MartinLogan Speaker CLX User Manual

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Thank you—the MartinLogan owner,  
for loving what we do,  
and  
making it possible for us to do what we love.  
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Contents  
Contents                                                                             4  
Installation in Brief                                                           5  
Introduction                                                                       6  
Controls and Connections                                               7  
AC Power Connection  
MartinLogan Exclusives                                                   17  
XStat™ Transducer  
CLS™ (Curvilinear Line Source)  
Generation 2 Diaphragm  
MicroPerf Stator  
Signal Connection  
Vacuum Bonding  
Break-In  
ML Logo and CLX Light Switches  
Uniform Full Surface Drive  
Dipole Dispersion  
Setup and Placement                                                       8  
Left/Right Placement  
Listening Position  
DualForce™ ESL Bass Technology. . . . . . . . . . . . . . . . . 18  
Dipole Phase Stabilization  
Precision Vojtko™ Filtering  
The Wall Behind the Listener  
The Wall Behind the Speakers  
The Side Walls  
Experimentation  
Final Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9  
The Extra “Tweak” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10  
Solid Footing  
Environmentally Conscious Design  
Electrostatic Loudspeaker History                                 19  
Frequently Asked Questions                                          21  
Troubleshooting                                                              23  
General Information                                                       24  
Specifications  
Warranty and Registration  
Enjoy Yourself  
Serial Number  
Service  
Room Acoustics                                                               11  
Your Room  
Terminology  
Dimensional Drawings                                                   25  
Glossary of Audio Terms                                                 26  
General Rules  
Dipolar Speakers and Your Room . . . . . . . . . . . . . . . . . 12  
Dispersion Interactions                                                  13  
Controlled Horizontal Dispersion  
Controlled Vertical Dispersion  
Three Major Types of Dispersion  
Home Theater                                                                  14  
Electrostatic Advantages                                                 15  
Full Range Electrostatic Operation. . . . . . . . . . . . . . . . . 16  
In accordance with the European Union WEEE (Waste Electrical  
and Electronic Equipment) directive effective August 13, 2005,  
we would like to notify you that this product may contain regu-  
lated materials which upon disposal, according to the WEEE  
directive, require special reuse and recycling processing.  
For this reason MartinLogan has arranged with our distributors  
in European Union member nations to collect and recycle this  
product at no cost to you. To find your local distributor please  
contact the dealer from whom you purchased this product,  
email [email protected], or visit the distributor locator at  
The lightning bolt flash with arrowhead symbol, within  
an equilateral triangle, is intended to alert the user to  
the presence of potentially “dangerous voltage” within  
the product’s enclosure that may be sufficient to con-  
stitute a risk of electric shock.  
Please note, only this product itself falls under the WEEE  
directive. When disposing of packaging and other related  
shipping materials we encourage you to recycle these items  
through the normal channels.  
The exclamation point within an equilateral triangle is  
intended to alert the user to the presence of important  
operating and maintenance (servicing) instructions in  
the literature accompanying the appliance.  
WARNING! Do not use your CLX loudspeakers outside of the country of original sale—voltage requirements vary  
by country. Improper voltage can cause damage that will be potentially expensive to repair. The CLX is shipped to  
authorized MartinLogan distributors with the correct power supply for use in the country of intended sale. A list of  
Contents  
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InstallatIon In BrIef  
We know you are eager to hear your CLX speakers,  
so this section is provided to allow fast and easy set up.  
Once they are operational, please take the time to read,  
in depth, the rest of the information in this manual. It will  
give you perspective on how to attain the greatest possible  
performance from this most exacting transducer.  
Step 1: Unpacking  
Remove your new speakers from their packaging. Refer to  
the unpacking diagrams printed on the CLX packaging  
Step 2: Placement  
Place each CLX so that the curvilinear electrostatic panel is  
on the inside. Place each CLX so the electrostatic panels are  
at least four feet from the back wall, two feet from the side  
walls, and angled slightly toward your listening area. Please  
see the Setup and Placement section (pages 8–10) of this  
manual for more details.  
If you experience any difficulties in the setup or opera-  
tion of your CLX speakers, please refer to the Room  
Acoustics, Placement or Operation sections of this manual.  
Should you encounter a persistent problem that cannot  
be resolved, please contact your authorized MartinLogan  
dealer. They will provide you with the appropriate technical  
analysis to alleviate the situation.  
Step 3: Power Connection (AC) (see warning)  
Your CLX speakers require AC power to energize their  
electrostatic cells. Using the AC power cords provided,  
plug them in first to the AC power receptacle on the rear  
of the speaker, making sure that you have made a firm  
connection, and then to a wall outlet. Please see AC Power  
Connection (pages 7) for more details.  
WARNING!  
• Hazardous voltages exist inside—do not  
remove cover.  
• Refer servicing to a qualified technician.  
• To prevent fire or shock hazard, do not  
expose this module to moisture.  
Step 4: Signal Connection  
• Turn amplifier off and unplug speaker if any  
abnormal conditions occur.  
• Turn amplifier off before making or breaking  
any signal connections!  
• Do not operate if there is any visual damage  
to the electrostatic panel element.  
• Do not drive speaker beyond its rated power.  
• The power cord should not be installed,  
removed, or left detached from the speaker  
while the other end is connected to an AC  
power source.  
Higher quality cables, available from your audio video  
dealer, are recommended and will give you superior per-  
formance. Use the best speaker cables you can. Spade  
connectors are suggested for optimum contact and ease of  
installation.  
Attach your speaker cables to the signal input section on the  
rear panel. Be consistent when connecting speaker leads to  
the terminals on the back of the CLX. Take great care to  
assign the same color cable to the (+) terminal on both  
the left and right channels.  
• No candles or other sources of open flame  
should be placed on the speaker.  
• No liquids either in glasses or vases should be  
placed on speaker.  
For detailed setup instructions, please turn to the Controls  
and Connections section (Page 7) of this manual for more  
details.  
• Speaker should not be exposed to dripping or  
splashing liquids.  
Step 5: Listen and Enjoy  
Now, you may turn on your system and enjoy!  
• The terminals marked with the lightning bolt  
symbol should be connected by an instructed  
person or by way of ready made terminals.  
• The power cord should remain readily acces-  
sible and operable should any abnormal  
conditions occur.  
Installation in Brief  
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IntroduCtIon  
Congratulations! You have invested in one of the world’s  
premier loudspeaker systems  
Featuring an advanced crossover topology MartinLogan  
carefully hand-builds each CLX™ Vojtko™ crossover  
utilizing precision point-to-point wiring, thick film on  
alumina substrate resistors, audiophile-grade polypro-  
pylene capacitors, high-purity air-core coils, and toroidal  
transformers. This advanced crossover topology flawlessly  
preserves microscopic subtleties while effortlessly han-  
dling the broadest range of dynamics contained within  
even the most demanding sonic source.  
The MartinLogan CLX™ represents an advanced  
combination of sonic technologies establishing an unprec-  
edented direction for audiophile design. The result of  
years of research, the new CLX™ loudspeaker features  
DualForce™ and XStat™ electrostatic technologies, setting  
new standards for efficiency, dynamics and precision in a  
floorstanding loudspeaker.  
The materials in your new CLX speakers are of the high-  
est quality and will provide years of enduring enjoyment  
with deepening respect. The cabinetry is constructed from  
the highest quality materials for acoustical integrity.  
The CLX’s CLS XStat transducer builds upon the legacy  
of MartinLogan’s electrostatic heritage with the incorpo-  
ration of advanced vacuum bonding and MicroPerf stat  
panels, providing even greater efficiency and precision.  
CLX’s unique DualForce™ ESL double diaphragm, triple  
stator low-frequency dipole transducer delivers deep,  
dynamic bass with twice as much force as a standard ESL.  
Through rigorous testing, the curvilinear electrostatic  
panel has proven itself to be one of the most durable and  
reliable transducers available today. Fabricated from a  
custom tool punched high-grade steel, the patented  
panel is then coated with a special polymer that is applied  
via a proprietary electrostatic bonding process. This panel  
assembly houses a membrane just 0.0005 of an inch thick.  
Additionally, CLX’s low-frequency dipole stabilization  
technology reduces low frequency rear wave cancellation  
inherent to dipole transducers. This is accomplished by  
increasing the air path length behind the CLX and delay-  
ing the out-of-phase back wave. The resulting decrease in  
low-frequency front-wave cancellation increases overall  
output while minimizing total harmonic distortion at low  
frequencies.  
