{"id":34316,"date":"2023-04-03T20:25:44","date_gmt":"2023-04-03T18:25:44","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=34316"},"modified":"2023-05-16T09:22:02","modified_gmt":"2023-05-16T07:22:02","slug":"antipodes-k41-and-k22-music-servers","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/network-player-reviews\/antipodes-k41-and-k22-music-servers\/","title":{"rendered":"Antipodes K41 and K22 Music Servers"},"content":{"rendered":"
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Review samples supplied by Antipodes Audio<\/a>
\nRetail prices in the Netherlands incl 21% VAT:
\nK41: \u20ac9.995 excluding storage
\nK22: \u20ac8.995 excluding storage
\nStorage can be included at purchase or later installed by the user
\nAvailable in Black or Silver<\/h4>\n<\/div>\n

K Series<\/h3>\n

The K21, K22, and K41 are Antipodes’ K-Series Modular Options. To explain these models, it’s easiest if we start with the all-in-one K50<\/a> that I reviewed in September 2020. The K50 is a single unit but it contains three separate processing engines for the Server apps, Player apps, and the Reclocking outputs.<\/p>\n

The K22 and K41 actually offer the exact same quality as the K50 but at a significant cost-saving. If you already have a streaming DAC and are only looking for a server, you can get the K41 instead. For those who want to make their first step into the highest K-series tier, the K22 complete server+player solution is the perfect place to start.<\/p>\n

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Stack of K50, K41, and K22<\/em><\/p>\n

K22<\/h3>\n

The K22 includes the Player and Reclocker engines from the K50 which allows it to play to the USB, S\/PDIF, AES3, or I2S inputs of an external DAC. The K22 is ideal if one already has a server and only requires a high-quality endpoint.<\/p>\n

In addition, the K22 can also run Server apps, but is only medium-powered so is not suitable for very large libraries (>8TB) or heavy DSP functions. The K22 includes a single slot on the rear for user-installable SSD storage (up to 8TB). Users can upgrade later by adding a K41 server, improving server app responsiveness and significantly enhancing the sound quality.<\/p>\n

K21<\/h3>\n

The K21 (not reviewed here) is the same machine as the K22 minus the Reclocker engine and the digital outputs. The K21 is a cost-effective endpoint for USB-only external DACs.<\/p>\n

K41<\/h3>\n

The K41 is a Music Server only. It includes the same server engine as the K50 which allows customers to begin with a K41 and play to the Ethernet input on networked DACs. One can upgrade later by adding a K21 player (for USB output) or a K22 player (for USB and reclocked synchronous outputs S\/PDIF, AES3, and I2S). Users can easily add up to three SSDs (up to a total of 24TB) via slots on the rear.<\/p>\n

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User Interface<\/h3>\n

Since the start, Antipodes Audio has emphasized having a well-thought-out user interface while allowing the user many server\/player software solutions to choose from rather than just one. Models like the DX, CX, and EX were never hard to set up but that did not stop the company from continuously improving and refining the interface. The second-last AMS version 3 that I highlighted in an update of the K50 review<\/a> introduced full integration of the Antipodes website with the local server\/player user interface dashboards and was a marvelous upgrade over the previous version. With the current AMS version 4, Antipodes have outdone themselves yet again. The interface looks super-slick, has some clever new features, and is even easier to navigate than before.<\/p>\n

When you know the Antipodes server’s IP Address you can always still approach its user interface by entering it in an internet browser. But the most intuitive way to approach the interface is by going to the Antipodes website and clicking the My Antipodes link. This will bring up an overview of all the Antipodes servers and players that are found on the local network along with highlights and links to access them directly. If no servers are found, the website automatically shows you the most common causes and helpful tips to restore the connection(s). Updates can be carried out with the click of a button and user Guides, the Community section, and an extensive help section are all available on the same page.<\/p>\n

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Below, I will highlight some of the User Interface functionality to illustrate how smoothly it works while setting up the K22 and K41.<\/p>\n

K22 Basic Setup<\/h3>\n

To proceed, simply select a product by tapping the desired big grey “Open” button.<\/p>\n

\"\"<\/p>\n

Starting with the K22 player, we are presented with the Solution page. This is a new addition that governs both the server and player on a single screen.<\/p>\n

