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Pozdrav svim ljubiteljima Marantz uredjaja!


Pokrecem temu o cuvenom svetskom brendu koji se proslavio velikim brojem uredjaja.


Za sada dajem prikaz mog pojacala, kojim sam prezadovoljan bez iakvih namera ili potreba za menjsnjem - Marantz PM7001 KI.



The Marantz PM7001 KI Integrated Amplifier delivers a stunningly high level of performance at a price we would not have believed possible.


Contrary to popular belief, Ken Ishiwata (‘KI’) does not actually design the special models that carry his initials, so although he certainly ‘signed off’ on this special, souped up version of the standard Marantz PM7001, he did not actually design it. I know this because I have personally asked him this exact question. ‘That would be impossible,’ was his answer to me. ‘What happens is that I oversee all the models we make, with different teams working on different ones. Sometimes it happens that some of these models work out so well that I think it would be a pity not to make them any better. So when I consider there is real potential for improvement in one of these models, that’s how a model becomes a ‘KI’ version, which involves me tweaking it by changing various components. Because it is my name and my reputation that are then at stake, it is entirely my own choice as to which models I choose to improve.’

The Equipment

Anyone who has heard a standard Marantz PM7001 might well wonder what there is to improve, because it’s a great amplifier in its own right, but Ishiwata obviously did, and the PM7001 KI is the result. One of the changes he made was to the current feedback circuitry. Both the PM7001 and PM7001 KI use current feedback rather than voltage feedback, partly because it makes the output stages work at their optimum irrespective of speaker loading. In the KI version, however, Ishiwata instructed that the current feedback be wound back to its minimum level in order to increase the bandwidth, and make the circuit ‘faster.’ Doing this meant upgrading the power supply, so this was done also, with higher-specced and higher-value smoothing capacitors (Marantz-branded 1800μF 63V Nichicons), and by substituting a Bando toroidal transformer for the standard one.

Although the main printed circuit board (PCB) is the same, the KI version benefits from individual copper screens that are attached to selected transistors and diodes (apparently specifically selected by Ishiwata on the basis of listening tests, because I couldn’t see any specific technical reasons to shield the particular ones he’d chosen) and of course the casing of the KI is completely copper-plated. The components inserted in the PCB have not had their actual values changed, but according to Qualifi , the Australian distributor, many of the critical semiconductors used in the KI versions are sourced from different suppliers than those who supply the semis for the standard PM7001. One circuit component that is the same in both models, but newly designed for the 7001 series, is the ‘HDAM’ that Marantz uses in place of conventional operational amplifiers (op-amps). Ishiwata says the Marantz HDAMs do essentially the same job, but completely outperform standard IC op-amps, particularly in the areas of slew rates and noise levels. The audible result? ‘Much more dynamic, accurate and detailed sound,’ says Ishiwata.



One PCB that is completely different is the small one that is used for the phono (MM) circuit. The one provided on the KI version has been completely re-worked, with improved accuracy on the RIAA equalisation, better channel separation and a higher phono overload margin. The only external difference is the use of gold-plated RCA inputs, rather than rhodium—though in fact ALL the RCA inputs and outputs on the PM7001 KI are gold-plated.

As you can see from the photo, the front panel layout is almost exactly symmetrical: at least from a distance. As you get closer you can see that on the right-hand side, underneath the rotary volume control, there are three small pushbuttons (Speakers A and B, plus Source/Direct) whereas the three round shapes at the left side, underneath the Source selector, are a power on/off button, a standard 6.5mm headphone socket and an opaque sensor for the infra-red remote control receiver. I’d have preferred Marantz to use a black sensor plate, but perhaps that’s just me. Speaking of black, the PM7001 KI is available in either black or silver, and I have to say that I most certainly prefer the silver finish.


