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Marantz PM10 Integrated Amplifier Made In Japan
Hi-Fi 4 Sale - Malaysia / Singapore Audio Forum & Marketplace | www.hifi4sale.net :: Audio & Video Equipment Marketplace :: Audio & Video Equipment: FOR SALE (New, Demo & NOS)
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Marantz PM10 Integrated Amplifier Made In Japan
by stylelaser.com.my Sat Jan 19, 2019 12:10 pm
Marantz PM10 Integrated Amplifier Made In Japan Brand New. Now Selling At RM29,999. Free Shipping Within West Malaysia.
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Amplifiers are at the core of Marantz history:
its 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 more like a high-end separate preamplifier and a pair of monobloc power amps, but all in one beautifully finished case, designed both to maximise performance and create a strong visual statement.
放大器是马兰士历史的核心：其最初的产品是高品质前置放大器，是为充分利用当时的新型LP唱片录音形式而设计的。将历史一直延伸到突破性的Audio Consolette（Saul B Marantz于1952年开始制造，且不久后成为首款真正的马兰士产品——Model 1前置放大器），那么公司最新的Premium系列机型PM-10是一款为当今所有音乐格式设立新标准的集成放大器，也就并不奇怪了。
事实上，这一强大的集成放大器构造更像是一款高端单体前置放大器和一对单声道模块功放，全都集成在制作精美的机箱中，一方面使性能最大化，同时打造强烈的视觉冲击。
Making an integrated amplifier with dual monobloc 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 with all the power and control required to drive the most demanding loudspeakers, allowing them to perform at their best.
通过使用立体声开关放大器，使把双单声道模块设计的集成放大器装在普通尺寸的机箱成为可能。它的目标是什么？为了展示从LP到最新高解析度音频文件以及其他所有一切的最大音乐表现，并凭借驱动最苛刻扬声器所需的所有功率和控制，使其表现出最佳性能。
To achieve such quality, while still delivering class-leading power, means optimising each section of the amplifier for its task, just as would be done in a design using a separate preamplifier and monobloc power amps.
Commonly, amplifiers use a single transformer, with separate power supply regulation for the preamplifier and power amplifier sections; the PM-10 takes things much further.
为了达到这种品质，同时仍带来业内领先的功率，就意味着优化放大器的各部分是其任务所在，就如使用分离式前置放大器和单声道模块功放的设计一样。通常，放大器使用单个变压器，前置放大器和功率放大器部分有独立的电源调节；PM-10则更进一步。
A dual-mono design, it 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 controlling volume adjustment, input selection and so on, ensuring no noise from the control section finds its way in to the audio path.
双单声道设计，为前置放大器和各个功放通道提供了独立的电源，前置放大器具有一个专用的变压器，确保从前置放大器该部分通过的精致信号不会受到高功率输出级的影响。
同时还为微型处理器提供了专用电源，控制音量调整、输入选择等等，确保来自控制部分的噪音不会进入音频路径。
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 analogue signals passing through the amp. That’s why Marantz chooses to design its Premium Series range with any digital-to-analogue 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’: when engaged, this deactivates any superfluous circuits, giving the signal the cleanest possible path through the amplifier. There’s also a Power Amp Direct input, taking the signal straight from the input section to the power stage to let the unit work as a pure power amplifier.
为什么？虽然放大器中装有 DAC 可能看起来方便，但数字电路的本性就是嘈杂的（按电子知识），而且会干扰通过放大器的精致的模拟信号。这就是为什么马兰士在设计其Premium系列产品时，选择为SA-CD/CD或网络音乐播放机装备数模转换功能，而保持其放大器尽可能纯粹和干净的缘故。
不仅如此，为实现最大程度的设计纯度，PM-10还设计了能在‘最纯净模式’中工作的选项：被选用时，能关闭所有多余的电路，为信号提供穿过放大器的尽可能最干净的路径。还有功放直接输入，直接将信号从输入部分带到功率级而让本机纯粹作为功放运作。
Fully balanced, from input to final power section
The benefits of balanced audio layout have long been understood: unlike a conventional layout, one half of the signal path is in the ground plane of either an amplifier or a cable, balanced working uses two conductors or paths – one for positive, the other for negative – and an entirely separate ground to protect them.
