Marantz & Philips big one, introduced to celebrate the CD format's first ten years anniversary, much as Sony's CDP-R10 and DAS-R10.
This digital period of Marantz was developed under the guidance of Yoshiyuki Tanaka, Project Manager and Deputy General Manager of R&D at Marantz' Audio Division.
Old Marantz employee Tetsuya Onagi, who later on took Mr Tanaka's spot through the D&M period, was the actual engineer.
A semi-equivalent of the CD-15 would be the Japan-only Philips LHH700 which had counterparts by the european Marantz in the CD-10 (small) and CD-11LE (big).
The CD-15 really is a CD-16 with balanced outputs and even better chassis structure, introduced a year before the CD-16 and two years before the CD-16SE.
Being the original, the CD-15 has regular HDAM modules like the CD-16 and unlike the CD-16SE which had them in New HDAM style for better s/n ratio and upped slew rate.
All the rest is identical between the three models, and specifically between the 15 and 16SE :
diecast aluminium copper-plated chassis, diecast aluminium Philips CDM4MD drive, SM-5803AP, SAA-7350, dual TDA-1547, double-differential output stage, regulated feeds for the DAC7, digital and audio sections and same dimensions.
Added were a different remote control, transformer-balanced XLR outputs set at 3V / 150 Ohm and a more massive front, front corners, sides and top plate - all extruded aluminium of impressive thickness.
The toroidal transformer is OFC-wired, too.
Sound-wise, well... only proper SACD really has an edge over the CD-15 : this is as natural and inviting as digital can be.
Like the very successful PM-15, this, to me, represents Marantz' best period - all owners and all periods included.
Despite a rather non-inviting price, sales proved excellent and the CD-15 remained available outside Japan far later than could have been expected.
And the presence of the CDM4MD insures something like a lifetime of reliability.