That black strip across the middle of the amplifier that looks like a CD slot isn’t one—it isn’t even black: it’s chrome. It’s a purely cosmetic highlight into which are set the tell-tale LEDs that indicate the selected source. For the first week I was using the PM7001 KI I continually tried to touch this bar above the relevant LEDs to change sources, so it’s pretty convincing-looking. Below this bar, from left to right, are rotary controls for record-out selection, bass, treble and balance. The bass, treble and balance controls all have a smooth action with a centre detent. A ‘V’ cut deeply into each control lets you see its position at a glance and there’s a chromed ‘sill’ at the back of each that just oozes class. The recordout selector has positions for: Off; DVD/Tuner; CD; Phono, 1–2 and 2–1. Not too many amplifiers offer such comprehensive Record-Out facilities: if they have them at all! The same is true of the Pre-Out/Main-In circuits on the PM7001 KI: many other amplifiers do have them, but increasingly manufacturers are excising them from their rear panels. The Marantz has a mute function, but it is accessible only from the remote control. The muting circuit has the all-essential built-in logic that ensures that if you press the volume up or down buttons on the remote, the muting will disable itself so you can’t accidentally blast your speakers at high volume. Unfortunately, this logic doesn’t extend to the front panel volume control, which can be moved either way while the amplifier’s output has been muted.

Around the back of the PM7001 KI I was a little surprised to find that despite there being ample room, the multi-way speaker terminals are not on standard 12.5mm centres, so you’ll need to use individual speaker connectors: pins, banana plugs or bare wire, because shrouds prevent the use of spade lugs. And if you have very thick speaker cables, I’d suggest first terminating them in banana plugs, because the shrouds make it quite difficult to squeeze thick cables into the connectors.

Marantz has for some reason not colour coded any of the RCA terminals, but the L/R markings on the copper-coated casing make everything clear enough. If you decide to use the pre-out/main-in terminals I mentioned earlier, remember that there’s a small slider switch you’ll need to set to the correct position before you can. The PM7001 KI measures 440×364×123mm (WHD) and weighs 10.5kg.

Listening Sessions

When lifting the PM7001 KI out of its box and up alongside my system I was quite surprised at how heavy it was. I was also intrigued by how much trouble Marantz has had to go to accommodate the copper-coated chassis. By this I mean that because the front panel is made from aluminium, the company has had to insert a separate ABS separator to keep the two dissimilar metals apart. Ishiwata must really believe the copper coating makes a difference to go to all this trouble!

The quality of front panel controls always impresses me—because it’s something you can feel and hear, even in a blind-folded listening session, and if a control is poor, it will remain a constant irritation for the life of the product. Marantz’s controls felt marvellous under my fingers—particularly the volume control, but also the source selector, which has an ‘infinite’ action with detents at each source point. At every detent you can hear the solid click of remote relays actuating, indicating that Marantz is improving signal quality by ensuring short signal paths. The volume control doesn’t only feel marvellous in use, it is also extraordinarily precise. I could set volume levels exactly—and repeatably—because the control has absolutely no backlash or creep. This is even the more surprising because the volume control is motorised, so it turns as you activate the (+) and (–) buttons on the remote. Despite the fact there’s no telltale LED inset into the volume knob, the ‘V’- shaped cut-out is large enough to be obvious from across the room (so long as the room lighting is good!). In short, everything on the PM7001 KI operated perfectly, though I did have one minor gripe: If someone activates the mute control then walks off with the remote (a common occurrence in my home), the only way to regain control over the amplifier is to switch it off, then back on again. It is a minor inconvenience, to be sure, but an inconvenience nonetheless.

I must admit that initially I was a little hesitant about reviewing the Marantz PM7001 KI in my system, because I have found that 70- watts per channel is right on the cusp of the power required to get my speakers really singing, because they’re not overly efficient, I like to listen at quite high levels and my room is considerably larger than average. So I was more than a little taken aback when the PM7001 KI just effortlessly rolled on the power as I held down the (+) button on the remote. So it was obvious to me right at the outset that Marantz is obviously being conservative with its power rating. The power available meant that the obvious choice as a starter disc was Nick Didkovsky’s Tube Mouth Bow String, which he sensibly advises should be played ‘reasonably loud, with the windows open.’ The first track, She Closes Her Sister With Heavy Bones (for electric guitar and string quartet) is amazing, with extraordinarily deep bass effects (admittedly nonmusical!) and some high-frequency guitar and synth notes of superlative purity. The Marantz delivered all with uncanny accuracy, and even when the bass was subterranean, and there was a pure, almost sinus note riding over, the separate strands were suspended in the air in front of me. I was impressed by this, but even more so by the silences, which were delivered as ethereally as the composer intended, so that although there’s only silence, you know that there’s something there. (As you’ve probably guessed, TMBS is ‘experimental’ music, so approach with caution. I like this first track, the title track and Just a Voice that Bothered Him, but not the remaining two on the CD: Machinecore and What Sheep Herd.