\"\"<\/p>\n

The Presets pull-down menu offers “smart” presets to create a working server-player pair using the App of your choice with the most likely digital output selected automatically in a single click.<\/p>\n

Formerly, in a dual Antipodes setup, you needed to configure the task of each unit separately. Now, you only need to access the unit performing the Player function and the Solution Dashboard allows you to select any other Antipodes device on the network as its Source Server and allows managing the Server\u2019s apps and storage setup, right from the Player\u2019s Solution Dashboard.<\/p>\n

\"\"<\/p>\n

You can also create custom presets, and of course, you can still manually select the desired source, player app, digital output, and more.<\/p>\n

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The next screen is the Server Dashboard which I will skip here as we will be using the K22 in its ideal guise, as a dedicated player. The screen after that is the Player Dashboard which provides a wealth of information and gives access to all the sub-options of the various player apps.<\/p>\n

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K41 Basic Setup<\/h3>\n

The K41 server has a similar user interface as the K22 that allows the selection of server apps. You can have multiple or even all apps running at the same time. For the best sound quality, however, it is usually best to only have the required apps running.<\/p>\n

\"\"<\/p>\n

Since the K41 is a Server only, there are no options available in the player section.<\/p>\n

\"\"<\/p>\n

Of course, it does<\/em> show all the options for the Server section on the Server Dashboard.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

There’s much more to say about the user interface, but for now, please just trust me when I say that Antipodes have thought of everything. See the Guides section<\/a> for all the ins and outs.<\/p>\n

Importantly, the interface is set up such that it remains very simple while still offering all the handles to dive in as deeply as you like. It is easily the slickest and most intuitive interface that I have used. Oh, and because it is a web interface, it will work on any networked device that has an internet browser.<\/p>\n

Next: K50 Backstory<\/p>\n

<\/p>\n

K50 Backstory<\/h3>\n

I got my K50 new in 2020 and at that time was told that it would change considerably while running in. And indeed, this turned out to be very true. After a few days, there was already a noticeable change, even more so after a few months, and after that, it kept developing more slowly for the best part of the year. In a nutshell, it sounds superbly involving right out of the box but is relatively slightly hard, and compared to its ultimate presentation, a little tensioned and clean. Over the first days, it soon gains more lushness and relaxed smoothness while shedding the slight electronic signature to become more organic, and this process deepens over the next months.<\/p>\n

\"\"<\/p>\n

K50 on Finite Elemente Ceraball Universal footers, as I normally use it.<\/em><\/p>\n

Running In<\/h3>\n

When connecting the K41 for the first time, I heard similar signs of “newness” as with the K50 but I had a strong feeling that the K41 had made some strides in terms of technical aspects such as resolution and transparency. Upon checking with Antipodes’ Mark Cole, I was informed that compared to the K50 that I have (with a single I2S output), the model was indeed later revised to have a new power supply and re-clocker. Furthermore, he mentioned that the K41 carries the new power supply configuration of the second-gen K50.<\/p>\n

Knowing how much the K50 changed while running in, I left the K41 and K22 powered on for several weeks before doing my serious listening. And indeed, I found that they changed significantly from the first notes they played after being powered on for only a couple of days compared to playing for a few weeks. Interestingly, although the K41 sounded initially a little cold and hard, it also sounded immediately thoroughly musical. Even when new, it impressed me with its abundant involvement.<\/p>\n

My eventual listening impressions for the remainder of this review are based on the servers being powered on for roughly a month.<\/p>\n

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Review Context<\/h3>\n

The K41 and K22 were listened to in the main system<\/a> that consists of the CH Precision C1.2<\/a> DAC, CH Precision L1<\/a> preamplifier, CH Precision A1.5<\/a> power amp, and Magico S1 MkII speakers. Other digital sources include the Grimm MU1<\/a> and Antipodes K50<\/a> Music Servers (both running Roon), and the Aqua LinQ<\/a> network interface. In addition to the Magicos, I will also be using Seawave Acoustic Aletheia III and AM23 loudspeakers which are currently also being reviewed.<\/p>\n

