{"id":37194,"date":"2024-02-14T12:06:10","date_gmt":"2024-02-14T10:06:10","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=37194"},"modified":"2024-03-25T16:50:14","modified_gmt":"2024-03-25T14:50:14","slug":"antipodes-g4-k22","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/network-player-reviews\/antipodes-g4-k22\/","title":{"rendered":"Antipodes G4 K22"},"content":{"rendered":"
\n

Review samples supplied by Antipodes Audio<\/a>
\nRetail price (world) USD 9.000 excluding storage
\nUpgrade price G3 to G4 USD 2.000
\nStorage can be included at purchase or later installed by the user
\nAvailable in Black or Silver<\/h4>\n<\/div>\n

Part of the KALA series, the Antipodes K22 offers the best performance the New Zealand company can squeeze out of a server\/streamer at its price point. As the manufacturer puts it, “The KALA 22 gets very close to the performance of the amazing KALA 50 provided you do not require it to house a very large library, or to perform DSP functions”.<\/p>\n

K22 contains the K50’s acclaimed Player and Re-clocker Engines and includes a medium-power Server so that it can be used as a high-end streaming endpoint or a relatively affordable all-in-one music server. Naturally, the range-topping K50, with its high-power server, performs on a higher level than the K22, but as I found during my review of the previous generation K22, the “sacrifice” is considerably smaller than one might assume.<\/p>\n

Given its superb Player and Re-clocker Engines, the K22 is also ideal for those who predominantly stream from cloud services like Qobuz or Tidal.<\/p>\n

As part of the G4 update, the K22 is now fitted with proprietary Antipodes isolation footers, which were derived from the Oladra’s constrained-layer footers. Instead of the hard-soft-hard layer sandwich, the K22 consists of two layers, with the soft layer (the blue slice) at the bottom.<\/p>\n

\"\"<\/p>\n

The update also includes incorporating the Oladra\u2019s triple-cascade power supply technology, an update to the Player engine, and the installation of<\/span> a new USB output. The latter is quite a big one as it is said to<\/span> lift the USB sound quality to match that of the Reclocker S\/PDIF, AES\/EBU, and I2S outputs. Other benefits include an increase of 200% to 400% in system resources to improve system responsiveness and enterprise-level OS resilience against data loss in unusual AC power events.<\/p>\n

The beauty of the current KALA range is that it allows an entry level for all budgets while allowing maximizing the performance in the area(s) that matter most to the individual owner. At the same time, the available options make it easy to start at an affordable level and upgrade to a higher level later when funds permit while protecting the investment made. Moreover, as with all KALA models, the K22 is designed to be upgradable when Antipodes release improvements to the model.<\/p>\n

KALA Upgrade Path<\/h3>\n

There are three entry options with the ability to upgrade to KALA 50 level later.<\/p>\n

    \n
  1. Start with a KALA 41 as Server and stream to the Ethernet input on your DAC. Upgrade the sound quality later to KALA 50 level by adding a KALA 21 or KALA 22.<\/li>\n
  2. Start with a KALA 22 for Server and Player to play to the USB, S\/PDIF, AES3 or I2S input on your DAC. Upgrade the sound quality later to KALA 50 level by adding a KALA 41 to take over the Server function.<\/li>\n
  3. Start with a KALA 21 for Server and Player to play to the USB input on your DAC. Upgrade the sound quality to KALA 50 level over USB by adding a KALA 41 to take over the Server function.
    \nThe KALA 41 & KALA 22 combination is identical to the KALA 50 in cost, electronically, and in all performance areas. The KALA 41 and KALA 21 combination is identical to the performance of the KALA 50 when using the KALA 50’s USB output at a more affordable price.<\/li>\n<\/ol>\n

    K22 in a Nutshell<\/h3>\n

    What you pass up on with the K22 versus the K50 is restricted only to the server part is and predominantly related to its processing power. The K22 cannot run the HQPlayer Server App but supports HQPlayer NAA. All other apps in the Antipodes software suite are supported, with the exception of the DSP features within the apps.<\/p>\n

