Marantz: the Man and the Company

Marantz: The Man and the Company

t’s not often that a man and a brand input. In particular, we’d like to thank three children on July 7th, 1911, in are synonymous unless, of course, Ed Woodard, a long-time associate of New York City. Ithey’re really eponymous. But the Saul’s. Through Ed, we even spent time name Marantz is, if anything, more with Saul’s daughter, June Chamberlain Much of Saul’s early childhood was prominent in today’s world of consumer and her husband Mark as she remi- unremarkable and unrecorded. electronics than it was when Saul B. nisced about her child’s-eye view of her Although he showed an early aptitude Marantz founded the Marantz Company soon-to-be-famous father. Mark con- for technology, experimented with crys- in 1953. tributed many photos from the family tal radios, crafted a microscope in his archives, photos that we suspect have early teen years, and hoped to pursue Although others certainly aided the never appeared outside family gather- training as an electrical engineer, his early growth of the consumer electron- ings. We’re fortunate to have them. family’s fortune (or, more accurately, ics industry (or the “hi fi” business, as the lack of same) dictated otherwise. it was then known), perhaps no one was Although he was accepted into an as recognized for his passionate pursuit exclusive Rapid Advance program in of high quality sound reproduction as the New York City public schools, he was Saul B. Marantz. had to leave after the 8th grade to help support his family. As is the case with many people, Saul’s accomplishments were more the result His first job was as a messenger for a of being in the right place at the right now-unknown firm in the NYC finan- time and having the vision and skills cial district. This experience was not necessary to inspire others. If any one altogether positive as he was fired thing stood out from the beginning, it after taking an unauthorized holiday was Saul’s insistence that good indus- on the “friendly advice” of a jealous trial design was as important as superi- co-worker. Fortunately, the young or performance. It was the cosmetic Marantz had spent much of his down design, he felt, that would play an time at the same firm’s art department essential part in bringing electronics and was immediately accepted as an out of the garages and into the living apprentice. rooms of music lovers everywhere. This picture was most likely taken in Brooklyn when Saul was about 1 yr. old. Although Marantz’s years of atten- His history, and that of the company he (Photographer unknown.) dance and curriculum are largely founded, forms an extraordinary picture unknown, he continued his art training of individual accomplishment and cor- with courses at Pratt Institute in porate evolution. We hope you enjoy this fascinating look Brooklyn. After his formal training, he into the life of one of the industry’s true became a commercial artist serving Although certainly not complete, the pioneers. such clients as Hanes (for whom he story we’re presenting here is unique. may have designed the logo) and We’ve interviewed many people in the The Beginning General Electric. consumer electronics industry who He met his future wife, Jean Dickey, in were close to Saul during his life. They Saul B. Marantz, perhaps the man most NYC at a St. Patrick’s Day party in gave generously of their time and responsible for the birth of the high-end 1939. A friend who was dating anoth- knowledge and we thank them for their audio industry, was born the oldest of er resident of the “women only” hotel

1 Saul at his drafting table. Photo taken in the early 1930s. Jean and Saul Marantz. Photo taken immediately (Photographer unknown.) following the wedding. (Professional photographer unknown.) where Jean lived had issued the invi- Saul joined the Army Transportation tation. Saul and Jean were engaged on Service in the spring of 1943 as a Valentine’s Day, 1940, and married in civilian employee. (During this time, October of the same year in Basking Jean Marantz stayed with her family Ridge, NJ. in Minnesota.) He was sent to San Francisco in August, then to New Jean was to play a pivotal role in Orleans where he began service on a bringing the name Marantz to the chartered oil tanker. From New public’s attention. She had graduated Orleans, he went through the Panama from Vassar College with a liberal arts Canal to the Pacific theater. During degree. After Vassar, she returned to this initial journey, he was awarded a her family’s home to attend graduate “Shellback Certificate,” a document school in architecture at the given to everyone crossing the University of Minnesota. She left one Equator for the first time. The certifi- semester short of her degree after the cate states his nickname as “King Department Chairman suggested that, Kong,” a reference to his hirsute as a woman, she would not be taken physique. seriously in her chosen field. After working for a Persian art dealer, she Although Marantz did not partake in This photo was taken on the day Saul moved once again to NYC in 1938, any battles, he spent time in New returned from the Pacific theater. His where she worked in the accounting Guinea, where an Australian pilot, daughter, June, is behind the stroller. office of Macy’s. (Although this seems much against regulations, flew him (Photo most likely taken by Jean an unlikely preparation, her proficien- over the Owen Stanley Mountains for Marantz.) cy with math, particularly calculus, a reunion with his brother, Charles, proved invaluable to Saul as he read- who was stationed there as a member ied the “Audio Consolette,” his first of the military. First Mate were “under the influence.” product, for sale many years later. Marantz confined both to their quarters Jean’s ability at solving complex Things were not entirely calm for the and assumed temporary command. No equations allowed her to calculate the young Marantz, however. While taking the mutiny charges were filed, however, as proper values for many of its internal tanker through the Great Barrier Reef, he the Captain later admitted that Marantz’s circuit components.) discovered that both the Captain and actions were “correct.”

