The dual outs may be adjusted individually, either manually or by the Audyssey processing. While the decoder outputs only one LFE channel, all have two subwoofer outputs. Continuing in the line are the nine-channel SR7010, seven-channel NR1606, and five-channel NR1506. The SR6011 ($1,399) also has nine amp channels, with less power, for $800 less, while the SR5011 ($899) and slimline NR1607 ($699) have seven amp channels. However, it isn’t the only model with the nine amp channels needed to run Dolby Atmos and DTS:X in their 5.1.4-channel configurations. The SR7011 ($2,199) is the uppermost of four new Marantz receivers as well as the new flagship. Our review sample of the receiver arrived with Denon’s HEOS 7 and HEOS 1 speakers, and we put them through their paces together. And the new top-of-the-line AVR from Marantz further mimics its sister brand by adopting HEOS multiroom connectivity, a feature previously associated with Denon. But as a reader once pointed out, popping the lid on comparably priced models from the two brands may reveal a close kinship in circuit layouts, suggesting certain economies of scale. Through several changes of ownership, the two brands have remained distinct, with different cosmetic looks, slightly different feature sets, and slightly different voicings each team has its own sound-tuning engineers and expert listeners.

The D+M Group was formed in 2002 with the merger of Denon and Marantz, each a powerhouse in A/V receivers and other audio categories.

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