The other sections of this User’s Manual explain in detail  
the operation of your CLX speakers and the philosophy  
applied to their design. A clear understanding of your  
speakers will insure that you obtain maximum performance  
and pleasure from this most exacting transducer. It has been  
designed and constructed to give you years of trouble-free  
listening enjoyment.  
The integration of electrical interface technology devel-  
oped by MartinLogan’s Statement™ e2 engineering team  
extends effortless dynamics and purity, resulting in even  
higher sonic standards of efficiency and precision.  
Introduction  
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Controls and ConneCtIons  
Figure 1  CLX Controls and Connections  
AC Power Connection  
The power cords should be firmly inserted into the AC  
power receptacle on the rear connection panel of the  
CLX, then to any convenient AC wall outlet. Your CLX  
speakers use an internal power supply to energize their  
electrostatic panels and must be connected to an AC  
power source with the proper IEC standard power cords.  
CLX’s signal sensing power supply will switch off after 5  
minutes of no signal, and requires less than four seconds  
to recharge the panels when a music signal is present.  
both the left and right channel speakers. If bass is weak  
and you cannot discern a tight, coherent image, you may  
need to reverse the (+) and (–) leads on one speaker to  
bring the system into proper polarity.  
Use the best speaker cables you can. The length and type  
of speaker cable used in your system will have an audible  
effect. Under no circumstance should a wire higher (thin-  
ner) than #16 gauge be used. The longer the wire, the  
greater the necessity of a lower gauge, and the lower the  
gauge, the better the sound, with diminishing returns set-  
ting in around #8 to #12.  
Your CLX speakers are wired for the power service  
supplied in the country of original consumer sale. The  
AC power rating for each unit is specified both on the  
packing carton and on the speaker’s serial number plate.  
If removed from the country of original sale, be certain  
that the AC power supplied in any subsequent location  
is suitable before connecting and operating the speakers.  
Substantially impaired performance or severe damage  
may occur to an CLX speaker if operation is attempted  
from an incorrect AC power source.  
WARNING! Turn your amplifier off before  
making or breaking any signal connections!  
Break-In  
Proper break in will improve bass extension. The high  
quality components used in our electrostatic panels may  
cause your CLX speakers to sound a bit bass shy when  
they are first used. CLX requires approximately 100 hours  
of break-in at 90 dB (moderate listening levels) before any  
critical listening. The break-in requirements of the cross-  
over components are equivalent.  
WARNING! The power cord should not be  
installed, removed, or left detached from the  
speaker while the other end is connected to an  
AC power source.  
Signal Connection  
ML Logo and CLX Light Switches  
Connections are made on the rear electronics panel of the  
CLX. Use spade connectors for optimum contact and ease  
of installation. Hand tighten the binding posts, taking care  
to assign the same color cable lead to the (+) terminal on  
The light control switches allow the illuminated  
MartinLogan logo and CLX logo to be turned off or on.  
Controls and Connections  
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setup and plaCement  
Left/Right Speaker Placement  
The Wall Behind the Listener  
Place your CLX speakers so the curvilinear electrostatic  
transducer is orientated inside, towards the listening posi-  
tion (figure 3).  
Near-field reflections can occur from your back wall (the  
wall behind the listening position). If your listening posi-  
tion is close to the back wall, these reflections can confuse  
imaging quality. It is better for the wall behind you to be  
absorptive than to be reflective. If you have a hard back  
wall and your listening position is close to it, experiment  
with devices that will absorb information (i.e. wall hang-  
ings and possibly even sound absorbing panels).  
Listening Position  
By now your speakers should be placed so the electrostatic  
panels are approximately four feet from the front wall (the  
wall in front of the listening position) and about two feet  
from the side walls. Your sitting distance should be fur-  
ther than the distance between the speakers themselves to  
achieve good center imaging and stage width.  
The Wall Behind the Speakers  
The front surface, the wall behind the speakers, should  
not be extremely hard or soft. A pane of glass will cause  
reflections, brightness and confused imaging. Curtains,  
drapery and objects such as bookshelves can be placed  
along the wall to diffuse an overly reflective surface. A  
standard smooth or textured wall is generally an adequate  
surface if the rest of the room is not too bright and hard.  
Walls can also be too soft. If the entire front wall consists  
of heavy drapery, your system may sound dull. You may  
hear muted music with little ambience. Harder surfaces  
will actually help in this case.  
There is no exact distance between speakers and listener,  
but there is a relationship. In long rooms, naturally, that  
relationship changes. The distance between the speakers  
will be far less than the distance from you to the speaker  
system. In a wide room, you will still find that if the dis-  
tance from the listener to the speakers becomes smaller  
than the distance between the speakers themselves, the  
image will no longer focus in the center.  
Now that you have positioned your speaker system, spend  
time listening. Wait to make any major changes in your  
initial setup for the next few days as the speaker system  
itself will change subtly in its sound. Over the first 100  
hours of play the actual tonal quality will change slightly  
with deeper bass and more spacious highs resulting. After  
a few days of listening you can begin to make refinements  
and hear the differences.  
The front surface ideally should be one long wall without  
doors or openings. If you have openings, the reflection and  
bass characteristics from each channel can be different.  
The Side Walls  
MartinLogan’s unique controlled dispersion electrostatic  
transducer inherently minimizes side wall reflections—a  
position as little as two feet from the side walls often  
proves adequate. A good practice is to have the side walls  
as far away from the speaker sides as possible. Sometimes,  
if the system is bright or the imaging is not to your liking,  
and the side walls are very near, try putting curtains or  
softening material directly to the edge of each speaker. An  
ideal side wall, however, is no side wall at all.  
Experimentation  
Toe-in—Now you can begin to experiment with the  
angle of your speakers. First begin by facing your speakers  
straight into the room and then by slightly angling them  
Figure 3  Orientation of the left and right speakers.  
Setup and Placement  
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towards the listening area. You will notice the tonal bal-  
ance and imaging changing. You will notice that as the  
speakers are toed-in, the system becomes slightly brighter  
than when toed-out. This design gives you the flexibility  
to compensate for a soft or bright room.  
for both speakers. This will greatly enhance the quality of  
your imaging.  
Bass Response—Your bass response should be tight and  
well defined. Kick-drums should be tight and percussive.  
String bass notes should be uniform and consistent the run  
without booming or thudding. Bass response should not  
be ‘one note’ or be too heavy.  
Generally it is found that the ideal listening position is with  
the speakers slightly toed-in so that you are listening to the  
inner third of the curved transducer section. A simple, yet  
effective method to achieve equal toe-in involves sitting at  
the listening position, holding a flashlight under your chin  
and pointing it at each speaker. The reflection of the flash-  
light should be within the inner third of the panel (figure 4).  
Tonal Balance—Voices should be natural and full.  
Cymbals should be detailed and articulate yet not bright  
and piercing. Pianos should have a nice transient char-  
acteristic and deep tonal registers. If you are not hearing  
these traits, read the section on Room Acoustics (pages  
1112). This will give you clues on how to get closer to  
these ideal qualities.  
Tilting the Speakers Backwards and Forwards—As the  
diagrams show in the Dispersion Interactions section of  
this manual (page 13), the vertical dispersion is directional  
above and below the stator panel itself. In some instances,  
if you are sitting close to the floor, slight forward tilting of  
the speakers can enhance clarity and precision.  
Final Placement  
After the full break in period, obtaining good wall treat-  
ments, and the proper toe-in angle, begin to experiment  
with the distance from the wall behind the speakers.  
Move your speaker slightly forward into the room. What  
happened to the bass response? What happened to the  
imaging? If the imaging is more open and spacious and  
the bass response is tightened, that is a superior position.  
Move the speakers back six inches from the initial setup  
position and again listen to the imaging and bass response.  
There will be a position where you will have pinpoint  
imaging and good bass response. That position is the point  
of the optimal placement from the front wall.  
Imaging—In their final location your CLX speakers may  
have a stage width somewhat wider than the speakers  
themselves. On well-recorded music, the instruments can  
extend beyond the outer edges of each speaker (left and  
right), yet a vocalist should appear directly in the middle.  
The size of the instruments should not be too large or too  
small, subject to the intent and results of each unique  
audio recording.  
Additionally, you should find good clues to stage depth  
and height. Make sure that the vertical alignment, dis-  
tance from the front wall, and toe-in is exactly the same  
Now experiment with placing the speakers farther apart.  
As the speakers are positioned farther apart, listen again,  
not so much for bass response but for stage width and  
good pinpoint focusing.  