2 This four-disc set from MCA is now a collector’s item.

One of Saul’s photos, this one from The Segovia Technique, by Vladimir Bobri. This edition published by The Bold page 45 of The Segovia Technique. Strummer, Ltd., Westport, CT

During his employment with the Army tro, Andres Segovia. (Their daughter, hours in the darkroom experimenting Transportation Service, Saul earned his June, remembers sitting on Segovia’s with prints to achieve a maximum of GED (Graduate Equivalency Diploma) knee when Segovia visited her parents, brilliance and clarity.” and, though he was technically a civil- probably at the Woodside home. She ian, rose to nominal rank of Major. also remembers a large empty speaker Marantz’s Segovia photos also appear in enclosure in the house which she used the booklet accompanying the 4 CD set After his return, Saul and Jean lived in as hiding place when she was 3 or 4 called “Andres Segovia – A Centenary Woodside, a suburb in the Borough of years old and suggests that this is evi- Celebration” released on the MCA label Queens, New York City, and later moved dence of her father’s co-developing (MCAD4: 11124). to Kew Gardens, another Queens neigh- interest in music and electronics.) borhood. The “Classic Vladimir Bobritzski, also a member of Saul Marantz’s musical interests blos- the Guitar Society, later authored Marantz” Period: somed in the late ‘40s and early ‘50s (under the shortened name “Bobri”) a 1951 to 1964 when friends Karl and Ginny Noell book entitled The Segovia Technique, invited Saul and Jean to a meeting of originally published in 1972. The arrival of the monaural LP record the New York Society of Classical in 1948 and general post-war pros- Guitar. The couple soon joined the Saul took many photographs of perity contributed to the rising inter- Guitar Society, as it was called by Segovia’s fingering style for this book est in high fidelity equipment. members, and Saul began guitar les- and received the following acknowl- Among many other companies, sons shortly thereafter. During this edgement for his work in the book’s McIntosh Laboratories, Fisher Radio, period, the couple met and developed Preface: “SAUL MARANTZ who took and H.H. Scott began to manufacture a strong friendship with guitar maes- most of the photographs and spent components.

3 The house that started it all. In the basement of his Kew Gardens home at 81st Avenue and Austin Street, Saul Marantz began to hand assemble the “Audio Consolette,” the first in a series of products that now spans over 50 The Marantz Model 1 Preamplifier: The first product of the newly formed Marantz years. (Photo from http://www.oldkew- Company (1954) gardens.com/)

