Marantz SR5009 AV-receiver

D+M has a leading role in the audio/video receiver market. It's actually an amalgamation of two former firms with that is noticeably distinct (though both distinguished) histories. Denon, born in 1910 and known for a time as Nippon Columbia, was originally a maker of gramophones and discs in Japan. Marantz, in contrast, came to be in the U.S.A. in the early 1950s when Saul Marantz of Kew Gardens. New York, started assembling preamps in his house.

After numerous corporate permutations (which comprised a three-decade relationship between Marantz and Philips). Denon and Marantz unified in 2002 into what is nowadays called the D+M Group. In 2014, the professional offices of both brands were acquired by in Music Brands, a manufacturer of DJ gear. Nevertheless, the consumer offices continue to advertise A/V receivers along with other audio products below the D+M umbrella.

The SR5009 ($899) is one of three new Marantz A/V receivers, additionally including the strong SR6009 ($1,299) and Dolby Atmos -able SR7009 ($1,999). No, the 7-channel SR5009 doesn't include Atmos decoding-with the exception of Onkyo, which offers three 7.1-channel Atmos-compliant versions, AVR manufacturers have selected to focus their first Atmos attempts on 9- and 11-channel models that can drive a minimum of four height speakers in addition to the basic 5.1-channel configuration.

AirPlay, and Bluetooth, and they're all free from inconvenient extra-price dongles. That possibly saves you hundreds and increases our value rating.

Marantz receivers possess a unique convex-curved front panel with a small porthole screen. The porthole is augmented by some models using a bigger screen concealed behind a flip-down door, though this receiver does not.

If you depend on the front-panel display, the porthole's modest size may be a constraint. The buttons (for sound mode, zone, dimming, etc.) that generally would be behind the door are instead beneath the porthole in plain view, reduced to slivers to avoid marring the clean visual design.

This $899 receiver offers a completer back panel than, say, a typical $600 version does. This really is very common for most 2014 AVR models, but it's not an omission that is ignored, either. While it is hard to know exactly what ramifications this might have for the passthrough of Ultra HD content, it is clear that at least some future streams and most likely the upcoming UHD Blu-ray Discs (now scheduled to appear from the end of 2015) is going to be encoded with HDCP 2.2, and even HDMI 2.0-compliant models nowadays that lack this latest copy protection scheme would likely block such signals. The impact of this on your buying decision will depend on how critical you deem future proofing for UHD video switching.

Also present on the SR5009 are three high definition-capable component video inputs and one output signal. A few of our readers have expressed concern concerning the disappearance - $l,000 receivers. The of our readers will not be sad to find the 7.1-channel input and 7.1-channel output (with two subwoofer connections that are monophonic) on this one. The multi-ins would play fine with all the multi-outs on your own high res SACD disc player, and the preamp-outs would allow the receiver to serve as a preamp/processor, feeding a separate multichannel power amp. Stereo analog inputs (four) and digital coaxial/optical inputs (two each) are relatively plentiful, which means this receiver will support your two full stands of legacy parts, though altering the litter boxes for the 30 cats is still a duty you have to bear alone.

With Denon and Marantz sharing the D+M steady, it is not surprising that some Denon receivers and the SR5009 have several traits in common, like the graphical user interface (with its exceptionally readable and good looking font) and the somewhat simplified remote control. Both brands supply cardboard microphone stands for use during vehicle set up, a plus that is helpful. Despite these similarities, both brands have traditionally had different cosmetics and (within my experience) voicing, with Denon commonly offering a more "clinical" audio and Marantz a more "euphonic" one.

The SR5009 is rated at 100 watts per channel with two channels. Another Marantz tradition would be to keep 75 percent of rated power with five channels see our measurements to discover whether this version quantifies up to that yardstick. Room correction is MultEQ XT, Audyssey's second-best system and I consider Audyssey's second-best to be somewhat great really.

Besides AirPlay and Bluetooth, this receiver can use DLNA via Wi-Fi or Ethernet connections to grab music from a PC, network attached storage drive, or USB external drive. That contains high-resolution files including DSD; FLAC, and WAV up to 192 kilohertz and 24 bits; up to 96/24, ALAC and AIFF; and lossy MP3 and AAC. Gapless playback is supported for the majority of formats, not just for the Apple-approved ones, and this is said by Marantz is an exclusive (glad I asked!). A sticker on the front panel observes the existence of Spotify Join audio streaming.

Oppo BDP-83 worldwide disc player, Micro Seiki BL-21 turntable, Shure V15MxVR/N97XE cartridge/stylus, and a new/old addition a Denon PRA-S10 stereo preamp functioning as phono preamp. A D+M-associated review looked an appropriate time to rescue this champagne-finish beauty in the rear of a closet. It was the attempt to catch a portion of the high end two channel market in the early 1990s of Denon.


I occasionally break in receivers before running their room correction systems and do not reach any hasty decisions. But I could not help noticing after a few hours that this Marantz. au naturel, appeared strikingly similar to the last few Denon receivers I've reviewed. A top end that was reticent was meant by that. Fairly unlike Marantz versions I've known in the past. Is D+M adopting voicing that is similar for both lines (or homogenizing to the innards that are crucial)? Denon says no that Marantz and Denon products are expressed and sound- tuned by two wholly separate teams, and that the SR5009 additionally has additional preamp circuitry (their HDAMS module) not seen in Denon models. But both brands sounded the same unvarnished but also reacted likewise to room correction. With Audyssey MultEQ XT in play, the room-corrected difference was startling, with the imaging of items in the soundfield, remarkable gains in detail, and entire soundfield integrity. Folks, I am not complaining: This receiver sounded beautiful. D+M working, whatever It is aiming to do.

Homefront, using a Sylvester Stallone screenplay that is skillful, continues a recent uptick in the grade of soundtracks. Should you want your bikes, DEA raids, shootouts, explosions, along with other various apocalypses nicely incorporated with clear dialogue, you had just like the way the Marantz handled this soundtrack. Audyssey's bass equalization was place on, shaping bass above and below the sub crossover to a fare thee well, and integrating the loudspeakers and sub.

One advantage of licensing Audyssey is the choice of Dynamic and the Dynamic EQ Quantity low level listening modes. It enabled me to correct the volume control down marginally.

Captain Phillips has Tom Hanks at the helm of a merchant ship, squaring off against Somalian pirates.

The Marantz continued to manage varied soundtrack elements stressed conversation, sounds that were seafaring, all of the things that make you feel you're aboard a boat and louder passages showed no sign of stress. This demo lingered later into the evening's silent time. This enabled an even lower volume setting the soundtrack components were so well juggled that the nearly excruciating tension never abated.

After all those actions thrills, The Grand Budapest Hotel's broad comedy arrived as a relief.

It's among the most whimsical musical scores I've heard in quite a while, which the Marantz delivered lovingly not for the first time. I ascribe human features with batch of spatial and textural richness -- to hardware. Balalaikas festooned the soundtrack, and by the time the credits rolled, they had taken over fully, with the Ludmila Zykina State Academic Russian National Balalaika Ensemble executing angry dervishes around the place.

The Marantz SR5009 is a solidly engineered environment receiver having an naturally great-sounding amp as well as room correction's type that takes the amp to the following level. The multiple existences of AirPlay, Wi Fi, and Bluetooth are essential concessions to the way people listen now, though this receiver also adapts old-fashioned cd-whirling listeners with the type of performance that produces a hard copy music library rewarding. I came this close to adopting a somewhat beefier Marantz as my reference receiver. The reputation for delivering great sound of the brand continues to be well got.

Marantz SR5009 AV-receiver photo