Marantz Link 10n Streaming 2.1CH Hi-Fi Preamp Review

Marantz Link 10n Introduction

The Marantz Link 10n (MSRP: $14,000) is Marantz’s flagship Reference Series network audio player and audiophile-grade preamplifier, capable of handling ultra-high-resolution PCM up to 384 kHz/32-bit and DSD up to 11.2 MHz. It features a dedicated 2.1-channel subwoofer output and HDMI ARC support for compatible TV and gaming setups. The Link 10n supports a wide array of analog and digital inputs—from RCA, balanced XLR, USB-A/B DAC, optical, and coaxial, to MM/MC phono and HDMI ARC—as well as outputs including fixed and variable RCA/XLR, headphone out, and subwoofer pre-out. Oddly, the subwoofer output is unbalanced, despite the entire preamp circuit topology being fully differential and balanced.

Built at Marantz’s premier Shirakawa factory in Japan, the Link 10n features a triple-layer copper-plated aluminum chassis, high-grade HDAM/MM circuits, fully balanced architecture, and a large toroidal power supply—all contributing to its hefty 73-pound weight. It also includes a high-resolution, full-color TFT display and embodies Marantz’s industrial design ethos and “Sound Master” tuning for the lowest distortion and widest dynamic range in their digital components. In this review, we explore its full capabilities to determine whether it’s the real deal—or if the beauty is only skin deep.

Marantz Link 10n Design Overview

The Marantz Link 10n is truly a crafted luxury audiophile product. You get a sense of its seriousness by its sheer size and weight of 73 lbs — and note this is just a preamp, with no internal amplification present. Some of the standout design attributes that separate this preamp from the ordinary "audiophile" preamp include:

•     Triple-layer copper-plated aluminum chassis for rigidity and better shielding

•     Isolated sub-enclosures, especially for the toroidal power transformer, to reduce vibration and interference

•     Fully balanced signal path in analog circuits (balanced inputs/outputs) for lower noise and better common-mode rejection

•     Next-gen HDAM (High Definition Amplifier Module) modules in the analog output / pre/power stages for improved fidelity

•     High-grade multi-layer printed circuit boards (PCBs) for neat layout and signal integrity

•     Heavy weight (~33.3 kg / ~73.5 lb), reflecting substantial internal components and strong build

•     Machined and brushed aluminum control surfaces, spun knobs, sculpted backshell — premium finishing touches

•     Solid aluminum (bearing construction) on volume and input selector knobs

•     High-resolution full-color TFT/OLED display with durable, visible front controls/buttons

•     Hi-Res audio support up to 384 kHz/24-bit, and native DSD 11.2MHz support

•     HEOS® Built-in

•     HDMI ARC with CEC support

•     2.1-channel subwoofer output

•     Audiophile-grade MM & MC phono stage with 3 impedance settings

Fully differential design from input to output is one of the numerous reasons the Link 10n excels on the test bench. Very few consumer-grade audiophile products are designed fully complementary because it doubles the component count and complicates the design. But since this is a cost-no-object product, those are not concerns for the Link 10n. Instead, Marantz incorporated the very best circuit designs and components their Sound Master knows how to produce. How does this translate to its audio fidelity? Let's find out.

Marantz Link 10n Back Panel View - Note the Balanced I/Os, HDMI ARC, Toslink & Coax Support

Marantz Link 10n Network Hi-Fi 2.1CH Preamp Review!

Listening Tests

I installed the Marantz Link 10n into my 2-channel office system, which consists of a Marantz 30n SACD network player, a Marantz TT15S1 turntable, and fully active RBH Sound SFTR/AX triamplified tower speakers with Marani DSP. The previous preamp in this system was the excellent Anthem STR, which I still regard as one of the best 2-channel preamps I’ve ever tested. The Anthem’s advantage is its ARC room correction, but I never had great success with it in this setup, so I left it disabled most of the time. Instead, I used the powerful DSP in the Marani processor to finely tune my RBH speakers to the room. All cables are Iconoclast from Bluejeans cable. The Link 10n was connected via Ethernet to my 1 Gb switch for the most stable network connection possible. I spent extensive time listening to the various DAC settings the Link 10n offers and found my preference to be: Filter 2, Dither 1 and Balanced Noise Shaping. To my ears, I heard the best details for 44.1kHz/16 bit content. The audible differences between the filter settings were less apparent for higher sampling rate music content which is explained in the measurements section of this review. 

