Creek - Epos - QED system

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1 Photo: François Desaulniers Creek - Epos - QED system Creek Evolution 50CD CD player/converter Creek Evolution 50A integrated amplifier Epos K1 speakers QED Reference Audio 40 interconnects and Silver Anniversary XT speaker cables Redefining affordable high fidelity JAN-ERIK NORDOEN SYNERGIE BRITANNIQUE It was 1982 when engineer Michael Creek shook up the high fidelity market with a 30 watt integrated amplifier, the Creek CAS 4040, that sold for the modest sum of 99 pounds sterling (about $180). Critics gave it little chance of survival, but Mike s audacity paid off and the CAS 4040 went on to sell in the tens of thousands of units. The little amp that started Creek Audio led to a slew of other products that have one thing in common: musicality at sane prices. The descendant of the CAS 4040 is the Creek Evolution 50A integrated amp, which forms the heart of the complete system proposed by Europroducts Marketing Inc, the Canadian distributor of this brand. The rest of the system is comprised of the Creek Evolution 50CD player / converter, the Epos K1 speakers, with interconnect and speaker cables from the venerable British firm QED. Apart from their all-british design, products from Creek and Epos (now the same company) and QED have always shared the ability to provide musical value well beyond their price point. The system, minus speaker stands, retails for a very reasonable $4,193. If you need the dedicated Epos stands, they re only $299 a pair. If I bought audio components purely on aesthetic grounds, these new Creek designs would 16 MAGAZINE SON & IMAGE 16 1

2 BANC D ESSAI have me reaching for my credit card in no time. There is something very zen about their appearance, the result of an elegant combination of brushed aluminium alloy, rounded edges and a central cluster of backlit soft-touch control buttons. The effect is best at night, when the subtle blue backlighting of the buttons draws the eye, inviting the listener into the pleasures of music. And pleasures there are, for this system offers up music in a manner faithful to the British tradition that places musical values above special effects. Scalability is also a strong feature of this package, starting with the Evo 50A integrated. Optional modules allow you to add an integrated AM/FM tuner (the Ambit), an MM/MC phono module (the Sequel phono) or a digital-to-analog converter module (the Ruby DAC). As for the Epos K1 speakers, they can be converted from passive to active mode by adding a power-amplifier module that also contains a few other neat features, but more on those later. CONVERTER OR CD PLAYER? - EVOLUTION CREEK 50CD While the 50CD may look like a CD player, it is much more, as its CD section is but one of six possibilities for getting digital data into its DAC section. The DAC also features a digital volume control, so you could use the Evo 50CD by itself directly into a power amplifier. I must admit that I approached this player with a slight bias, assuming (incorrectly) that the CD section was there more for convenience than for high-performance, and that the real performance of the device would only be attained when fed from an external digital source. Well, the CD50 expertly dispatched my concerns, showing itself to be as competent in CD player mode as when connected to a decent external source. Well-appointed in digital inputs, the Evo 50CD accepts five external sources, all of which are isolated to keep electrical noise away from the music. Two transformer-isolated S/PDIF inputs and two optically isolated Toslink inputs receive digital signals up to 24 bit/192 khz. A galvanically isolated USB 1.0 class input allows data transfer up to 24 bit/96khz. This input is located on a separate board, which simplifies any future updates. Source selection is via a single button on the front panel that cycles through the inputs. Digital-to-analog conversion is handled by two Wolfson WM8742 chips operating in dual-differential mode, feeding an analog stage built around operational amplifiers using field effect transistors. Five digital filters are available through the remote control or the «Menu» button to allow the user to slightly tailor the sound signature. On the output side, whether you prefer balanced or unbalanced cables, the 50CD has you covered with its 94-ohm XLR sockets and its 47-ohm RCAs. There are also two digital outputs (S/PDIF and Toslink) should you wish to connect the 50CD converter to an external DAC. The CD section of the 50CD is built around an IDE-DVD drive, with custom control software written by Creek. Inherent to this type of transport is a buffer that provides a few seconds of storage, so that data is read from memory and not directly from the disc. Digital data is transmitted to the converter via the I2S protocol and not via S/ PDIF, so that when playing a CD, the DAC s master clock provides data synchronization. This is, according to Mike Creek, the best way to ensure a «bit-perfect» reading. A DVD drive takes longer to read the contents of a disk, because it checks first for the type of data (is it a CD, CD-R, DVD, CD data, etc.). So don t worry if a few seconds elapse before anything happens after inserting a disk the Evo is thinking. In the event that Creek develop new features, or discover bugs in the firmware, updates are as simple as inserting a CD-R with the updated firmware into the CD reader slot. These updates do not affect the operation of the digital-to-analog converter. INTERCONNECTS: QED REFERENCE AUDIO 40 AND ANALOC PLUGS The QED Reference Audio 40 interconnects represent a new concept from QED, using low-impedance conductors, as this was found to better preserve timing in music playback. The Analoc RCA jacks that terminate these cables are similar to the Eichmann bullet plugs in that they use small conducting pins and eschew metal jackets on the plugs. The goal is to reduce eddy currents generated by the passage of the audio signal, and their negative effects on subtle signal timing. Interestingly, the outer collar of the socket of the Analoc plug is a clamping ring which, when tightened, ensures optimal contact with the terminals. Better mechanical contact generally translates to better sound. CREEK EVOLUTION 50A INTEGRATED AMPLIFIE The Evo 50A amplifier, finished in the same slim case as the CD player / converter, is built around a massive 250 watt toroidal mains transformer. Separate windings feed the high and low current analogue and digital circuitry. Power amplification is through a pair of 15 Amp Sanken transistors with thermal sensors that enable automatic bias adjustment. This level of attention in the implementation of transistors is rare in amplifiers at this price. The MAGAZINE SON & IMAGE

