The much-anticipated Antipodes DS GT integrated digital source will begin shipping on 17 October 2016. The DS GT design includes a number of hardware changes over the DS and DS SSD, moving it closer to the DX. The most significant upgrade is the new Antipodes ODAPS external power supply.
The ODAPS power supply technology is already used in the DX. The DX uses two ODAPS power supplies internally, with one dedicated just to the digital audio outputs.
The design-brief of the DS GT has been to reduce cost compared to the DX, but only to make trade-offs when the impact on sound quality is low. This proved even more challenging than the development of the DX, but we know we have produced something very special. The single external ODAPS power supply for the DS GT took a year to develop, to balance up the need for: reduced cost; reduced size; cool running; and state of the art sound quality. It took a long time to meet our initial expectations, but in the end the expectations have been exceeded.
The DS GT replaces the existing DS SSD, offering a large increment in sound quality for a modest increase in price. Note that all Gen3 DS digital sources can be upgraded to the DS GT, but because of the range of hardware and firmware changes required, your unit will need to go to a local service centre for the upgrade. Upgrades to the DS GT will be available from 1 November 2016.
Antipodes Audio will be showing its range of digital sources at the Australian Hi-Fi & AV Show - at the InterContinental Melbourne, Australia, 21st to 23rd October 2016, with Pure Music Group - Antipodes exclusive Australian distributor.
Antipodes Audio Limited and Antipodes Audio Americas LLC are legal entities for the business
activities conducted under the Antipodes Audio brand. Antipodes Audio is headquartered at Raumati Beach, in New Zealand,
and in Central Park West, NY. All distributors are able to service Antipodes products, but we also have specialist service centers in Auckland (New Zealand), Kent (UK), and Denver
Antipodes is pronounced an-tip-uh-deez, and the word refers to the part of the world we began in. Europeans will often refer to New Zealand, Australia and anywhere at the opposite end of the earth as 'the antipodes'.
Antipodes began in 2004, selling cables worldwide, using wire we manufacture in-house, all-cotton insulation, and radically different cable geometries focused on preserving phase accuracy. The cable geometries solve a perrenial problem in audio by sounding the same in any system context, proving that conventional cable geometries are simply wrong.
Our integrated digital sources (integrating music server and end-point functions) launched in 2011. Today, our digital business and our cable business operate independently, with separate management and separate channels to market. Our flagship digital sources - first the DS Reference in 2011, and since 2013 the DX - solve the digital audio problem by completely removing the glare and distortion of timbre that has kept audiophiles 'out of love' with digital audio.
In 2014 we established Antipodes Audio Americas LLC with offices in New York, a service centre in Denver CO, and sales representation across the USA. Since then we have been adding distribution across Europe and Asia, and have established a specialist service centre in Kent, UK.
The emphasis is on delivering stunning sound quality, with a focus on time-domain accuracy, which delivers an openness and immediacy
without any hint of unnatural aggression. This is what we hear when we listen to real music and we believe it lets the music speak for itself.
Our approach is highly scientific, but we are not wedded to prevailing scientific theories. The prevailing science applied in the audio industry is focused on the science of the equipment and fails to address the more complex science of how the brain derives enjoyment from listening to music. The false premise has been that if the science of the equipment could be perfected then the need to understand how the ear/brain system works is unnecessary. The premise is a practical decision that is common in most science - to assume away the pieces of the puzzle where there is less hard evidence to go on. But assuming away the place where all the action occurs is a mistake. We don't find the accepted science gets anywhere near being able to isolate what kinds of distortion get in the way most with a human's ability to enjoy reproduced music, and the science often reduces a complex issue like harmonic distortion or digital signal distortion to a single number - which we consider to be utterly bizarre.
Experimentation, to make great
audio has to have a true reference point, which is how humans react emotionally to it. Just because that is unreliable, and hard to measure does not justify side-lining it in
favour of a precise measure that may or may not be relevant.
Furthermore, many audiophiles make the mistake of listening for differences in the sound, not appreciating two important things. The first mistake is that they are using their cognitive brain to do this and the cognitive brain has no role in the enjoyment of music. The second mistake is to not realise that our listening process is an active one and not a passive one - what we think we hear is heavily affected by what we expect to hear, or the order in which we hear it. Our enjoyment of music comes from the limbic system in the brain, the source of human emotional reactions to our environment. The most relevant way to evaluate audio equipment is to ask yourself whether you are getting more or less emotionally involved with the music.
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