    The K22 uses a single custom computer for both Server and Player apps. More precisely, the Server\/Player engine is derived from the Player engine in the K50 but with increased processing resources. The outputs are the same, except that Ethernet streaming to a networked DAC is over the network, whereas the K50 and K41 additionally provide Direct Streaming connections.<\/p>\n

    \"\"<\/p>\n

    The medium-power Server\/Player computer controls what is played and allows you to play over your network to multiple endpoints and to the DAC in your main system via its built-in USB, S\/PDIF, AES3 & I2S outputs.<\/p>\n

    AMS v5.0.0 Web Interface<\/h3>\n

    The K22 includes the latest AMS v5 web interface which is the gateway to your Antipodes server, where you can check and change all of its settings. Since version 4, Antipodes has simplified the process of accessing the Web Interface by integrating this into their main website. To access the Web Interface, simply go to “antipodes.audio” and click “Setup” in the top menu.<\/p>\n

    \"\"<\/p>\n

    After clicking K22, the Solution Dashboard is shown, which contains all the functionality you need to quickly set up the server as desired, such as Playback Method, Audio Output, DSD Method, and an update button. V5 combines all information on a single screen, replacing the separate screens for the server and player. Now, you can quickly see all the important information at a glance, such as CPU usage, memory usage, software version, MAC address, IP address, etc.<\/p>\n

    AMSv5 Solution Dashboard:<\/em><\/p>\n

    \"\"<\/p>\n

    The software not only looks great but also works super-intuitively. Below, you can see the Playback Method pull-down Menu, showing all the player options.<\/p>\n

    \"\"<\/p>\n

    By selecting a pre-configured solution above, the server and player sections are prepared at the same time. Naturally, you can also change the preset configurations just as you like.<\/p>\n

    As with all Antipodes models, users can easily choose and switch between using Squeeze server\/player, Roon, Squeeze player with Roon Server, MPD with Minimserver, UPnP\/DLNA (MiniDLNA), or Squeeze Server, HQPlayer, and Shairport, right from the AMS web interface.<\/p>\n

    Although using only one Server App at a time is recommended for the best Sound Quality, you can simultaneously enable as many as you like in the Server Apps Dashboard. Besides the mentioned apps, you can also enable Plex and Sonos.<\/p>\n

    \"\"<\/p>\n

    Various other screens allow full control of every aspect of the server and player apps, right down to diagnostics, troubleshooting, and even booking a support session. Please see the Guides section<\/a> on the Antipodes website for all the ins and outs.<\/p>\n

    Next: Review Context and Listening<\/p>\n

    <\/p>\n

    \"\"<\/p>\n

    Review Context<\/h3>\n

    The main system<\/a> consist 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 G4 Oladra<\/a>\u00a0Music Servers.<\/p>\n

    All interlinks are Driade Flow Link Reference 808<\/a>, both balanced and unbalanced. The speaker cables are the Jorma Unity<\/a>. I will listen to the K22’s USB output using Final Touch Audio Sinope<\/a>, Vermouth Reference<\/a>, Mad Scientist Black Magic<\/a> Ultra, and Black Magic Gold<\/a> USB cables, as well as its AES\/EBU output using a Jorma AES\/EBU<\/a> cable.<\/p>\n

    The CH system sits on Artesania Exoteryc<\/a> and Aire<\/a> racks while the digital sources and most review components sit on\u00a0HRS EXR<\/a> racks. To allow for comparison with the Oladra on fully equal grounds, the K22 is positioned on the same type of HRS EXR<\/a> rack, on the same level height (not that this matters a lot with this rack, but still…), and connected with the same Belden 19364 power cable.<\/p>\n

    \"\"<\/p>\n

    Running In<\/h3>\n

    The G4 K22 I was sent was the exact same sample I reviewed earlier, now upgraded from G3 to G4 status. Nevertheless, many of its components were brand new, requiring some running in. Due to my busy schedule, I could allow it 2,5 months of bedding in. From extended exposure to the K50, I know that the server changes most in the first 3 weeks of use. But as I later found with that server, there was also a longer-term effect after 3 months of use. Presumably, the capacitors and perhaps other parts in its three power supplies just need a little longer. It stands to reason that all Antipodes servers with a linear power supply behave similarly. Interestingly, I found that the Oladra did not seem to change very much after its initial running in period. No doubt, this is due to its different power supply.<\/p>\n