Check and adjust toe-in each time you move the speakers.  
Your ideal listening position and speaker position will  
be determined by:  
•Tightness and extension of bass response  
•Width of the stage  
•Pinpoint focusing of imaging  
Once you have determined the best of all three of these  
considerations, you will have your best speaker location.  
Figure 4  Flashlight toe-in technique.  
Setup and Placement  
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The Extra “Tweak”  
This may be useful when your speakers are placed in a  
dedicated listening room. Use the following procedure for  
your speaker’s placement to see what can happen to your  
system’s performance. These formulas will help determine  
optimum placement of your speakers to minimize stand-  
ing waves.  
Spike Installation Instructions:  
1 Carefully lay your speaker on its side.  
2 Remove existing feet or spikes. Thread new spikes into  
holes and screw them in all of the way.  
1 Distance from the front wall (in front of the listening  
position) to the center of the curvilinear transducer: To  
determine distance from the front wall, measure the  
ceiling height and multiply the figure by 0.618 (i.e. ceil-  
ing height x 0.618 = the distance from the front wall to  
the center of the curvilinear transducer).  
3 Tighten the jam nut snugly by hand. Do not over tighten.  
4 Stand the speaker up. Caution: Make sure hands and  
any cabling are clear of the spikes. Do not slide speaker  
as sharp spikes can damage your floor or carpet.  
5 Adjust level by loosening the jam nut then rotating the  
spike. Tighten the jam nut securely when satisfied with  
the speaker’s rake.  
Example: 9 feet x 0.618 = 5.5 feet  
2 Distance from the side-walls to the center of the curvi-  
linear transducer: To determine distance from the side  
walls, measure the width of your room and divide by  
18. Next, multiply the quotient by 5 (i.e. room width  
in inches / 18 x 5 = the distance from the side-walls to  
the center of the curvilinear transducer).  
Enjoy Yourself  
The CLX is a very refined speaker and benefits from care in  
setup. You will find, through extended listening, that small  
changes may result in audible differences. As you live with  
your speakers, do not be afraid to experiment with their  
positioning to find the optimal relationship between your  
room and speaker system. Your efforts will be rewarded.  
Example: 14.5 feet / 18 x 5 = 4 feet  
Solid Footing  
After living and experimenting with your CLX’s, you may  
want to use ETC (energy transfer coupler) spikes supplied  
with the CLX (figure 5) to adjust rake (figure 6) and to cou-  
ple the CLX to your floor. With the use of these spikes, the  
CLX will become more firmly planted on the floor and,  
consequently, bass will tighten and imaging will become  
more coherent and detailed. It is best not to implement  
the spikes, however, until you are secure in the position-  
ing, as the spikes can damage the floor if the speaker is  
moved. The feet that attach to the bottom of the CLX use  
a common 3/8 - 16 thread.  
Figure 5  The ETC™ Spike.  
Figure 6  Adjust rake of the CLX by varying the height of the jam nut, and/or by removing the jam nut.  
10 Setup and Placement  
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room aCoustICs  
Your Room  
This is the element of your system that requires back-  
ground to understand and some time and experimentation  
to obtain best performance.  
Resonant Surfaces and Objects  
All of the surfaces and objects in your room interact with  
the frequencies generated by your system. Much like  
an instrument, they will vibrate in syncopation with the  
music, and contribute in a negative way to the music.  
Ringing, boominess, and even brightness can occur simply  
because they are resonating with your music.  
Your room is actually a component and an important part  
of your system. This component is a very large variable  
and can dramatically add to, or subtract from, a great  
musical experience.  
Resonant Cavities  
All sound is composed of waves. Each note has its  
own wave length, with the lower bass notes ranging from  
10’ feet to 40’ feet or more. Your room participates in  
this wave experience like a three dimensional pool with  
waves reflecting and becoming enhanced depending  
on the size of the room and the types of surfaces in the room.  
Small alcoves or closet-type volumes in your room can  
be chambers that create their own “standing waves” and  
can contribute their own sounds.  
Clap your hands. If you hear an instant echo respond  
back you have near-field reflections. Stomp your foot on  
the floor. If you hear a “boom” you have standing waves  
or large panel resonances. Put your head in a small cavity  
area and talk loudly. If you hear a booming you’ve just  
experienced a cavity resonance.  
Remember, your audio system can generate all of the  
information required to recreate a musical event in  
time, space, and tonal balance. Ideally, your room should  
not contribute to that information. However, every room  
does influence the sound to some degree. Fortunately  
MartinLogan has designed the CLX to minimize these  
anomalies.  
General Rules  
Hard vs  Soft Surfaces  
If the front or back wall of your listening room is soft, it  
might benefit you to have a hard or reflective wall in  
opposition. The ceiling and floor should follow the same  
basic guideline as well. However, the side walls should be  
roughly the same in order to deliver a focused image.  
Let’s talk about a few important terms before we begin.  
Terminology  
Standing Waves  
The parallel walls in your room will reinforce certain notes  
to the point that they will sound louder than the rest of the  
audio spectrum and cause “one note bass, boomy bass”  
or “bloated bass. For instance, 100Hz represents approxi-  
mately a 10 feet wavelength. Your room will reinforce that  
specific frequency if one of its dominant dimensions is 10  
feet. Large objects in the room such as cabinetry or furni-  
ture can help to minimize this potential problem. Some  
serious “audiophiles” will literally build a special room with  
no parallel walls just to help eliminate this phenomenon.  
This rule suggests that some reflection is good. As a matter  
of fact, some rooms can be so “over damped” with carpet-  
ing, drapes and sound absorbers that the music system can  
sound dull and lifeless. On the other hand, rooms can be  
so hard that the system can sound like a gymnasium with  
too much reflection and brightness. Balance is the optimum  
environment.  
Breakup Objects  
Objects with complex shapes, such as bookshelves, cabinetry  
and multiple shaped walls can help break up sonic anom-  
alies and diffuse any dominant frequencies.  
Reflective Surfaces (near-field reflections)  
The hard surfaces of your room, particularly if close to your  
speaker system, will reflect some waves back into the room,  
confusing the clarity and imaging of your system. The  
smaller sound waves are mostly affected here, and occur  
in the mid and high frequencies. This is where voice and  
frequencies as high as cymbals occur.  
Solid Coupling  
Your loudspeaker system generates frequency vibrations or  
waves into the room. This is how it creates sound. These  
audible vibrations vary from 20 per second to 20,000 per  
second. If your speaker system is not securely affixed to the  
floor or solid surface, it can shake as it produces sound  
Room Acoustics 11  
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and consequently, the sound can be compromised. If your  
speaker is sitting on the carpet and only foot gliders are  
used, the bass can be ill defined and even boomy. The use  
of spikes is recommended to ensure secured footing for  
your speakers. (See ‘Solid Footing’ for spike information  
and installation instructions).  
designed to be placed four or more feet from the front  
wall (the wall in front of the listening position) to obtain  
the best results; however, your room may have differ-  
ent requirements. Listening to the difference of the bass  
response as a result of the changes in distance from the  
front wall can allow you to get the best combination of  
depth of bass and tonal balance.  
Dipolar Speakers and Your Room  
Now that you know about reflective surfaces and reso-  
nant objects, you can see how the midrange and high  
frequencies can be affected. The timing of the initial wave  
as it radiates to your ears, and then the reflected informa-  
tion as it arrives at your ears later in time, can result in  
confusion of the precious timing information that carries  
the clues to imaging. The effect is blurred imaging and  
excessive brightness. Soft walls, curtains, wall hangings, or  
sound dampeners (your dealer can give you good infor-  
mation here) can be effective if these negative conditions  
occur.  
MartinLogan electrostatic loudspeakers are dipolar radia-  
tors. This means that they produce sound from both their  
fronts and their backs. Musical information is reflected by  
the wall behind them and may arrive, either in or out of  
step, with the information produced by the front of the  
speaker.  
The low frequencies can either be enhanced or nulled  
by the position from the front wall. Your CLX’s have been  
12 Room Acoustics  
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dIspersIon InteraCtIons  
Controlled Horizontal Dispersion  
Three Major Types of Dispersion  
Your CLX’s launch a 30 degree horizontal dispersion pat-  
tern. This horizontal dispersion field gives a choice of good  
seats for the performance while minimizing interactions  
with side walls (see figure 11). Make sure both speakers  
stand exactly at the same vertical angle, otherwise the  
image can be skewed or poorly defined. The wave launch  
of both speakers is extremely accurate in both the time  
and spectral domain. Consequently, small refined adjust-  
ments can result in noticeable sonic improvements.  
