Marantz PM6007
Marantz PM6007
The path to self-improvement is never-ending: no matter how successful or saintly we are, there is always a way to better ourselves. The same applies to hi-fi; regardless of how good a piece of kit is and how many accolades it has won, there is always room for improvement.
Marantz is many steps along the journey towards making the best budget stereo amplifier possible, most recently with this new PM6007, which sets out to improve upon the 2018-launched Marantz PM6006 UK Edition, the current What Hi-fi? Award-winner in its respective price bracket.
Enhanced performance
In our review of the PM6006 UK Edition, we said our only wish was that its vast connectivity had included Bluetooth and a USB input. However, that’s not where Marantz has sought to improve its 6000 Series line. Instead, the enhancements are centred around the performance – and who can argue with that? Marantz has implemented a new DAC into the PM6007, with the AKM AK4490 replacing the Cirrus Logic CS4398 found in its predecessor. It is complemented by two digital filters – a slow roll-off and sharp roll-off – that users can choose between when playing from a source connected to either of its two optical or single coaxial inputs. Such versatility has trickled down from the brand’s more premium digital sources, such as the SA-10 and SA-KI Ruby.
In an effort to improve performance across all inputs – four analogue line level, MM phono, coaxial and two opticals – strategic components have been changed in the power amplifier section. The phono stage has also been swapped in and benefits from upgraded circuitry – similar to that found in the PM7000N’S phono stage – to achieve a higher signal-to-noise ratio.
And while the entry-level amplifier still doesn’t have a USB input or Bluetooth, Marantz has added a subwoofer output to accommodate those who want to add extra thwack to their stereo set-up.
“Marantz has traded some of the smoothness of the PM6006 UK Edition for more oomph, and the result is a more spirited presentation”
Carbon-copy style
Styling-wise, the PM6007 is more or less a carbon copy of its predecessor – and indeed the model that came before that. In fact, Marantz hasn’t revamped the aesthetic much at all in the line’s 13-year history. Placed side-by-side, only the odd finish and button differential would distinguish the new PM6007 from the PM6003 released in 2009, apart from the model number printed on the facade. That familiarity is disappointing.
Moving away from appearances, this is a well-constructed, well-finished chassis that, while perhaps too densely populated with dials for some minimalist tastes, offers traditional hi-fi appeal.
The clearest evidence of the line’s evolution lies in the PM6007’S performance. Its sonic character is as
familiar as its casework: smooth, full-bodied and balanced, with a pleasing spaciousness. Like its predecessor, it’s about as agreeable a performer as you could ask for at this price.
Greater clarity and punch
It betters the PM6006 UK Edition in its greater clarity, precision and rhythmic punch. Marantz has traded some of that smoothness for more oomph, as well as tightened up the bass, and the result is a more spirited presentation.
The dramatic opener of Portishead’s live performance of All Mine comes through with more presence, while the PM6007’S clearer disposition also makes more of the special occasion provided by the accompanying 35-piece orchestra. We move onto Högni’s rhythm-driven Moon Pitcher and the layers of ambient strands are more cohesively entwined, the new Marantz’s musicality rigorously precise.
Textures take on new levels of tangibility, too. The melodic fingerpicking underpinning Matt Berninger’s acoustic-led Last Song is subtler, both in terms of the way the notes are formed and how they flow dynamically.
His characteristically brooding, contemplative vocal rises confidently above the aqueous acoustics, but the PM6007’S vocal delivery doesn’t feel as rock-solid and grounded as its predecessor’s. It’s not the end of the world, but in this regard the PM6007 has taken a small step backwards.
Marantz has done well to maintain consistency across the connections, with the DAC, headphone output and phono stage all strong. Over coaxial, a little clarity and precision is sacrificed, but the fullness and dynamism remain intact. We prefer the slow roll-off filter (shown by a blue LED) for its slight edge in naturalness over the warmer, more rounded sharp roll-off (a purple LED).
That performance reveals itself through the phono stage and 6.3mm front-panel headphone output – it’s cohesive and punchy, but falls short of the clarity and sparkle offered through the line-level.
“The Sony puts in another superb performance that’s punchy, vibrant and dynamic while always maintaining a firm grip on reality”
Budget market-leaders
The Marantz 6000 Series has given the company a firm grip on the budget hi-fi market over the past few years, and with the arrival of the PM6007, the amplifier line has been strengthened yet again.
As we concluded upon first hearing the PM6006 UK Edition, we wish Marantz’s engineers the best of luck in squeezing out even more performance next time round.