Test Marantz Cinema 30: elegant AV receiver with audiophile sound

At the end of 2022, Marantz presented an entire series of new AV receivers, “Cinema”, which were completely redeveloped and for the first time also adopted the current housing design of the stereo devices. After the previously tested Marantz Cinema 70s, we ordered the top model Marantz Cinema 30, which is now finally available in stores.

It’s an old Marantz tradition, but I have to get used to the fact that the smaller models have the higher model number. The Cinema 70s is the Benjamin of the current series in terms of features, housing size and at 1,000 euros, while the Cinema 30, with its purchase price of 4,500 euros, is currently the top model of the Marantz receivers.

And then there’s this AV10 preamplifier, which is also part of the Cinema series. Between it and the new Cinema 30 tested here, the Japanese still left the “20” as a gap. So it will be interesting to see…

However, our test device is currently the heavyweight among receivers in terms of price and weight (almost 20 kilograms). But you also get a lot for the money, so it’s a bit of a shame that most of the qualities aren’t even recognizable at first glance. But we are here to provide you with this.

Marantz Cinema 30: Structure and processing

Only when you take the cover off do you gradually get a feel for the care with which the Japanese have developed this cream of a receiver. For example, all housing screws are copper-plated to ensure the best conductivity when connecting the cover and chassis – including maximum shielding from the inside and outside.

At first glance, there seems to be less copper on the inside than we are used to from Marantz. But that is deceptive! The entire, extra-rigid base plate consists of a steel/copper/steel sandwich. Two pairs of discrete transistors sit directly on a copper plate, each monitored by a temperature sensor. The newly developed power amplifier circuit is implemented in a classic Class A/B circuit for both voltage half-waves. The thick copper sheet then conducts the heat over a large area to conventional cooling fins made of continuous cast aluminum. This reduces distortions caused by thermal differences. Why copper for shielding and cooling? Because copper is both one of the best conductors of electricity and one of the best conductors of heat. And in the event of heat, two fans (not visible in the picture because they are on the floor) for each power amplifier block quietly amplify the airflow…

The new digital board is also full of cooling fins and hardly any chips. As you can imagine, the cooling effort is due to the powerful processors used here. All HDMI connections now offer a maximum bandwidth of 40Gbps for all resolutions and frame rates from 8K and up to 120Hz. And to process the 13 channels plus 4 subwoofers with all the functions, resolutions and room correction of either Audyssey or Dirac Live, Marantz now relies on the powerful Griffin Lite XP DSP from Analog Devices.

For the first time in a Marantz receiver, a rather impressive, encapsulated toroidal transformer is also used as a power source. The total of thirteen power amplifiers buffer an impressive 44,000μf in ELNA filter capacitors to provide long-lasting energy for more than just the first pulse. Without disassembling more than is appropriate for testing, you can’t even get close to the D/A converter board and the discrete HDAM modules (which serve here as refined operational amplifiers). Users of separate power amplifiers or active loudspeakers in particular benefit from the HDAM output stages. This is because the output channels can now also be operated in pairs as a pure preamp.

If you look at the back, you’ll notice that the Marantz Cinema 30 only has thirteen power amplifiers, but offers 13 speaker terminals. Explanation: The assignment of channels depends on signal processing and can be adjusted dynamically. This means that 13 speakers can be controlled, but no more than thirteen at the same time. Unlike preamplifiers. The Cinema 30 can probably control all 13 channels simultaneously, but then you need separate power amplifiers or active loudspeakers.

In the depths of the frequency cellar

Up to four subwoofers can be used simultaneously – independently filtered, equalized and assigned. Arrays are just as controllable as a stereophonic bass, LFE separately, or front/rear separately and so on. It is also possible to configure the subwoofer output 4 as a control for a body sound transducer in order to control tactile support for feet, buttocks and back independently of the actual volume. Well dosed, the sound felt through the tactile transducers, commonly known as “bass shakers”, gives the impression of a much higher volume and the feeling of being there. And all without harming your hearing (or your neighbors).

In addition to the usual analog and digital audio inputs, Marantz also offers a few exotic connections in the top-of-the-range receiver. This is probably where the last analog video inputs for CVBS and component can be found, for example to use older games consoles or VHS recorders. The phono input is standard with Marantz, but is still unusual on AV receivers. It sounds amazingly audiophile. Also exemplary are the three 12V triggers, which can be used to control all sorts of things: subwoofers with a corresponding connection (such as the newer models from Velodyne) or power strips from Antrax.

Handling and streaming

For some users, however, it is often the small improvements that offer a decisive advantage. Anyone using wireless headphones via Bluetooth, for example, could already use them with Marantz and Denon receivers. However, the volume was controlled globally for all signal paths. The Bluetooth transmission now has a separate volume control, independent of the one for the speakers.

The remote control is also a step forward compared to the previous version. It has become much more elegant and is now made of more valuable-looking metal. The layout remains similar to the previous one and is tidy. The button labeling lights up discreetly at the touch of a button.