\"\"<\/p>\n

All interlinks are Driade Flow Link Reference 808<\/a>, both balanced and unbalanced. The speaker cables for the Magicos are the Mad Scientist Black Magic<\/a> while the speaker cables for the Seawave speakers are Driade Reference 808<\/a>.<\/p>\n

The Antipodes units were\u00a0placed on Artesania Aire<\/a> Floor Platforms (with Carbon Fiber Linear arms) which are basically identical-sounding lower versions of the Exoteryc rack. On top of the floor platforms, I use Artesania KSH2 Krion shelves<\/a> so that review components can be used with their own feet, or if needed, a selection of after-market feet.<\/p>\n

Listening<\/h3>\n

For this review, I will be using Roon primarily, but further below, I will also briefly touch on the combo’s other server\/player software solution options.<\/p>\n

K41 streaming to CH C1.2 DAC<\/h3>\n

Starting with the K41 server and streaming via a standard gigabit Cisco network switch to the CH Precision C1.2 DAC’s network input, the Antipodes server has an engagingly soulful delivery. It’s meaty, dense, smooth, and full-bodied, as well as upbeat and toe-tappingly rhythmic, and beautifully liquid and continuous. It has the kind of sound that is easy to get into and that is relaxing without being laid back.<\/p>\n

The K41’s character contrasts with the kind of delivery that you get with a typical NAS (grayer and more barebones) and it is also different from the Grimm MU1 that I normally use. In terms of soundstaging, focus, and resolution, I would call it a tie, but the Grimm’s most obvious assets are its nimbleness, fast transient behavior, and transparency and I think it’s fair to say that it pulls ahead in these aspects. But it’s also fair to say that it is not nearly as timbrally rich, or tonally as saturated as the K41, and depending on the setup, the Grimm can be dry or matter-of-fact, which the K41 most certainly is not.<\/p>\n

Next, instead of having the K41 and the C1.2 connected to the same network switch, I tried a direct network connection between the K41 and the C1.2 DAC using the server’s Direct Stream output and the same type of standard OEM Cat6 cable that I use for all the components. Surely, that couldn’t make much of a difference, could it? But it sure did!<\/p>\n

Connected this way, the K41 became slightly more slender but otherwise retained its signature full-blooded, rich, and deeply saturated sound while the bass tightened up and became more incisive, and the overall transparency increased. While this did not make it quite as articulate and direct as the Grimm (which is admittedly very<\/em> fast), it certainly sounded plenty fast.<\/p>\n

Of course, we’re still only listening to the K41 server. From earlier experience, I know that considerably more lies ahead when one combines an Antipodes server with an Antipodes player. But before I dive into the performance of the K41 + K22 combo, let’s take a closer look at the K22.<\/p>\n

K22 Reclocker Outputs<\/h3>\n

The Reclocker section is a proprietary Antipodes board that feeds the digital output section. As I found with the K50, this section is largely responsible for the Antipodes trademark organic free-flowing, room-filling ambiance. The Reclocker section outputs to S\/PDIF on RCA, S\/PDIF on BNC, Optical TOSlink, AES3, I2S on RJ45, and I2S on HDMI, and all these outputs can be used simultaneously. Upon making a selection in the User Interface, the unit can alternatively provide output via USB. In that case, the signal bypasses the Reclocker section, which results in a different sonic presentation.<\/p>\n

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K41+K22 via AES\/EBU<\/h3>\n

As I wrote further up, the K41 is a fully accomplished server on its own. But now it was time to hear how the K41 and K22 would work as a combo. For this, I connected the K22 via a network cable to the K41’s Direct Stream output and connected the K22 to the C1.2 DAC via a Jorma AES\/EBU cable<\/a>.<\/p>\n

One might question how adding an extra endpoint via a direct Ethernet connection and connecting it to a DAC via AES\/EBU could possibly improve over direct streaming. I wish I knew a satisfying answer but I do not. All I know from earlier experience with the EX and CX<\/a>\u00a0is that it does some amazing things.<\/p>\n

And sure enough, this also applies to the K41+K22 combo. As good as the K41 sounded on its own, it’s only after forming a pair with its natural K22 partner and when using its reclocker output stage that true magic is in the air. Not just in a manner of speaking, it’s actually there, and in abundance!<\/p>\n

