Description
Marantz PM 10 S1 : Integrated Amplifier
Amplifiers are at the core of Marantz history. Marantz’s very first product was a high-quality preamplifier designed to make the most of the then-new LP record format. And with a history stretching all the way to that ground-breaking Audio Consolette – which Saul B Marantz started manufacturing in 1952, and which soon became the first real Marantz product, the Model 1 preamplifier – it’s no surprise that the company’s very latest Premium Series model, the PM-10, is an integrated amplifier built to set new standards with all of today’s music formats.
In fact, this massively powerful integrated amplifier is constructed like a high-end separate preamplifier and a pair of monoblock power amps in one beautifully finished case, designed both to maximize performance and create a strong visual statement.
Making an integrated amplifier with dual monoblock design fitting in a normal size cabinet is made possible by the use of a stereo switching amplifier. Its aim? To reveal the maximum musical involvement from everything from LPs to the latest high-resolution audio files and beyond – and offering all the power and control required to drive the most demanding loudspeakers, allowing them to perform at their best.
Typically, amplifiers use a single transformer, with separate power supply regulation for the preamplifier and power amplifier sections. The PM-10 takes things much further.
With its dual-mono design, the PM-10 has separate power supplies for the preamplifier and each of the power amplifier channels, with one transformer dedicated to the preamp to ensure the delicate signals passing through that section of the amplifier aren’t affected by the demands of the high power output stages. There’s also a dedicated supply for the microprocessor which controls volume adjustment, input selection and so on, ensuring no noise from the control section finds its way into the audio path.
Another important part of the noise-reduction here is the fact that the PM-10 is a purely analog amplifier: many rival designs are today including digital-to-analog conversion, or adopting digital amplification and volume control, but Marantz keeps things as clean and simple as possible with its highly-developed all-analog design.
Why? Well, though it may seem convenient to have a DAC in the amplifier, digital circuitry is, by its very nature, noisy (in the electrical sense) and can interfere with the delicate analog signals passing through the amp. That’s why Marantz chooses to design its Premium Series range with any digital-to-analog conversion in its Super Audio CD or network music players, keeping its amplifiers as pure and clean as possible.
What’s more, to make the most of that purity of design, the PM-10 has also been designed with the option of working in ‘Purest Mode.’ This deactivates any superfluous circuits, giving the signal the cleanest possible path through the amplifier. There’s also a Power Amp input, taking the signal straight from the input section to the power stage to let the unit work as a pure power amplifier.
The benefits of balanced audio circuit design have long been understood. Unlike a conventional layout, in which one half of the signal path is in the ground plane of either an amplifier or a cable, a balanced design uses two conductors or paths. One is for positive, and the other is for negative. An entirely separate ground protects them.
The benefit for cables is that any external interference will affect both positive and negative conductors, but since the signals they are carrying are the mirror image of each other, they will mutually cancel out any deleterious effect. This is why baalnced cables are widely used in pro audio and studio applications, where sources of hum are common, and the longer cable runs involved makes them particularly prone to picking up interference.
The same is true when a balanced design is applied to audio circuitry. Not only does this mirror-imaging of the layout, in which identical components are handling the positive and negative ‘legs’ of the signal, cancel out any potential interference, but it also means that any noise or errors introduced in the circuitry will also be canceled out.
An additional benefit is that balanced circuitry also uses stronger signals than unbalanced designs, simply because both halves of the circuit are active. Rather than just having one half pushing and the other just providing the ground, here we have a ‘push pull’ operation. And a stronger signal means a signal that is less susceptible to any outside interference. The more signal there is, the less obvious any noise will be.
The PM-10 uses a fully balanced layout, from the input section all the way through to the final power amplifier section. It has two sets of balanced inputs – and also conventional unbalanced line-level inputs (plus a high-quality phono stage), the signal from these inputs being converted to balanced design before being passed through the amplifier.
By keeping the signal balanced all the way through the amplifier, and combining that with an optimized power supply design, the Marantz engineers are able to achieve maximum noise rejection throughout the audio path, and the highest possible signal purity.
For the PM-10, Marantz wanted the purest possible sound, plus the power and dynamics to drive and control some of the world’s most demanding speakers. Balanced design is part of the equation, and so is bridged circuitry.