    In any event, during the first weeks of use, the sound becomes noticeably smoother and more relaxed. The presentation becomes richer and more organic while retaining the refinement and overall character. The effects are most noticeable in the midrange, which can be a little hard and relatively forward when the server is new but which relaxes after 3 weeks and becomes fuller and warmer with continued use. The effect is also noticeable in the bass, which remains full-bodied but becomes rounder and more relaxed.<\/p>\n

    Incidentally, the G4 Oladra, to which the G4 K22 will be compared, has been in use for the exact same amount of time as the K22, which is 2,5 months.<\/p>\n

    Medium Power<\/h3>\n

    In use, there are no obvious signs to give away that the K22 is “only” medium-powered. Just like the K50 and Oladra, the K22 responds immediately to play\/next and other commands, and even when scrolling album overviews, I can’t tell a difference. Maybe, just maybe, the Oladra responds a tiny bit faster when tapping in the track waveform to jump playhead position, but I can’t be sure it is not imagined. So, I guess the only practical downside of its lower processing power only applies to huge libraries over 8TB or heavy DSP functions.<\/p>\n

    \"\"<\/p>\n

    Listening – Foreword<\/h3>\n

    I don’t think anyone will dispute that Roon is the current dominant server\/player software. Its user interface is simply superb, and naturally, Antipodes supports it. Because of Roon’s market dominance, and I think the majority of people will use it that way, I will focus most of my listening on this software,<\/p>\n

    But besides Roon, there are various other server and player apps that also work very well. None of them match the convenience of Roon, but perhaps more importantly, there is quite a noticeable difference in sonic presentation between Roon on the one hand and Squeeze and MPD on the other, and one of the alternatives may suit your needs or preferences better.<\/p>\n

    Another thing to note about Roon is that its overall sonic presentation tends to waver with every update. When reviewing the K22, Roon is at Build 1365, which fortunately sounds really good again. Nevertheless, for me as a reviewer, the changes in sonic presentation are a concern, and that’s why I wholeheartedly welcome Antipodes covering every popular format out there.<\/p>\n

    I mentioned that the K22 is also ideal for those who predominantly stream from cloud services. As timing has it, I just finished my review of JPLAY for iOS, which works via UPnP. Because the K22 is also compatible with this format, I will also report how the K22 sounds with this software, streaming directly from Qobuz.<\/p>\n

    It’s worth noting that Antipodes recommend using Squeeze for the best sound quality or Roon server with Squeeze player for the best compromise between convenience and fidelity. As it follows, I will also listen to the K22 using Squeeze. Finally, I’ve compared some of the other apps in my original K50 review<\/a>, so if interested, please read my impressions there.<\/p>\n

    Listening<\/h3>\n

    When I reviewed the 3rd generation K22 in April last year, I was really surprised to find how great it sounded, even as an all-in-one server. I vividly recall it having a slightly dry but beautifully beefy, robust, and impactful sound, along with the Antipodes-typical smoothness, deep tonal saturation, and outright non-technical presentation.<\/p>\n

    Since the same actual G3 K22 sample was sent to Antipodes for upgrading to G4 status, I don’t have the older model for direct comparison, but as soon as I started listening to it, I immediately found myself back in the exact same state of mind.<\/p>\n

    Starting with Roon and the AES\/EBU output, the G4 version is still recognizably punchy and full-blooded but very noticeably smoother and definitely sweeter. The G3 K22 could be a little dry but with the G4 K22, there’s not even a hint of dryness left. I don’t have the K50 available for direct comparison, but having owned it for quite some time and knowing it well, I would say it is indeed very close to the KALA range-topper’s performance.<\/p>\n

    \"\"<\/p>\n

    The K22 has a sound that is remarkably meaty and dense – there is most definitely no paleness or leanness here! The flip side of this is that its focus does not appear as razor-sharp as it can be. On the other hand, servers that do sound highly focused tend to also be leaner and less saturated in balance. The midrange has bloom and richness, and there’s a touch of warmth, but less so than with the Oladra and also less than I recall from the G3 K50. Sometimes, dense-sounding audio components can have relatively narrow soundstaging, but this is not the case here – just like other Antipodes servers, the K22 sounds captivatingly spaciously, both in the width- and depth planes.<\/p>\n

