"I put on Tsuyoshi Yamamoto Trio’s Midnight Sugar album (Ampex IMP8308). This album never gets old. An item I almost always notice before anything else is the reproduction
of transients and the leading edge of Yamamoto’s piano. Through the K50, the absolute first thing I noticed was the beautiful tone of his piano. Yes the transients were there,
but the tone was what placed me inside the recording venue. There was something about the reproduction of this album through the K50 that enabled me to forget about the
microscopic details and just let the music hit me, feeling the tone as much as hearing its lush beauty. When I listened for it, the details were of course present, but
remained an area of less interest to me while I got lost [in the] music more than anything."
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"I didn’t care about formats and resolutions. All that I thought about was how gorgeous everything sounded.. Some of my scribbled comments: 'Thrilling … what
great stuff … really exciting … percussion excellent … great midrange … I think the additional color and weightier midrange, albeit subtle, significantly increase the
music’s impact'. .. Short of heavy metal and noise, I threw everything I could at the K50, from the maximally colored music of Henri Dutilleux to the recent remastering
of Sgt. Pepper’s Lonely Hearts Club Band. Every experience was revelatory.
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"..the K50 adds an overwhelming sense of natural flow and deep soundstaging, making other server/streamer sources sound flat and relatively technical in comparison."
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"The Antipodes K50 serves music at the highest level. Its versatile connections qualify it for integration into any top system, no matter which constellation you prefer. The enormous mechanical and electronic effort combined with excellent workmanship sets standards. Anyone who is allowed to own this Antipodes will sit back and enjoy."
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"Tonally absolutely neutral and broadband. The very high resolution is evident everywhere, be it in the meticulous reproduction of transients or in the
meticulous tracking of the slightest reverb tails and the decay of notes. But the extreme level of detail is also noticeable in the “authenticity” of the timbres.
With the K50 it looks very differentiated and realistic. The spatial representation is striking. Even if you are already used to a good standard, it is not
just the extensive and, above all, deep stage lighting that will surprise you, but also the “black background” and the extremely safe, concrete and vivid depiction
of voices and instruments. Gross and fine dynamics are beyond any doubt."
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