Internally, the construction is archetypal modern Japanese-of high quality but with a profusion of wiring. Most British designs did away with this long ago by means of a single printed circuit board and board-mounting input and output connectors.
Not that you could realistically incorporate the PM-80SE's 26 (yes, 26) phono sockets in such a fashion. Five inputs are selectable by the rotary control on the fascia - Phono, CD, Tuner, Aux 1 and Aux 2 - and tape monitoring is provided for no less than three tape recorders (cassette, DAT and DCC?). A Record-out selector permits any source to be recorded while listening to another, and also allows dubbing from Tape 1 to Tape 2/3. A fourth output/input loop is additionally provided for an add-on processor such as Marantz's own EQ315 or EQ515 graphic equalizers-presumably as a sop to those affronted by the PM-80SE's eschewal of tone controls.
For the minimization of in-circuit switches and wiring, and thereby the maximization of sound quality, a Source Direct button is provided which bypasses all these inessential provisions.
How it performed
Given the choice of Class A or Class AB operation (switching between which must be done with the amplifier powered down), potential purchasers of the PM-80SE are bound to be intrigued as to the difference in sound quality. In truth it is subtle, and not experienced to the full unless the Source Direct option is selected, which confers a slight but worthwhile focusing of the sound.
In Class A this sense of focus is further enhanced and the PM-80SE's sound takes on a slightly smoother, more refined quality, but the difference could hardly be called a transformation. If you own relatively sensitive loudspeakers (say 88dB/W/m or higher) and you do not listen at high levels, then Class A will likely be your mode of choice provided that the greater heat dissipation is not a problem, as it might be if ventilation is for any reason restricted. I used the amplifier with Alphason Amphion loudspeakers (rated sensitivity 90dB) and was able to listen to clipping-sensitive programme such as female voice (Emma Kirkby's "When I am Laid in Earth" from Andrews Parrott's recording of Dido and Aeneas) and piano in Class A at unrealistically high volumes without the amplifier exhibiting any signs of distress. Should you require the extra 6dB in output potential promised by Class AB, however, the sacrifice in sound quality is nothing to lose sleep over.
That said, in neither mode does the PM-80SE provide the transparency and vitality which are the hallmark of the very best amplifiers. Despite its Class A provision, it does not proffer top-drawer sound quality at an on-the-rack price. If resolution is your prime requirement, indeed, there are even some cheaper amplifiers you might consider.
What the PM-80SE 'majors' on is undramatic, unfatiguing music making, which endears itself by the very act of being unremarkable. Its stock in trade is refined discourse, not robust badinage, and it will appeal most to listeners who are likewise inclined.