It is a known fact that as the sound wave becomes pro-  
gressively smaller than the transducer producing it,  
the dispersion of that wave becomes more and more  
narrow, or directional. This fact occurs as long as the  
transducer is a flat surface. Large flat panel speakers  
exhibit venetian blind effects due to this phenomenon.  
This is one reason why many manufacturers opt for small  
drivers (i.e. tweeters and midrange) to approximate  
what is known as a point source wave launch.  
Historically, most attempts to achieve smooth dispersion  
from large flat panel transducers resulted in trade-offs.  
After exhaustive testing of many different methods, we  
conceived an elegantly simple, yet intensely hand craft-  
ed process. By curving the radiating surface, we create  
the effect of a horizontal arc. This allows the engineers at  
MartinLogan to control the high frequency dispersion pat-  
tern of our transducers.  
Controlled Vertical Dispersion  
As you can see from the illustrations, your CLX speakers  
project a controlled dispersion pattern (see figure 12). Each  
CLX is a 57 inch line source beginning 9 inches above the  
base. This vertical dispersion profile minimizes interac-  
tions with the floor and the ceiling.  
Figure 78  As can be seen here, point source  
concepts invite a great deal of room interaction.  
While delivering good frequency response to a  
large listening audience, imaging is consequently  
confused and blurred.  
Figure 910  Even though they suffer from  
“venetian blind” effect, angled multiple panel  
speakers can deliver good imaging, but only  
to specific spots in the listening area.  
Figure 11–12  A controlled 30 degree cylindri-  
cal wave-front, a MartinLogan exclusive, offers  
optimal sound distribution with minimal room  
interaction. The result is solid imaging with a  
wide listening area.  
Dispersion Interactions 13  
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Home tHeater  
It had long been the practice of stereo buffs to connect their  
television to a stereo system. The advantage was the use of  
the larger speakers and more powerful amplifier of the  
stereo system. Even though the sound was greatly improved,  
it was still mono and limited by the broadcast signal.  
speaker, and that it is recommended for use as a center  
speaker. This is not the place to cut corners.  
Surround Speakers  
We recommend (along with the film industry) that the sur-  
round speakers play down to at least 80 Hz. Surround  
speakers contain the information that makes it appear that  
planes are flying over your head. Some may suggest that this  
is the place to save money and purchase small, inexpensive  
speakers. If you choose to do so, be prepared to upgrade  
in the future as discrete multi-channel digital encoding is  
proliferating rapidly and the demands on surround speak-  
ers have increased.  
In the late 1970’s and early 1980’s two new home movie  
formats became widely available to the public: VCR and  
laser disc.  
By 1985, both formats had developed into very high quality  
audio/video sources. In fact, the sonic performance of some  
video formats exceeded audio-only formats. Now, with  
theater-quality sound available at home, the only element  
missing was the "surround sound" presentation found in  
movie houses.  
Subwoofer  
With any good surround system you will need one or  
more high-quality subwoofers (the .1 in a 5.1, 6.1, or  
7.1 channel surround system). Most movie soundtracks  
contain large amounts of bass information as part of the  
special effects. Good subwoofers will provide a founda-  
tion for the rest of the system.  
Fortunately, Dolby and DTS encoded DVD’s emerged  
with the same surround sound information encoded  
on home releases as the theatrical release. Additionally,  
new high-resolution home-viewing formats such as Blu-  
ray as well as high-definition content provided via cable  
or satellite have evolved which include multi-channel  
encoded audio that is virtually master tape quality. All that  
is required to retrieve this information is a decoder and  
additional speakers and amps to reproduce it.  
Home theater is a complex purchase and we recommend  
that you consult your local MartinLogan dealer, as they  
are well versed in this subject.  
Each piece of a surround system can be purchased sepa-  
rately. Take your time and buy quality. No one has ever  
complained that the movie was too real. The following list  
and descriptions will give you only a brief outline of the  
responsibilities and demands placed on each speaker.  
Front Left and Front Right  
If these speakers will be the same two used for your stereo  
playback, they should be of very high quality and able to  
play loudly (over 102 dB) and reproduce bass below 80 Hz.  
Center Channel  
This is the most important speaker in a home theater  
system, as almost all of the dialogue and a large portion  
of the front speaker information is reproduced by the  
center channel. It is important that the center speaker  
be extremely accurate and mate well with the front  
Figure 13  CLX speakers as front channels, the Stage as the center and  
surround channels, and Descent i subwoofers as 0.1 (effects) channel.  
1ꢀ Home Theater  
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eleCtrostatIC advantages  
How can sound be reproduced by something that you are  
able to see through? Electrostatic energy makes this possible.  
push-pull operation and is a major contributor to the sonic  
purity of the electrostatic concept due to its exceptional  
linearity and low distortion.  
Where the world of traditional loudspeaker technology  
deals with cones, domes, diaphragms and ribbons that  
are moved with magnetism, the world of electrostatic  
loudspeakers deals with charged electrons attracting and  
repelling each other.  
Since the diaphragm of an electrostatic speaker is uniform-  
ly driven over its entire area, it can be extremely light and  
flexible. This allows it to be very responsive to transients,  
thus perfectly tracing the music signal. As a result, great  
delicacy, nuance and clarity is possible. When you look  
at the problems of traditional electromagnetic drivers,  
you can easily see why this is so beneficial. The cones and  
domes which are used in traditional electromagnetic driv-  
ers cannot be driven uniformly because of their design.  
Cones are driven only at the apex. Domes are driven at  
their perimeter. As a result, the rest of the cone or dome  
is just “along for the ride”. The very concept of these  
drivers requires that the cone or dome be perfectly rigid,  
damped and massless. Unfortunately, these conditions are  
not available in our world today.  
To fully understand the electrostatic concept, some back-  
ground information will be helpful. Remember when you  
learned in a science or physics class that like charges repel  
each other and opposite charges attract each other? Well,  
this principle is the foundation of the electrostatic concept.  
An electrostatic transducer consists of three pieces: stators,  
the diaphragm and spacers (see figure 14). The diaphragm  
is what actually moves to excite the air and create music.  
The stator’s job is to remain stationary, hence the word  
stator, and to provide a reference point for the moving  
diaphragm. The spacers provide the diaphragm with a  
fixed distance in which to move between the stators.  
To make these cones and domes move, all electromagnet-  
ic drivers must use voice coils wound on formers, spider  
assemblies, and surrounds to keep the cone or dome in  
position (see figure 15). These pieces, when combined  
with the high mass of the cone or dome materials used,  
make it an extremely complex unit with many weaknesses  
and potential for failure. These faults contribute to the  
high distortion products found in these drivers and is a  
tremendous disadvantage when you are trying to change  
motion as quickly and as accurately as a loudspeaker must  
(40,000 times per second!).  
As your amplifier sends music signals to an electrostatic  
speaker, these signals are changed into two high-voltage  
signals that are equal in strength but opposite in polarity.  
These high voltage signals are then applied to the stators.  
The resulting electrostatic field, created by the opposing  
high voltage on the stators, works simultaneously with  
and against the diaphragm, consequently moving it back  
and forth, producing music. This technique is known as  
Figure 14  Cut away view of an XStat™ electrostatic transducer. Notice  
Figure 15  Cut away view of a typical moving coil driver. Notice the com-  
the simplicity due to minimal parts usage.  
plexity due to the high number of parts.  
Electrostatic Advantages 1ꢁ  
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Full Range Electrostatic Operation  
Another significant advantage of MartinLogan’s exclusive  
transducer technology reveals itself when you look at exam-  
ples of other loudspeaker products on the market today.  
row, fixed bandwidth of the frequency range, and then  
combined electrically so that the sum of the parts equals  
the total signal—in theory.  
The CLX uses no crossover networks above 360 Hz  
because they are not needed. The CLX has a single elec-  
trostatic transducer reproducing all frequencies above 360  
Hz simultaneously. How is this possible?  
To use multiple drivers, a crossover network is enlisted to  
attempt a division of the complex musical signal into the  
separate pieces (usually highs, mids, and lows) that each  
specific driver was designed to handle. Unfortunately, due  
to the phase relationships that occur within all crossover  
networks and during the acoustical recombination pro-  
cess, nonlinearities and severe degradation of the music  
signal take place in the ear’s most critical zone above 360  
Hz (see figure 16).  
First we must understand that music is not composed  
of separate high, mid and low frequency pieces. In fact,  
music is comprised of a single complex waveform with all  
frequencies interacting simultaneously.  
