Marantz 2325

The Marantz 2325 came out around 1974 with a list price of $799.95.  It was discontinued some time around 1976. It produces 125 watts per channel into 8 ohms. It’s known for more than adequate warm power, a beautiful spacious sound stage, thunderous bass, and on top of that, it’s pleasing to the eye.

The 2325 is a handsome receiver. It looks especially good in the optional WC-43 walnut case.  I believe the WC-123 case also fits this model. The 2325 was Marantz’s flagship receiver at the time and part of their 22xx lineup. That lineup included the 2275, 2250B, 2240B, 2235B, 2225, 2220B, and 2215B.

When it comes to performance, features, reliability, and styling, the Marantz 2325 stands out as a top-notch receiver. It offers a combination of superior tuner and amplifier capabilities and represented Marantz’s most ambitious effort in a stereo at the time.

The front panel of the Marantz 2325 stereo receiver is busy but well organized. The upper section features large station tuning dials for both FM and AM, with a logging scale positioned between them. These scales are lit in the iconic Marantz blue color. Above the dials, there is a row of indicator lights representing different control settings, such as Dolby, AM, FM, phono, aux, tape 1, tape 2, and stereo. The Dolby and stereo labels are illuminated in red, while the others are in white.

To the left of the dials, you’ll find two tuning meters. One serves as a signal strength indicator for both FM and AM, and it can also be used to calibrate Dolby levels when playing or recording tapes using the built-in Dolby processor. The other meter serves as a combined center-tuning multipath indicator for FM reception. When you press the multipath button located below the tuning dial, this meter helps minimize deflection, assisting in aligning the FM antenna. To the right of the tuning dials is the tuning knob, the unique flywheel style tuner. The rim of the knob protrudes through the panel, providing an ultra-smooth and precise station tuning experience.

Below the tuning dials you’ll find a total of seventeen controls. Some are knobs, some are pushbuttons, and one is a slider. Starting from the left side, the first six controls are dedicated to the Dolby system, working in conjunction with the main Dolby control. This main Dolby control has different positions, including Dolby FM (for listening to Dolby FM broadcasts), play (for playing any Dolby-encoded source except FM), off, record I (for making a Dolby recording of a non-Dolby signal), and record II (for making a non-Dolby recording of a Dolby-encoded signal). In all positions except off, the Dolby switch converts the FM signal strength meter into an audio level meter. To calibrate the Dolby system using this meter, you use the first six controls mentioned earlier. They include a push button to display left and right channel readings on the meter, play-calibration knobs for each channel, recording-level knobs for each channel, and a push button to activate a built-in 400Hz tone that serves as a reference signal.

Next in line are the two tape-monitor push buttons. Following those is the channel-balance slider control, which has a midway position that clicks into place. Moving to the right, there are eight more controls, all in the form of push buttons. The first one activates multipath indication on the second tuning meter. Then there’s a high-blend switch that helps reduce noise on weak stereo FM signals. The third and fourth buttons are for the low-frequency and high-frequency filters, respectively. After that, there’s a loudness contour switch, an FM muting switch, and two controls for turning on or off the stereo pairs of speakers.

Below this row of controls, you’ll find eight larger knobs. Starting from the left, the first one is the Dolby control that was previously mentioned. Next is the signal selector, which allows you to choose between AM, FM, phono, aux, tape 1, and tape 2. Following that is the mode control, which offers settings for left, right, stereo, reverse stereo, and mono (combining left and right channels).

The next four knobs handle the versatile tone control system. First is the tone mode control with five positions: out (disabling all tone adjustments), in (activating the tone controls with bass turnover at 500 Hz and treble turnover at 2 kHz), 250 Hz (changing the bass turnover), 4 kHz (modifying the treble turnover), and 250 Hz/4 kHz (altering both bass and treble turnovers). After that, there are three knobs for adjusting bass, midrange, and treble. Each knob can be adjusted independently for each channel or simultaneously for both channels, and they have distinct clicks at eleven positions.

The last knob is the volume control, allowing you to adjust the sound level. To the left of this group of controls, you’ll find the input and output stereo phone jacks on the front panel, which are used for tape dubbing. To the right is the AC power switch, and just below that is a stereo headphone jack that remains active regardless of the speaker selector settings.

Here are the different Marantz models at the time with their watts per channel, total harmonic distortion, dimensions, weight, and retail prices:

The tuner section of the Marantz Model 2325 incorporated advanced design elements. It included features like a five-gang tuning capacitor, a phase-compensated ceramic IF filter network, and a phase-locked loop in the multiplex demodulator stages. It also included a versatile built-in Dolby system that provided the ability to listen to a decoded broadcast while simultaneously sending the encoded signal to a tape recorder.