Saul Marantz, however, was not satisfied The Model 2 power amplifier followed in with the commercially available compo- 1956. Largely completed by Sidney nents of his day and he began to build Smith, it was a very successful tube his own. One of the major problems fac- design using EL34s in “ultra-linear” ing music enthusiasts at the time was (push-pull) configuration. the large number of different equalization characteristics used by record com- Although some sources cite the Model panies. These disparate “EQ” curves 2 as the beginning of Smith’s exclusive made it difficult to fully enjoy records concentration on power amplifiers from different labels as most record The Model 2 power amplifier, the first while Saul focused his attention on pre- companies adhered to their own in- of Sidney Smith’s designs. amplifiers, the truth is that Sidney house standards. Smith was intimately involved in the early units, he stayed to become chief development of many products, even To solve the problem, Saul Marantz engineer. the vaunted Model 10 and 10B tuners. designed a preamplifier (the original Although Marantz was a talented “Audio Consolette”) that incorporated The first 100 units of the Audio designer, his formal education was in many equalization curves. It created a Consolette sold quickly through Harvey the graphic arts. Consequently, his sensation among his friends and he was Radio’s (now Harvey Electronics) main understanding of electronics, while advised to start mass production. Jean store, then on 6th Avenue in Manhattan. extensive for a non-professional, was encouraged him by suggesting “How However, because of an ever-increasing largely self-taught. Smith, on the other about making 100 sets by way of trial?” reputation and a large backlog of orders hand, benefited from the disciplined Production, or, more accurately, hand (estimates vary from 400 to 800 units), knowledge resulting from his military assembly, began in 1952 in the base- Saul established the Marantz Company training in electrical engineering. ment of the Marantz home in Kew in 1953 and opened a factory in Gardens (Queens), New York. Woodside. The Model 1, the successor Other products followed soon after the to the “Audio Consolette,” appeared in Model 2 as the company evolved: the 1954. Model 3 electronic crossover and the Enter Sidney Smith Model 5 power amplifier, a revised and The Model 1 was ground-breaking in more attractive version of the Model 2. Interestingly, it was during this period several respects. Although it greatly However, it wasn’t until 1958 that the that the now-legendary Sidney Smith resembled the “Audio Consolette,” it Marantz Company and the entire indus- appeared at Saul’s home. A trained was the first preamplifier to include try was inspired by the appearance of the electrical engineer and ardent vocal the brand-new RIAA (Recording stereo LP record. student, he had seen an ad for the Industry Association of America) Model 1 and was looking for work standard equalization curve in addi- As all previous Marantz components after moving to New York from tion to a large number of older and were designed for monaural systems, the Chicago. After demonstrating his abil- non-standard curves. The Model 1 company knew that new products were ity by modifying the Consolette’s cir- also had a tape monitor switch and a needed. Later in 1958, Marantz intro- cuitry to solve some noise problems in “TV” input. duced the Model 6 stereo adaptor.

4 Designed to unite two Model 1s for stereo use, the Model 6 featured a 2- channel input selector and volume control. The Model 6 connected to two Model 1s through their tape monitor inputs and was cosmetically designed to flank a stacked pair of Model 1s.

In December of 1958, a true stereo preamplifier, the Model 7, was released. The circuitry was basically different from most preamplifiers of the day as the Model 7 used a unique three-stage phono preamp/equalizer that later became known as the “Marantz circuit.” The Marantz Model 7 Stereo Preamplifier, one of the most honored The Model 7 dominated the high fidelity components in the history of home entertainment. industry as no other product before had done. Over its life, more than 130,000 tics, extended the Marantz tradition of units were sold and it was honored as the integrating functionality with high style premiere example of preamplifier design and provided an aesthetic template still for many, many years. The front panel used by Marantz today. was pure Marantz and featured a sophisticated asymmetrical arrangement of The combination of a Model 7 and two knobs and switches directly traceable to Model 9s is, even now, recognized as a Saul Marantz’s intimate knowledge of high point in the history of high fidelity. industrial design. Richard Sequerra With its popularity came legends, and The Perfect including that of the so-called “Model The Marantz Model 9 monaural power 7C” variant. In reality, all Model 7s were amplifier – still a classic almost 50 Tuner essentially identical, except for minor years after its introduction. running production changes. The “7C” As the Marantz reputation grew, dealer designation refers to a Model 7 in a cab- demand for a Marantz tuner increased as inet, hence the “C” suffix. (Marantz did paragraph.) The power output of both well. After making faceplate and knob produce a few Model 7s with an extend- the Model 8 and the 8B was 30 watts kits for Fisher and H. H. Scott tuners so ed 19” rack-mountable front panel with per channel. they would match Marantz preamps, the handles. These were sold primarily for company began an extensive R&D pro- professional use but the circuitry was The Model 9 monaural power amplifier gram to produce a tuner of its own even identical to the more popular consumer was released in 1960. Using EL34 though FM stereo broadcasting was still version.) tubes, this ultra-linear parallel push-pull in its infancy. Richard Sequerra, a high- design produced 70 watts of power, a ly trained and knowledgeable engineer In 1959, Marantz released the Model 8. significant accomplishment for its time.1 with extensive experience in radio fre- With the soon-to-follow 8B, it was the The increased power resulted, in part, quency design, joined Marantz in 1961. only tube stereo amplifier the company from the strong rivalry with McIntosh, ever produced. Although most regard the whose power amplifiers were generally His goal was simple: Produce a tuner Model 8B (introduced in 1962) simply more muscular than otherwise compara- as exceptional in its category as were as a modified Model 8, there are signifi- ble Marantz models. In addition to high the Models 7 and 9 in theirs. It took cant differences between the two. For power, the Model 9 reached new cosmet- more than three years of costly one thing, the 8B featured a Sidney ic horizons thanks to a bias meter cen- research and the efforts of additional Smith-designed transformer, and was tered on the front panel and a drop-down consulting engineers, including more stable and phase-accurate, thanks front panel door that concealed adjust- Mitchell Cotter, to reach fruition. in part to a negative feedback circuit ments and connections. The meter, in Although Sequerra rightfully deserves originally developed for the Model 9 addition to allowing a user to easily com- substantial credit for the design, his monaural power amplifier. (See the next pensate for different tube characteris- was not the only chef’s hat in the