The ability of the PM7001 KI to separate strands ensured that Blindman’s Holiday’s ‘About Time’ was next into the tray, and it too impressed from the outset, with the Afro- Brazilian Embala Eu being delivered with percussion so real-sounding it seemed to be in the room, and with all the voices etched perfectly across a rock-steady stereo stage that was possessed of both depth and height. Cancion de Cuna Aborigen, which follows, again highlighted the importance of powerful low-bass delivery even though the drum is quite high-pitched, because there’s an almost infrasonic added sound that must come from the case and not the skin. The vocal harmonies on this track are to die for, as I know I’ve said before, but I noted that this time around, the Marantz was particularly good on the sibilances… of which there are many.

The Marantz proved equally fertile ground to fully appreciate 78 Saab’s just-released third album, ‘The Bells Line’. It has a completely new sound, thanks to producer Wayne Connolly (think Youth Group, The Vines, You Am I). It is certainly a far more commercial sound, with a thicker mix and more obviously driven by Garth Tregillgas’ bass and Nicholai Danko’s drums, but Connolly allows Jake Andrews’ guitar to pierce through, however, and he’s floated Ben Nash’s voice across the top, though sometimes adding a little more FX to his voice than I like or think is necessary. The rhythm the band develops is unmistakable, and the music is completely enveloping and so infectious that you’ll soon be pushing your foot down on the bass drum’s kick pedal and adding some air percussion—I know I was! What sets 78 Saab apart for me is their storytelling ability, their down-to-earth (and very Australian) subject-matter, the always-interesting interesting melodies and progressions and the confi dent musicianship. Bells Line is their best yet; so good that I dare anyone not to like it, irrespective of their musical leanings.

Symphonic works are always difficult to reproduce, yet I could not imagine any amplifier improving on the way the PM7001 KI delivered Alan Hovhaness’ ‘Mysterious Mountains’ (Telarc 80604) in my living room, particularly the triple canon of Mount St Helens, where he re-creates that mountain’s eruption as musical event. Although his Second Symphony (Mysterious Mountain) brought him some degree of success, Hovhaness died only seven years ago in relatively obscurity which, when you hear his work, will strike you as an injustice. So search out this Telarc disc (ignoring the hideous cover art) and enjoy!



Over the years, as I have watched the prices of hi-fi equipment continue to rise—seemingly inexorably—I have many times despaired that good-quality hi-fi seemed to be being pushed beyond the reach of the very people who’d most appreciate it. I am happy to report that the Marantz PM7001 KI has restored my faith. It has every feature you’ll ever need, doesn’t include any features you won’t use regularly (with the possible exception of the phono circuit) and delivers a stunningly high level of performance, all at a price I would not have believed possible.


Readers interested in a full technical appraisal of the performance of the Marantz PM7001 KI Integrated Amplifier should continue on and read the LABORATORY REPORT published on the following pages. All readers should note that the results mentioned in the report, tabulated in performance charts and/or displayed using graphs and/or photographs should be construed as applying only to the specific sample tested.

Test Results

The frequency response of the Marantz PM7001 KI is exceptional, to say the least, with –3dB down-points at 1.5Hz and 221kHz. Even the –1dB down-points are sensational, at 3.2Hz and 118kHz, meaning that Newport Test Labs measured the amplifier’s normalised frequency response as 3.2Hz to 118kHz ±0.5dB. Performance across the audio band was superior again, as you can see from Graph 5, which shows performance into a standard 8-ohm laboratory test resistor (black trace) and into a load simulating that of a loudspeaker (red trace). You can see the response is 20Hz to 20kHz ±0.02dB into the standard load and 20Hz to 20kHz ±0.1dB into the simulated loudspeaker. The frequency response of the phono stage is also excellent. Graph 6 shows the RIAA performance, but you should note that unlike most RIAA graphs, where manufacturers have measured it at the line outputs, Newport Test Labs has instead taken a more realistic approach and measured it at the speaker outputs, so you are looking at the entire amplification chain, from input to output. As you can see, the phono response is just 0.2dB down at 20Hz and 0.4dB high at 20kHz, for an overall normalised response of 20Hz to 20kHz ±0.3dB.