The on-screen menu now has a modern, high-resolution layout with the tried-and-tested menu structure: the days of the 8-bit look are finally over. This also makes the fonts easier to read on modern displays. The web menu has de facto remained the same and is particularly suitable for configuring and setting up the home theater, because it offers the best overview for input configuration, speaker assignment, etc. You can also save or restore the entire settings and calibration of the receiver as a backup. Practical: The web menu can also be accessed directly from the app on a smartphone or tablet.

The developers have also been working on the HEOS streaming platform. Firstly, the Cinema 30 now contains the most powerful HEOS hardware to date – with more memory and computing power for future tasks. On the other hand, the HEOS app has been revised. A feature that I have been longing for is now finally integrated: a global search. It takes a few seconds to display results – if you really include all registered platforms and services. But then it provides really comprehensive information about where you can find what you’re looking for in the piece/artist/album/audiobook.

Otherwise, HEOS offers, as it has for years, the same access to all currently leading streaming services from Amazon to Tidal, TuneIn Internet radio. Apple Music, Qobuz and Roon Ready remain on the to-do list. Roon Tested via AirPlay 2, on the other hand, has been working for a long time, just within the technical limits set by AirPlay 2. If you want more, you could take a look at the new small server model Roon Nucleus One, for example, which can be connected via HDMI and then streams HighRes and even multi-channel audio to the home theater.

The sound quality: practice and room correction

In terms of room correction, the Marantz Cinema 30 has, as expected, the thickest Audyssey MultEQ XT32 on board. The Audyssey app (approx. 25 euros) can be used for even more precise and better sound calibration. It gets even better with Audyssey PC software, a calibrated microphone and the corresponding license for the specialist. You can also use the well-known Dirac Live room correction via PC, which is recognized as being good and flexible. This software can be purchased (linked to the serial number of the device) as a license directly from Dirac and is available in a total of 6 expansion stages from US$ 259 for pure room correction (up to 500Hz) to full-range correction and optimization of multiple subwoofer configurations at US$ 799. Dirac also requires a calibrated microphone and is available for Windows and iOS.

It goes without saying that the Cinema 30 can handle all decoders from Dolby to Dolby Atmos, DTS to DTS:X and Auro-3D . We have often dealt with their qualities and characteristics. Let us therefore concentrate on the pure sound quality of the amplifier sections. For the majority of AV receivers, the quality of the power supply unit and the associated power amplifiers are the limiting element in terms of sound quality. Even the larger Marantz models of the past few years only ever showed their maximum qualities on the preamplifier side: For optimum quality, it was wise to use correspondingly better external power amplifiers.

However, as Roland Krüger (Regional Trainer DACH at Marantz) emphasized, the developers have applied the same standards to the Cinema 30 as to the large stereo integrated amplifiers: the same care in construction and the same component quality.

And indeed, the Cinema 30 played at an audiophile level in the test theater that I have only heard from a few multi-channel behemoths so far. In stereo, everything sounded amazingly vivid and tangible in the room, especially when streamed directly from the NAS via DLNA with HEOS. Previous test models were perhaps able to create a nicely drawn stage between the main speakers. However, the Cinema 30 also separated the individual instruments very precisely and did not place them on a string of pearls between the loudspeakers, but truly three-dimensionally in the room – even in front of and behind the loudspeakers.

Of course, this quality also helps with surround sound, allowing the individual elements to be placed more or less freely and vividly throughout the entire room volume. I found the tonality, which for Marantz is typically bred for warm timbres, discreet and pleasant, especially as it is not achieved at the expense of precision or attack. On the contrary, this receiver can handle transients and impulses in an exemplary manner. It sounds open and energetic, but never aggressive. Great!

Conclusion Marantz Cinema 30: really successful in all respects

I find the current Marantz design much nicer than the old one. This applies even more to the Marantz Cinema 30 when the front flap is closed. What lies behind it is also absolutely top. Admittedly: Current Marantz and Denon machines share the same platform (at least on the digital side). But the products are not only very different in appearance.

In any case, the Cinema 30 is clearly superior to all Denon competitors when it comes to the musical-spatial reproduction of music. And this is probably primarily due to three components in which significantly more has been invested here: The comparatively gigantic power supply unit with toroidal transformer and significantly higher dynamic reserves, the discrete output stages with sophisticated thermal management and finally the discrete output drivers behind the D/A converters in HDAM circuitry instead of simple operational amplifier chips.

All in all, this results in an unusually high-end and three-dimensional sound for an AV receiver, which undoubtedly reaches the level of classic stereo amplifiers. But the possibilities are completely different with Cinema. From phono (MM), the connection options for even old VHS recorders on the analog side, to streaming throughout the house (via HEOS), to the app and web interface for controlling external devices, everything is really included here. That’s what I call a successful complete package for good stereo sound and thrilling movie sound.

Marantz Cinema 30	2024/05
=utstanding

Reviews

Sound Quality Usability Build Quality Summary

The rating always refers to the respective price category.

	Musical sound, vivid imaging
	Fully equipped, sophisticated operation
	Audyssey and Dirac (optional) Room correction
	HEOS Streaming & Multiroom

Distribution:
Marantz Germany
D&M Germany GmbH
A division of Sound United
An der Kleinbahn 18
D-41334 Nettetal
www.marantz.com

Price (manufacturer’s recommendation):
Marantz Cinema 30: 4,500 euros

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