equipment review

Marantz PM7003
Integrated Amplifier
Marantz has been carefully fine-tun- rent holder of the ‘Best Amplifier of the Year there are blue LEDs hidden away in the ‘roof’
ing the circuits inside its stereo amplifiers award from Sound & Image magazine. of the slot, so that when an input is selected
for many years, a process that has included and the LED illuminates, it shines downwards
gradually filtering down technology and com- The Equipment and the light is reflected out into the room.
ponents that were once available only in its As you can see from our photograph, the The beauty of this is that the whole slot tends
high-end products down to its budget-priced PM7003 is outwardly conventional, though to be vaguely blue-coloured, which adds to
models. The PM7003 is the latest amplifier to Marantz’s design department has managed to the overall impressive appearance of the am-
benefit from these processes, and has benefit- add in some nice cosmetic touches that put plifier, but there’s a practical purpose, which
ed to such a great extent that in many ways its external appearance a cut above the aver- is that it’s easy to see which input is selected
it’s similar to the highly-awarded PM7001KI. age. I’m thinking here of the vertical ‘scallops’ from almost anywhere in the room, such is
One of its most outstanding technical features in the front panel that bisect the large rotary the spread of the reflected light. The ‘quality’
is the use of completely symmetrical circuitry, input selector on the left and the identically- of the illumination is also far more appealing
which can only help its ability to stereo im- sized volume control on the right. Marantz has than if Marantz had just fixed blue LEDs into
age, however the PM7003 also benefits from also been cunning with the four rotary con- the front panel.
containing Marantz’s Hyper Dynamic Am- trols that sit at the centre bottom of the front Things get even better when you use the
plifier Modules (HDAMs) which use current panel. From left to right, these are for speaker front panel rotary to select your preferred in-
feedback rather than voltage feedback. These selection (Off, A, B, A+B), bass, treble and bal- put source, because the control has a continu-
enable greater dynamics, particularly when ance. I don’t know if you’ll be able to see from ous action and there’s a satisfying ‘click’ sound
the amplifier is driving speakers whose imped- the photograph, but they sit partially behind from the internal relays as you scroll through
ance drops below their nominal value. The the front panel and protrude through it. This the available inputs (Phono, CD, Tuner, Aux/
PM7003’s ‘ace in the hole’ is that it’s the cur- not only gives the panel some visual ‘depth’ DVD, Recorder 1, Recorder 2). Although it
but means that the knobs can’t be accidentally appears as though there are only six inputs,
misaligned by a bump or a knock, so you’ll there’s actually a ‘Direct In’ set of terminals
always get a nicely smooth (and noiseless!) on the rear panel so you can, if you wish, go
rotation. The circuitry of the bass and treble directly into the power amplifier section to
controls isn’t the conventional Baxandall to- bypass the tone and balance controls. This is
pology either, Marantz instead provides dual- selected via a pushbutton on the front panel.
frequency EQ, which is very unusual in this (As befits an audiophile amplifier, there’s also
Newport Test Labs

price range, and far superior. The bass, treble a ‘Source Direct’ selector, which also allows
and balance controls all have central detents, you to bypass the tone and balance controls.)
so you can easily find the ‘neutral’ position, The volume control moves smoothly, but
but otherwise have smooth actions over their the friction betrays the fact that it’s motor-
rotational ranges. ised, enabling it to be controlled by the small
Above these rotary controls is a long slot RC003PM remote Marantz provides with the
Power Output: Single channel driven that indicates which input source has been PM7003. The only problem I could see is that
into 8-ohm, 4-ohm and 2-ohm non- selected. This, too, is really clever design, there’s only a small notch on the rotary con-
inductive loads at 20Hz, 1kHz and
because the bottom of the slot is angled and trol to indicate its position (rather than an
20kHz. [Marantz PM7003]

38 | Australian Hi-Fi
‘
when you are listening at any volume level, there will
always be more than sufficient power on tap to make