An electrostatic transducer acts as an exact opposite of the  
microphones used to record the original event. A micro-  
phone, which is a single working element, transforms  
acoustic energy into an electrical signal that can be ampli-  
fied or preserved by some type of storage media. The  
CLX’s electrostatic transducer transforms electrical energy  
from your amplifier back into acoustical energy.  
The CLX’s high-frequency electrostatic transducer can  
reproduce all frequencies above 360 Hz simultaneously.  
You have in one transducer the ability to handle in elegant  
simplicity these critical frequencies.  
The crossover phase aberrations that are associated with  
traditional tweeter, midrange, and woofer systems are  
eliminated. The result is a dramatic improvement in imag-  
ing and staging performance due to the minutely accurate  
phase relationship of the full-range panel wave launch.  
Due to the limitations of electromagnetic drivers, no single  
unit can reproduce the full range of frequencies. Instead,  
these drivers must be designed to operate within a nar-  
Figure 16  This diagram illustrates how a  
conventional speaker system must use mul-  
tiple crossover networks that have negative  
effects on the musical performance.  
1ꢂ Electrostatic Advantages  
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martInlogan exClusIves  
XStat™ Transducer  
MartinLogan's award winning Curvilinear Line Source™  
XStat™ electrostatic (ESL) technology, including CLS™,  
MicroPerf, Generation 2 Diaphragms, ClearSpars™, and  
Vacuum Bonding, allows smooth unencumbered disper-  
sion of sound throughout the listening area. The result?  
Perfectly etched imaging and focus achieved through  
minimal room interaction; optimum natural reproduction  
of sound with full level response from ultra-linear trans-  
ducers; reliable operation in open air; compatibility with  
all electronics; and seamless dispersion of precise sound  
throughout your listening environment.  
in an oxygen free argon chamber. This process allows  
extremely uniform surface resistivity characteristics, an  
optically transparent surface, and a nearly massless dia-  
phragm. This uniform surface resistivity controls the  
electrostatic charge on the diaphragm surface and regulates  
its migration. As a result, no discharging or “arcing” can  
occur.  
MicroPerf Stator  
Sleek. Compact. MicroPerf stator technology, featured in  
all XStat™ transducers, reveals more open playable area  
in each panel, offering increased performance from even  
more compact stat panels. It is significant to note that the  
XStat™ transducer in the radical new CLX loudspeaker  
supports the bandwidth and dynamics associated with  
traditional electrostatic panels nearly twice its size.  
CLS™ (Curvilinear Line Source)  
Since the beginning of audio, achieving smooth dispersion  
has been a problem for all designers. Large panel transduc-  
ers present unique challenge because the larger the panel,  
the more directional the dispersion pattern becomes.  
Wide range electrostats have long been one of the most  
problematic transducers because they attain their full  
range capabilities via a large surface area. It looked as if  
they were in direct conflict to smooth dispersion and  
almost every attempt to correct this resulted in either poor  
dispersion or a serious compromise in sound quality.  
Vacuum Bonding  
To achieve the power, precision, and strength of the  
XStat™ transducer, two insulated high-purity carbon steel  
stators along with a proprietary plasma bonded diaphragm  
and ClearSpar™ spacers are fused into a curved geometry  
with an aerospace adhesive whose strength exceeds that  
of welding. Our proprietary Vacuum Bonding process  
guarantees uniform diaphragm tensioning and extremely  
precise construction tolerances, resulting in unequivocal  
precision, linearity and efficiency.  
After extensive research, MartinLogan engineers discovered  
an elegantly simple solution to achieve a smooth pattern of  
dispersion without degrading sound quality. By curving the  
horizontal plane of the electrostatic transducer, a controlled  
horizontal dispersion pattern could be achieved, yet the  
purity of the almost massless electrostatic diaphragm  
remained uncompromised. After creating this technology,  
MartinLogan developed the production capability to bring  
it out of the laboratory and into the market place. You will  
find this proprietary MartinLogan technology used in all  
of our electrostatic products. It is one of the many reasons  
behind our reputation for high quality sound with prac-  
tical usability. This is also why you see the unique “see  
through” cylindrical shape of MartinLogan products.  
Uniform Full Surface Drive  
Uniform drive across the transducer’s light-weight  
ultra-responsive diaphragm material and simultaneous  
push-pull operation enable the diaphragms to trace even  
the most delicate sonic details with absolute precision.  
Dipole Dispersion  
Generation 2 Diaphragm  
By utilizing electrostatic dipole dispersion patterns for  
both transducers, CLX provides full benefits of electrostat-  
ic technology from the highest frequency to the lowest.  
Dipole design minimizes side-wall reflections with short  
arrival times that tend to interfere with perception of  
CLX’s diaphragm employs an extremely sophisticated  
conductive coating applied to the polymer surface at an  
atomic level using a plasma bonding process. A proprietary  
compound is driven into the surface of the polymer film  
MartinLogan Exclusives 1ꢃ  
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the direct sound while producing a generous amount of  
ambience-enriching later-arriving reflections off the wall  
behind them.  
dynamic, linear bass. All high-voltage leads are made of the  
purest copper and coated with silicone. Only superlative  
materials, including thick film on alumina substrate resis-  
tors and polypropylene capacitors, are used throughout.  
DualForce™ ESL Bass Technology  
Environmentally Conscious Design  
CLX’s unique DualForce™ ESL double diaphragm, triple  
stator dipole low-frequency transducer delivers deep,  
dynamic bass with twice as much force as a standard ESL.  
In addition to total dedication for unmatched per-  
formance, environmentally conscious considerations  
influenced the design and engineering of the CLX. This  
includes an advanced energy management design in its  
electrical circuitry and the use of rapidly renewable or  
highly recyclable structural materials like EcoSound™.  
Dipole Phase Stabilization  
CLX’s low-frequency dipole stabilization technology  
reduces low frequency rear wave cancellation inherent to  
dipole transducers. This is accomplished by increasing the  
air path length behind the CLX and delaying the out-of-  
phase back wave. The resulting decrease in low-frequency  
front-wave cancellation increases overall output while  
minimizing total harmonic distortion at low frequencies.  
EcoSound is the proprietary advent of a Martin Logan alli-  
ance with Klip BioTechnologies, LLC, the leading innovator  
and manufacturer of certified eco-conscious materials.  
EcoSound is composed of an FSC certified 50/50 blend  
of plantation grown, rapidly renewable bamboo fiber and  
post consumer recycled paper. These materials are bound  
by a revolutionary co-polymer resin system that is 100%  
water based and VOC free. CLX is the obvious first applica-  
tion for this remarkable new audiophile grade material and  
yet another giant step forward in Martin Logan’s continu-  
ing commitment to produce irresistible high value products  
from environmentally intelligent materials.  
Precision Vojtko™ Filtering  
Within the CLX’s interface module, a regulated power sup-  
ply creates stable bias voltages even under the most extreme  
conditions. Dual transformer design utilizes a toroidal  
audio transformer for detailed mid- and high-frequen-  
cies, and a high-quality, high-voltage E.I. transformer for  
Refer to the FAQ section for EcoSound care instructions.  
1ꢄ MartinLogan Exclusives  
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eleCtrostatIC HIstory  
In the late 1800’s, any loudspeaker was considered exotic.  
Today, most of us take the wonders of sound reproduction  
for granted.  
After a short time, Rice and Kellogg had narrowed the field  
of “contestants” down to the cone and the electrostat. The  
outcome would dictate the way that future generations  
would refer to loudspeakers as being either “conventional”  
or “exotic”.  
It was 1880 before Thomas Edison had invented the  
first phonograph. This was a horn-loaded diaphragm  
that was excited by a playback stylus. In 1898, Sir Oliver  
Lodge invented a cone loudspeaker, which he referred to  
as a “bellowing telephone”, that was very similar to the  
conventional cone loudspeaker drivers that we know today.  
However, Lodge had no intention for his device to repro-  
duce music because in 1898 there was no way to amplify  
an electrical signal! As a result, his speaker had nothing to  
offer over the acoustical gramophones  
Bell Laboratory’s electrostat was something to behold. This  
enormous bipolar speaker was as big as a door. The dia-  
phragm, which was beginning to rot, was made of a pig  
intestine that was covered with fine gold leaf to conduct  
the audio signal.  