Although Marantz rates the PM7001 KI’s power output at 70-watts per channel, you’d hardly guess that from the results returned by the test sample, where the lowest output measured was 85-watts per channel, and that was at 20kHz with both channels driven into 8Ω. At lower frequencies into exactly the same load, and still with both channels driven, the PM7001 KI delivered 96-watts continuous per channel. When only a single channel was driven, the Marantz broke through the 100-watt barrier at all frequencies, and for all loads, with a best result of 200-watts per channel into 2Ω. You need only to look at the tabulated figures, and/or the bar-graph results to see for yourself the performance of which the Marantz PM7001 KI is capable. I should bring to your attention that because this amplifier is capable of delivering more than 140-watts per channel, both channels driven, continuously into 2Ω loads, its current delivery is in the region of 8 amps! Important too, is something a set of test results cannot tell you, which is that the technician measuring the power output reported that unlike many amplifiers, which buzz, chatter and otherwise misbehave when pushed to their maximum output into low impedance loads, the Marantz PM7001 KI stayed quiet and remained cool at all times.

Distortion was very low, with summed THD+N coming in at just 0.008% at one watt output and 0.01% at rated output (70-watts). The Marantz’ output spectrum is shown in Graphs 1 through 4, when it’s being driven by a 1kHz test signal at an output level of 1 watt (Graphs 1 and 2) and at 70-watts (Graphs 3 and 4). As you can see, at one watt into 8Ω, there are only four harmonic distortion components visible and all four at more than 100dB down (0.001%). In Graph 2, which shows one-watt across 4Ω, the essential difference is that the third harmonic component (HDL³) has increased to a level of –90dB (0.003%). In both cases, note that not only is the overall noise floor sitting at –120dB, but also that at the extreme left of the graph, the noise is still extremely low: indicative of an excellent power supply and good shielding.

Increasing the volume control to achieve rated output into 8Ω results in a significant increase in harmonically-related distortion components appearing in the output, in this case stretching out to the 17th harmonic, at 17kHz. However, except for the third harmonic distortion component, which comes in a –95dB, all others are at least 100dB down, and in most cases 110dB down. This is a great result for the PM7001 KI. Note, too, that the noise floor is generally in the region of –130dB. Graph 4 shows that into the lower impedance, and at 120-watts output, distortion increases slightly, but overall levels are still low, with most harmonics lower than –100dB. The exceptions are the 2nd (–92dB), 3rd (–88dB), 4th (–94dB) and 7th (–96dB). All would be completely inaudible. The major thing to note with this graph is that the tiny sidebands around the fundamental (at 1kHz) and the distortion components indicates that the power supply is under some real pressure for this test.

The operation of the Marantz PM7001 KI’s tone controls was quite unusual. Unlike most conventional tone controls, which are the shelving type, Marantz is using peaking controls, so that their operation is more like Marantz PM7001 KI Integrated Amplifier a two-band parametric equaliser set for 55Hz and 20kHz. This type of control is far superior to the standard type, particularly as regards bass, because it’s far less wasteful of amplifier power and far less likely to overpower your speakers. In the treble end, it’s far kinder on tweeters, because although you get the standard increase below 20kHz, the boost isn’t applied above 20kHz. I feel it’s no coincidence that Marantz is one of the keenest supporters of the SACD format, whose response extends to 50kHz. You can also see from the graph that the amount of boost and cut on offer is quite modest: around ±10dB rather than the ±12dB that’s common and rather excessive. In my view ±10dB (or even ±8dB) is more than sufficient.

Although there is a slight difference in performance between the ‘Direct’ and ‘Source’ inputs of the PM7001KI, the difference is very slight, so Marantz obviously hasn’t done what some manufacturers do and built in a deliberate difference in gain, usually making the ‘Direct’ signal much louder, and most often solely for marketing purposes. You can see that the Marantz’s direct input is marginally ‘louder’ than the source input, though with only a 0.6dB difference at 10Hz, reducing to just 0.09dB at 1kHz I doubt anyone would perceive a difference in level, even with a direct A–B comparison. These differences really are most likely the result of a longer, more convoluted signal path being shortened in the ‘Direct’ mode. Channel separation was excellent, as you can see from Graph 9 and the tabulated results, with channel balance coming in at 0.1dB.

CCIF distortion (Graph 10) reveals superb performance on the part of the Marantz PM7001 KI, with only the tiniest of difference signals at 1kHz, which at just –109dB is only just barely visible above the noise floor. At the right of the graph there are the two test signals at 19kHz and 20kHz, with first sidebands at around –85dB and a second set more than 100dB down. (Ignore the bump in the noise floor just below 24kHz, which was injected by the test equipment.)