3 maximum power of the Evo 50A is specified at 55 watts per channel into 8 ohms and 85 watts into 4 ohms. The Evo 50A has five line inputs, some of which have a dual role, for example, input 1 becomes the phono input when the phono module is added to the amp. Input 3 can be assigned to directly feed the amplifier s power section, bypassing the preamp and the tone controls. In this way, the Evo 50A can be integrated into a home theater system or used in «slave» mode with another 50A for bi-amping. Input 4 features both RCA and XLR (balanced) plugs, a feature not often seen on integrated amplifiers. This input can also be assigned to directly feed the power amplifier section of the integrated, if you have a source with its own volume control such as the Creek 50CD. By default, the fifth entry is a line input, but changes function when the AM/FM or DAC module is added. The menu to configure the inputs is activated by switching on the amp with the «Menu» button pressed in. Tone controls! Another neat feature of the Evo 50A are tone controls that add or subtract up to 10 db in the bass or treble. While Creek doesn t specify the frequencies at which the controls act, to my ears the effects are subtle and don t detract from the music. By default, the controls are bypassed, activation is from the setup menu. Notably, the Evo 50A also has a channel balance control. On the output side, there is a «pre-out» for a subwoofer or for bi-amping. The amp has a single pair of speaker connectors. On the front, a low output impedance (<50 ohms) headphone socket provides for simultaneous headphone and speaker listening or headphones alone, the choice available via the «Menu» function. QED SILVER ANNIVERSARY XT SPEAKER CABLES AND AIRLOC PLUGS The Silver Anniversary XT cables sit in the «Reference» range of QED s products and represent an update of the Silver Anniversary model, by the addition of QED s X-Tube technology. The X-tube is a polymer spacing device that reduces self-inductance between the conductors and ensures a quasi-linear transfer of high frequencies. The conductors in these cables are made of % oxygen-free silver-plated copper. The dielectric is formed of low-density polyethylene in order to minimize signal loss due to cable capacitance. The latter is rated at 50 pf/m, while the inductance is 0.47 uh/m. The Silver Anniversary XT cables are flexible and thin, which greatly facilitates installation. The cable is shipped to the dealer in 100m rolls, which allows the dealer to make up the length required. The pair of cables in the test system were terminated with Airloc plugs and run-in by the distributor prior to delivery. Interestingy, the Airloc plugs are cold-welded to the cables, a solderless process that fuses the cable conductors with the plug conductors to exclude air and thereby any possibility of corrosion. The result is that cable resistance is not compromised by the quality of the termination. Another nice feature of the Airloc plug is the spring clip on the centre pin which maintains constant contact pressure inside the speaker terminals to maximize signal transfer. EPOS K1 SPEAKERS The clean lines of the Epos K1 fit perfectly with the aesthetic of the Creek components. The K1s are a two-way bass-reflex design and are the work of Luke Creek, Mike 18 MAGAZINE SON & IMAGE 16 1