’
sure that transients are delivered fast and clean
LED) so if you’re using the remote to alter vol- put terminals and a pair of remote control ter-
ume and you’re on the other side of the room, minals so you can link the PM7003 with other
it’ll be difficult to see where the volume is set. Marantz components to integrate the remote
The control layout on the remote is excellent, control functions.
with the buttons ‘falling’ easily under your The amplifier measures 440×364×123mm
fingers even if you want to use only one hand. (WDH) and weighs 10.5kg.
The remote provides one additional function,
that of output muting. The mute function is Listening Sessions
a great feature and works perfectly if you use I had first-hand experience of the cramped
the remote control, in that it automatically nature of the speaker terminals during my lis-
disengages if you touch either the volume up tening sessions when I stupidly tried to swap
or volume down buttons. However, it doesn’t cables in the middle of a session, while the
disengage if you move the front panel’s vol- amplifier was playing. (This is right up there
ume control. Unlike some mute circuits, the in the ‘don’t try this at home’ category of idiot
PM7003’s mute will remain engaged if you things you shouldn’t do, and I have no excuse
switch from one input source to another, for it.) The result was that I accidentally short-
which is the operational mode I personally ed the speaker terminals. The plus side of this
prefer. misadventure is that it proved the efficacy of the power delivery was exceptional. If you’ve
I was pleased to see that Marantz has fitted Marantz’s protection circuit, which immedi- already cheated and looked at the measure-
not only a headphone socket (an endangered ately sprang to the rescue and shut the am- ments made by Newport Test Labs (and Steve
species, it would seem), but also that it’s a full- plifier down. However, what happened next Holding’s analysis of them), you’ll see that
sized 6.35mm phone jack type, rather than surprised the hell out of me, because instead whereas Marantz rates the PM7003 at 70-watts
the silly little 3.5mm type. It was a slight dis- of the silence I expected, the amplifier instead per channel, the sample I was using (which
appointment that the jack is only nickel-plat- started buzzing from inside. At this point I sus- was the same one sent to the lab for measure-
ed, rather than gold-plated, however this is pected the worst—that I’d blown the amplifier ments) was capable of delivering 90-watts per
one time I’d like to think this was an economy up—and would have to telephone Qualifi, the channel into 8Ω loads and more than 130-
measure on Marantz’s part, and not because Australian distributor, to apologise abjectly. watts per channel into 4Ω loads. And that’s
the gold bezel would have clashed with the However, after about 15 seconds, the whirring with both channels driven. What this means
colour of the front panel anodizing. stopped and the amplifier sprang back into life when you’re listening is not so much that you
Around the back of the Marantz PM7003 (I’d removed the short circuit in the interim) can drive your loudspeakers to extremely loud
there are some signs of cost-cutting, with the as if nothing had happened. Further investiga- listening levels (though this is also the case),
CD inputs being the only ones deemed wor- tions revealed that unlike most other ampli- but that when you are listening at any volume
thy of gold-plating. The speaker terminals do fiers with protection circuits, which require level, there will always be more than sufficient
the job, but they’re quite small and cramped, you to switch the amplifier off, then back on power on tap to make sure that transients are
so it’s difficult to fit thin wires into the speaker again, to reset the protection, the PM7003’s delivered fast and clean, and that when there’s
posts. As a result, it’s probably a better bet to internal protection circuit resets automatically a lot of deep bass action which might starve
fit your speaker cables with banana plugs. I (albeit noisily!), without the need for manual the power supply of a lower-powered amplifier,
would normally recommend dual Pomona intervention. the Marantz PM7003 sails on smoothly, taking
connectors, but the Marantz posts aren’t on Marantz has a made a habit of understat- it all in its stride. Recovery is fast too. There’s
standard centres, so you can’t use dual-con- ing the power output of its amplifiers over the no unwanted overhang after a transient—the
nectors with the PM7003. Other rear-panel years, and I didn’t need to have a long asso- circuit stabilises instantly, and the control
features include a pair of preamplifier output ciation with the PM7003 to discover that the
terminals, a grounding post for the phono in- company hasn’t changed its ways, because Marantz PM7003
Integrated Amplifier

• Power output Brand: Marantz

• Stereo focus Model: PM 7003
Category: Integrated Amplifier
RRP: $1,199
Warranty: Two Years
Distributor: Qualifi Pty Ltd
Address: 24 Lionel Road
• Muting logic Mt Waverley, VIC 3149
• Speaker terminals T: 1800 242 426
T: (03) 8542 1111
F: (03) 9543 3677
E: info@qualifi.com.au
W: www.qualifi.com.au