The tabulated noise figures reflect the low noise floors that are visible in the graphs, with the wideband noise figure referenced to rated output coming in at –103dB unweighted and improving to –105dB with A-weighting. These are exceptionally good figures, more typical of a well-designed power amplifier, and far better than I’d expect to see in an integrated amplifier. Even the phono noise figures were exceptional, coming in at –57dB unweighted and –81dB A-weighted referred to one-watt out. These figures weren’t achieved at the expense of sensitivity either, with the phono input sensitivity coming in right on the nose at 270μV for one watt out and 2.2mV for rated output. For the line inputs, the sensitivities were measured at 24.5mV and 205mV. Damping factor was measured at 179 at 1kHz, which is far more than will ever be required, even if you’re using very low-impedance loudspeakers.

Mains power consumption was moderately high when the amplifier was operating. Newport Test Labs measured consumption at 55-watts when the amplifier was idling along at an average 1-watt output level, increasing to 287-watts when it was delivering its rated output of 70-watts per channel. However, the consumption in standby is a very miserly 0.5-watts, so you can quite happily leave the Marantz in standby mode whenever it’s not being used.

Marantz PM7001 KI Integrated Amplifier



Nadam se da cemo napraviti lepu i opsirnu temu sa prikazom velikog broja pojacala, playera, risivera i sl.


Zelim dobrodoslicu svima i molim da svadje ne bude! :cheers

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Evo jednog vintage pojacala kojeg se vredi setiti. ;)



Marantz PM-94 228,000yen(around the 1985 time)
The Integrated Amplifier which supplied the separate amplifier technology of the Marantz.

The output stage has triple push pull composition which adopted MOS FET.
MOS FET "can respond also to high resisting pressure and large electrification, while it has a good RF property". "in order to operate only by a majority carrier theoretically,It has the distinctive characteristicses, such as implementation being" and "the turn-off time being shortened extremely and a fast switching being possible, since there are few store-recording effects at the time of switching", for the high input impedance more than J-FET, and the ideal operation is conjointly realized with the quarter A original with a Marantz.

The original quarter A circuit is adopted, one fourth of the maximum output performs a perfect pure Class-A operation, and the maximum output beyond it shifts it to AB class operation automatically. This auto shift is controlled by the electronic control, detects the Output voltage of a main amplifier and is controlling the bias current by the fast-switching circuitry.
In PM-94, rather than the conventional quarter A circuit, the detection velocity is improved and the more smooth control is enabled.

In order to fully demonstrate the performance of MC cartridge, a two-piece right-and-left independency is achieved, and the highly efficient MC transformer is carried in MC input.
With 2 coil stream compositions, the double shielding of the orientation of a core and the orientation of a coil is used for this transformer, and it has obtained the quality for which the high-quality sound MC transformer "MC1000" is pressed.
Moreover, the boost ratio serves as a High-Low change type.

The large-sized transformer and the 90,000-micro F large-sized electrolytic capacitor are carried in the power-source part.
The three-fold silicon-steel-plate shielding was performed, and the measures against flux are thoroughly taken especially against the toroidal transformer.

The material "raincoat tightness" of the copper plating steel plate was extensively adopted as the chassis, and the effect more than the conventional copper plating has been acquired by the raincoat tightness of uniform copper plating finish on it.

The thorough tuning, such as adopting the parts examined in the hearing, is performed.
A pair electrolytic capacitor equivalent also to a property and a tone quality and each switchpoints which carried out the tone-quality modification by copper plating were adopted, and also the 70-micron-thick circuit board and an oxygen-free-high-conductivity-copper product-line code are supplied.
Moreover, in order to eliminate the tone-quality transition by a pewter, the capacitor was used as the screw stop and all screws have adopted the copper plating screw.

compact-disk direct position is carried. By this position, stages, such as an input selector tapes monitor, are jumped and it is directly linked with flat amplifier from a direct master volume. And most transitions of an input impedance can disregard flat amplifier also to a resistor transition of the master volume itself for an FET input.