4 Creek s son. The 25-mm textile tweeter is mounted in short waveguide, which allows the transducer to be aligned closer to the acoustic centre of the mid-bass driver. The cone of the latter is formed from stiff polypropylene with high internal damping. The cone is designed to maintain its shape even at high volume levels and is held in place by a polymer surround that is slightly sticky to the touch, most likely to damp reflections at the circumference of the cone. The magnet system for this transducer is built to concentrate the magnetic field around the coil to reduce distortion and increase efficiency. Rated at 88 db, the nominal impedance of the speaker is 4 ohms. For the tweeter, the crossover is first order, while the mid-bass driver benefits from a second order crossover. The drivers are mounted behind the front panel, similar to Harbeth speakers. This provides a clean looking front panel and, in combination with the rounded corners, the overall look of the speaker is sleek and elegant. A a wide slot vent, that sits at bottom of the front panel, was preferred to a round vent as a means of avoiding resonances typical of circular vents while also improving low-frequency response. The speaker cabinet is light, using thinner panels and strategically placed reinforcements to distribute resonances, instead of trying to damp them. During listening, the K1s certainly seemed light on their feet, showing no obvious signs of storage and later release of resonances that could interfere with musical timing. Turning the cabinet around reveals two pairs of binding posts connected by brass jumpers. The posts are mounted on a separate panel held in place by screws. To convert the speakers to active mode, this panel is removed and replaced by an amplifier module, the Active-K (available in early 2015). Note that this module will contain not only a Creek designed amplifier, but also a digital-to-analog converter, an asynchronous USB input, a Bluetooth receiver and an analog for connecting a turntable or other analog source. A complete system could be built around the speakers. Impressive! LISTENING I began the listening sessions in CD mode as this seemed to be the natural entry point for evaluating this system. The first evening, I turned to the CD Ghost Repeater by the American artist Jeffrey Fouceault. For me, this album is a must when I feel the need to disconnect from the hassles of everyday life, particularly the song «I Dream an Old Lover». But here, the song didn t quite gel. The guitar that opens the track showed great articulation, but lacked a bit of body, while the singer s voice, although explicit, did not capture me as it usually does. Sometimes, subtle differences in tonal balance can dramatically change the situation, so I activated the tone controls on the Evo 50A and added 3 db to the bass. A simple adjustment, but completely effective in restoring the missing body and warmth. Listening proceeded without hitch from there, the music and the lyrics of singer working their magic. The goosebumps were back. In a state of reverie, I turn to the album Dorset Perception by the group Shpongle. It s worth getting over the unappealing name of the band, whose core is formed by Simon Posford and Raja Ram, because their music is well worth the trip. Primarily electronic, their work is infused MAGAZINE SON & IMAGE

5 with Indian, Spanish and psychedelic influences, a recipe for interesting travels if the system is up to the task. The Creek-Epos- QED combo had no problems at all in recreating the sonic landscapes imagined by Simon Posford and his co-pilot, ably delivering the energy and the subtle changes that drive the endlessly fascinating rhythms of this disc. Could this system untangle the holy mess of sound that Tom Waits serves up on Real Gone? On this album, the artist hides his little masterpieces behind layers of distortion and an intentionally «lo-fi» recording quality. This is a difficult album for many audio systems, notably the track «Shake It», where Waits growls his words behind a confusing wall of distortion. If the system lets me to listen to this track and finish with a smile of appreciation for Waits sense of humor, it s a good sign. The Creek-Epos-QED system managed it - it was a close call - but it got me through it! After this obstacle course, it was time to try some high-resolution music., I connected a MacBook Pro running Audirvana 1.5 to the USB input of the 50CD converter with a USB cable from Transparent Audio and launched the 24- bit/96 khz version of Hélène Plouffe s Viola d Amore. The Creek-Epos-QED system delivered this music with class and respect. Listening was easy and engaging, convincingly rendering the beauty of the harmonics that give the viola d amore its charming voice. I also have the 16-bit/44 khz version of this album and although it remains attractive, the 24-bit/96 khz version won by a better definition of harmonics, deepening the appreciation of this recording. Over several weeks of listening, as I mined my collection of jazz, baroque, symphonic, dub, electronic and folk music, the system showed itself as very even-handed, not favouring one type of music over another. In fact, it was able to connect me with the soul of the performance regardless of musical genre, even if the recording was not up to par. Further, the listening revealed each digital input as equally competent, the source not dictating my choice of music. That being said, the Evo 50CD reaquainted me with the pleasures of listening directly to CDs, a listening mode that I had abandoned in favour of streaming from a server and DAC. In direct contrast, the server-dac combination showed its superiority in terms of resolution and sound-stage definition, but in tone, the Creek impressed with its natural presentation and, perhaps, a greater tolerance of lower quality recordings. To gain the full measure of the Evo 50A integrated, I connected it Resonnessence Labs sublime Mirus DAC, fed by the UnitiServe, and started listening to Masters of Reality s Sunrise On The Sufferbus. From the first notes of «She Got Me (When She Got Her Dress On)» I was under the spell, the amp delivering each track of this album with ease and competence. It was impossible to do anything other than listen through to the end of the disc. The Epos K1 kept up with the party providing a very satisfying level of bass articulation that captured and maintained the groove of this American band. The temptation to go too far with the volume caught me a few times, at which point the system showed a touch of hardness and flattening of dynamics, as the amp and speakers bumped up against their limits. Despite their modest size, the Epos speakers delivered a good measure of agile and sufficiently extended bass. They are, as the English say, «tuneful», meaning that is easy to follow the bass lines. Bass response below 70 Hz is discrete, but there is still enough there to provide the necessary foundation to most music. At the other end of the spectrum, treble was slightly reserved. While this is a plus for many recordings, others may lack a bit of sparkle, but there are the tone controls to compensate. As for the midrange, 20 MAGAZINE SON & IMAGE 16 1