1 Among other qualities, the Model 9 was exceptionally stable. In fact, the young Marantz Company was startled when it began receiving orders from NASA contractors for a slightly modified version called the 9120. To its amazement, the company found that multiple Model 9120s were specified as the amplifiers of choice to drive precision arrays of tracking antennas for the then-embryonic space program.

5 after a meeting of the Board of Directors of the Institute of High Fidelity, a trade organization both men belonged to.

Tushinsky, an avid musician, had been looking for a way to insure Superscope’s future. Originally founded to provide wide-screen camera and projector optics to Hollywood’s film industry, that effort eventually fell victim to other film for- mats. In the meantime, Superscope’s connections in Japan led to a distribution agreement with Sony under which

The Model 10B, often considered the pinnacle of FM reception. kitchen. In the end, Sidney Smith contributed his considerable talents also. As retold by a close associate, Saul Marantz said “Yes, Richard designed it but Sid made it work.”

The result of this effort, the Model 10, didn’t appear until 1964. One of the most innovative features of the Model 10 (and the Model 10B that soon followed) was the front-panel oscilloscope that replaced the conventional signal strength and center channel meters of The Marantz Model 18 Receiver, the first Marantz product with “Gyro-Touch” the day. Not only did the ‘scope show tuning, featured an oscilloscope to aid in tuning accuracy and signal analysis. signal strength in a graphic way, it also allowed a far more accurate method of the Model 10. An interesting side note Superscope imported and distributed centering the tuner on a particular about the Model 10B is that final align- Sony tape recorders in the United broadcast frequency. In addition, the ment took place in an oven. This simu- States. Tushinsky, while appreciative of ‘scope provided precise information of lated the actual operating temperature the quality of existing Marantz compo- the amount of stereo separation provid- and resulted in far more accurate per- nents, saw an immense opportunity in ed by the broadcaster as it displayed formance under real-world conditions. acquiring the Marantz name. In his the differential L/R information direct- mind, the brand could then be used for ly instead of merely indicating the Perfection’s more affordable components manufac- presence of a stereo “carrier” signal. tured in Japan by another company Problem Superscope already had a relationship Although superb in many ways, the with – Standard Radio. Model 10 posed a significant alignment The Model 10B did have one substantial problem that was eventually traced to downside. It was so expensive to manu- The sale was completed in late 1964 the equipment used to solder the facture and so under-priced that its very and presaged a significant change in inductors in the tuner’s IF (intermedi- success put the company in severe the focus of Marantz as a company. For ate frequency) stage. These inductors financial difficulties. In fact, the Model its $3 million investment, Superscope became so heavily magnetized that 10B depleted the working capital to the moved from being simply a distributor final alignment became next to impos- extent that Saul was hard-pressed to (and thus vulnerable to Sony’s sible. However, only about 100 Model make his weekly payroll. expressed desire to forge its own des- 10s were produced before an improved tiny in the United States) to being a version, the Model 10B, appeared later Obviously, this situation was untenable manufacturer with direct control of its that same year. In addition to a minor and Saul began to think of alternative business future. change in the dial mechanism, the solutions, one of which was selling the Model 10B used different inductors company. Joseph Tushinsky, one of four Although the Marantz Company would that were far more resistant to the mag- brothers and the president of eventually move from New York to a lav- netization problems than had plagued Superscope, Inc., expressed interest ish headquarters building in Sun Valley,

6 California, an immediate change was a more modest relocation from the old 5,000 square foot factory in Woodside, NY to a new 35,000 square foot facility in the same neighborhood. The cash infusion also helped the Marantz Company grow from approximately 60 employees to well over 150.