The HEOS App had a few hiccups when I tested it initially but after a few updates over the course of a month or so, I found it to be very stable and usable. Still, I often preferred to use Tidal Connect which also allows you to control the master volume of the Link 10n.

Tidal Connect 

I started out streaming music from Tidal Connect to the Link 10n. Prior to the Link 10n, I used a Bluesound Node Nano via COAX. Streaming directly through the Link 10n proved to be a sonic delight that surpassed what I’d previously heard with the Bluesound streamer. I’m not sure whether it’s a DAC difference or simply how well the Link 10n processes lossless content compared to the Anthem STR/Node Nano combo, but I can say without a doubt that I was loving the fidelity I was hearing from the Link 10n streaming preamp.

Two tracks that absolutely floored me in my 2CH office system were Radiohead’s “Packt Like Sardines in a Crushed Tin Box” from Amnesiac and Madonna’s “Vogue” from The Immaculate Collection. On the Radiohead track, every micro detail was extracted, just like I’ve noticed in my theater-room reference system. The bass was deep and punchy, and the vocal clarity stayed top-notch despite all the wild effects and panning. Madonna’s “Vogue” completely stunned me. The remastered streaming version from The Immaculate Collection is, in my opinion, a true sonic marvel—and no track showcases that better than “Vogue.”

It genuinely sounded like a binaural recording, even though I was hearing it through loudspeakers instead of headphones. The snapping fingers in the left speaker, the bongos in the right, and the whispers of Madonna’s voice projected behind me created an incredibly spacious and lifelike presentation. I was convinced it was a multi-channel recording. I even replayed the track in my theater room to compare the Atmos mix with stereo, and surprisingly, I preferred the stereo mix! To me, you get all the spaciousness of Atmos in 2CH, but with better fidelity than streaming lossy Atmos from Tidal or Apple Music. You really have to hear this track in two-channel on a great system to fully appreciate the experience.

Phono

I've been using the Marantz TT-15S1 in my 2CH systems as my primary vinyl source for at least six years now, and I absolutely love the sound quality of this turntable. The only downside is its poor isolation, which can be remedied with a sturdy rack or a decoupling device like the IsoAcoustics Delos isolation platform. I spun a few records on the TT-15S1 using the Link 10n MM phono setting and found the bass to be slightly thicker than I remembered from my Anthem STR phono stage. I’m not sure if this had anything to do with the slight bump I measured in the Link 10n’s phono response. I also noticed some additional rumble through my speakers, which required a few adjustments to the TT-15S1 to compensate. Once everything was dialed in, though, I was treated to more sonic delight from the Link 10n.

Phil Collins’ second solo album Hello, I Must Be Going has a more commercial sound than Face Value, but in my opinion, it’s better produced and sonically excellent. I Don’t Care Anymore is one of my favorite Collins tracks—not only because of the emotional weight of the lyrics, but also because of the incredibly well-recorded and catchy drum track, proving Phil was a true master behind the kit. I love the way this song sounds both on streaming and vinyl. However, the vinyl version feels more organic and gritty. The subtle grace notes in his beat come through clearly, while the kick drum hits you in the gut, making you want to crank it up just to feel it more. You can hear the pain in his voice, the roughness of past relationships, and the raw emotion in the way he delivered the lyrics.

Richard Marx’s self-titled debut album features some of the most famous songs of his career, like Hold on to the Nights and Endless Summer Nights. But I always flip to the B-side for musical gems that didn’t get as much radio play in the late ’80s and early ’90s. Remember Manhattan has that classic ’80s rock sound, cranked up to volume 11. The snap of the snare and the bite of the saxophone create a visceral experience. I honestly couldn’t believe how crisp this recording sounded on vinyl—the Link 10n truly extracted everything possible from the TT-15S1. The high-frequency clarity was excellent, and Richard Marx’s voice was anchored dead center with a forward edginess. Towards the end of the song, the soundstage opens up beautifully, and the decay of the electric guitar leaves you wanting to play it again.

The only two features I didn’t exhaustively test were the built-in audiophile headphone amplifier, which I plan to revisit next time I get some cans worthy of this beauty, and the USB DAC function, since I no longer stream music from my computer hard drive now that all my music needs are met through Tidal, Qobuz, vinyl, and SACD playback.

Marantz Link 10n Bench Test Results

originally published: 8/12/25

All measurements were conducted using our Audio Precision APx585 8 Channel HDMI Audio Analyzer. 