When I was using only the K41 via ethernet compared with the Grimm into the C1.2 DAC, interestingly, the soundstaging and focus between the two were very similar. How different this became after adding the K22. Now, the room was positively filled with ambiance! This was not an artificially blown-up stage with unnaturally expanded instruments and vocals within. The stage itself retained its width and height and the focus and overall precision also remained very similar. More impressively still, the artists within that room-filling ambiance had suddenly become living-and-breathing entities.<\/p>\n

The presentation is not just expansive in a static manner, but it breathes, moves, and flows just as required by the music. All this culminates in the kind of performance that totally takes the focus away from audiophile aspects and lets the listener undergo the music. But with my critical mind screwed back on, I can add that the K22, like the K41, has a fulsome sound. It’s meaty, full-bodied, and rich in tonality and this also makes it a little less tight and articulate than I normally like.<\/p>\n

However, the Antipodes duo is not about ultimate precision, it is all about conveying the soul of the music. In addition, vocals and center-stage instruments possess something of an inner essence<\/em>, almost like a glow. I realize this may convey a feeling of warmth or honey-like behavior but it’s not like that. I wouldn’t even call the K41 and K22 warm per se. They’re richly saturated and full-bodied, but there’s no rose-tinting and no cream added.<\/p>\n

Somehow, the duo injects the music with passion, soul, and depth. Speaking of which, the K22 not only allows room-filling ambiance but also extends the soundstage layering considerably deeper into the depth plane.<\/p>\n

I played all kinds of music just to make sure I wasn’t being seduced by what could ultimately be an effect but sure enough, everything I played sounded nothing short of absolutely credible. Everything sounded just right, utterly realistic, and always with an inner soulfulness that made me connect with the music ever so effortlessly.<\/p>\n

Regular readers know how I tend to go on about bass tightness and transient behavior. Of course, I paid special attention to these aspects. Going back to the K41 streaming to the C1.2 directly brought me back to earth with a sound that was technically still great and indeed slightly tighter and slightly faster, but comparatively sober. Switching to the Grimm via AES\/EBU provided a technically even more correct sound with even tighter bass control and more immediate impulsive behavior\u00a0but also more sobriety.<\/p>\n

It is a matter of personal preference, but ultimately of little consequence as the Antipodes combo manages these aspects well enough while being sublimely accomplished in so many other ways.<\/p>\n

I also tried the K22 as an endpoint together with the Grimm as a server but that resulted in a bit of a mixed bag. On the one hand, the K22 now sounded tighter and leaner than with the K41, but on the other hand, it was now missing a sizable portion of the well-saturated and involving organic naturalness that develops so synergetically when it is combined with the K41. It sounded really quite good, just like the K41 on its own sounded very good. But, clearly, the real magic is achieved when the two units are combined.<\/p>\n

K50<\/h3>\n

Since the K41 + K22 equal a K50 in a single enclosure, the K50 should have similar sonics, and when compared directly, it does indeed, where the flow, harmonics, tonal saturation, and emotional involvement are concerned. But as alluded to in the server-only comparison further up, the K50 sounds markedly rounder and less spritely and it does not match the control, speed, and rhythmic propulsion of the new combo. In car terms, it has plusher suspension and lazier gear shifts. As mentioned, this is likely for the most part down to design changes that were incorporated in a later version of the K50 and that have also found their way into the K41 and K22, meaning that a current K50 should sound close to what the combo achieves.<\/p>\n

K41+K22 via USB<\/h3>\n

From experience with the K50, I had prior knowledge of how USB compares to the reclocker outputs. But one never knows, things could always turn out differently with the K22. So, I connected the best USB cable that I have which is the Final Touch Audio Sinope<\/a>, then selected the USB output in the User Interface, and replayed the last played songs I played earlier.<\/p>\n

As it turns out, the K22’s outputs behave precisely like the K50. I should note that the sound of a USB connection ties in with the interfaces on both ends, but with the C1.2 DAC, the K22’s USB output sounds a little different from streaming directly. In this case, USB sounds a little fuller and a little more saturated, and slightly more expressive, but otherwise, it is not very different. Of course, that is still very<\/em> good, as I described in the first “K41 streaming to CH C1.2 DAC” paragraph. The thing is that the reclocker outputs spoil a person. Once heard, you cannot unhear it quite so easily! Compared to AES\/EBU, USB now just sounds cooler, spatially constrained, and relatively technical, resulting in a sound that is cerebrally well received but does not establish the same deep emotional connection.<\/p>\n