    Until G4, there has always been a considerable difference in sound between USB and the other outputs in all Antipodes servers. Contrary to what one might expect, USB interfaces are tricky to implement, and to make matters worse, the success of the connection is dependent on the implementation on both ends (in the server and the DAC), and on how they interact. In practice, this can and does lead to large variances in the perceived quality or the subjective musicality of the connection.<\/p>\n

    \"\"<\/p>\n

    USB<\/h3>\n

    As mentioned in the introduction, Antipodes have lifted the USB sound quality to match that of the Reclocker S\/PDIF, AES\/EBU, and I2S outputs, as part of the G4 update. So, how does USB compare to AES, exactly, you ask? I won’t beat around the bush – USB now also sounds fantastic!<\/p>\n

    Listening with a Vermouth Reference USB cable, the K22 retains its punchy, planted, and meaty sound and expansive soundstage, including its impressive imaging in the depth plane. It adds to this slightly leaner, more articulate bass behavior with just a touch more control. On the other hand, AES\/EBU is still more free-flowing and sounds a little bit more mellow and relaxed.<\/p>\n

    As mentioned, the sound\/performance of USB ties in with the implementation of the interfaces on both ends. While I have no reason to feel that one of the CH’s input modules is “better” than the other, it is entirely possible that USB has a slightly different presentation than AES\/EBU. The experience accumulated over many years using countless servers and DACs gives me a reasonable handle on these things, but I can never “prove” which interface is responsible for a perceived effect. Is it the server side, the DAC side, or an interaction between the two?<\/p>\n

    Naturally, the cables have a very large say in the matter. But, try as I might, I have not yet found a pair of AES\/EBU and USB cables that truly sound the same, not even from the same manufacturer. A case in point is the Jorma USB cable, which offers a truly majestic and highly refined sound but is markedly warmer and more mellow than the Jorma AES\/EBU cable.<\/p>\n

    The Vermouth Reference USB cable is a neutral yet refined performer with a gentle sweetness. So, how would the robust and meaty-sounding K22 work with the inherently also very robust and meaty- sounding Final Touch Audio Sinope USB cable? Indeed, as one might expect, this leads to a rather voluptuous bass. It’s pleasant and entertaining for sure, but a little bit too much off-balance for this server and my taste. But if your room or system needs it, or you just like Big Bass, it may be right up your alley.<\/p>\n

    Next up is the Mad Scientist Black Magic Ultra.<\/p>\n

    Blam! This cable immediately hit home with a sound that is still planted, meaty, and well-saturated but more articulate, open, and expressive. It’s less airy and refined than the Vermouth but more “Rock & Roll”. I also used the Mad Scientist Black Magic Gold as a final test. This cable adds the final touches in terms of refinement, flow, and air whilst offering a big slice of the Black Magic Ultra’s “Rock” capabilities. Between these cables, I feel the Vermouth and the Black Magic Ultra provided the most well-balanced presentations. The Vermouth will be relatively more ideal if you favor airiness and refinement, and the Mad Scientist will be more ideal if you favor incisiveness and expression. Of course, YMMV.<\/p>\n

    Squeeze<\/h3>\n

    Using Squeeze instead of Roon is as simple as can be. Just select Squeeze as the Playback Method in the pull-down menu, and the software will make sure that both server and player are ideally set up.<\/p>\n

    \"\"<\/p>\n

    While using Roon, you could also go to the Server App overview and enable Squeeze in addition to Roon. However, it must be noted that having Roon run simultaneously will impact the sound.<\/p>\n

    \"\"<\/p>\n

    Good ‘n old iPeng (above) still works very well, offers all the basics, and doesn’t look too bad.<\/p>\n

    LMS (Logitech Media Server) with the Material Skin User Interface is a great alternative. You don’t need to download an app because it runs as a service within your internet browser. Simply tap “Manage Server Apps” in the AMS web interface and then tap the “Open” link.<\/p>\n

    \"\"<\/p>\n

    This will open LMS in a new tab of the browser. iPeng may still work well enough, but to be honest, the LMS Material Skin sure makes it look quite dated.<\/p>\n