The Superscope Period (1965 to 1980)

Based on R&D projects prompted by the rapid rise of transistor technology, the company moved successfully from its previous tube-based product line. The Model 7T preamplifier and Model 15 power amplifier (actually two Model The Marantz 2270 Receiver. The model numbers of the “2200” series receivers 14 monoblocks united by a common included power ratings. In this case, power output was 70 watts per channel. faceplate) appeared. But the most important product during this “transition period” was the Model 18 receiver, Saul’s departure. In fact, some have nel) and the last Marantz product with a a collaborative effort featuring Saul called this period (1965 to 1980) sequential model number. The more pow- Marantz’s cosmetic design, Sid Smith’s Marantz’s “Second Golden Age” as the erful – 125 watts/channel – Models 240 audio circuitry, and Dick Sequerra’s Marantz brand appeared on far more and 250 (the 250 with power meters) tuner expertise. products than it had ever done before. soon followed. In 1973 the company released the Model 500, a power amplifi- The Model 18 was the last product to In 1966, Superscope began exploring er with output capability of 250 benefit from Saul Marantz’s direct manufacturing possibilities with several watts/channel and forced air cooling. input. Towards the end of the transition Japanese manufacturers with a view to Marantz followed that with the slightly period from ownership by Saul Marantz producing these lower cost Marantz more powerful Model 510 two years later. to ownership by Superscope, the new products. Eventually, Standard Radio Matching preamplifiers included the management’s desire to broaden the Corporation was chosen as a partner and Models 33, 3300, and 3600, all pro- brand’s appeal exacerbated the already- production began. Superscope eventual- duced under the guidance of Chief existing friction within the company. ly purchased a 50% interest in Standard Engineer Dawson Hadley (the founder of Given the differences between the Radio and, with the exception of the Hadley Labs and recruited by Saul before visionary/entrepreneurial spirit that high-end separates manufactured in the company moved to CA), James gave birth to the Marantz Company in California, more and more Marantz Bongiorno (later head of GAS and Sumo), the first place and the new owners’ branded components were manufac- and other engineers. hard-nosed pragmatism and a strong tured in Japan. desire for more affordable products, The Loudspeaker this friction, however unfortunate, was The most successful expansion of the inevitable. After being offered the Marantz brand was the receiver line. Challenge largely ceremonial position of In fact, the “2200” receivers became “President Emeritus” in the fall of one of the most successful product Joseph Tushinsky’s interest in expanding 1967, Saul Marantz resigned in offerings in the history of consumer the Marantz brand did not stop with December of that year and had no fur- electronics. Ranging from a mere 10 electronics. Under Tushinsky’s urging, ther direct relationship with the organi- watts of power per channel to well over Superscope began to push loudspeaker zation he founded. His last project was 70, the new receivers brought the development with the aim of becoming a securing a new engineering team to Marantz mystique to tens of thousands major player in the this business. continue product development for new of consumers. Although company records are some- Marantz-branded components as what clouded here, it appears that sever- Sidney Smith, Dick Sequerra, and the From its U.S. manufacturing facility in al Japanese-designed speakers had rest of the “old guard” left with him. CA came many new separate components already reached the Japanese domestic Even though Marantz the person had – the so-called “A” line. 1970 saw the market via a distribution arrangement left, Marantz the company grew substan- introduction of the Model 32, a modestly with Mitsubishi Electric Corporation tially in the years immediately following powered stereo amplifier (60 watts/chan- before U.S. design began.