For more information about how we measure power amplifiers, please see:

Basic Amplifier Measurement Techniques

Marantz Link 10n Frequency Response & Distortion

Coax Input, 2.1CH Analog Outputs

The Marantz Link 10n is capable of delivering 10Vrms (UnBal) and 20Vrms (Bal) from the analog outputs. That is some serious output drive well beyond what is needed to drive any amplifier into clipping. What this sound mean is, incredibly clean output at nominal output ranges of 2Vrms-4Vrms needed for most amplifiers to reach maximum output before clipping.

Marantz Link 10n Preamp Frequency Response (0dBFs 192kHz/24bit input, 4Vrms out)

The Link 10n measured ruler flat response within the audio band with a -3dB pt of 50kHz when fed a 192kHz/24 bit test signal into the COAX input. I was expecting flat response to ½ Nyquist or 96kHz but this is academic and not something to be concerned about.  

Marantz Link 10n Output Voltage vs Distortion (RCA) 

The distortion is very low from the Unbal outputs at <0.002% THD+N or 94dB SINAD at 2.5Vrms. The Link 10n delivered a clean 8Vrms output from unbalanced outputs with a 0dBFs input signal.

Marantz AV 10 Preamp Output Voltage vs Distortion (Bal) 

The Link 10n has exceptionally clean output via the XLRs thanks to its fully differential design. It delivered its speced .0015% THD+N or 96dB SINAD at 4Vrms with a peak 102dB SINAD at 8VRMS which is stellar. 0dBFs did NOT drive the outputs to max clipped but instead I measured clean 17Vrms.

Marantz Link 10n Preamp Out (RCA) FFT Distortion Analysis @ 2Vrms

The unbalanced outputs of the Marantz Link 10n showed exceedingly low harmonics with the 2^nd order being -120dB below the 1kHz fundamental with source direct engaged at 1.98Vrms and then raised to -106dB at > 2Vrms output drive. When the output was raised to 4Vrms to directly compare to XLR output level, the 2^nd order raised to -101dB. This jumped to -82dB with source direct disabled so it’s definitely advised to use source direct if you want the cleanest signal.

Marantz Link 10n Preamp Out (Bal) FFT Distortion Analysis @ 4Vrms

With Source Direct engaged, the Marantz Link 10n has a very clean distortion spectra from the balanced XLR outputs as can be seen in the 1kHz FFT distortion plot. The 3^rd order harmonic is -110dB below the fundamental which is excellent. There is virtually no measurable power supply hum and the high frequency spectra is very clean. The 2^rd order harmonic was about 10dB higher with Source Direct disengaged which is still very low and likely inaudible. Marantz engineering test results are about -4dB lower than mine under exact same test conditions.

Editorial Note on Benefits of Differential Design: There are clear benefits of the fully differential output stages of the Link 10n and the XLR connections should always be used when possible when connecting to external amplification or analog source devices.

Marantz Link 10n Signal to Noise Ratio

Marantz Link 10n Dynamic Range Test - 0dBFS in 44.1Khz/16 bit 1kHz In, 4Vrms Out (A-wt)

With a 44.1kHz/16bit 0dBFS input, the Marantz Link 10n produced 96dB SNR via XLR and unbal outputs which is theoretical perfection for Redbook CD.

Marantz Link 10n Dynamic Range Test - 0dBFS in 192Khz/24 bit 1kHz In, 4Vrms Out (A-wt)

With 192kHz/24 bit 0dBFs input, I measured 113dB SNR with the the Dynamic Music Noise Shaper setting and about 2dB less for the default Balanced mode (which Marantz recommends using). This is a very good figure (18 bits of resolution) but not better than I measured from their own 15.4CH AV 10 Preamp/Processor. While 24bit (144dB SNR) is impossible to achieve from a DAC due to thermal noise, it’s conceivable that a product of this caliber should be able to achieve about 10dB better SNR on the bench. In the real world, audibility is probably not a concern but more of a bragging right of a superb DAC execution.

With the same 192kHz/24 bit input, I measured 108dB SNR from the Unbal connections driven at 2Vrms or 4Vrms to match the levels of balanced. Once again the fully differential outputs showed a benefit not only in lower distortion but also lower noise. Theoretical should be a 6dB difference between unbalanced vs differential balanced but I’ll take a +4dB improvement is still significant and another reason why you should stick with the XLR connections whenever possible with the Link 10n.

Editorial Note about DAC SNR Performance: According to Marantz engineering, they prioritized sound quality over achieving the absolute best bench measurements. The Link 10n features a fully discrete DAC tuned for the Marantz signature sound, with their sound master meticulously selecting the finest components to achieve it.