    \"\"<\/p>\n

    \"\"<\/p>\n

    So, how does the K22 sound with Squeeze? I won’t sugar-coat it; Squeeze sounds a lot better to me than Roon, certainly on Antipodes servers. Playing the same tracks as before, there is a new level of tightness, crispness, articulation, and overall precision to the sound. It’s a leaner presentation, for sure, but the server simply refuses ever to sound dry or anemic. The transparency and precision are definitely increased, but even so, I still hear the richness, saturation, and flow that characterize the server.<\/p>\n

    Next: JPLAY and Conclusion<\/p>\n

    <\/p>\n

    JPLAY (UPnP)<\/h3>\n

    Android users have long been better served with UPnP apps than iOS users. For iOS, Mconnect really was the only good option. It works well enough but has rather barebones functionality.<\/p>\n

    JPLAY combines Qobuz, Tidal, and local content in a single, richly-populated interface while offering features you don’t often see outside of Roon, certainly not in a UPnP app.<\/p>\n

    \"\"<\/p>\n

    For instance, like Roon, JPLAY takes the user by the hand by showing centrally placed overviews of your library, recently added, favorite, and recently played content while offering Artist bios, album suggestions, and all your personal streaming service-related content. There’s even a Radio function that adds and plays music at the end of the now-playing queue based on music played earlier, as well as direct user feedback with the option to teach the algorithm by thumbing up or down), the possibility to add to playlists from all locations, Related albums, Artist bios, and more.<\/p>\n

    \"\"<\/p>\n

    To enable UPnP on the K22, select “MPD with MiniDLNA” in the Playback Method pull-down menu.<\/p>\n

    \"\"<\/p>\n

    Then, download and open the JPLAY app, enter your streaming service credentials, and select the K22 as the streaming endpoint.<\/p>\n

    \"\"<\/p>\n

    With JPLAY, the K22 sounds similar to Squeeze but with further increased precision and transparency. The K22’s tonally rich character still shines through, but this is definitely the most neutral rendition I’ve heard from the server. The bass is a tad leaner still, but not lean per se. It’s just tighter and even more articulate, and while the overall presentation is less smooth than with Squeeze, let alone with Roon, it’s still fluid and highly refined.<\/p>\n

    Ultimately, no matter your personal preferences, the beauty of the Antipodes concept is that it allows every format under the sun to be used, just as the listener prefers. Oh, and importantly, every app works absolutely flawlessly!<\/p>\n

    Wrapping it up<\/h3>\n

    Overall, I think the K22 will be ideal for those who prefer visceral impact, body, and tonal saturation to utter transparency and tiny introspection. In other words, while the K22 is beautifully fluid and refined, it does not offer the last word in audiophile parameters such as transparency and resolution. Those who want their system to function as a magnifying glass to unveil absolutely everything in the recording at this price level may want to look at other options.<\/p>\n

    The K22 puts musicality first and goes straight for the emotional response. As such, it is more of a music-lover’s machine than an audiophile precision tool. But overall, this goes for all Antipodes servers, although the Oladra manages to combine all of the Antipodes-typical sonic traits with superlative resolution.<\/p>\n

    Although most users will likely use the K22 with Roon, and the server is every bit the music machine I described when used that way, it must be noted that the server\/player software has a major impact on the sound. If you want to extract the last ounce of audiophile performance from the server, it is recommended to use it with Squeeze or UPnP.<\/p>\n

    \"\"<\/p>\n

    Conclusion<\/h2>\n

    The G3 K22 already surprised me by offering a sizable chunk of the performance I know is possible from higher-tier Antipodes products. The G4 K22 massively adds to this by offering sound quality that really is closer than before to that of the K50. And for the first time, the USB output offers sound quality to match that of the Reclocker S\/PDIF, AES\/EBU, and I2S outputs. Considering all the functionality on offer, all easily configurable using the superb AMS Web Interface, and then looking at the 9000 USD price tag, I can only conclude that the K22 offers superb value for money.<\/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

    Manufacturer: Antipodes Audio<\/a>
    \n    Antipodes Guides<\/a><\/p>\n<\/div>\n

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