Marantz PM-47 Amplifier

I doubt that a buyer, getting acquainted with audio equipment in the store, is limited to external "prettiness" when choosing an amplifier. Marantz PM-47 can't be called a "model" in this sense, but you won't deny a certain appeal: you felt the designer's hand in the details of finish, which put the ease of control on the first place but didn't forget about the aesthetic canons of ergonomics. Regulators of timbre and balance, the buttons of loudness and tone disabling are placed in the lower part of the faceplate in a small hollow. This emphasizes to some extent that these functions are accessorial. Its absence can certainly bring some discomforts, but there are amps where they are completely excluded. But an amplifier can't live without volume control and input selector switch. In the eternal dispute between push-button and rotary input selector switches Marantz PM-47 prefers a push-button. Truly it takes up more space on the front panel and is more complex technically, this problem falls on the shoulders of the developers, and such switches are a bit easier in circulation, although this advantage affects only when you "hung" all possible signal sources on Marantz.

We, had been getting an eyeful of a variety of records' selectors in the tests, couldn't set no store by its convenience in PM-47. You can record the source, chosen by input selector switch, or install any other independently from it. The main thing is that everything is clear from the first glance, what can't be said about some other amplifiers. In the model of the amplifier Marantz PM-47 the developers decided to go without a remote control and connection of additional pair of speaker systems ("older brother" - PM-57 has all of these). In organic accordance with external simplicity and clarity of the front panel there is a construction of the amplifier. Schematic solution of the electronics is characterized by the desire to minimize the signal path. Such approach to the projecting of the circuits is supported by the majority of the developers and is intended to have a good impact on the quality of playing. Symmetry of schematic solutions, the adherents of which are the Marantz developers, also works on the musicality (I mean a correct by tonal balance and detailing by dynamics playing). Well-made power supply unit can be definitely entered in the asset of the amplifier Marantz PM-47.

At the first sound of "El Condor Pasa" we as if fall into the atmosphere of the carnival: it seemed that we were among the performers, dressed in colorful ponchos. Flutes draw their melody clearly and plunks of strings sing along with them, drawing intricate pattern of the melody. The feeling of live piano appears from a slightly enlarged scale. Marantz PM-47 gives the feeling of music lesson in the classroom where the instrument is near you. The neutrality of sound pleasantly flatters, and you may have a claim only to slightly blurred bass notes. One more impression is connected with tonal component of perception: if you imagine an overall hue of the play in color, dark tones will dominate there. Lost for a little in expressiveness of basses, "Two ships" (Miller Anderson) sounded as if it was played at the next table in the caf? due to the purity and clarity of execution. Strauss March confirmed again the correctness of the conclusion: there is a tendency to bring the orchestra to a listener, keeping quite a high quality.