K22 used as Server + Player<\/h3>\n

The K22 also incorporates a server and thus can be used all on its own. As it contains the all-important reclocker section, would it also offer a substantial portion of the full combo’s sonic performance? My listening tests soon answered that question with a resounding “You bet it does”!<\/p>\n

After hearing the mesmerizing magic of the K41+K22 combo, I prepared to move back a few rungs on the sonic ladder with the K22-solo but as I played through my test tracks, the K22 ticked so many of the same boxes of the combo that my critical assessment was momentarily halted and the question sort of floated into my mind if this server was any less accomplished than the combo, where would that be? It offers the exact same tonal balance and it sure wasn’t reducing the musicality or involvement. Moreover, even in terms of resolution, transparency, and texturing, the K22-solo was not yielding to the combo.<\/p>\n

So, where do the differences lie? The K22 actually sounds a little leaner and tighter than the combo, arguably slightly nimbler but also a little drier, not quite as smooth and luxurious, a little less deeply saturated, and spatially a little less deep and enveloping. But that’s it. Otherwise, I had the feeling of listening to the big combo!<\/p>\n

Operationally, the K22 also feels very fast, just like the K41, it responds immediately to play\/next and other commands. The only area where you can feel that it contains a less powerful processor than the K41 is in the loading of new screens in Roon with cover art tiles or artist photos. The loading of data is just a tad less instant but still quick. So, I guess the only practical downside of its more humble processing power is precisely as Antipodes indicate: not intended for huge libraries (>8TB) or heavy DSP functions.<\/p>\n

Next: Other Apps, Tweaking, and Conclusion<\/p>\n

<\/p>\n

Other Apps<\/h3>\n

So far, I’ve only used Roon which is only one of many apps that can be selected on the K41 and K22. It’s the industry standard and with good reason. But besides Roon, there are also server apps for Squeeze, Minimserver, MiniDLNA, Sonos, Plex, and HQPlayer, and player apps for Squeeze, MPD, HQPlayer, Spotify Connect, and Shairport.<\/p>\n

It’s worth noting that some of the apps offer an alternative sonic perspective to Roon. For instance, Squeeze and MPD offer a lighter, nimbler, slightly more expressive, but also less rich and saturated sound, whereas HQPlayer offers a sonic perspective that lies more or less in between Squeeze and Roon: slightly more articulate but still full-bodied.<\/p>\n

When the K41 has Minimserver or MiniDLNA enabled, it can play to any UPnP endpoint which, of course, the K22 supports. In that case, the server’s music content can be controlled with any UPnP-compatible app, such as Bubble UPnP for Android or mconnectHD for iPad. The player app on the K22 in this case is MPD.<\/p>\n

\"\"<\/p>\n

The mconnectHD app looks good and works really well. UPnP may be an ancient format but to my ears, it can still sound really rather good. Using Minimserver on the K41, I first tried it with my resident Aqua LinQ, and this resulted in an interesting mix between the Antipodes’ smooth fullness and the Aqua’s neutral directness. It’s less spacious and lush than Roon but more expressive and more agile.<\/p>\n

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But as before, the most synergistic match was obtained when the K41 was streaming to the K22. The latter was not quite as articulate and precise as the Aqua, but it most definitely maximized the Antipodes’ core qualities.<\/p>\n

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Finally, I also tried Squeeze between the K41 and K22 using the iPeng remote app on iPad. Admittedly, the iPeng app is showing its age and it’s not as intuitive as mconnectHD but once it is set up, it works flawlessly, and also very quickly. Squeeze sounds very similar to UPnP but ever so slightly nimbler and airier.<\/p>\n

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Tweaking<\/h3>\n

For this review, I used my default power cables which are Belden 19364 with Bals schuko and Oyaide C-004 which are the same cables used for the other servers in the system. Although there is most definitely room for tweaking the K41 and K22 by using a higher-end power cable, or high-end network cables, for that matter, I simply never felt compelled to do any experimentation with this throughout all of my listening. If experimentation is desired then I would advise sticking with neutral-to-lively-sounding specimens. Unless the system at hand leans to the clean or cold side, the servers do not need added warmth or richness.<\/p>\n