The benefit in 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 effect – which is why such 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 balanced working 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, it also means any noise or errors introduced in the circuitry will also be cancelled out.
An additional benefit is that balanced working also uses stronger signals than unbalanced designs, simple 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 one less susceptible to any outside interference: the more signal there is, the less obvious any noise will be.
完全平衡，从输入到最终功率输出部分
平衡音频布线的优点历来为人所知：与传统布线不同，一半信号路径处于放大器或缆线的接地平面中，平衡工作方式采用两条导线或路径——一个接正极，另一个接负极——并且完全单独接地以进行保护。
平衡电缆的优点是任何外部干扰都不会影响正极和负极导线，因为它们携带的信号是彼此的镜像，所以会相互抵消各种影响——这就是为什么这种缆线会广泛用于专业音频和录音室应用的原因，嗡嗡声在这类场合很常见，而且缆线越长，越容易受到干扰。
将平衡工作方式应用于音频电路同样如此：这种镜像布线，即由相同元件处理信号的正极和负极‘支脚’，不仅能抵消任何潜在干扰，还能消除从电路引入的各种噪音或错误。
另外一个优点就是平衡工作方式还使用比非平衡设计更强的信号，这是因为电路的两半都是主动的——不是仅一半推送而另一半只提供接地，而我们的设计具有‘推挽’操作。信号越强意味着越不容易受到任何外部干扰：信号越多，噪音就越不明显。
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 working before being passed through the amplifier.
PM-10使用从输入部分一直到最终功放部分完全平衡的布线效果：它有两组平衡输入，以及传统的非平衡线路电平输入（外加高品质唱头级），来自这些输入的信号会在通过放大器前被转换成平衡的工作方式。
By keeping the signal balanced all the way through the amplifier, and combining that with optimised power supply design, the Marantz engineers are able to achieve maximum noise rejection throughout the audio path, and the highest possible signal purity.
通过保持信号通过放大器时始终平衡，并结合优化的电源设计，马兰士工程师得以实现整个音频路径最大程度的降噪效果，以及最高可能的信号纯度。
Balanced, bridged power amplification
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. To achieve this, they continued the balanced working found in the preamp stage right the way through to the power amplifier stage to its speaker outputs, and also adopted bridged working to develop the power required while maintaining that balanced design. This True Balanced Concept realizes a ground-free signal management from the input to the output.
What is the bridged amplifier about? 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, using two separate amplifier stages per channel to drive one speaker. To greatly simplify things: one amp pushes the speaker cones and domes, while the other pulls them back.
That much greater control over the way the speaker drive units behave, in that the amplifier can make them start moving, and stop, much more precisely is very important for definition and the ‘speed’ of the system, meaning it can play music with much better rhythmic and spatial controls, not to mention making voices and instruments sound more realistic.
平衡、桥接的功率放大
对于PM-10，马兰士想获得尽可能纯净的声音，以及能驱动和控制世上最苛刻扬声器的功率和动态范围。为了实现这一目标，他们将前置放大器级中发现的平衡工作方式一直贯彻到功率放大器级，并落实到扬声器输出，而且采用了桥接工作方式，以产生所需的功率同时保持平衡设计。这一真正平衡的理念实现了从输入到输出的无接地信号管理。
桥接放大器是怎么回事？在传统放大器中，一个扬声器由每个声道的单个输出级的正极和负极部分驱动，但桥接放大器则不同，每个声道使用两个独立放大器级来驱动一个扬声器。大大简化了结构：一个放大器推动扬声器锥体和圆顶，而另一个将其拉回。
这能更好地控制扬声器驱动装置的操作方式，让放大器能更精确地促使它们开始移动和停止，这对系统清晰度和‘速度’而言非常重要，意味着它能以更好的节奏和空间控制来播放音乐，当然会使语音和乐器听起来更加真实。
n 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 2x200W into an 8ohm load, and can easily cope with demanding speakers or those whose impedance varies widely with frequency, thanks to a 2x400W output into 4ohms.
在PM-10中，功率输出级的桥接放大器——总共有四个放大器通道——让这种控制与巨大的功率输出相结合：可输出2x200W（8 Ω负载），还能输出2x400W（4 Ω负载），可以轻松搞定各种高要求或不同阻抗和频率的扬声器。
That ensures not just the power to drive even 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.