The HiFiVCR monitor position is carried and the music play by HiFiVCR can be enjoyed with the same sensation as a tapes monitor.
Rating of a mode Form Integrated Amplifier Output power (20Hz - 20kHz) 35W+35W (a pure Class-A, 8ohms)
140W+140W (AB class, 8ohms)
220W+220W (AB class, 8ohms) Output bandwidth (THD 0.008%, 8ohms) 10Hz - 40kHz THD (20Hz - 20kHz) 0.01% (4ohms)
0.005% (8ohms) Cross modulation distortion 0.005% Frequency characteristic 20Hz-20kHz+0 -0.2 dB Dumping factor 120 (8ohms) Input sensitivity/impedance Phono man month: 2.5mV/47kohm
Phono MC (High): 350 microvolts/40 ohms
Phono MC (Low): 125 microvolts/three ohms
Tape, Tuner, compact disk, Aux:150mV/25kohm Output load impedance Pre out: 220ohms RIAA deflection 20Hz-20kHz±0.2dB SN ratio (IHF-A network) Phono MM:90dB
Phono MC:76dB
Tape, Tuner, compact disk, Aux: 100dB Phono maximum permissible input MM:220mV
MC:24mV Tone control Bass: ±10dB (100Hz)
Treble: ±10dB (10kHz) Supply voltage AC100V, 50Hz/60Hz Power consumption 395W The maximum Dimensions Width 454x height 146x depth of 410mm Weight 23kg


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Vise od 10 godina sam bio vlasnik pojacala Marantz. Prvo sam nabavio PM 66 SE, koji je kod mene bio oko tri godine, posle su se menjale dve osamdesetice, PM 80 i PM 80mkII. Dosta sam se muzike naslusao na Marantz-u, ali posle nekog vremena resih da oslusnem i nesto drugo. U svakom slucaju, brand koji u meni uvek budi neku vrstu nostalgije.



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Bravo za pokretanje teme, posedujem  Marantz cd 5004 i sa njim sam zadovoljan. Trazio sam cd player - novi u pocetnoj  klasi, koji bi koristio za stereo u vezi sa  AVR Yamaha i sa zvucnicima MA br5  nekako mi je Marantz izbio u prvi plan,svira sasvim korektno,kvalitetno je izradjen a i svuda se pominje sinergija Monitor audia i Marantza tako da je izbor pao na njega. Jako lepo vizuelno izgleda  mada ima malo  specifican oblik i logican partner mu je neko Marantz pojacalo iz serija PM  003 i 004  Evo jednog testa iz Stereophilea.



Marantz CD5004 CD player

By Robert J. Reina • Posted: Mar 18, 2011

After writing my very favorable review of Marantz's PM5003 integrated amplifier ($449.99) for the January 2010 issue, I began to fantasize about how it might be packaged with other components to create a dynamite entry-level system for about $1000 (excluding cables). A good place to start, I felt, was the companion model to the PM5003, Marantz's own CD5003 CD player. Since then, both have been replaced with new models, respectively the PM5004 and CD5004, so I sought out review samples of both. (To read how the PM5004 compares with the PM5003, see my "Follow-Up" on the Marantz PM5004 integrated amplifier.)

The CD5004 offers a lot of technology and features for $349.99. It incorporates "SACD-quality" Cirrus Logic CS4392 D/A converters, which Marantz claims are very linear, producing none of the distortion caused by errors in resistor matching, no performance drift over time or with temperature, and low jitter. The signal paths for the two channels are symmetrical, which Marantz claims should improve the specificity of stereo imaging. Marantz's proprietary Hyper Dynamic Amplifier Modules, used for the analog circuitry, have been trickled down from their Reference Series components, for which the HDAMs were developed. The company claims that these outperform conventional op-amps in speed and low levels of noise. The front panel's aluminum central section electrically shields the circuits inside and the parts of the front panel made of rigid, glass-reinforced resin resist impact and help isolate the CD5004 from vibrations and heat.

The CD5004 plays CDs, CD-Rs, CD-RWs, and discs containing MP3 and WMA files. With the latter, it will display the file metadata, to help identify the disc and its contents. Also included is a buffered headphone amplifier and jack, variable pitch control (designed for musician play-along), a Q Replay button on the remote control that repeats the last 10 seconds played of the current track, and an IR Flasher input to provide connectivity to other components. Coaxial and optical digital outputs are provided.

