When you bear the weight of a legacy handed down by successful predecessors, you must possess something above the ordinary in order to preserve it and even augment it.

Destiny amplifier by Creek falls within the above category. With predecessors that have made their presence more than noticed through their output, it has a duty to offer something more as far as both acoustics and construction are concerned. Let us try to see whether it possesses the required qualities in order to progress following its own course.
 
The first impression formed upon seeing it is positive. With Destiny, compared to its predecessors, Creek appears to be presenting a new design attitude. The first elements to win you over are its slim silhouette and its thick, perfectly finished, aluminium front. The rest of the framework is in a black matte colour and consists of foils of sufficient thickness. Its mounting is definitely suggestive of higher price ranges, as the various parts blend in perfectly with each other with minimum tolerance. The above have a direct bearing on the weight of the amplifier that reaches ten kilograms.

In the front, starting on the right, there is a switch that turns the equipment on when it is already in SΤΒΥ mode. Next to that is the extremely elegant aluminum button that regulates the voice level, followed by the headphone exit point.

Moving leftwards we see two groups of switches encircled by a circular frame.  The first group includes the remote control sensor and two switches for selection of loudspeaker A or B outputs. The second group consists of four switches. The two on the right select the source; the selected source is indicated by a series of LED adjoining them to the right. The top switch selects the immediately next source upwards, while the corresponding lower switch functions at the same time. Of the next two switches, the top one is used for selection of the TAPE input, while the lower one, bearing the indication ACTIVE, for the selection of energetic or passive pre-amplification.

In the rear, starting our description on the left, we note the electrical connector and next to that the appliance’s main switch. Adjoining it are two communication channels, followed by the top quality speaker plugs. These in turn are followed by the standard quality gold-plated RCA plugs: the first four are the input of the final level and the output of pre-amplification. We note here the lack of typical short-circuitry as well as the fact that the choice of function is made with a switch “hidden” next to the plugs. The next four RCS plugs concern the source input and output that will be used for registration or feedback from some external processor. Next to these are the remaining amplifier input points; the last one, AUX, can be transformed with the addition of a module into a PHONO, MM or MC input point. One further hidden switch can be found in the lower section of the amplifier. This can be used to select the gain of the pre-amplification phase. There are three choices: 3, 6 and 9 dB.

Concerning Destiny’s usage, the feeling is more than positive. In all events the amplifier appears sturdy and exudes the impression that it will stand up to time.

Article was published on: 2009-11-20

In Depth >>

Moving on to the interior of the appliance we note a particularly interesting and well-built construction.

Basically the interior is divided into two sections by the heatsinks of the output phase, and in spite of the extensive use of surface mount components they are quite full.

On the left side we see the pre-amplifier and protection circuit, while on the right that of the final level and the power supplies. More specifically, on the left, right in front of the input plugs, are a number relays that are responsible for the source selection. The pre-amplifier circuit follows with its own voltage stabilizer, consisting, like almost the entire amplifier, of SMD components. This in turn is realized around the typical 2604 Burr Brown opamps.

From there, our signal, whether amplified or not, depending on our selections, travels along a good-quality shielded cable to the voice potentiometer, which is a remotely controlled blue Alps, to end up right after that at the final stage. This consists of distinctive components of surface support besides the power components. At the output stage we come across four power MOFSETs per channel of the same type, fastened to the heatsinks with metal bars. Judging by the heat emitted, it is obvious that these function in class AB.

The amplifier’s control-protection circuit is extremely interesting. This is extensive and is realized around a microcontroller by Microchip. This regulates the parameters of the amplifier’s function and, according to our selections, momentarily interrupts or cuts off when it “judges” that some of these parameters are not safe for our amplifier or speakers.

The appliance’s feeding has as its basis a toroid transformer with two windings with an overall power of 300VA. One winding feeds the final stage whereas the other the low-power circuits. At the feeding of the final stages the only point in common is the winding of the transformer. Separate rectifications per channel follow, consisting of distinct Schottky power diodes. These feed ten condensers per channel, five per polarity, with a capacity of 2,000μF. In other words the overall capacity of the output phases is 44,000 μF. There is a separate feeder for the feeding of low-power circuits, as well as – whenever deemed necessary – additional stabilizations.

It is an overall first-rate construction in relation to the price-range of this appliance; the only negative point is the cheap-looking and poorly constructed remote control that goes with it.

