Marantz PM-11S3 Manual de instrucciones descargar pdf (Pagina 3)

Australian

ON TEST

Marantz PM-11S3 Integrated Ampliﬁer

minutes, the unit will automatically turn

itself off. If this is too ‘Big Brother’ for your

liking, or you have a speciﬁc application in

mind that requires the unit to be constantly

powered-up, you can defeat this circuit by

holding down the ‘Tone’ button continu-

ously for more than ﬁve seconds. (Pressing

the front panel ‘Tone’ button for briefer

periods merely toggles the tone circuitry on

and off… or, if you prefer, between ‘Defeat’

and ‘Active’.)

As well as the automatic standby circuit,

the PM-11S3 also has full-featured protection

circuitry to guard against overheating, short-

circuits, dangerously low impedances, d.c. at

the input and so on. However, try as I might,

I could not get the protection to trigger, even

when using multiple paralleled loudspeak-

ers and playing bass-heavy riffs at very high

volume levels, so I think you can be certain

that the circuit will not trigger prematurely…

only when you really need it to.

The rear panel is a copper-plated master-

piece, with gold-plated RCA connectors used

for all line-level inputs and outputs, except

for the two balanced inputs which are female

XLR types, but also gold plated. Even the

turntable ground post is gold-plated. The

speaker terminals are extremely high quality.

One signiﬁcant point to note is that ‘country

of origin’ stamp at the bottom right of the

rear panel because you’ll see that, as with all

Marantz’s high-end products, the PM-11S3

is built entirely in the company’s own fac-

tory in Japan. Note also that the PM-11S3 is

double-insulated: not only for your personal

safety, but also to ensure that there’s no

chance of any mains hum caused by earth-

loop issues when you connect your other

components to the ampliﬁer.

in use and LisTening

sessions

When I ﬁred the Marantz PM-11S3 up, I was

a little perplexed to see in the central window

the letters ‘ID 0’ and wondered if I’d skipped

some essential stage when setting up the am-

pliﬁer. It turned out that if you use Marantz’s

FCBS (Floating Control Bus System) system

to link multiple PM-11S3 ampliﬁers together,

you need to allocate each one its own unique

ID number. One unit has to be designated the

‘Master’ unit (1) and the other units (known

as ‘Slaves’) each have to be allocated their

own ID number (IDs 2–4) so the FCBS system

can distinguish between them. After you’ve

set this up, you can link control operations

such as input selection, volume control, mut-

ing, display status, tone control, and so on,

which is particularly useful if you’re bi-am-

ping, though the obvious application is for

multi-channel sound. One very neat feature

of using FCBS to connect multiple PM-11Ss

is that you can switch the ampliﬁer’s output

to mono if you wish, which is great for fault-

ﬁnding, room acoustics investigations and so

on. However, since I was using only a single

PM-11S3, I didn’t have to change the number

or, in fact, do anything at all for the ampli-

ﬁer to operate perfectly at switch-on… and

neither will you.

Once ﬁred up, you select your preferred

input using the left-most rotary control (the

Source selector). From left to right, the source

selection available is: CD, Line-1, Line-2,

Rec-1, Rec-2, MM (or MC depending on the

setting of the MM/MC button), and Balanced.

(All these are shown via LCD in the central

display window, but abbreviated to CD, L1,

L2, Rec1, Rec2, MM and Bal.) I discovered

what I thought was an oddity with the source

selector, which is that if you have the attenu-

ation switched on (about which more in the

next paragraph), switching the source selector

one ‘click’ either way does not change the

source, but instead simply switches off the

attenuator—the source itself does not change.

I guess there’s a good reason behind this, in

that it alerts you to the fact that the attenua-

tor was active (otherwise you could acciden-

tally ‘blast’ your speakers by switching to an

active source at high volume) but it nonethe-

less seemed odd to me.

As for the attenuation circuit (a.k.a.

muting circuit) itself, it’s very clever indeed!

Not only can you attenuate the signal, you

can select between three levels of attenua-

tion: 20dB (the default), 40dB and ‘Inﬁnite.’

Interestingly, you have to use the front panel

attenuation button to preset the level of

attenuation, after which you use the remote

control to activate or deactivate it (or the

source selector, as noted).

The volume control appears to be a stand-

ard rotary type, but it’s not, it’s electronic,

using a 6116 IC from Micro Audio Systems

in order to allow precise level adjustments to

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