Marantz Link 10n FFT Noise Spectrum (fs = 44.1kHz)

Filter 1 produced some odd out of band ultrasonic noise for Fs = 44.1kHz sampling rate. Filter 2 reduced these artifacts at the expense of more aggressive roll off above 20kHz. None of this is audible but I’d probably be more inclined to use the Filter 2 setting based on these measurements.

Marantz Link 10n FFT Noise Spectrum (fs = 96KHz)

Filter 2 shows a sharper high frequency roll off above 50kHz than Filter 1 with Fs = 96kHz sampling rate. No out of band artifacts are seen and in this case, purists would probably want to use the Filter 1 setting for high sampling rate audio signals.

Editorial Note About Filter 1 vs Filter 2: Filter1 is a type of slow roll-off filter and offers a short impulse response for both pre-echo and post-echo. Filter2 is a type of fast roll-off filter and post echo is slightly longer than the pre-echo in impulse response. According to Marantz engineering, they have different characteristics, thus users may adjust the setting accordingly to their personal sound preference. My personal preference based on listening tests while reviewing the Link 10n favor the Filter 2 setting for 44.1kHz/16 bit audio.

Marantz Link 10n FFT Noise Spectrum (fs = 192KHz)

As expected, there’s very little difference between filter settings with Fs = 192kHz sampling rate since the filters don’t kick in until 96KHz which is above the bandwidth of my Audio Precision test gear. Use either setting for audio signals with 192kHz sampling rate.

Marantz Link 10n CH to CH Crosstalk Preamp XLR Outputs

The channel to channel crosstalk on the link 10n was stellar as expected for a product of this caliber. I measured -140dB CH-CH isolation at 1kHz and >-114dB isolation at 20kHz. Anything > 60dB at 20kHz is what I consider to be sufficient for excellent stereo separation and minimal audible channel leakage. This type of isolation is among the best I’ve measured in a two-channel product.

Marantz Link 10n Analog Preamp Measurements

XLR Analog Input, XLR Preouts

With a 1Vrms test signal on the XLR inputs, I adjusted the output to 2Vrms and measured ruler flat frequency response from 5Hz to the limit of my APx585 (>90kHz). This is right in line with Marantz spec  of 5Hz to 100kHz (+0dB / -3dB).

Marantz Link 10n Analog Frequency Response XLR Outputs

Marantz Link 10n Preamp Analog FFT Distortion Analysis @ 2Vrms Bal Outputs 

No surprise, we see a squeaky clean FFT distortion plot when measuring the entire analog audio path of the Marantz Link 10n. The 2^nd order harmonic was -111dB below the fundamental for the left channel and 120dB for the right channel. I measured a 9dB difference between the left/right channels for the 2^nd order harmonic, but this is such an exceedingly low distortion spike that it’s purely academic curiosity.

Marantz Link 10n Preamp Analog FFT Distortion Analysis @ 2Vrms Unbal Outputs

For unbalanced, the distortion spikes were significantly higher (-89dB 2^nd order harmonic) and hence why I keep encouraging audio enthusiasts to stick to the XLR I/Os to take full advantage of the fully differential circuit topology.

Marantz Link 10n Dynamic Range Test Balanced Output – 4Vrms in, 3.16Vrms Out (A-wt)

Marantz specs the balanced analog section as SNR of 122dB  (A-wt) with a 4Vrms input and 3.16Vrms output from the balanced output and I was able to confirm the Link 10n beat their spec by 1.5dB! This is a superb result and shows off the prowess of a fully differential, low noise preamplifier.

Marantz Link 10n w TT15S1 Turntable

Phono Output Measurements

The Marantz Link 10n has both a Moving Magnet (MM) and Moving Coil (MC) phono preamps. Using the original 3-time constant RIAA curve, I EQ’ed the APx585 source to get the expected flat response of the phono preamp. The source was driven at 5mVrms for MM and 0.5mVrms for MC and the gain was adjusted to 1Vrms output.

Marantz Link 10n Phono Frequency Response for MM/MC (5mVrms/0.5mVrms in, 1Vrms out)

We see a fairly flat frequency response in the audio passband from 20Hz to 20kHz for both MM and MC inputs but an almost 3dB bass boost at 5Hz which is surprising that Marantz did not include a subsonic filter. 

Editorial Note about Phono Amplitude Response Measurement: When discussed with Marantz Engineering, they informed me that the bump in amplitude response below 20Hz is caused by the DC servo circuit, which compensates for DC offset generated by the PHONO EQ amplifier’s fully discrete, non-feedback design. While essential to protect connected equipment, the servo slightly affects frequencies outside the audible range.