Australian Hi-Fi | 39
 equipment review Marantz PM7003 Integrated Amplifier

LAB
Readers interested in a full technical
appraisal of the performance of
the Marantz PM7003 Integrated
Amplifier should continue on and
read the LABORATORY REPORT
published on the following pages.
Readers should note that the results
mentioned in the report, tabulated
in performance charts and/or
displayed using graphs and/or
photographs should be construed as
applying only to the specific sample
tested.

over even the largest, heaviest bass drivers using the Marantz PM7003 to listen to Revelry
is impressive. You can prove this to yourself (Kings of Leon). Check the tightness of the fo-
by finding a CD with a solid bass beat and cus on the drum kit, particularly in the open-
winding the volume up. I’ll bet you (or your ing bars. This same tight focus is also audible
speaker!) gives up before the PM7003 does! on the intro to the Fray’s You Found Me, from
Perhaps even more impressive in this ‘Never Say Never.’ However for something
Newport Test Labs

digital age, when recordings are being made completely different—and I mean completely
with almost perfectly silent backgrounds, is different, I was completely entranced by Mel-
that the PM7003’s own circuit noise is so spec- bourne pianist Michael Kieran Harvey’s latest
tacularly low—so low that even the quietest release on Move: New Music for Keyboard,
sounds were reproduced exactly, and against which contains Martine Friedel’s The School
a completely silent background, without even of Natural Philosophy, Graham Hair’s Transcen-
a hint of distortion. And if you’re listening to Power Output: Both channels driven into dental Concert Studies and the original version
8-ohm, 4-ohm and 2-ohm non-inductive
‘digital black’, that’s exactly what you’ll hear: of Hilda Paredes’ Triptico amongst others. The
loads at 20Hz, 1kHz and 20kHz. [7003]
nothing at all. But the advantage of the Ma- recording is amazingly good and the piano (a
Yamaha C7) sounds are frighteningly realistic.
The only jarring point for me was that Harvey
switches to a Kawai MP9000 electric keyboard
to play Richard Meale’s Coruscations. Harvey
himself notes that this is, so far, ‘the only per-
formance of this version’. I, for one, sincerely
hope it stays that way! However, the other 23
tracks are more than sufficient reason to run
out and buy this CD!

rantz’s ability in this area is not so much the the PM7003 can breathe life and energy into Conclusion
lack of noise per se, but the fact that this lack this over-engineered, over-compressed track, Whereas up until only quite recently you
of noise means that when background noises and the way the clarity of the amp’s reproduc- would have been hard-put to assemble a col-
are present in the recording, whether it’s the tion lets you hear the engineer at work. And lection of modern, modestly-priced high-
ambience of a concert hall, or the rustles and after you’ve done this, switch to Chinese and quality two-channel integrated amplifiers, it’s
murmurs of the audience in a jazz club, or Who’d Have Known and just enjoy her art for great to see that you are now able to choose
even the boisterous crowd at a rock concert, itself. And if you haven’t heard Pink’s Please between a fair few models from more than
you will be able to hear these background Don’t Leave Me through the PM7003 (and a a handful of manufacturers. This means, of
noises perfectly. True, you may not want to good pair of speakers), you’re also missing out course, that Marantz’s PM7003 now has some
hear someone cough, or place a drink quietly on an auditory experience. Listen carefully to stiff competition out there in the market!
down on a table while you’re trying to listen the rasp in her voice and the way the intermit- However, it’s my opinion on the basis of the
to the music, but it happened, and it was cap- tent background vocal ‘Dah dah dah dah’ sits sound quality it delivered during my listening
tured as a part of the musical event, so it’s only perfectly captured in its own acoustic space, sessions—and the performance it delivered
right that you should hear it just as clearly as if distinct from the rest of the mix. (And once on the test bench—that the PM7003 has the
you were there, which is a luxury the Marantz you’ve heard this track loud and live, see if goods, the looks, the power, the pedigree…
can indulge. you can ever go back to listening to it over an and not least the price… not only to get it past
Listen to Lily Allen’s The Fear (on her great iPod via earbuds!) the post but also to leave the others more than
‘It’s Not Me, It’s You’ album) and hear the way For stereo focus, you can’t do better than a few lengths behind.

