished DAC to date. Compared to the X30, it shares the same high level of resolution and imaging precision but brings a different flavour—smoother in timbre, more organic in tone, and with a holographic stage that gives music a greater sense of space and depth. Against the Denafrips Terminator II, the differences are more about character than outright performance: the R30 is slightly more forward and lively, while the Terminator II leans a touch more relaxed. Both deliver a deeply layered, reference-grade presentation.

For R26 owners, the R30 is the clear upgrade path. It preserves the musicality that made the R26 so appealing, while raising the bar in clarity, refinement, and soundstage complexity. For those deciding between the X30 and R30, it’s not a question of one being “better” than the other, but of character: the X30 excels in precision, accuracy, and detail, while the R30 draws you in with immersion, dimensionality, and natural flow. And for listeners curious about how it compares with the Denafrips Terminator II, the R30 demonstrates that Gustard has created a DAC fully capable of playing in the same league—at a fraction of the cost.

This is not just an incremental update—it’s a statement piece. The R30 blends delta-sigma accuracy with R2R-like dimensionality, delivering a performance that is refined, engaging, and thoroughly three-dimensional.