The two Antipodes units have nice machined aluminum feet with a thin layer of what looks like neoprene. So far, the units were listened to using their own feet, and irreverently, with the K22 stacked on top of the K41. Naturally, I am well aware of the usually negative influence of stacking components and I would normally not endorse it. The thing is, these units sound so thoroughly right from the get-go that I simply never developed the urge to further optimize or tweak anything.<\/p>\n

But then again, as this review neared its end, I wondered, would I be able to lift the performance in the areas where I felt this was most desirable, whilst keeping everything else unaltered?<\/p>\n

I should add that the Artesania KSH2 Krion shelves that I also used for the Antipodes combo are quite strong medicine. They actually act a lot like spiked feet in that they increase the speed and transient behavior of the component that is placed on them. With that in mind, the sound of the K-combo, or indeed the effect of any footers used underneath, may vary. In any case, I proceeded to try a couple of Ansuz Darkz footers, first only under the K41 and then under both.<\/p>\n

\"\"<\/p>\n

Adding a trio of the relatively still attainable stainless steel Darkz S2T under the K41 while streaming to the C1.2 directly provided remarkable bass robustness and increased dynamic impact, but I felt they also made the server sound a little cool and mechanical. Not by much at all, mind you, but enough to take away from the server’s core quality.<\/p>\n

\"\"<\/p>\n

Upgrading to the glass-blasted titanium Darkz T2 brought back the magic while balancing things out much more evenly. The bass was now nice and articulate and the overall level of transparency was on a higher level. I sure liked it. Perhaps the T2S would have been an even better companion but if I’m honest, the K41 does very well just using its own feet, and the money is perhaps better spent elsewhere.<\/p>\n

Using the T2’s under the K22 playing solo, I had a similar tradeoff experience as with the K41 when using the S2T feet, in this case enhancing transient behavior while unveiling some dryness and taking away a portion of the natural flow. As I always write, tweaking is all about balance, and in this case,\u00a0 I felt the server sounded most balanced simply using its own feet.<\/p>\n

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When using the K41 and K22 together, however, things are different. Now, the addition of a trio of T2 Darkz under each component reaped only benefits with no downsides. The bass became more articulate and transparency increased with no reduction in the soulfulness or magic. Of course, one can still move further up the Darkz ladder. What the T2S brings on top of the T2 is a more spacious, more refined, and harmonically richer delivery but I’m not sure the duo requires this. For me, the addition of the T2s is very worthwhile and I wholeheartedly recommend adding them if the budget stretches. But whether or not one applies any tweaks, the duo’s core qualities always shine through.<\/p>\n

Conclusion<\/h2>\n

Ever since my first experience, Antipodes servers have offered a wide range of server and player apps and this makes them unique in a world dominated by single-purpose servers and streamers. But the brand’s core quality is that they are all about conveying the soul of the music.<\/p>\n

Both the K41 and K22 have an engagingly soulful delivery. They provide a sound that is meaty, smooth, and full-bodied, as well as upbeat and toe-tappingly rhythmic, and beautifully liquid and continuous. They have\u00a0the kind of sound that is easy to get into and that is relaxing without being laid back.<\/p>\n

In addition, the servers are masters of ambiance and recreating the sense of artists being living-and-breathing entities, within a soundstage that breathes, moves, and flows just as required by the music. All this culminates in the kind of performance that takes the focus away from audiophile aspects and lets the listener make a deep connection and truly undergo the music.<\/p>\n

The combo is very special and well worth considering if the budget allows it but the K22 in particular offers superb performance at its price level and is highly recommended.<\/p>\n

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\n(Antipodes K22)<\/p>\n

 <\/p>\n

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

Try out Roon for yourself<\/h3>\n

Get Roon 1 month for free<\/a><\/p>\n

External Links<\/h3>\n
\n

Distributor and Retailer for the Netherlands: Ohm Audio<\/a>
\nManufacturer: Antipodes Audio<\/a>
\nAntipodes Knowledge Base<\/a>
\nAntipodes Guides<\/a><\/p>\n<\/div>\n

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