Marantz SR7008 A/V Receiver Page 2

Transit (DVD, Dolby Digital)—a pretty exciting B-thriller about a family confronting violent casino robbers in the wilderness—was a hyperactive assault of action effects and cheesy synthesized music. As the car chases and synthetic beats got progressively louder, I gave myself a break and turned Audyssey Dynamic EQ and Dynamic Volume back on, picking the latter’s Light setting. Not only did this modest adjustment cause no loss of dramatic momentum, it actually made the soundfield, if anything, more immersive. As a critic, I try to experience action-movie dynamics as the mixer intended. That’s a good way to gauge the quality of an amplifier. But if I followed my own listening preferences, I’d leave Dynamic EQ/Volume switched in at the Light setting all the time (at least for movies).

1013marant.rem.jpgOz the Great and Powerful is a hybrid animated prequel to The Wizard of Oz. What the disc identified as the English 7.1 DTS-HDMA Near Field Audio Mix first comes alive in the tornado scene, shifting from center-channel mono to full surround. Though the receiver was well broken in by this time, it needed a little warmup after powering up, with the orchestra sounding smoother after the first hour. Perhaps that’s the price of a top end that doesn’t slather the truth in vagueness. In the last half hour of the movie, as the trombones shuddered nervously and witches and apparitions shot fireballs out of their mouths, the receiver handled dynamically challenging material without losing its grip on timbre, imaging, soundfield integrity, and bass authority.

Room Correction vs. Unvarnished Amp
A receiver with high-quality amplification drives me deep into my vinyl library. Much of the music listening focused on this question: When Audyssey MultEQ XT32 interacts with an inherently good-sounding amp, does it help or hinder music? Different music brought different results.

Nick Drake’s Bryter Layter is his most elaborately produced album. In the MultEQ or pure direct modes—meaning with or without room correction and other processing—the Marantz layered most of the carefully balanced midrange elements like a master. But there were exceptions. In pure direct, I became more and more irked by the interaction between my room’s natural standing-wave-induced bass hump and Drake’s chest resonance as well as his lower guitar strings. Both elements had been exquisitely mixed to optimize bottom-end fullness, and without room correction, that fullness tipped over into bloat. MultEQ smoothed out the midbass to make it proportionate with the rest of the music. The Audyssey Flat mode sounded slightly more detailed than the just-plain-Audyssey mode, but both did the job beautifully.


The Marantz did well with classical music. Beethoven’s “Eroica” Symphony arrived on a London Phase 4 LP with Carlos Paita conducting the Scottish National Orchestra. Pure and room-corrected modes both delivered a long, luscious decay that fostered a true concert-hall feeling. The pure mode brought more warmth and body to the strings—I’m guessing London/Decca’s engineers were counting on some benign room interaction in playback—while MultEQ emphasized the leading edge. The pure mode was better integrated; the room-corrected mode was more revealing. They both sounded good, so it was a draw. When you go for a walk in the forest, is it the forest that interests you, or the trees?

Led Zeppelin’s Physical Graffiti is less a unified album than a mixed bag, produced in different sessions from 1970 to 1974, many of them recorded with mobile studios. Fertile it is; consistent it is not. In several tracks recorded spatially flat with little reverb, like “Houses of the Holy,” MultEQ gave the guitar more sting, but at the expense of rhythmsection whomp. Without room correction, I liked playing it louder, always an advantage with Zep. But in tracks with more reverb, room correction brought out more texture and detail. “Kashmir” entranced me as the vocal sailed over the innovative blend of natural strings and mellotron. While I’m not a big fan of phase shifters, the processing on “Bron-YrAur” gave the ruminative acoustic guitar track an authentic haze-of-the-1970s feel, and MultEQ brought out more of its time-machine texture.


The Marantz SR7008 is yet another masterful receiver from a brand that has remained great despite repeated changes in ownership. With every new product, Marantz earns its stripes all over again, and as the years go on, I become increasingly impressed by how many deeply satisfying Marantz receivers I can look back upon.

I will say that feature-wise, Marantz ought to try harder. A top-of-the-line receiver must be able to play music files from a PC or Mac without going through a DLNA connection. And with Wi-Fi proliferating in receivers costing well under a thousand dollars, Marantz needs to add at least an optional wireless alternative to the Ethernet jack. Not everyone can string Ethernet from router to rack.

But then there’s the sound. A couple of years ago, I nearly adopted this model’s predecessor, the SR7007, as my reference receiver. The SR7008 is equally worthy of that honor. Sound-wise, your two thousand bucks couldn’t be better spent.

(201) 762-6500

dazzyjim's picture

Great review! I recently purchased the latest Marantz SR5008, the sr7008 was a little out of my price range but this year the early entry models have both the HDAM and current feedback topology included so I thought it was a bargain. I've been testing my amps capabilities over the last few days and I strongly agree with you Mark about implementing Dynamic EQ and Dynamic volume at its Lowest setting. It just takes the edge off those really high dynamics, but you still get plenty of thump and feel every impact, without having your ears piercingly blown off! (test the scene near the end of Star Trek Into Darkness where Khan, Kirk and Scotty have a fight with 5 or 6 men aboard the ship and you will see what I mean)(Though I listened at -10, 75db, I don't know if you run all your tests there or at Reference)
Anyway, thanks to your reviews of this Receiver and the previous Marantz models that have reviewed, you really helped me pick the perfect Receiver I have been looking for.

Priyantha's picture


Where are the multiple channel benchmark results?
In nearly all other A/V receiver reviews there are much more numbers and more parameters tested or at least showed.

Would love to see more :)

Bob Ankosko's picture
Thanks for pointing out this omission. The multichannel power results have been added
LordoftheRings's picture

Amazing for a 27.5 pounds receiver!

- Nine amplifiers (125W)
- Audyssey MultEQ XT32. ...Sub EQ HT. ...LFC
- Fully loaded on the connection side (rear, with 3 HDMI outs)
- Very decent measurements (except for channel separation)
- Nice looking unit (front & rear)
- And it ain't an Onkyo TX-NR818 (the Marantz SR7008 is two grands)

Jonasandezekiel's picture

I'm not sure if anyone will read this, but is there any reason that the multi-channel output of the 7008 is slightly higher than the previous model the 7007? This one is 101.2 x 5, and the 7007 is 89.5 x 5. That's fairly significant, no?

ScottSauer's picture

Having the Audyssey XT32 on these units makes them a dream to calibrate. I use my Audyssey Pro Calibration kit to set them up and it gives and outstanding result.

spyrelx's picture

I notice that the 7007 is now almost $1,000 cheaper than the 7008. If you don't need the extra channels that the 7008 provides, can someone tell me what are the big differences between the two? I mean, is XT32 that much better than XT (which I think could be upgraded to XT Pro, whatever that is)? Is there something more that's definitive? Thanks.