instudio wireless speakers manual transmission

We prefer the slow roll-off filter (indicated by a blue LED) for its slight edge in exactness and naturalness over the warmer, more rounded sharp roll-off, signified by a purple LED. Over coaxial, a little clarity and precision is sacrificed, but the fullness and dynamism remain intact. Marantz has done well to maintain consistency across the connections on offer, with the DAC, headphone output and phono stage all proving strong. It’s not the end of the world, but in this regard the PM6007 has taken a small step backwards. His characteristically brooding, contemplative vocal rises confidently above the aqueous acoustics, but the PM6007’s vocal delivery doesn’t feel as rock-solid and grounded as its predecessor’s. The melodic finger-picking underpinning Matt Berninger’s acoustic-led Last Song is subtler, both in terms of the way the notes are formed and how they flow dynamically. Textures take on new levels of tangibility, too. Move onto Högni’s rhythm-driven Moon Pitcher and the layers of ambient strands are more cohesively entwined, the new Marantz’s musicality rigorously precise. The dramatic opener of Portishead’s live performance of All Mine comes through with more presence, while the PM6007’s clearer disposition also makes more of the special occasion provided by the accompanying 35-piece orchestra. Marantz has traded some of that smoothness for a bit more oomph, as well as tightened up the bass, and the result is a more spirited presentation. Where it pulls away from the PM6006 UK Edition is in its greater clarity, precision and rhythmic punch.

Like its predecessor, it’s about as agreeable a performer as you could ask for at this price.

Its sonic character is as familiar as its casework: smooth, full-bodied and balanced, with a pleasing spaciousness.

The clearest evidence of the line’s evolution lies in the PM6007’s performance.

Instudio wireless speakers manual transmission