40 | Australian Hi-Fi
 equipment review Marantz PM7003 Integrated Amplifier test results
Test Results
Rated by Marantz at 70-watts continuous current trip, because it cut in at a somewhat measured at 145 at 1kHz.
per channel, Newport Test Labs measured the lower power output level (154-watts) at 20Hz Graph 6 also shows two frequency respons-
output of the PM7003 at 1kHz at 100-watts and 20kHz. When both channels were driven es. The black trace is the same as that shown
(20.0dBW) per channel, both channels driven into 2Ω loads, the PM7003 managed to deliver in Graph 5, showing the frequency response
into 8Ω, and 113-watts (20.5dBW) per channel 165-watts (22.2dBW) at 1kHz and 151-watts into a standard 8Ω non-inductive load. The
when just a single channel was driven. These (21.8dBW) at 20Hz and 20kHz. All this infor- input for this trace was the CD input, as stat-
outputs dropped marginally at the frequency mation is presented in tabular form in Table 1 ed, but with the ‘Direct’ button on the front
extremes, with the both-channels-driven fig- and graphically as the bar column graphs. panel activated so the signal bypassed the
ures coming in at 91-watts (19.6dBW) at 20Hz The PM7003 also proved to be a very wide- tone and balance stages. The red trace is sim-
and 20kHz. When only a single channel was band device, with a power bandwidth ex- ply the response in the ‘Standard CD’ mode
driven, output at 20Hz was 0.3dB higher than tending from 1.4Hz to 280kHz. The –1dB fre- (that is, with the front-panel ‘Direct’ button
at 20kHz, at 112-watts (20.5dBW) vs. 105- quency response was necessarily narrower, but out). You can see that pressing the direct but-
watts (20.2dBW). still an extraordinarily wide 2.5Hz to 172kHz. ton actually increases the overall output level
Driven into 4Ω with a 1kHz test signal, the Across the audio band, the frequency response by about 0.2dB, but by about 0.5dB at low fre-
Marantz PM7003 was measured as delivering was 0.1dB down at 20Hz and 0.05dB down at quencies. Also, if you don’t use the Direct but-
114-watts (21.6dBW) per channel with both 20kHz, so the normalised response comes in at ton, the low-frequency response rolls off ear-
channels driven and 174-watts (22.4dBW) 20Hz to 20kHz ±0.05dB. If you look at Graph lier, and more quickly. However, in real terms,
with only a single channel driven. There was 5, which shows this response, you may just be the ‘normalised’ frequency response is still
the inevitable reduction in output power at able to see that there are actually two traces, 20Hz to 20kHz ±0.2dB, which is self-evidently
the frequency extremes, but the PM7003 still not just the one. The black trace shows the excellent! While I am discussing frequency
managed to deliver 138-watts (21.4dBW) at PM7003’s response into a standard 8Ω non-in- response I should also mention the Marantz
20Hz and 132-watts (21.2dBW) at 20kHz both ductive load. The red trace shows the response PM7003’s channel separation, which is graph-
channels driven. into a load that simulates that of a typical ed in Graph 8. You can see from the red (sepa-
Tested with gruelling 2Ω loads, the Ma- two-way bass reflex bookshelf speaker. You ration) trace that best performance is actually
rantz PM7003 delivered a maximum 200- can see that this frequency response is almost at 500Hz, where it’s 84dB, but the 1kHz result,
watts (23.0dBW) single-channel driven at completely unaffected by having to drive the which is the one most often used for specifi-
1kHz at which point the amplifier’s protection more difficult reactive and capacitative load, cations, is at 82dB. Low-frequency separation
circuitry cut in, presumably because at this which means the ‘sound’ of the amplifier will was good at 74dB, but the high-frequency fig-
power level the output stage was handling 10- remain the same, no matter what loudspeak- ure of 54dB, although more than adequate,
amps continuously. However the protection ers you connect to it. It also indicates a supe- was a little less than I’d expect from an ampli-
circuitry must be a little smarter than a simple rior damping factor, and indeed the DF was fier retailing for more than $1,000 and to me

dBFS dBFS
dBFS
0.00 0.00
0.00 Newport Test Labs
Newport Test Labs Newport Test Labs