The FM performance of the Marantz 2325 is excellent. It exhibits a steep quieting curve, low distortion, and impressive figures for standard test criteria such as signal-to-noise ratio, capture ratio, and selectivity. The audio response is nearly flat up to just beyond the 15 kHz mark in both mono and stereo modes. In stereo mode, the left and right channels are well balanced, and the stereo separation, reaching better than 40 dB across much of the frequency range, generally surpasses the requirements set by standard broadcast regulations. As for AM reception, it surpasses average performance, delivering above-average clarity and the ability to receive a higher number of stations.

The competition with the Marantz 2325 included the Pioneer SX-1250, Kenwood KR-9400 and the Sansui 9090. Here is a chart comparing them from a Pioneer advertisement of the day (obviously bias toward Pioneer).

Scpecifications:

• Power output: 125 watts per channel into 8Ω (stereo)
• Frequency response: 20Hz to 20kHz
• Total harmonic distortion: 0.1%
• Damping factor: 70
• Input sensitivity: 1.8mV (MM), 180mV (line)
• Dimensions: 19 3/4 x 5 3/4 x 15 1/4 inches
• Weight: 49.5lbs
• Year: 1974

There is also a version of the 2325 with a black faceplate. One reader has speculated that all the Marantz 2325 black faceplates are reproductions and that a true black 2325 was never made by Marantz. This could be true as there are a number of reproduction black faceplates available on eBay.

The amplifier section of the 2325 is impressive. It utilizes a direct-coupled output circuit, and the entire section is safeguarded by built-in circuitry that prevents any unpleasant noises during the unit’s startup. According to measurements conducted at CBS Labs at the time, its power output surpassed the published specifications for both power and distortion. Even at very low power levels, the distortion remained as low as what was measured at full rated output. The total harmonic distortion (THD) and intermodulation distortion (IM) generally fell within hundredths of a percent.

The power bandwidth, which is defined as the range of frequencies over which the output power remains constant, extends from below 10 Hz to 57 kHz for a rated output of 125 watts at 0.15% THD. The frequency response, which refers to the range of frequencies that the amplifier can faithfully reproduce, maintains a consistently flat line from 40 to 100,000 Hz and only experiences a slight drop of 1/2 dB at 10 Hz. These figures are similar to what one would typically expect from a high-quality standalone power amplifier.

The performance of the preamplifier section matches that of the power amplifier, exhibiting excellent signal-to-noise (S/N) ratios for the rated sensitivities across all inputs, including the often critical magnetic phono input. Specifically, the magnetic phono input demonstrates an impressive 70 1/2 dB S/N ratio for an input signal of 2.2 mV. This characteristic, combined with the superb RIAA equalization response results in excellent reproduction of audio from records.

The tone control system integrated into the 2325 is divided into three segments: bass, midrange, and treble. Additionally, it provides the option to select different turnover frequencies for the bass (500 or 250 Hz) and treble (2 or 4 kHz) ranges.

The preamplifier and power amplifier sections are internally bridged to allow normal “through” operation. However, when signal plugs are inserted into a set of pre-out/main-in pin jacks located on the rear panel, the internal connections are interrupted, and the signal is redirected to and received back from the external unit being connected.

The rear panel of the receiver contains the speaker main and remote terminal pairs. The antenna inputs include 75 and 300 ohm terminals for FM, plus a long-wire terminal for AM. There also is a built-in AM loop antenna for normal local reception. An FM muting threshold adjustment and a Dolby-FM level preset adjustment for each channel are also located on the back panel.

When it comes to connectivity options, the receiver is equipped with a variety of input and output jacks. These include pin jacks for magnetic phono and auxiliary inputs, which enable you to connect a turntable or other external devices. Additionally, two sets of tape monitors (in and out) are provided, allowing for easy recording and playback capabilities. Furthermore, the pre-out and main-in connections give you the flexibility to integrate external amplifiers or processors into your audio setup.

Two AC outlets are provided, one of which is switched, offering convenient power connectivity for various audio peripherals. Lastly, a chassis ground terminal is available to ensure proper grounding of peripherals such as a turntable.

Overall, the Marantz 2325 stereo receiver is a standout choice for audio enthusiasts and collectors alike. Its extensive features, unmatched audio performance, and ability to power a wide range of speaker systems make it a top contender in its class. Whether you’re an audiophile seeking crisp clear yet warm sound, or simply someone looking for an exceptional vintage receiver that will more than likely appreciate in value, the Marantz 2325 offers a level of sophistication and sound quality that is worth the price.

The 2325’s can sell from over $1000 for a non-working parts unit to over $3000 for a fully restored unit.