Marantz Link 10n MM Phono THD+N vs Frequency (5mVrms in, 1Vrms out)

The MM phono preamp input has exceedingly low distortion as can be seen in the above graph with measured 0.002% THD+N for most of the audio passband.

Marantz Link 10n MC Phono THD+N vs Frequency (0.5mVrms in, 1Vrms out)

The phono preamp input exhibited slightly lower distortion than the MM input which was already exceedingly low to begin with. The MC input is designed to take a much larger signal than the typical 500uV we see from a MC cartridge. The MC Low setting accepts 20mVrms input and high accepts 10mVrms unclipped.

Marantz Link 10n Dynamic Range Test Phono MM - 5mVrms in, 1Vrms out (A-wt)

I measured 88dB SNR (A-wt) at 1Vrms or 2Vrms output via unbalanced or balanced outputs from the Link 10n which is very low noise performance for a phono preout and matches Marantz’s spec, but it’s still about 4dB worse than what I measured from the AV 10 15.4CH Preamp/Processor under the same test conditions.  

Marantz Link 10n Dynamic Range Test Phono MC – 0.5mVrms in, 1Vrms out (A-wt)

Marantz specs the MC Input SNR of 76dB (a-wt) with 0.5mVrms input and 1Vrms output, but I measured 70dB. Not sure why there’s a 6dB discrepancy here. I found the MC High setting gave a +6dB better SNR measurement than MC Low, so I used the high setting for this test.

Editorial Note about the MC Low/Mid/High settings: These settings refer to switching the input impedance of the MC input. This allows the optimal input impedance to be matched to the cartridge being used. 

Marantz Link 10n Subwoofer Output
Back to using COAX as the source, I measured the preouts and sub outputs. 

Marantz AV 10 Bass Management Frequency Response

Marantz offers a single RCA sub out on the Link 10n which is odd considering the fact that this product is a fully differential balanced design, but the sub out is NOT! Nonetheless, I measured the output to be about 2.3dB hot compared to the XLR outputs, Fc is adjustable in increments of 20Hz from 40Hz to 120Hz but the filter slope is only 6dB/oct at the crossover frequency but then exhibits close to a 12dB/oct slope at higher frequencies. If you’re going to use the sub out, set it to the max setting of 200Hz and use the internal crossover of your subwoofer (if available) instead.

Conclusion

The Marantz Link 10n delivered outstanding, textbook-level bench test results, as well as a true audiophile experience for every analog and digital source I threw at it. This is no surprise, given the pedigree of the product and its premium price class. While a couple of measurements could have been stronger, it’s worth remembering that great sound isn’t always about chasing perfect numbers. Marantz’s engineers clearly prioritized musicality, and it shows. The Link 10n boasts a remarkably robust analog preamp section, along with superb DAC and phono stages—more than capable of satisfying even the most demanding audiophiles.

A few downsides I can ding the Marantz Link 10n for are:

• lack of an XLR sub out
• no bass management other than a LPF on the sub out
• 12V trigger outputs
•  no room EQ or manual PEQ function

Regarding the trigger, if you use a Model 10 amplifier with the Link 10n, that won’t be an issue. For everyone else, you’ll need to either use an external trigger system to power your amplifier on and off with the Link 10n or manually turn off your amplifier each time. I really wish Marantz would start adding manual PEQ capabilities to their preamps and AVRs, as I find this to be an essential tool for getting the bass right and combating problematic room modes. In fact, I’d rather have a 3–7 band PEQ over any room correction system any day, especially when focusing solely on two-channel audio.

If you prioritize room EQ in a 2CH preamp, you’ll have to look elsewhere—such as the NAD M66  2.4 streaming preamp, which features Dirac Live bass control along with four independent sub outputs—for about half the price of the Link 10n. The NAD M66 is a great piece, but it’s not as visually striking, and at under 17 lbs, it’s not built like a tank the way the Link 10n is.

Aside from the few cons I noted and its $14k price tag, the Marantz Link 10n is truly a marvelous piece of kit. This is a product you'll want to proudly display on a credenza or shelf, not throw into a rack and forget about. I absolutely love how it adorns my credenza alongside its TT-15S1 brethren and the SACD 30n below it. This is what I call a Marantz Trifecta, and I’m loving every minute of the sonic bliss they produce as a system when paired with my RBH Sound speaker setup.