Early in my listening sessions, I decided that the CD5004's reproduction of tonal balances was beyond reproach. The player's ability to provide rich, delicate, holographic, uncolored midrange textures was clearly evident with the vocal group Sequentia's performance of Hildegard von Bingen's Canticles of Ecstasy (CD, German Harmonia Mundi 0547277320 2). The Marantz's reproduction of the high frequencies of all the CDs I played was clear, clean, and extended, with no trace of brittleness or blunting. I particularly noticed this in the sounds of the shimmering Fender Jazzmaster guitars of Thurston Moore and Lee Ranaldo in "Becuz," from Sonic Youth's Washing Machine (CD, Geffen DGCD-24825). At the other end of the timbral spectrum, the bass-synth blasts in "Man/Machine," from Kraftwerk's Minimum/Maximum (CD, EMI ASW 60611), were powerful and kick-ass, with no loss of timbre, detail, or speed. The CD5004's expertise in high-level dynamics also made it a good match for hard rock. The aptly named "In Your Face," from Mountain's Man's World (CD, Viceroy VIA8033-2), put Leslie West's burning shred guitar front and center.

The Marantz's ability to render transients with lightning speed made it a good match for well-recorded percussion instruments. My acid test in this regard are the rapid-fire snare pyrotechnics of drummer Chris Tomson in "Cousins," from Vampire Weekend's Contra (CD, XL XLCD429), which the Marantz reproduced without a trace of smear. Speaking of drummers, the CD5004's powers of articulating low-level dynamics made listening to Jack DeJohnette's delicate opening percussion in the title track of his Dancing with Nature Spirits (CD, ECM 1558) an enjoyable and involving experience. The player's dynamic strengths enabled me to enjoy all jazz recordings I tried, especially the "breathing" quality of the ensemble in the title track of Wynton Marsalis's Low Levee Moan (CD, Columbia CK 47975). And Jimmy Smith's Hammond B-3 in "Midnight Special," from Fourmost (CD, Milestone MCD-9484-2), had the requisite growl in the lower middle register.

Although I wouldn't expect a budget CD player to be the last word in retrieving ambience from well-recorded classical discs, the Marantz CD5004 surprised me. The sense of space, air, and decay in Aki Takahashi's performance of Morton Feldman's Illusions, from Aki Takahashi Plays Morton Feldman (CD, Mode 54), gave her solo piano a sense of immediacy and delicacy I normally would expect only from more expensive players. This went hand in hand with the Marantz's ability to unravel detail. Listening to "Top of the Hill," from Tom Waits's brilliant Real Gone (CD, Anti- 86678-2), I was able to follow every instrument buried in this track's intentionally muddy mix. The CD5004 wasn't the last word in unraveling all the detail it retrieved, however. With more expensive players, I have been able to more easily follow the individual instruments on "How Am I Different," from Aimee Mann's Bachelor No.2 or The Last Remains of the Dodo (CD, Super Ego SE002). I had a similar experience in trying to follow the individual orchestral instruments in the recording of Penderecki's Credo by Helmut Rilling and the Oregon Bach Festival Orchestra and Choir (CD, HÑnssler CD 98.311).

It wasn't really fair to compare the CD5004 ($350) with Creek's Destiny CD player ($2495), but I thought it would be at least interesting. The Creek sounded more delicate and airy, with pristine highs. It was easier to follow subtle vocal phrasings and articulations of sibilants. The music also seemed more relaxed through the Creek, with more holographically presented bodies to voices and faster, more natural transient attacks on strings, both electric and acoustic. Being able to follow individual instrument lines was also much easier. Finally, the sound of the Marantz had a bit more of a mechanical quality, and its reproduction of percussion was at times a bit more forward and splatty.

That said, the CD5004 was nearly as uncolored as the Destiny, and with recordings containing no sustained high-level passages, such as solo piano recordings, the Marantz sounded rich and silky, with good resolution of detail and an ability to articulate low-level dynamics that were damn close to the Creek's—which costs more than seven times as much.

A kilobuck starter system
I hooked up the CD5004 to Marantz's PM5004 integrated amplifier and Paradigm's Atom v5 loudspeakers, and was taken by this inexpensive system's overall liquid and coherent balance. The sound wasn't the last word in high-frequency or bass extension, but what was there was relatively uncolored and involving, with realistic dynamic contrasts, convincing transient articulation, and decent amounts of air and ambience for such a low-cost system.

The Payoff
Even as Mikey Fremer and Stephen Mejias salivate over the resurgence of vinyl, others are hearing, or calling for, the death knell of the Compact Disc. I'm not one of them—although I own 12,000 LPs, I listen to CDs much more often than to vinyl or my iPod, and I don't think I'll ever get on the digital-server bandwagon. Young folks who want to put together an entry-level system should find the Marantz CD5004 an excellent way to start, and a gorgeous cosmetic and sonic match for the companion PM5004 integrated amplifier With components like this, we can survive the recent financial meltdown while listening to good music, and might still have some money left over for food. Well done, Marantz.





