Martin Logan CLX

The electrostatic of Martin Logan, how about the Spire, are often mentioned as classic examples of surfaces speakers, fans praise their three-dimensional sound image as their infinite resolution. The most Logan’s in the bass range are conventionally equipped: with a round radiant cone chassis.

Not so the flagship CLX: here developer David laid up Allen and his team mightily in the stuff, to conjure up and also a fast woofer to the precise treble of means of. The 28000 euro sculpture is a 2-way construct: A narrow, slightly curved in favour of larger sweet spot membrane surface works exceeding 350 Hertz, a larger, straight surface functions as a woofer. This has the advantage that high oscillation of a membrane carries not the other distortions. To prevent partial coloration of the feather-light films, they are clamped precisely calculated, irregular intervals via rubber dampers. They are driven purely electrostatic, a huge capacitor by an electric field, so comparable. The force acting on the foil polarity, and the meticulously follows the music signal. So that’s developed enough drive, a bias must be created between the fixed metal bars by several 1000 Volts – that does the electronics hidden in the foot that needs therefore also its own power supply.

The large amount of membranes requires a significant vertical unbundling, the audiologist speaks of a plane wave. That has the advantage that ceiling and floor is no sound reflections from there correspondingly lower. In the room the CLX hence at greater listening distance of four metres or more feels quite yet.

Despite their immense size, the CLX at small occupied music kept a good overview of the room: Schoenberg’s “Transfigured night” (version for Chamber Orchestra, Karajan, DG) harnessed wonderfully deep into space, the individual instruments were almost palpable if not projected with infinite accuracy. The minimal lean tone drew the focus more clearly on the classical virtues of Logan: the CLX sounds clearly like no other speaker in front of her, even a large Orchestra with the most complex music like Mahler’s 6th Symphony (LSO, Gergiev, note 1) remained sensational clean and naturally rich in detail. The KEF reference 207/2 could be sharper votes, also delivered more fundamental heat, the flawless, absolutely suitable for long term use detail view of Logan she could not keep up with but.

But these virtues are not for nothing: who likes crashing loudly like it, is happier with other boxes, because the bass is just always discreet. The plastic deep stage is impressive, takes something but very dry mixed music directness. The CLX is just almost too refined for hard rock.

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