不仅确保有驱动更大型、功耗更大的扬声器至高电平的功率，同时保持声音洁净而无失真，还能‘掌控’以确保那些扬声器严格按音乐要求工作。使用最先进的开关放大器技术使一切成为可能，让集成放大器设计紧凑，同时仍满足马兰士的性能要求。
That 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, the company 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 optimised the HDAM through extensive listening in dedicated Marantz facilities in Europe and Japan, and since it was introduced this component has both been developed and also found its way into an ever-wider range of products.
这种思路促成了超高动态放大模块（或HDAM）的设计：由于对“芯片放大器”IC元件所能提供的音质不满，公司设计了自己的替代品，一个全部以分离式元件制作的小巧放大器模块。和所有此类设计决定一样，工程师们通过分布在欧洲和日本的专用马兰士设施进行大量聆听，选择并优化了HDAM。自从推出以来，此元件一直在开发中并在更大范围的产品中得到应用。
n 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 – just the thing for today’s ultra-high-resolution audio formats – and 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 favourite LPs. This isn’t a case of Marantz responding to the current ‘vinyl revival’: over the years, while developing and refining its digital competences, the company 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!
在PM-10中，使用了最新一代的HDAM SA3，作为设计用于尽可能最大频率和动态范围的电流反馈技术的一部分——正如当今的超高解析度音频格式——并在超快定制阻断式电容器协助下，实现尽可能最快的高电流要求响应。
相同的电流反馈设计应用于PM-10的唱头级，可进行配置以使用动圈式或动磁式唱头，为那些喜爱的LP带来最佳播放效果。这并非马兰士对于当前‘黑胶唱片热’的响应之举：数年来，在开发和提炼其数字能力的同时，公司一直全力以赴，要从LP和单曲唱片获得出色的音效。甚至在黑胶唱片重归时尚之前，公司在其产品中结合高品质唱头级为时已久！
Even the speaker terminals here are special: even 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.
这里即便是扬声器端子也很特别：即使最具雄心的竞争对手都倾向于使用第三方公司的元件，或在设计上哗众取宠，但是PM-10 采用了最新设计的由高纯度实心铜制作的专属马兰士SPKT-100+端子。
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’
与这款新参考级放大器背后的其他各种设计和工程决定一样，这些端子的制作都源于一个非常简单的理由：
‘音乐至上 (Because Music Matters)’。
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PM-10
Integrated amplifier
- The new reference class Integrated amplifier
- Four switching power amplifier channels in bridged mode (two per channel) for maximum grip and drive
- True Balanced Concept from input to speaker to realise ground-free signal management
- Massive power: 200Wpc per channel into 8ohms, and 400Wpc into 4ohms
- Easy driving of a wide range of speakers
- Wide-ranging dynamic ability thanks to instant high-current power supply
- Fully balanced throughout: both preamplifier and power amplifiers
- Marantz Hyper Dynamic Amplifier Modules (HDAM) in preamp stage
- Dual mono power amplifier configuration
- Separate power supplies for preamplifier and control processor, and for each power amp channel
- Discrete phono stage for moving coil and moving magnet cartridges in its own shielded case.
- High-quality construction with double-layer chassis, 5mm thick aluminium top lid, solid aluminium front, copper plated chassis and high-purity copper speakers terminals
- Double thickness copper PCB for the output section and main power supplies
PM-10
集成放大器
- 新参考级集成放大器
- 四个开关功放通道构成桥接模式（每通道2个），获得最大掌控和驱动性能
- 从输入到扬声器的真正平衡理念，实现无接地信号管理
- 强大功率：每声道200W（8 Ω负载），和每声道400W（4 Ω负载）
- 轻松驱动各种扬声器
- 利用瞬时高电流电源获得宽范围动态能力
- 从头到尾完全平衡：包括前置放大器和功率放大器
- 前置放大器级采用马兰士超高动态放大模块 (HDAM)
- 双“单声道功放”配置
- 前置放大器和控制处理器以及各功放通道都具有独立电源
- 用于动圈式和动磁式唱头的分离式唱头级，拥有自己的屏蔽壳体。
- 具有双层底盘、5mm厚铝制顶盖、实心铝制前面板、镀铜底盘的高品质结构，和高纯度铜质扬声器端子
- 输出部分和主电源配备双倍厚度镀铜电路板
Amplifiers are at the core of Marantz history:
its 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 more like a high-end separate preamplifier and a pair of monobloc power amps, but all in one beautifully finished case, designed both to maximise performance and create a strong visual statement.