When Rice and Kellogg began playing the new electrically  
cut records through the electrostat,  
of the period. It was not until 1906  
that Dr. Lee DeForrest invented the  
triode vacuum tube. Before this, an  
electrical signal could not be ampli-  
Rice and Kellogg had  
they were stunned and impressed. The  
electrostat performed splendidly. They  
had never heard instrumental timbres  
reproduced with such realism. This sys-  
narrowed the field of  
fied. The loudspeaker, as we know it “contestants” down to the tem sounded like real music rather than  
today, should have ensued then, but  
it did not. Amazingly, it was almost  
twenty years before this would occur.  
the honking, squawking rendition of the  
acoustic gramophone. Immediately, they  
knew they were on to something big.  
cone and the electrostat.  
The acoustic gramophone was destined to become obsolete.  
In 1921, the electrically cut phonograph record became  
a reality. This method of recording was far superior to the  
mechanically cut record and possessed almost 30 dB of  
dynamic range. The acoustical gramophone couldn’t begin  
to reproduce all of the information on this new disc. As a  
result, further developments in loudspeakers were needed  
to cope with this amazing new recording medium.  
Due to Rice and Kellogg’s enthusiasm, they devoted a  
considerable amount of time researching the electrostatic  
design. However, they soon encountered the same dif-  
ficulties that even present designers face; planar speakers  
require a very large surface area to reproduce the lower fre-  
quencies of the audio spectrum. Because the management  
at Bell Labs considered large speakers unacceptable, Rice  
and Kellogg’s work on electrostatics would never be put to  
use for a commercial product. Reluctantly, they advised the  
Bell management to go with the cone. For the next 30 years,  
the electrostatic design lay dormant.  
By 1923, Bell Telephone Laboratories made the decision  
to develop a complete musical playback system consisting  
of an electronic phonograph and a loudspeaker to take  
advantage of the new recording medium. Bell Labs  
assigned the project to two young engineers, C. W. Rice  
and E. W. Kellogg.  
During the Great Depression of the 1930’s, consumer audio  
almost died. The new electrically amplified loudspeaker  
never gained acceptance, as most people continued to  
use their old Victrola-style acoustic gramophones. Prior to  
the end of World War II, consumer audio saw little, if any,  
progress. However, during the late 1940’s, audio expe-  
rienced a great rebirth. Suddenly there was tremendous  
interest in audio products, and with that, a great demand  
for improved audio components. No sooner had the cone  
become established than it was challenged by products  
developed during this new rebirth.  
Rice and Kellogg had a well equipped laboratory at their  
disposal. This lab possessed a vacuum tube amplifier  
with an unheard of 200 watts, a large selection of the  
new electrically cut phonograph records and a variety of  
loudspeaker prototypes that Bell Labs had been collecting  
over the past decade. Among these were Lodge’s cone, a  
speaker that used compressed air, a corona discharge (plas-  
ma) speaker, and an electrostatic speaker.  
Electrostatic History 1ꢅ  
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In 1947, Arthur Janszen, a young Naval engineer, took part  
in a research project for the Navy. The Navy was interested  
in developing a better instrument for testing microphone  
arrays. The test instrument needed an extremely accurate  
speaker, but Janszen found that the cone speakers of the  
period were too nonlinear in phase and amplitude response  
to meet his criteria. Janszen believed that electrostats were  
inherently more linear than cones, so he built a model using  
a thin plastic diaphragm treated with a conductive coating.  
This model confirmed Janszen’s beliefs, for it exhibited  
remarkable phase and amplitude linearity.  
was very directional and its power handling was limited to  
around 70 watts. As a result, many people continued to use  
box speakers with cones.  
In the early 1960’s Arthur Janszen joined forces with the  
KLH loudspeaker company, and together they introduced  
the KLH 9. Due to the large size of the KLH 9, it did not  
have as many sonic limitations as the Quad. The KLH 9  
could play markedly louder and lower in frequency than  
the Quad ESL. Thus a rivalry was born.  
Janszen continued to develop electrostatic designs. He  
was instrumental in the design of the Koss Model One,  
the Acoustech and the Dennesen speakers. Roger West,  
the chief designer of the Janszen  
Janszen was so excited with the results that he continued  
research on the electrostatic speaker on his own time. He  
soon thought of insulating the stators to  
prevent the destructive effects of arcing.  
By 1952, he had an electrostatic  
tweeter element ready for commercial  
production. This new tweeter soon  
created a sensation among American  
audio hobbyists. Since Janszen’s  
These developments allow  
the consumer to own the  
highest performance loud-  
Corporation, became the presi-  
dent of Sound Lab. When Janszen  
Corporation was sold, the RTR  
loudspeaker company bought  
half of the production tooling. This  
tooling was used to make the electro-  
tweeter element was limited to high speaker products ever built. static panels for the Servostatic, a hybrid  
frequency reproduction, it often found  
electrostatic system that was Infinity’s  
first speaker product. Other companies soon followed; each  
with their own unique applications of the technology. These  
include Acoustat, Audiostatic, Beveridge, Dayton Wright,  
Sound Lab and Stax, to name a few.  
itself used in conjunction with woofers—most notably,  
those from Acoustic Research. These systems were highly  
regarded by all audio enthusiasts.  
As good as these systems were, they would soon be surpassed  
by another electrostatic speaker.  
Electrostatic speakers have progressed and prospered  
because they actually do what Peter Walker claimed they  
would. The limitations and problems experienced in the  
past were not inherent to the electrostatic concept. They  
were related to the applications of these concepts.  
In 1955, Peter Walker published three articles regarding  
electrostatic loudspeaker design in Wireless World, a British  
magazine. In these articles, Walker demonstrated the benefits  
of the electrostatic loudspeaker. He explained that electro-  
statics permit the use of diaphragms that are low in mass,  
large in area and uniformly driven over their surfaces by  
electrostatic forces. Due to these characteristics, electrostats  
have the inherent ability to produce a wide bandwidth,  
flat frequency response with distortion products being no  
greater than the electronics driving them.  
Today, these limitations have been resolved. Advancements  
in materials due to the U.S. space program give designers  
the ability to harness the superiority of the electrostatic  
principle. Today’s electrostats use advanced insulation  
techniques or provide protection circuitry. The poor dis-  
persion properties of early models have been addressed by  
using delay lines, acoustical lenses, multiple panel arrays or,  
as in our own products, by curving the diaphragm. Power  
handling and sensitivity have also been increased.  
By 1956, Walker backed up his articles by introducing a  
consumer product, the now famous Quad ESL. This speaker  
immediately set a standard of performance for the audio  
industry due to its incredible accuracy. However, in actual  
use, the Quad had a few problems. It could not be played  
very loud, it had poor bass performance, it presented a dif-  
ficult load that some amplifiers did not like, its dispersion  
These developments allow the consumer the opportunity  
to own the highest performance loudspeaker products ever  
built. It’s too bad Rice and Kellogg were never able to see  
just how far the technology would be taken.  
20 Electrostatic History  
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frequently asked questIons  
How do I clean my speakers?  
reveal the sonic character of either type. However, it  
is important that the amplifier be stable operating into  
varying impedance loads: an ideally stable amplifier will  
typically be able to deliver nearly twice its rated wattage  
into 4 Ohms and should again increase into 2 Ohms.  
Use a dust free cloth or a soft brush to remove the dust  
from your speakers. We also recommend a specialty  
com) that cleans your speakers better than anything  
else we have tried. For the wood surfaces it is accept-  
able to slightly dampen the cloth. The EcoSound  
material on the CLX requires special care—see the  
next FAQ. Do not spray any kind of cleaning agent  
on or in close proximity to the electrostatic element  
Avoid the use of ammonia based products or sili-  
cone oil on any wood parts  
Could you suggest a list of suitable electronics and  
cables that would be ideal for MartinLogan speakers?  
The area of electronics and cable choice is probably  
the most common type of question that we receive. It  
is also the most subjective. We have repeatedly found  
that brands that work well in one setup will drive  
someone else nuts in another. We use many brands  
with great success. Again, we have no favorites; we  
use electronics and cables quite interchangeably. We  
would suggest listening to a number of brands—and  
above all else— trust your ears. Dealers are always the  
best source for information when purchasing additional  
audio equipment.  
How do I care for the EcoSound material?  
Your CLX loudspeaker was packaged for shipment in a  
protective fabric bag. The bag is made of a soft material  
which may absorb some of the natural oil used to finish  
the EcoSound. After removing the fabric bag you may  
notice that the EcoSound surface appears un-even or  
blotchy in some places. This is very simple to correct.  
Is there likely to be any interaction between my speak-  
ers and the television in my Audio/Video system?  