-20.00 -20.00 -20.00

-40.00 -40.00 -40.00

-60.00 -60.00 -60.00

-80.00 -80.00 -80.00

-100.00 -100.00 -100.00

-120.00 -120.00 -120.00

-140.00 -140.00 -140.00

0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00

Graph 1: Total harmonic distortion (THD) at 1kHz referenced to 1-watt across an 8-ohm Graph 2: Total harmonic distortion (THD) at 1kHz referenced to 1-watt across a 4-ohm Graph 3: Total harmonic distortion (THD) at 1kHz referenced to rated output (70 watts) across
non-inductive load. [Marantz PM7003] non-inductive load. [Marantz PM7003] an 8-ohm non-inductive load. [Marantz PM7003]

dBFS dBr dBr

0.00 1.00 1.00
Newport Test Labs Newport Test Labs Newport Test Labs

-20.00

0.50 0.50
-40.00

-60.00

0.00 0.00

-80.00

-100.00
-0.50 -0.50

-120.00

-140.00 -1.00
-1.00
0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 10.00 Hz 100.00 1000.00 10000.00 30000.00
10.00 Hz 100.00 1000.00 10000.00 30000.00
Graph 4: Total harmonic distortion (THD) at 1kHz referenced to rated output (100 watts) across Graph 5: Frequency response of line input referenced to a 1 watt output (at 0dB) across an 8 ohm Graph 6: Frequency response of CD input referenced to 1 watt output (at 0dB) across an
a 4-ohm non-inductive load. [Marantz PM7003] non-inductive load (Black Trace) and across a combination resistive/inductive/capacitive load 8 ohm non-inductive load (Direct, black trace) vs standard CD input. [Marantz PM7003]
representative of a typical two-way loudspeaker system (Red Trace). [Marantz PM7003]
dBr dBr
dBFS
10.00 15.00
0.00 Newport Test Labs
Newport Test Labs Newport Test Labs

-10.00 0.00

-20.00 10.00
-10.00

-30.00
-20.00
-40.00 5.00

-30.00
-50.00

-60.00 -40.00 0.00

-70.00 -50.00

-80.00 -5.00
-60.00

-90.00
-70.00
-100.00 -10.00

-80.00
-110.00

-120.00 -90.00 -15.00

0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 24000.00 28000.00 10.00 Hz 100.00 1000.00 10000.00 30000.00 10.00 Hz 100.00 1000.00 10000.00 40000.00

Graph 7: Intermodulation distortion (CCIF-IMD) using test signals at 19kHz and 20kHz, referenced Graph 8: Channel separation referenced to a 1 watt output (at 0dB) across an 8 ohm non-inductive Graph 9: Tone control action referenced to 0dB at 1kHz. [Marantz PM7003]
to a 1 watt output (at 0dB) across an 8 ohm non-inductive load. [Marantz PM7003] load. Right channel (black trace) vs left channel (red trace). [Marantz PM7003]

42 | Australian Hi-Fi
 equipment review Marantz PM7003 Integrated Amplifier test results

suggested some capacitative coupling effects.

Marantz PM7003 Integrated Amplifier - Test Results for Power Output
It’s also a good time to mention the unusual
Channel Load (Ω) 20Hz (watts) 20Hz (dBW) 1kHz (watts) 1kHz (dBW) 20kHz (watts) 20kHz (dBW)
contour of the Marantz’ tone controls, which
shows Marantz’s engineers have not recycled 1 8Ω 112 20.5 113 20.5 105 20.2

the same old Baxandall circuit that’s usually 2 8Ω 91 19.6 100 20.0 91 19.6
used. The graph shows you’ll get boost and cut
1 4Ω 156 21.9 174 22.4 144 21.6
of 10dB, but only at 50Hz and 20kHz, with the
responses rolling off quite steeply either side of 2 4Ω 138 21.4 144 21.6 132 21.2

these points. This is very good design, because 1 2Ω 154* 21.8* 200* 23.0* 154* 21.8*
it means that if you choose to boost the bass 2 2Ω 151 21.8 165 22.2* 151 21.8
frequencies, you won’t be wasting power by
Note: Figures in the dBW column represent the output level, in decibels, referred to one watt output. *Protection triggers.
unnecessarily boosting infrasonic frequencies.
Similarly, if you boost the treble, you won’t be
Marantz PM7003 Integrated Amplifier - Test Results
over-driving the tweeter at frequencies higher
than 20kHz—particularly important now that Test Measured Result Units/Comments