放大器是马兰士历史的核心：其最初的产品是高品质前置放大器，是为充分利用当时的新型LP唱片录音形式而设计的。将历史一直延伸到突破性的Audio Consolette（Saul B Marantz于1952年开始制造，且不久后成为首款真正的马兰士产品——Model 1前置放大器），那么公司最新的Premium系列机型PM-10是一款为当今所有音乐格式设立新标准的集成放大器，也就并不奇怪了。
事实上，这一强大的集成放大器构造更像是一款高端单体前置放大器和一对单声道模块功放，全都集成在制作精美的机箱中，一方面使性能最大化，同时打造强烈的视觉冲击。
Making an integrated amplifier with dual monobloc 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 with all the power and control required to drive the most demanding loudspeakers, allowing them to perform at their best.
通过使用立体声开关放大器，使把双单声道模块设计的集成放大器装在普通尺寸的机箱成为可能。它的目标是什么？为了展示从LP到最新高解析度音频文件以及其他所有一切的最大音乐表现，并凭借驱动最苛刻扬声器所需的所有功率和控制，使其表现出最佳性能。
Optimised design
优化设计
To achieve such quality, while still delivering class-leading power, means optimising each section of the amplifier for its task, just as would be done in a design using a separate preamplifier and monobloc power amps.
Commonly, amplifiers use a single transformer, with separate power supply regulation for the preamplifier and power amplifier sections; the PM-10 takes things much further.
为了达到这种品质，同时仍带来业内领先的功率，就意味着优化放大器的各部分是其任务所在，就如使用分离式前置放大器和单声道模块功放的设计一样。通常，放大器使用单个变压器，前置放大器和功率放大器部分有独立的电源调节；PM-10则更进一步。
A dual-mono design, it 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 controlling volume adjustment, input selection and so on, ensuring no noise from the control section finds its way in to the audio path.
双单声道设计，为前置放大器和各个功放通道提供了独立的电源，前置放大器具有一个专用的变压器，确保从前置放大器该部分通过的精致信号不会受到高功率输出级的影响。
同时还为微型处理器提供了专用电源，控制音量调整、输入选择等等，确保来自控制部分的噪音不会进入音频路径。
Pure analogue
Another important part of the noise-reduction here is the fact that the PM-10 is a purely analogue amplifier: many rival designs are today including digital-to-analogue conversion, or adopting digital amplification and volume control, but the Marantz keeps things as clean and simple as possible with its highly-developed all-analogue 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 analogue signals passing through the amp. That’s why Marantz chooses to design its Premium Series range with any digital-to-analogue 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’: when engaged, this deactivates any superfluous circuits, giving the signal the cleanest possible path through the amplifier. There’s also a Power Amp Direct input, taking the signal straight from the input section to the power stage to let the unit work as a pure power amplifier.
纯模拟
这里降噪的另一重要成分，就是PM-10是一部纯粹的模拟放大器：众多竞争对手的设计如今都包含数模转换，或采用数字放大和音量控制，而马兰士则通过其高度先进的全模拟设计方案，尽可能使一切保持干净、简单。为什么？虽然放大器中装有 DAC 可能看起来方便，但数字电路的本性就是嘈杂的（按电子知识），而且会干扰通过放大器的精致的模拟信号。这就是为什么马兰士在设计其Premium系列产品时，选择为SA-CD/CD或网络音乐播放机装备数模转换功能，而保持其放大器尽可能纯粹和干净的缘故。
不仅如此，为实现最大程度的设计纯度，PM-10还设计了能在‘最纯净模式’中工作的选项：被选用时，能关闭所有多余的电路，为信号提供穿过放大器的尽可能最干净的路径。还有功放直接输入，直接将信号从输入部分带到功率级而让本机纯粹作为功放运作。
Fully balanced, from input to final power section
The benefits of balanced audio layout have long been understood: unlike a conventional layout, one half of the signal path is in the ground plane of either an amplifier or a cable, balanced working uses two conductors or paths – one for positive, the other for negative – and an entirely separate ground to protect them.
The benefit in 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 effect – which is why such 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 balanced working 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, it also means any noise or errors introduced in the circuitry will also be cancelled out.