Actually, there is less interaction between a television  
and an electrostatic speaker than between a television  
and a conventional system.  
Using a soft, lint-free cloth, you simply hand rub furni-  
ture grade finishing oil onto the EcoSound surface. We  
recommend natural orange or lemon fine furniture oil  
for best results. This easily repeatable process will always  
return your EcoSound to its original uniform luster.  
Will my electric bill go ‘sky high’ by leaving my speak-  
ers plugged in all the time?  
We encourage you to occasionally reapply finishing oil  
to maintain the EcoSound’s rich dark color and keep  
your CLX loudspeakers looking their very best.  
No. A pair of MartinLogan’s will draw approximately 1  
watt maximum (in standby mode). There is circuitry to  
turn off the static charge when not in use, to prevent dust  
collection on the electrostatic element.  
What is the advantage of ESL?  
Since the diaphragm is uniformly driven over its entire  
surface—unlike a tweeter that is only driven at its  
edges—it is the only technology that can be made  
large enough to play bass, yet is still light enough for  
high frequencies. This unique property allows for the  
elimination of high frequency crossover points and  
their associated distortions.  
If the diaphragm is punctured with a pencil or similar  
item, how extensive would the damage to the speaker be?  
Our research department has literally punctured hundreds  
of holes in a diaphragm, neither affecting the quality of  
the sound nor causing the diaphragm to rip. However,  
you will be able to see the actual puncture and it can  
be a physical nuisance. If this is the case, replacing the  
electrostatic transducer will be the only solution.  
What size amplifier should I use?  
We recommend an amplifier with 100 to 200 watts  
per channel for most applications. Probably less would  
be adequate when used in home theater where a  
subwoofer is employed. Our designs will perform well  
with either a tube or transistorized amplifier, and will  
Will exposure to sunlight affect the life or performance  
of my speakers?  
We recommend that you not place any loudspeaker  
in direct sunlight. The ultraviolet (UV) rays from the  
Frequently Asked Questions 21  
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sun can cause deterioration of grill cloth, speaker cones,  
etc. Small exposures to UV will not cause a problem.  
In general, the filtering of UV rays through glass will  
greatly reduce the negative effects on the electrostatic  
membrane itself.  
played. This improvement has made a tremendous dif-  
ference in the consistent performance of our product.  
There may be a little more maintenance involved in  
humid regions when not in an air conditioned envi-  
ronment. Simply enough, the concern is to keep the  
electrostatic panels dust free. Humidity will combine  
with any dust on the panel to make it slightly conduc-  
tive. This will result in a slight pathway for the charge  
to leave the membrane of the speaker. The solution is  
simple. They only require occasional vacuuming with a  
strong vacuum hose.  
Will excessive smoke or dust cause any problems with  
my electrostatic speakers?  
Exposure to excessive contaminants such as smoke  
or dust may potentially affect the performance of the  
electrostatic membrane, and may cause discoloration  
of the diaphragm membrane. When not in use for  
extended periods, you should unplug the speakers and  
cover them with the plastic bags in which the speakers  
were originally packed. It is a good idea to vacuum the  
electrostatic portion of each speaker three or four times  
a year. See the vacuuming FAQ.  
How do I vacuum my MartinLogan speakers?  
Vacuuming will be most effective if the speakers have  
been unplugged for six hours to twelve hours (or over-  
night). You need not worry about the vacuum pressure  
damaging the "delicate" membrane. It is extraordi-  
narily durable. Dirt and dust may be vacuumed off with  
a brush attachment connected to your vacuum cleaner,  
or you may blow them off with compressed air. When  
vacuuming or blowing off your panels do so to both  
sides, but focus the majority of your attention on the  
front of the panels.  
A problem has recently developed with my MartinLogan  
speakers  The right speaker seems to be hissing even  
when the amplifier and such are not connected  I was  
wondering if this sounds like any problem you have  
encountered previously and have a simple solution for  
or might it be something which will need to be looked  
into more carefully  
Should I unplug my speakers during a thunderstorm?  
Yes, or before. It’s a good idea to disconnect all of your  
audio/video components during stormy weather.  
Your speakers are dusty. See the vacuuming FAQ. The  
electrostatic charge on the element has attracted airborne  
dust or pollen. Since 1993, all of our speakers have been  
built with a charging circuit board that only charges the  
electrostatic element when music plays. At other times  
they are not charged and cannot collect dust.  
My speakers aren’t working properly  What should I do?  
First, check the troubleshooting guide on the next  
page. These tips solve most problems. If the trouble-  
shooting guide doesn’t help, contact your MartinLogan  
dealer for further assistance.  
Could my children, pets, or myself be shocked by the  
high-voltage present in the electrostatic panel?  
No. High voltage with low current is not dangerous. As  
a matter of fact, the voltage in our speakers is 10 times  
less than the static electricity that builds up on the surface  
of your television screen.  
How do MartinLogan speakers hold up over a long  
term in the humidity of tropical climates?  
We should tell you that MartinLogan indeed has a very  
substantial number of customers in tropical regions of  
the world. Our speakers have been serving them nicely  
for many years. This concern may have come from our  
earlier design of speakers, which were charged continu-  
ously. Since 1993, all of our speakers have been designed  
so that they only charge the panel while music is being  
22 Frequently Asked Questions  
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trouBlesHootIng  
No Output  
Exaggerated Highs, Brightness  
• Check the toe-in of the speakers. Read the Placement  
section of this manual for more information.  
• Check that all your system components are turned on.  
• Check your speaker wires and connections.  
• Check all interconnecting cables.  
• Try hooking up a different set of speakers. The lack of  
output could point to a problem with other equipment  
in your system (amp, pre-amp, processor, etc.)  
Muddy Bass  
• Check placement. Try moving the speakers closer to the  
front and sidewalls.  
• Check the type of feet that are being used. Try attaching  
the coupling spikes.  
• Possibly means low electrostatic panel output. See  
'Weak Output from Electrostatic Panel, Loss of Highs’.  
Weak or no Output from Electrostatic Panel, Loss of Highs  
• Check the power cord. Is it properly connected to the  
speaker and to the wall?  
• Is the power cord connected to a switched outlet?  
• Dirt and dust may need to be vacuumed off. Please see  
the FAQ regarding vacuuming.  
• Check the binding posts. Are they dirty? If so clean  
them with rubbing alcohol.  
Lack of Bass, No Bass  
• Check your speaker wires. Is the polarity correct?  
• Check your speaker wires. Is the low-frequency elec-  
trostatic transducer working?  
• Check the binding posts. Are they loose? Make sure  
they are firmly hand-tightened.  
• Has a foreign substance (such as a household cleaning  
chemical or soap) been applied to the panel? If so the  
speaker will require servicing.  
• Check the binding posts. Are they dirty? If so clean  
them with rubbing alcohol.  
• Check the binding posts. Are they loose? Make sure  
they are firmly hand-tightened.  
Poor Imaging  
Popping and Ticking Sounds, Funny Noises  
• These occasional noises are harmless and will not hurt  
your audio system or your speakers. All electrostatic  
speakers are guilty of making odd noises at one time or  
another. It is the result of airborne contaminates (most  
notably dust). Vacuuming is recommended. Please see  
the FAQ regarding vacuuming.  
• Check placement. Are both speakers the same distance  
from the walls? Do they have the same amount of toe-  
in? Try moving the speakers away from the back and  
sidewalls.  
• Check the polarity of the speaker wires. Are they con-  
nected properly?  
• Are your speakers set up in an L-shaped room? If so,  
you may experience off-center imaging. Talk to your  
dealer about acoustical room treatment options.  
Troubleshooting 23  
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general InformatIon  
Specifications*  
Warranty and Registration  
System Frequency Response:  
56–23,000 Hz ± 3db  
Your CLX speakers are provided with an automat-  
ic Limited ꢅ0 Day Warranty coverage. You have the  
option, at no additional charge, to receive a Limited  
5 Year Warranty coverage. To obtain the Limited  
5 Year Warranty coverage you need to complete and  
return the Certificate of Registration included with your  
speakers, and provide a copy of your dealer receipt to  
MartinLogan within 30 days of purchase. For your conve-  
nience MartinLogan also offers online warranty registration at  
Dispersion  
Horizontal: 30 Degrees  
Vertical: 57” (145cm) line source  
High-Frequency Transducer  
57” (145 cm) CLS™ XStat™ electrostatic transducer  
Low-Frequency Transducer  
57” (145 cm) DualForce™ ESL double diaphragm, triple  
stator dipole electrostatic transducer  
MartinLogan may not honor warranty service claims unless  
we have a completed Warranty Registration on file! If you  
did not receive a Certificate of Registration with your new  
CLX, speakers you cannot be assured of having received  
new units. If this is the case, please contact your autho-  
rized MartinLogan dealer.  