Article was published on: 2009-11-20

Listening >>

We received the amplifier following several hours of operation; therefore a “breaking in” process was not necessary.
What I noted was that from the moment of starting its operation fifteen to twenty minutes are required for it to stabilize and to perform at its maximum.
Our listening included many kinds of music: from classic and Greek rock to classical and electronic music.
In all cases its performance was more than satisfactory, especially when one considers its price range.
Its audio identity, if it could be described in one word, is “monitor”.
The amplifier will in no case flatter a mediocre or bad recording, nor will it do injustice to a good one.
Furthermore, both the qualities as well as the capacities of the rest of the system become immediately audible.

In greater detail now, its lower range has sufficient breadth and power of vibration which you would not expect of an amplifier of this category.
The low notes of the electric bass and double bass are perfectly discernible, with sufficient volume, without exaggerating in any way. (4, 5, 7, 9, 15)
A slight minimization of body will be noted only at very high volumes when the musical content becomes intense and demanding. (4, 5)

 The excellent control is taken for granted, even when the amplifier reaches its limits. If nothing else, this indicates adequacy of power and a correctly designed output stage.
The ability to restrain a difficult load with a demanding program definitely does not reach that of large, expensive amplifiers with a capacity to supply many amperes, but it is in any case quite satisfactory.
 
Mid-low bears impressive credibility. The percussion beats within this range have a lot of energy. (2, 5, 16)  
The timbre is what it should be, without hurrying when fading out, while nothing is leveled; everything has its own identity.
Its mid-range has excellent naturalness and plasticity. You can, if you focus on whatever activity takes place within it, follow even the slightest fluctuations of performance. (1, 3, 6, 8, 17)

I consider this demanding range to be one of the amplifier’s strong points, to such an extent in fact that, if it possessed slightly more body, it could be awarded a distinction not only within its price range but also amongst more expensive ones. This range is extremely detailed, with a distinct and accurate presence of instruments, but mainly of voices. (19, 20, 21) Its dynamism is intense and any elevations attract one’s attention. In works with intense vocals the sense of the performers’ presence is very strong. You can even feel the slightest peculiarity of the artists’ rendering.

The high ranges possess an excellent velocity, are airy, with satisfactory body and very good fadeout. (4, 5, 12) They have a very good breadth without ever becoming tiring. The instruments within this range - especially metal percussion and some wind instruments - appear extremely credible, with the right body. The harmonics of instruments are accurately placed and neither add to nor subtract from the character of each and every one.

The impression made by the amplifier is very satisfactory. (4, 5, 18, 19) In this case the abundance of detail is extremely helpful and this specific amplifier does not lack in any way in this respect. (10, 19) The positioning of instruments, but especially of voices, is extremely discernible, aiding their location in space. (3, 17) The positive thing is that this is not altered even in a dense musical program with raised volume. It has a satisfactory breadth, slightly outside the range defined by the speakers and very good depth.
As for center-stage, where the performer is normally located, it is extremely steady and in relief. It performs best with small ensembles of mainly acoustic instruments, without demonstrating any particular resentment at greater difficulties like a symphony orchestra.

Whatever 8Ω and 4Ω speakers it was connected to, it didn’t present the slightest problem of power supply within normal ranges. On the contrary it showed an unexpected ability to take the lead without any problem at any reasonable demand we made. With a 4Ω speaker but high sensitivity 93.5dB, we tried to locate its limits and maybe the limit of space. The result: we discovered the limits of space but not of the amplifier. Having moved a long way from what we could call a “logical level”, an imperceptible harshness made its presence felt, at the same time restricting its harmonic richness.

Article was published on: 2009-11-20

Conclusion >>

Creek’s amplifier’s Destiny is to hold the leading role in its category. Designed by Michael Creek, a man who knows how a sound appliance should be constructed, it offers a great deal compared to what it demands. It is an improved version, both as far as construction is concerned and acoustically, compared to its predecessors, to the extent of being an excellent purchase (even without its recent reduction in price.) I propose you match it to a source that will hide its admittedly few drawbacks, as well as to a high quality speaker, even if it is more expensive than the amplifier, so that its numerous capabilities can be highlighted. In other words, this is a pleasing, particularly balanced amplifier which allows you to enjoy music without worrying about a good purchase. This should be taken for granted.
 

Petros Menidiatis

pm@abouthifi.com

Article was published on: 2009-11-20