An additional benefit is that balanced working also uses stronger signals than unbalanced designs, simple 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 one less susceptible to any outside interference: the more signal there is, the less obvious any noise will be.
完全平衡，从输入到最终功率输出部分
平衡音频布线的优点历来为人所知：与传统布线不同，一半信号路径处于放大器或缆线的接地平面中，平衡工作方式采用两条导线或路径——一个接正极，另一个接负极——并且完全单独接地以进行保护。
平衡电缆的优点是任何外部干扰都不会影响正极和负极导线，因为它们携带的信号是彼此的镜像，所以会相互抵消各种影响——这就是为什么这种缆线会广泛用于专业音频和录音室应用的原因，嗡嗡声在这类场合很常见，而且缆线越长，越容易受到干扰。
将平衡工作方式应用于音频电路同样如此：这种镜像布线，即由相同元件处理信号的正极和负极‘支脚’，不仅能抵消任何潜在干扰，还能消除从电路引入的各种噪音或错误。
另外一个优点就是平衡工作方式还使用比非平衡设计更强的信号，这是因为电路的两半都是主动的——不是仅一半推送而另一半只提供接地，而我们的设计具有‘推挽’操作。信号越强意味着越不容易受到任何外部干扰：信号越多，噪音就越不明显。
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 working before being passed through the amplifier.
PM-10使用从输入部分一直到最终功放部分完全平衡的布线效果：它有两组平衡输入，以及传统的非平衡线路电平输入（外加高品质唱头级），来自这些输入的信号会在通过放大器前被转换成平衡的工作方式。
By keeping the signal balanced all the way through the amplifier, and combining that with optimised power supply design, the Marantz engineers are able to achieve maximum noise rejection throughout the audio path, and the highest possible signal purity.
通过保持信号通过放大器时始终平衡，并结合优化的电源设计，马兰士工程师得以实现整个音频路径最大程度的降噪效果，以及最高可能的信号纯度。
Balanced, bridged power amplification
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. To achieve this, they continued the balanced working found in the preamp stage right the way through to the power amplifier stage to its speaker outputs, and also adopted bridged working to develop the power required while maintaining that balanced design. This True Balanced Concept realizes a ground-free signal management from the input to the output.
What is the bridged amplifier about? 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, using two separate amplifier stages per channel to drive one speaker. To greatly simplify things: one amp pushes the speaker cones and domes, while the other pulls them back.
That much greater control over the way the speaker drive units behave, in that the amplifier can make them start moving, and stop, much more precisely is very important for definition and the ‘speed’ of the system, meaning it can play music with much better rhythmic and spatial controls, not to mention making voices and instruments sound more realistic.
平衡、桥接的功率放大
对于PM-10，马兰士想获得尽可能纯净的声音，以及能驱动和控制世上最苛刻扬声器的功率和动态范围。为了实现这一目标，他们将前置放大器级中发现的平衡工作方式一直贯彻到功率放大器级，并落实到扬声器输出，而且采用了桥接工作方式，以产生所需的功率同时保持平衡设计。这一真正平衡的理念实现了从输入到输出的无接地信号管理。
桥接放大器是怎么回事？在传统放大器中，一个扬声器由每个声道的单个输出级的正极和负极部分驱动，但桥接放大器则不同，每个声道使用两个独立放大器级来驱动一个扬声器。大大简化了结构：一个放大器推动扬声器锥体和圆顶，而另一个将其拉回。
这能更好地控制扬声器驱动装置的操作方式，让放大器能更精确地促使它们开始移动和停止，这对系统清晰度和‘速度’而言非常重要，意味着它能以更好的节奏和空间控制来播放音乐，当然会使语音和乐器听起来更加真实。
n 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 2x200W into an 8ohm load, and can easily cope with demanding speakers or those whose impedance varies widely with frequency, thanks to a 2x400W output into 4ohms.
在PM-10中，功率输出级的桥接放大器——总共有四个放大器通道——让这种控制与巨大的功率输出相结合：可输出2x200W（8 Ω负载），还能输出2x400W（4 Ω负载），可以轻松搞定各种高要求或不同阻抗和频率的扬声器。
That ensures not just the power to drive even 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.