In a conventional amplifier, one speaker is driven by the positive and negative part of one single output stage per channel, but a bridged amplifier does things differently. It uses two separate amplifier stages per channel to drive one speaker. One amp pushes the speaker cones and domes, while the other amp pulls them back. This contributes to the ‘speed’ of the system, meaning that the PM-10 can play music with high responsive rhythmic and spatial control, not to mention making voices and instruments sound more realistic.
In the PM-10, the bridged amplifiers in the power output stage – a total of four amplifier channels – allow this control to be combined with huge power output. It delivers 2 x 200W into an 8 ohm load and can easily cope with demanding speakers or those whose impedance varies widely with frequency, thanks to a 2 x 400W output into 4 ohms.
That ensures not just the power to drive big, power-hungry speakers to high levels while keeping the sound clean and distortion-free, but also the ‘grip’ to make sure those speakers are doing just what the music demands. It’s all made possible by the use of the latest switching amplifier technology, allowing a compact integrated amplifier design while still fulfilling Marantz performance requirements.
Marantz has long enjoyed a reputation for choosing the best-possible components for its Premium Series products. And if Marantz can’t find what it wants, it designs and builds the required part.
This thinking informed the design of the Hyper Dynamic Amplifier Module (or HDAM). Unhappy with the audio quality available from ‘amplifier on a chip’ IC components, Marantz designed its own alternative in the form of a miniature amplifier module built entirely of discrete components. As with all such design decisions, the engineers selected and optimized the HDAM through extensive listening in dedicated Marantz facilities in Europe and Japan. Since its introduction, the HDAM has evolved and found its way into an ever-wider range of products.
In the PM-10, the latest-generation HDAM SA3 is used as part of a current feedback topology designed for the widest possible frequency and dynamic ranges. This is just the thing for today’s ultra-high-resolution audio formats, and it’s aided by ultra-fast custom made block capacitors for the fastest possible response to demands for high current.
The same current feedback design is applied to the phono stage in the PM-10, which is configurable for use with either moving coil or moving magnet cartridges for the best possible playback of those favorite LPs. This isn’t a case of Marantz responding to the current ‘vinyl revival.’ Over the years, while developing and refining its digital competences, Marantz has remained totally committed to the excellent sound possible from LPs and singles. It has long been fitting its products with high-quality phono stages, even before vinyl came back into fashion!
Like the partnering SA-10 Super Audio CD/CD player/DAC, the PM-10 is constructed to the highest possible standards, with a double-layered copper-plated chassis for excellent rejection of mechanical and electrical interference, and casework constructed from thick, heavy, non-magnetic aluminum panels. Both products also sit on aluminum machining feet.
Even the speaker terminals here are special: the highest-aiming rivals tend to use components bought in from third party companies, or designed as much for ‘show’ as ‘go’, but the PM-10 has newly-designed and exclusive Marantz SPKT-100+ terminals, made from high-purity solid copper.
In common with every other design and engineering decision behind this new reference class amplifier, those terminals are there for one very simple reason: ‘Because Music Matters.’
Specifications : Marantz PM 10 S1
- Power Output (8 / 4 Ohm RMS): 200W/400W
- Frequency Response: 5 Hz – 50 kHz
- Total Harmonic Distortion: 0.005 %
- Damping Factor: 500 dB
- Input Sensitivity: MM – 2.6 mV / 47 kohm
- Input Sensitivity: MC – 280 μV / 33 ohm (MC-LOW) 280 μV / 133 ohm (MC-HIGH)
- Signal to Noise Ratio: MM/MC – 88 / 76 dB
- Input Sensitivity: High level – 440 mV / 20 kohm
- Input Sensitivity: Balanced High level – 880 mV / 40 kohm
- Signal to Noise Ratio: High level – 111 dB (2V input/rated output)
- Input Sensitivity: Power Amp IN – 1.5 V / 20 kohm
- Signal to Noise Ratio: Power Amp IN – 113dB
- Dimensions: 17.3″ wide, 17.8″ deep, 6.6″ high
- Weight: 47.4 lbs.
