It doesn't matter whether the caps are Sprague or Philips, they need replacement now
it was a WOW moment when i first got it back
One of the BIGGEST audio mistakes I ever made was when I sold my MINT!!!!!!! 18 with the EXTRA eye tube. This stereo looked like it just came out of the box. Except for the dust it was perfect. I think who ever had it didn't use it very much.I'm so glad I didn't sell my 18 back then, especially for the wrong reason.
One of the BIGGEST audio mistakes I ever made was when I sold my MINT!!!!!!! 18 with the EXTRA eye tube.
No, unfortunately that will not never happen again. Wow was I in a bad place at that time.
I bet that will never happen again.
Wow was I in a bad place at that time.
Looks like around 1974 Marantz re-established a Los Angeles office. Before that they were in Japan.Always wondered why they went back to 'made in usa' with their 250 and a few other pieces in the mid 70's.
The Model Eighteen was REVOLUTIONARY.
The Model Nineteen was only EVOLUTIONARY.
The Model Eighteen is the more significant receiver and is currently undervalued in the market. Pick up a mint Eighteen for half what a Nineteen sells for.
The Eighteen has the Pedigree: created by same the classic Marantz design team that made the legendary 7c, 10b and 8b. Not so with the Nineteen.
Saul, Sid and Dick were involved with the Eighteen— but not the Nineteen. The Model Eighteen was released circa December 1967 and Saul and his design team left Marantz in early 1968.
Production of the Eighteen ceased in 1970, the same year the Nineteen was introduced.
Aesthetically, the Eighteen’s faceplate is cleaner and more elegant. The goofy “Custom Calibrated” glued-on plastic badge or “50 rms 50” silkscreening on the Nineteen clutters the faceplate with marketing fluff, and Saul never would have allowed that had he still been President in 1970.
Thanks to all who have replied! I'm loving this history and difference of opinion. You're basically going somewhat against all the folks who are more on the 19 side. I like the difference in perspective!
You all are great!
Keep em coming !!
I think that MAY be due to the germanium transistors??????
The 18 was rushed with time constraint since Superscope has already decided to move the factory to California and no one in the staff want to leave NY. Marantz quit first in December 1967, Sequerra in February and Smith in march 1968. The Model 18 was commercialized around this time.
The model 18 was the last true Marantz. The 20 was the fleshed out tuner part of the model 18 with some modifications and the 19 and 20B were ''improved'' version. The 19 came with a price increase of 40% with less reliable passive part, Sprague --> Holland capacitors for example. The 16 amplifier, who reprise the chassis of the model 15, is another example. In some way, these products were the last heritage of the time when Saul was there. The 20B/tuner section fo the 19 are great and are recognized has one of the best FM tuner ever made.
The 18 was not desired by Saul Marantz, who would have preferred to make a Solid State tuner and high mono power amplifier before (to replace the Model 10B and the 9). Instead, Superscope want to make a receiver to keep with the growing demand for that market segment. The 18 was rushed with time constraint since Superscope has already decided to move the factory to California and no one in the staff want to leave NY. Marantz quit first in December 1967, Sequerra in February and Smith in march 1968. The Model 18 was commercialized around this time.
So today? It doesn't matter, since after 50 years you must change nearly every electrolytic cap in both. The price ? The 19 is pricier for sure. Quality ? In the same range with new components. After that it is more a question of taste and speaker association than superiority.
Today, if you are enough fortunate (or lucky) to have one, restore it with the best component you can put in it and enjoy it with good speakers. They are some of the best vintage integrated amp made by Marantz, and embody one of the best tuner ever made. After all, it is like you have a 7T/15/20 or a 33/16/20B (with less power and flexibilty) in one package ! A pretty good deal to me !
A note on the SLT-12/12U : Rumours stated that Saul Marantz was well aware of the problems of the table, as they designed it for playback with perfect records. When you put a slightly warped records or if the table was not levelled properly , the arm have a hard time to keep up with the groove. What a huge mistake indeed ! No review of the time mention that, but it is a well known between users. When Superscope take over Marantz by summer 1964, they decided nonetheless to release it. As I write, Saul Marantz never discussed this in any interview, so it is pure speculation.
I thought Marantz moved production to California in 1970. If so, how was the Model Eighteen "rushed" if it went into production in Q4 1967, more than two years earlier?
Question about a couple items:
1- does the tuner scope work as it should with a proper antenna line and tuner lighting up stereo in red? Does the scope work of the tuner wasnt working 100%. Basically, when you turn on the scope does it automatically do its thing or it has to be a strong signal for it to fully work? Because I've seen it where it's only a dot when adjusting left to right and up and down when the tuner was weak, it wasn't doing what the scope usually does.
2- does the tuner needle light up like in the marantz 22xx series or just the radio stations numbers light up? Because the one I saw, the needle didnt loght up just the background lot up. It looks like it should be lit up?
Thanks very much!
The model 18 was the last true Marantz. The 20 was the fleshed out tuner part of the model 18 with some modifications and the 19 and 20B were ''improved'' version. The 19 came with a price increase of 40% with less reliable passive part, Sprague --> Holland capacitors for example. The 16 amplifier, who reprise the chassis of the model 15, is another example. In some way, these products were the last heritage of the time when Saul was there. The 20B/tuner section fo the 19 are great and are recognized has one of the best FM tuner ever made.
The 18 was not desired by Saul Marantz, who would have preferred to make a Solid State tuner and high mono power amplifier before (to replace the Model 10B and the 9). Instead, Superscope want to make a receiver to keep with the growing demand for that market segment. The 18 was rushed with time constraint since Superscope has already decided to move the factory to California and no one in the staff want to leave NY. Marantz quit first in December 1967, Sequerra in February and Smith in march 1968. The Model 18 was commercialized around this time.
So today? It doesn't matter, since after 50 years you must change nearly every electrolytic cap in both. The price ? The 19 is pricier for sure. Quality ? In the same range with new components. After that it is more a question of taste and speaker association than superiority.
Today, if you are enough fortunate (or lucky) to have one, restore it with the best component you can put in it and enjoy it with good speakers. They are some of the best vintage integrated amp made by Marantz, and embody one of the best tuner ever made. After all, it is like you have a 7T/15/20 or a 33/16/20B (with less power and flexibilty) in one package ! A pretty good deal to me !
A note on the SLT-12/12U : Rumours stated that Saul Marantz was well aware of the problems of the table, as they designed it for playback with perfect records. When you put a slightly warped records or if the table was not levelled properly , the arm have a hard time to keep up with the groove. What a huge mistake indeed ! No review of the time mention that, but it is a well known between users. When Superscope take over Marantz by summer 1964, they decided nonetheless to release it. As I write, Saul Marantz never discussed this in any interview, so it is pure speculation.