the response of so many tweeters extends out Frequency Response @ 1 watt 2.5Hz–172kHz –1dB

to 40kHz and beyond. Despite the different Frequency Response @ 1 watt 1.4Hz–280kHz –3dB
circuit approach, operating the tone controls Channel Separation 74dB / 82dB / 54dB (16Hz/1kHz/20kHz)
will still affect the level across the midrange Channel Balance 0.52dB @ 1kHz
by about 0.8dB, but this is also the case with THD+N 0.007% / 0.002% 1 watt/rated o/p
Baxadall circuitry, so it’s fairly standard. S/N Ratio (unweighted/weighted) 83dB/89dB dB re 1 watt output
Signal-to-noise ratios were excellent, as
S/N Ratio (unweighted/weighted) 97dB/103dB dB re rated output
you can see from the tabulated figures, with
Input Sensitivity (CD input) 21.7mV/183mV (1 watt/rated output)
the PM7003 breaking the magical three-fig-
Output Impedance 0.055Ω OC = 2.8292V
ure mark by returning a tested S/N of 103dB
Damping Factor 145 @ 1kHz
A-weighted referred to rated output. This is a
great figure when you consider that the refer- Power Consumption 0.31/35 watts Standby/On

ence is just 70-watts. The low differences be- Power Consumption 57 watts /313 watts 1-watt/Rated O/P

tween the unweighted and weighted results Mains Voltage Variation 240–252 volts Min–Max
show that the power supply of the Marantz is
quiet, so there’s very little mains hum—some- 100dB down (0.001%). As you’d expect, distor- than 100dB down and there is no effect on the
thing also evidenced by the lack of energy in tion is much higher at rated output (70-watts) noise floor, which is wonderful. Even better is
the noise floor at the extreme left of Graphs 1 and you can see (from the elevated noise floor that there’s hardly any regenerated signal at
through 4. Referred to a 1-watt output, which below 4kHz) that the power supply is also 1kHz—just a small blip at –96dB (0.001%).
gives us a chance to accurately gauge the Ma- struggling a little, but into 8Ω all harmonic The 100Hz square wave shows some tilt, show-
rantz PM7003’s noise performance against distortion components except the second ing that the response does not extend down to
other amplifiers with different power output (at -100dB) and the third (which is at –90dB d.c. but there’s no curvature to indicate any
ratings, Newport Test Labs measured 83dB (un- equivalent to 0.003% THD) are below –110dB. low frequency phase shift. The 1kHz square
weighted) improving to 89dB with A-weight- Decreasing the load impedance to 4Ω and in- wave falls just a little short of perfection,
ing. This is superior performance. creasing power output to 100-watts returned evidenced by the subtle curving at the top
Distortion was also excellent: very low ir- the spectrum shown in Graph 4. In this graph of the rise (where the first vertical meets the
respective of load impedance but, as you can the second harmonic is at –90dB (0.003%) and horizontal), but it’s nonetheless a very good
see from the graphs, at its lowest when the the third is at –85dB (0.005%) with all others square wave. The 10kHz square wave is far, far
amplifier was driving 8Ω loads. At an output sitting at or below –100dB. Again, needless to better than I would have expected, which is
of 1-watt across 8Ω, there’s a third harmonic say, terrific performance. Total THD+N at rated obviously a direct result of the extraordinar-
distortion component at –103dB (0.0007%), a output was measured at 0.002%. ily extended frequency response (280kHz) of
fourth harmonic at –112dB (0.0002%) and a Marantz’s PM7003 also performed brilliant- the PM7003 design. Just look at that fabulous
fifth harmonic at –110dB (0.003%). Summed, ly when it came to intermodulation distortion rise time! The performance into a highly ca-
and adding in the noise, this gives a total (or, rather, the lack of it!). The spectrum for pacitative load is also exemplary, with just an
THD+N figure of 0.007%, which is excellent. CCIF-IMD is shown in Graph 7. You can see initial overshoot to around half wave height
Distortion increases slightly when load im- the two test signals at 19kHz and 20kHz just followed by a few cycles of quickly-damped
pedance is halved to 4Ω as you can see, but to the right of centre at exactly the correct ringing. The amplifier is obviously completely
all distortion components are still more than level. The sidebands either side are all more stable into such loads. Steve Holding

44 | Australian Hi-Fi