7 The Marantz Imperial Seven Loudspeaker with Vari-Q and the dia- mond pattern foam grille designed by Patrick Hart.

In the U.S., the Marantz Imperial Six,2 designed by Hadley and Bart Locanthi, The Marantz Model SLT-12 turntable: Despite the theoretical advantages of had reached the market prior to 1971. straight line tracking, the “Rube Goldberg-esq” mechanism was somewhat less It featured an extremely flat frequency than reliable. response curve and was well-reviewed. The Imperial Seven, designed to com- pete with JBL’s very popular L100, rags into the Six’s ports and everyone changed the name of the Japanese man- was the first Marantz speaker to fea- noticed a surprising – and very welcome ufacturer to Marantz Japan, Inc. in ture a foam grille cut in a large dia- – difference. 1975. Despite strong sales, however, all mond pattern. was not well with Superscope’s steward- In 1976, Edmund (Ed) May, one of the ship of the Marantz name. Another innovation used by some of the most respected speaker designers at American-designed Imperial speakers JBL, joined Marantz and was given the Although interpretations differ, some of was a technique called “Vari-Q,” imple- charge of developing a speaker line to the problems resulted from poor finan- mented with a removable port plug for complement the company’s other high cial controls and a tendency towards the bass-reflex enclosures. This allowed end offerings. Superscope built a new profligate spending. Not all the problems the listener to “tune” the speaker to R&D facility for May to work in. The were monetary, however. Among other modify bass response. With the plug out, resulting “HD” speakers were highly things, Marantz embarked on a program the speakers produced substantial praised and enhanced the brand’s repu- to develop a straight line tracking though uneven bass. With the plug in, tation substantially. Unfortunately, May turntable, one that would, in theory at the enclosure emulated an acoustic sus- died in 1980 and later design efforts any rate, eliminate most of problems pension design with lower and more met with considerably less success and caused by trying to track a record groove even bass output. all efforts to design and market loud- with a pivoted tone arm. Saul Marantz speakers ceased. had argued vigorously against this prod- Interestingly enough, this technique was uct prior to his departure, citing the result of an extended listening ses- The Superscope mechanical problems in the initial sion attended by Doug Sax and Lincoln design. However, the company intro- Mayorga of Sheffield Lab fame Heritage: duced the SLT-12 in 1968 or 1969. (Sheffield was one of the first successful Snatching Defeat “direct-to-disc” LP producers). While lis- from the Jaws of The original SLT-12 was available only tening to a pair of Marantz Imperial with a Shure V-15 phono cartridge but a Sixes mounted well off the floor to simu- Victory later version (the SLT-12U – for “univer- late common placement in studio con- sal”) accepted virtually any cartridge. trol rooms, both men noticed that the Based on the success of the receiver line Regardless of the version, the mecha- bass produced by the speaker was some- in the United States and a greatly nism proved to be as cranky as Saul what less extended and flabbier than expanded separate components line in Marantz had predicted and by 1970 the they remembered hearing at the original the Far East, Superscope, which owned turntable was out of production. Generic recording session. Hadley then stuffed a substantial interest in Standard Radio, problems with this unit soured many

2 Marantz Imperial speakers designed in the U.S. had model numbers spelled out (i.e., Imperial Six). Marantz speakers designed in the Far East used Roman numerals (i.e., Imperial IV).