不仅确保有驱动更大型、功耗更大的扬声器至高电平的功率，同时保持声音洁净而无失真，还能‘掌控’以确保那些扬声器严格按音乐要求工作。使用最先进的开关放大器技术使一切成为可能，让集成放大器设计紧凑，同时仍满足马兰士的性能要求。
Carefully selected components
Marantz has long built a reputation for choosing the best-possible components for its Premium Series products – and if it can’t find what it wants, it designs and builds the required part.That 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, the company 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 optimised the HDAM through extensive listening in dedicated Marantz facilities in Europe and Japan, and since it was introduced this component has both been developed and also found its way into an ever-wider range of products.
精挑细选的元件
马兰士久负盛名，为其Premium系列产品挑选尽可能最好的元件——如果找不到想要的，则会设计并制造所需的部件。这种思路促成了超高动态放大模块（或HDAM）的设计：由于对“芯片放大器”IC元件所能提供的音质不满，公司设计了自己的替代品，一个全部以分离式元件制作的小巧放大器模块。和所有此类设计决定一样，工程师们通过分布在欧洲和日本的专用马兰士设施进行大量聆听，选择并优化了HDAM。自从推出以来，此元件一直在开发中并在更大范围的产品中得到应用。
n 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 – just the thing for today’s ultra-high-resolution audio formats – and 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 favourite LPs. This isn’t a case of Marantz responding to the current ‘vinyl revival’: over the years, while developing and refining its digital competences, the company 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!
在PM-10中，使用了最新一代的HDAM SA3，作为设计用于尽可能最大频率和动态范围的电流反馈技术的一部分——正如当今的超高解析度音频格式——并在超快定制阻断式电容器协助下，实现尽可能最快的高电流要求响应。
相同的电流反馈设计应用于PM-10的唱头级，可进行配置以使用动圈式或动磁式唱头，为那些喜爱的LP带来最佳播放效果。这并非马兰士对于当前‘黑胶唱片热’的响应之举：数年来，在开发和提炼其数字能力的同时，公司一直全力以赴，要从LP和单曲唱片获得出色的音效。甚至在黑胶唱片重归时尚之前，公司在其产品中结合高品质唱头级为时已久！
Built to perform
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 aluminium panels. Both products also sit on aluminium die-cast feet.为性能打造
与搭档的SA-10 SA-CD/CD播放机/DA一样，PM-10按照可能的最高标准制造，采用双层铜板底盘，具有极佳的抗机械和电子干扰能力，外壳由厚重的非磁性铝制面板制造。两款产品都带有铝制压铸支脚。Even the speaker terminals here are special: even 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.
这里即便是扬声器端子也很特别：即使最具雄心的竞争对手都倾向于使用第三方公司的元件，或在设计上哗众取宠，但是PM-10 采用了最新设计的由高纯度实心铜制作的专属马兰士SPKT-100+端子。
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’
与这款新参考级放大器背后的其他各种设计和工程决定一样，这些端子的制作都源于一个非常简单的理由：
‘音乐至上 (Because Music Matters)’。
Interested please feel free to contact:
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Fong 016-3098668
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SPECIFICATION
- 200 watts x 2 channels into 8 ohms at 0.005% THD
- 400 watts x 2 channels into 4 ohms
- current feedback amplification circuit for accurate, natural sound at all volume levels
- Marantz's Hyper Dynamic Amplifier Module (HDAM-SA3) offers exquisite detail and dynamic range while reducing noise
- frequency response: 5-50,000 Hz
- signal-to-noise ratio: 106dB line, 88dB phono (MM), 76dB phono (MC)
- dual-mono design with separate power supplies for the preamplifier and each amplifier channel
- toroidal transformer
- double-layer copper-plated chassis with aluminum feet to minimize vibration
- 2 balanced XLR inputs
- 5 RCA audio inputs (includes phono input for moving magnet and moving coil cartridges)
- Power Amp inputs for use with a separate preamp or A/V receiver with Front L/R preamp outputs
- stereo RCA recording output
- newly designed exclusive Marantz SPKT-100+ high-purity copper binding-post speaker connectors
- bi-amp/stereo switch lets you bi-amp your speakers using two PM-10s for even higher-fidelity sound
- full-size headphone output
- remote control
- detachable power cable
- 17-5/16"W x 6-5/8"H x 17-13/16"D
- weight: 47.4 lbs.
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