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Bilo je jedno pre par godina u ponudi na KP-u u Å¡ampanj varijanti.Prodato je ali je to pojaÄalo preživelo svaÅ¡ta i tumbanje u saobraćajnoj nesreći i mislim da mu je izgorela jedna cela strana iznutrica ali uz struÄnu pomoć renomiranog naÅ¡eg servisera je vraćeno u život sa originalnim delovima naruÄenim iz USA.

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Pozdrav za klub.Ja sam ponosni vlasnik Marantza pm 16 i cd 17 mk2 upgrade by damir Apparatus tj. audioperformance.neznam sta je radjeno tacno na njemu ali kad sam ga kupio uslikao sam ga pa sam stavio dve fotkice  unutrasnjosti mozda neko moze da nasluti sta je radjeno.od Marantza sam imao pm 66,pm 7000,pm 80.cd 63se,67,67mk2,67ose,6000ose KI,63mk2 KI.Imao sam i brdo drugih cd plejera ali volim marantz zvuk.Sto se tice pojacala,iskreno svasta sam imao a ovaj pm 16 sam kupio iz bezveze jer nisam bio zadovoljan sa UR unicom p a ono iznenadjenje.nisam mislio da je to tako dobar amp za te pare.u svakom slucaju sad sa marantzom sam se smirio sto sam mislio da je nemoguce.



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Pa 6000 ki i 63 mk2 ki su jako dobri.mislim da su bolji od obicne cd 17 imao sam i prvu verziju cd17 uporedo sa 63 ki.ovaj drugi je detaljiji i precizniji.a od mk2 neverujem da je bolji.pogotovo od ovog modifikovanog.ali imao sam 2 63 mk2 ki.ovaj iz engleske sto mi je donesen za uk trziste je svirao otvorenije od drugog iako su bili jaje jajetu po fizickom izgledu iznutra.sumnjao sam da je drugi koji sam kupio u BG nesto cackan ili menjan laser ali nisam moga nista sa sigurnoscu utvrditi

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Sada u oglasima ima jedan PM94 za 760e ali to je previsoka cena. Zna li se koliko je iskostao taj sampanj na kraju sa svim troskovima?


Mnogo,delovi iz Amerike su koÅ¡tali najviÅ¡e t.j. njihovo slanje i rad,za koliko je prodat ili je povuÄen iz prodaje to sada zaista neznam.




Ja sam hteo da menjam mog Denona (dcd 1650AR 12 kg) ali samo za Marantz 14-icu,17-ica mi nije bila legla neÅ¡to mada sada mi je i žao da menjam Denon-a naruÄio sam i zamenio laser (B.B. 4 x PCM1702 – SM5845AF,Sharp H8147AF za 25€?!) i stvarno je odliÄna sprava i oÄuvan.

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Gvlado-nisam cuo imao sam 2-3 daca izmedju ostalih i audiolab 8000 dac i nije mi leglo i pc nekoristim kao izvor zvuka.

Pavlaka-cd 17 nije bas ni meni bio legao.63mk2 ki je bolji i detaljniji za 40posto.stim da ima puniji vokal 17-tica ali to su i sve prednosti.nekako mi je razvodnjen zvuk bio.cd17 mk2 je drugaciji svi kazu.uglavnom ja sam dozivotni fan ken isivate

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  • 3 weeks later...

Dali je neko imao prilike da poredi marantz pm16 vs pm17 ili pm14.nemogu nigde da procitam konkretne razlike u zvuku


Tu bi trebao da bude pm 14 najbolji pa onda pm 16 pa tek onda pm 17.

Nemam direktno poredjenje ali po Äasopisima Å¡to ja imam ili sam ih Äitao odprilike je takav redosled.

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Da li si cuo mozda NA7004 ili neki jaci Marantz dac/network player i poredio sa cd playerom?


Slusam ja redovno :D. Imam NA7004 i CD6004, oba imaju isto Cirrus Logic kolo. Kada povezem CD sa NA coax kablom, cini mi se da se dobija nesto vise detalja, da je nesto sira pozornica i da je zvuk prirodniji. Radi se o vrlo malim razlikama. Iskren da budem nisam siguran da li isti chipset drugacije radi u razlicitim uredjajima ili je u pitanju placebo efekat.

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