8 Marantz Model 7700 Tape Deck (1978), a three speed auto reverse The CD-63 used a top loading mechanism for convenience and featured “over- unit. (Photo courtesy of http://www. sampling,” an advanced digital technique that resulted in less analog filtering classic-audio.com) and thus improved sound. customers as there was virtually no way stage for a somewhat schizophrenic per- As with most new technologies, prices to ensure the turntable’s continued oper- ception of Marantz around the world. of CD players dropped substantially in ation. Other less-than-successful intro- the following years. For example, the ductions included Marantz-branded 1980 – 2001: CD-34, released in 1985, sold for one- open reel and cassette tape decks third the price of the original CD-63 intended to ameliorate Superscope’s loss The Philips but used many of the same internal of distribution rights for Sony’s tape Experience components. recorders. Philips saw the acquisition of the 1985 also saw the introduction of the On the positive side, receiver sales con- Marantz brand in a very positive light. LV-1CD, a laser disc player, and the tinued to be strong and products devel- Despite considerable R&D and manu- DPM-7, an all-digital amplifier that oped primarily for the Asian and facturing capabilities in almost all eventually saw the light of day in 1991 European markets did well. Integrated areas of consumer electronics, Philips as the AX1000 “audio computer” along amplifiers (combining preamp and had little success in addressing the with the first Marantz CD-R (recordable power amp in a single chassis) were high end audio market. It viewed the CD) player/recorder. particularly successful. The compara- Marantz name as the most practical tively little-known SM1000 power way to broaden its appeal to quality- On the analog front, Marantz’s “Quarter A” amplifier, in fact, won the prestigious conscious consumers. Marantz benefit- amplifier technology became known for “State of the Art” award from Stereo ed also as the affiliation with Philips exceptionally smooth sound quality at any Sound magazine in 1979. Marantz also put Marantz squarely in the loop of volume level. Quarter A, which premiered introduced power amplifiers with a Philips’ extensive knowledge of digital in the PM-6A integrated amp, used auto- switch to allow users to select Class A audio, which had begun to appear in matic switching to move the power ampli- or Class AB operation, depending on professional circles about 1970. fier section from Class A to Class AB oper- power needs. ation when power output exceeded one As the co-developer (with Sony) of the fourth of its maximum rating. By 1980, Superscope’s financial condi- CD, Philips had proprietary knowledge of tion had become so tenuous that it what was soon to become the fastest HDAM,3 an important technology for decided to sell rights to the Marantz growing product categories in the field – Marantz, first appeared in 1992 and was name for the Asian and European mar- the CD player. In 1982, Philips released used in the PM-99SE (“Special kets as well as the Japanese manufactur- its first unit – the CD-63 – under the Edition”) and the CD-15. Current ing facilities to Philips, the Netherlands- Marantz banner. Although Sony was tech- Feedback power amplifier technology, a based mega-manufacturer. However, nically first to market with its CDP-101, sonic advance over less sophisticated Superscope retained the name for the the Marantz CD-63 was the first publicly voltage feedback designs, also appeared. North American market, thus setting the announced CD player. 1994 saw the SC-5 peamplifier and SM-

3 This proprietary Marantz technology replaced conventional operational amplifier ICs (integrated circuits) with discrete low- noise components housed in a single module optimized with short signal paths. HDAM modules were specifically designed to amplify and buffer line-level signals and preserve music’s subtle details and wide dynamic structure so that even minute high frequency details are reproduced accurately.

9 6 power amplifier as co-winners of Stereo Sound’s top honors, the first such awards given to Marantz since the SM1000.

Meanwhile, Back In The USA

Superscope continued to market Marantz components in North America but the similarity between its list of products and those offered in Asia and Europe continued to diverge. With the exception of some separates pur- Marantz’s SA-1 player brings new life to conventional CDs and plays the new chased from Marantz Japan, Inc. high resolution SA-CD discs as well. (MJI), Marantz in North America offered little that could be described in the same position that had hobbled Marantz worldwide, there was still a as inspired – or inspiring. it under the Superscope banner. minor disconnect between it and Product offerings and marketing Philips marketing efforts for the Instead, Marantz drifted more and direction suffered the same lack of Marantz brand. Although this situa- more towards “rack systems” of com- focus as before. A new equipment tion was far better than what had pro- paratively inexpensive components line called the Century Series includ- ceeded it, senior management at MJI, housed in glass-door furniture style ed receivers manufactured by Sansui, many of whom personally knew Saul equipment racks. The components a once-respected Japanese manufac- Marantz, felt very strongly that total themselves were manufactured for turer that, like Marantz in North integration was needed. In short, they Superscope by a variety of OEMs (orig- America, had fallen on hard times saw the advantage of uniting design, inal equipment manufacturers) and and was struggling for survival itself. manufacturing, marketing, and sales the quality varied widely. Dealer response was lukewarm at under MJI’s control. Until then, they Consequently, these systems depend- best. felt, Marantz would not be fully ed far more on cosmetics than on per- reborn. formance for their appeal and were In late 1990, two Dynascan senior offered primarily through various executives, Jerry Kalov and Fred Home Theater, department stores and credit card Hackendahl, flew to Philips’ head- companies (notably American quarters in Eindhoven, the Saul’s Death, and Express). Their impact on the brand Netherlands, and signed a contract the Birth of the was nothing short of devastating as that reunited Marantz’s North Marantz became known in North America marketing efforts with those Super Audio CD America as a “has-been.” Car stereo of the Philips/Marantz network in the components, another failed experi- rest of the world. Dynascan’s interest The appearance of laser disc players in ment, further diffused the brand’s rep- in the Marantz brand ceased and its 1985 eventually began to transform utation. only further involvement with Marantz the idea of home theater into reality. In was to sell off its remaining inventory Japan, initial enthusiasm for the con- By 1987, even these modest efforts of Marantz branded components. cept declined rapidly after early excite- proved too much for Superscope’s Philips would wait until this was ment but grew substantially in the declining stamina. It sold the North accomplished before starting to revive U.S. where high powered A/V receivers American rights to Dynascan the brand. But there was reason to became more and more popular. Corporation, a Chicago-based company celebrate: For the first time in ten best known in consumer circles for its years, the Marantz brand was under a Marantz entered this exciting field with Cobra brand of CB radios and radar single management and the destruc- the energy and dedication that came detectors. Marantz’s North American tively schizophrenic existence was from restored corporate unity. The headquarters was moved from Sun ended. company introduced the SM-80, its Valley, CA to Aurora, IL, a Chicago sub- first THX-certified amplifier in 1992 urb, and the company started to regroup. One area was left somewhat divided, followed that with the critically- however. MJI, or Marantz Japan, Inc., acclaimed SR96 THX-certified receiv- Unfortunately, Dynascan’s lack of was still a largely autonomous unit in er four years later. The ‘90s also saw internal engineering and manufactur- the Philips empire. As MJI was the the VP8770, Marantz’s first LCD video ing resources put the Marantz brand design and production arm for front projector, and the PD4280, the