Sensitivity  
90 dB/2.83 volts/meter  
Impedance  
Nominal: 6 ohms, Minimum: 0.7 ohms @ 20 kHz  
Serial Number  
Crossover Frequency  
360 Hz  
CLX’s serial number is located near the AC input. Each indi-  
vidual unit has a unique serial number.  
Components  
Service  
Thick film on alumina substrate resistors, custom-wound  
toroidal audio transformer, air core coils, polypropylene  
capacitors  
If the troubleshooting guide (page 23) doesn’t solve your  
problem, contact your authorized MartinLogan dealer for  
qualified service.  
Controls  
Accent lights on/off  
If you are using your MartinLogan product in a country other  
than the one in which it was originally purchased, we ask  
that you note the following:  
Power Handling  
225 watts per channel  
1 The appointed MartinLogan distributor for any given  
country is responsible for warranty servicing only on  
units distributed by or through it in that country in  
accordance with its applicable warranty.  
Signal Inputs  
Custom binding posts  
Mains Power Draw  
Standby: <1W each  
Max: <5W each  
2 Should a MartinLogan product require servicing in  
a country other than the one in which it was origi-  
nally purchased, the end user may seek to have repairs  
performed by the nearest MartinLogan distributor, sub-  
ject to that distributor’s local servicing policies, but all  
cost of repairs (parts, labor, transportation) must be  
borne by the owner of the MartinLogan product.  
Weight  
110–152 lbs. each (50–69 kg) depending on finish  
Size*  
70.32” h × 25.75” w × 14.69” d (178.6 × 65.4 × 37.3 cm)  
3 If, after owning your speakers for six months, you  
relocate to a country other than the one in which  
you purchased your speakers, your warranty may be  
transferable. Contact MartinLogan for details.  
*Specifications subject to change without notice.  
2ꢀ General Information  
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dImensIonal drawIngs  
Dimensional Drawings 2ꢁ  
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glossary of audIo terms  
AC  Abbreviation for alternating current.  
Diaphragm  A thin flexible membrane or cone that vibrates  
in response to electrical signals to produce sound waves.  
Active crossover  Uses active devices (transistors, IC’s,  
tubes) and some form of power supply to operate.  
Distortion  Usually referred to in terms of total harmonic  
distortion (THD) which is the percentage of unwanted  
harmonics of the drive signal present with the wanted signal.  
Generally used to mean any unwanted change introduced  
by the device under question.  
Amplitude  The extreme range of a signal. Usually measured  
from the average to the extreme.  
Arc  The visible sparks generated by an electrical discharge.  
Driver  See transducer.  
Bass  The lowest frequencies of sound.  
Dynamic Range  The range between the quietest and the  
Bi-Amplification  Uses an electronic crossover, or line-  
level passive crossover, and separate power amplifiers for  
the high and low frequency loudspeaker drivers.  
loudest sounds a device can handle (often quoted in dB).  
Efficiency  The acoustic power delivered for a given elec-  
trical input. Often expressed as decibels/watt/meter  
(dB/w/m).  
Capacitance  That property of a capacitor which determines  
how much charge can be stored in it for a given potential  
difference between its terminals, measured in farads, by  
the ratio of the charge stored to the potential difference.  
ESL  The abbreviation for electrostatic loudspeaker.  
Headroom  The difference, in decibels, between the peak  
and RMS levels in program material.  
Capacitor  A device consisting of two or more conducting  
plates separated from one another by an insulating material  
and used for storing an electrical charge. Sometimes called  
a condenser.  
Hybrid  A product created by the marriage of two different  
technologies. Meant here as the combination of a dynamic  
woofer with an electrostatic transducer.  
Clipping  Distortion of a signal by its being chopped off. An  
overload problem caused by pushing an amplifier beyond  
its capabilities. The flat-topped signal has high levels of har-  
monic distortion which creates heat in a loudspeaker and  
is the major cause of loudspeaker component failure.  
Hz (Hertz)  Unit of frequency equivalent to the number of  
cycles per second.  
Imaging  To make a representation or imitation of the original  
sonic event.  
CLS  The abbreviation for curvilinear linesource.  
Impedance  The total opposition offered by an electric  
circuit to the flow of an alternating current of a single fre-  
quency. It is a combination of resistance and reactance and  
is measured in ohms. Remember that a speaker’s imped-  
ance changes with frequency, it is not a constant value.  
Crossover  An electrical circuit that divides a full band-  
width signal into the desired frequency bands for the  
loudspeaker components.  
dB (decibel)  A numerical expression of the relative loud-  
ness of a sound. The difference in decibels between two  
sounds is ten times the Base 10 logarithm of the ratio of  
their power levels.  
Inductance  The property of an electrical circuit by which  
a varying current in it produces a varying magnetic field  
that introduces voltages in the same circuit or in a nearby  
circuit. It is measured in henrys.  
DC  Abbreviation for direct current.  
Inductor  A device designed primarily to introduce induc-  
tance into an electrical circuit. Sometimes called a choke  
or coil.  
Diffraction  The breaking up of a sound wave caused by  
some type of mechanical interference such as a cabinet  
edge, grill frame or other similar object.  
2ꢂ Glossary of Audio Terms  
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Linearity  The extent to which any signal handling process  
is accomplished without amplitude distortion.  
Transducer  Any of various devices that transmit energy  
from one system to another, sometimes one that converts  
the energy in form. Loudspeaker transducers convert elec-  
trical energy into mechanical motion.  
Midrange  The middle frequencies where the ear is the  
most sensitive.  
Transient  Applies to that which lasts or stays but a short  
Passive crossover  Uses no active components (transistors,  
IC’s, tubes) and needs no power supply (AC, DC, battery)  
to operate. The crossover in a typical loudspeaker is of the  
passive variety. Passive crossovers consist of capacitors,  
inductors and resistors.  
time. A change from one steady-state condition to another.  
Tweeter  A small drive unit designed to reproduce only  
high frequencies.  
Wavelength  The distance measured in the direction of  
progression of a wave, from any given point characterized  
by the same phase.  
Phase  The amount by which one sine wave leads or lags  
a second wave of the same frequency. The difference is  
described by the term phase angle. Sine waves in phase  
reinforce each other; those out of phase cancel.  
White noise  A random noise used in measurements, as it  
has the same amount of energy at each frequency.  
Pink noise  A random noise used in measurements, as it  
has the same amount of energy in each octave.  
Woofer  A drive unit operating in the bass frequencies only.  
Drive units in two-way systems are not true woofers but  
are more accurately described as being mid/bass drivers.  
Polarity  The condition of being positive or negative with  
respect to some reference point or object.  
RMS  Abbreviation for root mean square. The effective value  
of a given waveform is its RMS value. Acoustic power is  
proportional to the square of the RMS sound pressure.  
Resistance  That property of a conductor by which it opposes  
the flow of electric current, resulting in the generation of  
heat in the conducting material, usually expressed in ohms.  
Resistor  A device used in a circuit to provide resistance.  
Resonance  The effect produced when the natural vibra-  
tion frequency of a body is greatly amplified by reinforcing  
vibrations at the same or nearly the same frequency from  
another body.  
Sensitivity  The volume of sound delivered for a given  
electrical input.  
Stator  The fixed part forming the reference for the moving  
diaphragm in a planar speaker.  
THD  The abbreviation for total harmonic distortion. (See  
Distortion)  
TIM  The abbreviation for transient intermodulation distortion  
Glossary of Audio Terms 2ꢃ  
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WARNING! Do not use your CLX loudspeakers outside of the country of original sale—voltage requirements vary  
by country. Improper voltage can cause damage that will be potentially expensive to repair. The CLX is shipped to  
authorized MartinLogan distributors with the correct power supply for use in the country of intended sale. A list of  
®
L a w r e n c e , K a n s a s , U S A  
t e l ꢃ ꢄ ꢁ . ꢃ ꢀ ꢅ . 0 1 3 3  
f a x ꢃ ꢄ ꢁ . ꢃ ꢀ ꢅ . ꢁ 3 2 0  
w w w . m a r t i n l o g a n . c o m  
i n f o @ m a r t i n l o g a n . c o m  
Rev. #0ꢄ120ꢄ  
©200ꢄ MartinLogan. All rights reserved.  
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