Marantz 2252 (1975–1978)

At 30.8 pounds, it lands in the rack like a promise—solid, serious, and ready to sing.

Overview

The Marantz 2252 isn’t flashy, but it doesn’t need to be. This solid-state stereophonic receiver, built between 1975 and 1978, sits squarely in the middle of Marantz’s 1970s lineup—neither the entry-level workhorse nor the flagship powerhouse, but a well-balanced performer with a reputation for musicality. Owners report a sound that’s both powerful and refined: “sweet sounding marantz with plenty of power,” one enthusiast notes, while another praises its “punchy bass with good mids and highs.” It delivers 52 watts per channel into 8 ohms, a figure that, while modest by modern standards, was more than sufficient for most living rooms of its era. In fact, one owner claims it has “more power than anyone would ever need in a living room,” a sentiment echoed by those who’ve driven demanding speakers without strain.

Despite its lack of digital trickery or exotic materials, the 2252 was engineered with care. It uses a modular internal layout, with dedicated printed circuit boards handling key functions: the FM front end on P.W.B. P 100, the full AM/FM tuner on P.W.B. P 200, the EQ amplifier on P.W.B. P 400, and the power amplifier on P.W.B. P 700. This separation of duties wasn’t just for serviceability—it helped isolate noise and preserve signal integrity. The design relies on 45 transistors, 29 diodes, 3 integrated circuits, and a single field-effect transistor, a configuration that reflects the transitional period when discrete and integrated components coexisted in high-fidelity gear.

Specifications

Key Features

Modular Circuit Board Architecture

Inside the 2252, functionality is divided across multiple dedicated printed circuit boards—a design choice that was both practical and sonically beneficial. The FM and AM tuner sections are isolated on P.W.B. P 200, while the power amplifier resides on P.W.B. P 700 and the power supply on P.W.B. P 800. This modularity made repairs more straightforward and reduced crosstalk between stages. The EQ amplifier, tone amplifier, and Dolby FM/tape monitor switch unit each have their own boards, underscoring Marantz’s commitment to clean signal paths. Even the dial lamp unit is on its own board (P.W.B. PZ01), a small detail that speaks to the care in layout and serviceability.

45-Transistor Discrete Amplifier Stage

The power amplifier section leverages 45 transistors in a fully discrete configuration, avoiding the cost-cutting use of op-amps common in lower-tier receivers of the time. This, combined with a damping factor of 45 at 20Hz, suggests a design focused on control and authority over the speaker load. While the total harmonic distortion is rated at 0.6% for the FM tuner section—modest by today’s standards—it’s consistent with high-quality analog gear of the mid-1970s. The high-level signal-to-noise ratio of 88 dB indicates a quiet background, essential for revealing low-level detail in recordings.

Phono Stage with RIAA Accuracy of ±0.75 dB

The phono preamp is a standout, offering a frequency response of 20Hz to 20kHz with an impressive ±0.75 dB tolerance, meeting or exceeding DIN 45507 standards. With an input sensitivity of 1.8 mV and an input impedance of 47 kOhms, it’s tailored for moving magnet cartridges of the era. The phono signal-to-noise ratio of 76 dB (and 45 dB unweighted, per DIN 45500) confirms it was engineered for low noise, though some owners may still hear a faint hiss with high-gain cartridges. The inclusion of a high filter—likely intended to reduce low-frequency rumble—adds flexibility for turntable owners dealing with warped records or subsonic noise.

High-Level Input Sensitivity of 180 mV

The line-level inputs (Aux and Tape) are designed for standard consumer and semi-pro gear, with a sensitivity of 180 mV and an input impedance of 85 kOhms. This ensures compatibility with tape decks, CD players, and tuners without overdriving the stage. The pre-out level, measured at 1.5 V when referenced to 180 mV at the Aux input, provides ample signal for external amplifiers. When the main amp is disconnected, the pre-out can deliver up to 4.2 V, a healthy output that accommodates power amps with higher input demands.

Historical Context

The Marantz 2252 was part of a broader family of mid-tier receivers that included the 2238, 2226, and 2216, all marketed during the mid-to-late 1970s. It was positioned below the flagship 2325, serving as a capable but accessible option for audiophiles who wanted Marantz quality without the top-tier price. Two versions of the series exist: the original 2252 and the later 2252B, which arrived in subsequent years with minor revisions. Unlike some of its siblings, the 2252 didn’t chase extreme specifications or cosmetic flair—it focused on solid engineering and musical delivery, a philosophy that resonated with listeners who valued substance over show.

Collectibility & Value

Today, the Marantz 2252 is described by collectors as “very rare,” a claim supported by its infrequent appearance in well-documented condition. Refurbished units have sold for as much as €1,399, while others in working order list around €494, reflecting wide variability based on condition and provenance. One persistent issue reported by owners is FM tuner instability—specifically, the need for warm-up time and “severe fading” in stereo or mono modes. Reddit threads point to cold solder joints as a common culprit, a repairable flaw that doesn’t diminish the unit’s appeal but does factor into restoration costs. Enthusiasts have responded with modern upgrades: LED bulb kits replace aging dial lamps, and some restorers even reinstall vellum paper to recreate the original blue backlighting, a small but telling nod to authenticity.

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Related Models

• Marantz 3600 (1976-1977)
• Marantz MODEL 112 (1971-1973)
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• Marantz MODEL 260 (1976-1978)
• Marantz MODEL 28 (1971-1973)
• Akai AM-2850 (1975)
• Akai AP-206 (1975)
• Nakamichi BX-1 (1985)
• Acoustic Research research-ar-17 (1978)
• Acoustic Research AR-19 (1994)