10 first of its highly-praised flat-screen plasma TV monitors.

Sadly, the industry lost Saul Marantz when he died in January, 1997.

In early September, 1999, Sony and Philips launched the SACD (or Super Audio CD) as a replacement for the conventional CD which by then was 17 years old. Marantz, still benefiting from its long relationship with Philips, introduced its first SACD player, the SA-1, two months later.

A Fully Unified Marantz The Marantz Reference Series MA-9S1 Monaural Power Amplifier draws 2001 marked a momentous time for cosmetic inspiration directly from the classic Model 9 power amplifier. Marantz Japan, Inc. It acquired the trademark and distribution rights from Philips and so became solely responsible for everything related to Marantz from initial product development through marketing. All Marantz sales subsidiaries, originally established by Philips throughout the world, came under the control of MJI also, thus paving the way for a truly unified brand expansion.

In 2002, responding to ever-increasing competitive pressures, MJI became affiliated with D & M The Reference Series SA-11S1 CD/SA-CD player extends the original Marantz Holdings, Inc., an international aesthetic to the finest audio playback format available today. investment and management group that now controls Denon, McIntosh Labs, Escient, Boston Acoustics, and choice of model numbers, particular- home entertainment than it has been several other brands in addition to ly the first two, was not done care- since the 1960s. Marantz. lessly. Both power amp and preamp were conceived and designed to be as Marantz is proud of that tradition but Recent Product visually exciting and sonically reward- recognizes that the true test of its com- ing as the Models 7 and 9 from mitment will be judged by every con- Accomplishments Marantz’s “classic” period more than sumer who places trust in the company four decades earlier. by purchasing a Marantz component. Since its acquisition by D & M, Marantz has found even more A Look Towards As a member of the Marantz Owners’ strength. Recent product introduc- Circle, we hope you’ve enjoyed this tions include a new Reference Series The Future unique company history. As we men- which marries the aesthetic consider- tioned in the Introduction, most of our ations so important to Saul Marantz Marantz is over 50 years old. Few com- research in preparing it involved exten- with advanced technology that prom- panies in the home entertainment sive interviews with people personally ises the finest in sound quality. industry can boast of that longevity or associated with Marantz the person and of the tradition of high quality that Marantz the company over many years. Examples include the MA-9S1 power drives the company today. Despite a We thank them for their time and efforts. amplifier, the SC-7S1 preamplifier, and complex history, Marantz today is clos- Again, our thanks also to Saul’s family the SA-11S1 CD/SACD disc player. The er to its roots in high performance for their invaluable contributions.