6 THE CREEK-EPOS-QED SYSTEM DELIVERED THIS MUSIC WITH CLASS AND RESPECT. LISTENING WAS EASY AND ENGAGING, CONVINCINGLY RENDERING THE BEAUTY OF THE HARMONICS THAT GIVE THE VIOLA D AMORE ITS CHARMING VOICE. where the music lives, the K1s were clear and present, making music with a satisfactory level of palpability. I couldn t hear any obvious peaks or troughs in the mid-frequency response, the proof being that voices retained their integrity throughout the listening sessions. Musicality is the purpose of these speakers, and of all components in this system. If you re looking for sound imaging where each instrument is carved out in lifelike dimensions and laser-like precision, it s best to look elsewhere. Imaging here is more diffuse and, in my view, more lifelike. As for the QED cables, they simply got on with their job and never made their presence obvious through any anomalies in sound signature. They are very much in line with the ethos of the Creek and Epos components, where the focus is on connecting with the music and not on teasing out details. Of course, I could not help but compare them with my reference cables, which provide greater image focus and definition, and at a price. But in terms of emotional engagement with the music, the QED cables offer everything you need and complement each other well in this system. Their affordable price and high quality of workmanship are further arguments in their favor. controls is intuitive and satisfying. In addition, to my eyes, Creek has one of the finest aesthetics on the market audio. As for the new Epos speakers, they convinced me with their sweet tone, vivacity and rhythmic abilities. If you re looking for the ideal system for a smaller room and your listening levels are moderate, the Creek-Epos- QED ensemble is dead easy to recommend. If your listening needs evolve and require future adjustments to the system, the scalability of the amplifier and speakers will give you some interesting options. PRICING Creek Evolution 50A integrated amplifier: $1,299 (black or silver finish) Options - phono preamp boards (three choices): Sequel 40 MK2 for most moving magnet carts (3.5 to 5mV, 47k ohm): $150 Sequel 48 MK2 for high-output moving coil carts (0.9 to 2 mv, 47k ohm impedance): $225 Sequel 54 MK2 for medium-output moving coil carts (0.5 to 1mV, <120 ohm impedance): $225 Ambit module (AM / FM): $219 Ruby DAC module analog-to-digital converter and FM radio (available late 2014) Creek Evolution 50CD CD player / digital-to-analog converter: $1,699 (black or silver finish) Epos K1 Speakers: $849 per pair, satin white or satin black finish, optional grilles ($89), stands ($299) QED Reference Audio 40 Interconnect Cables: $179 (1 meter) QED Silver Anniversay XT speaker cables: $11.00 per meter (unterminated) DESPITE THEIR MODEST SIZE, THE EPOS SPEAKERS DELIVERED A GOOD MEASURE OF AGILE AND SUFFICIENTLY EXTENDED BASS. THEY ARE, AS THE ENGLISH SAY, TUNEFUL, MEANING THAT IS EASY TO FOLLOW THE BASS LINES. VERDICT In the under $5000 category, the Creek-QED-Epos system neatly illustrates the progress accomplished in bringing high-fidelity to lower budget levels. The British roots are very present, shown by the way that this system respects tempo, timing, and subtle changes in rhythm. There is a level of sophistication usually reserved for more expensive components. Even at low volume, the system remains dynamic and delivers a lot of information. The Creek- Epos-QED ensemble doesn t pretend to be spectacular, it convinces by a more intimate approach that allows music to insinuate itself into the soul. The proof is that the departure of this system in my listening room was not without some grief, but that I was able to compensate by purchasing the Evo 50CD. The ergonomics of the Creek components are a complete success, interaction with the Distributor Europroducts Marketing Inc MAGAZINE SON & IMAGE

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