Who thinks of dipoles, has often as first plane projectors in mind. Among these, the electrostatic in turn have the best audiophile reputation. In contrast to my magneto-static and dynamic colleagues, here no magnetic fields provide diaphragm movement, but on high-voltage preloaded electric fields between diaphragm slide, and a stator grid.
- Martin Logan ethos
- Data sheet
The followers of Martin Logan’s often praise the airy and transparent reproduction of their honey, what you should however not causally attributed to the low membrane weight. The uniform drive and the sound radiation pattern optimized with Logan over the decades is more important: the eighth characteristic backwards and forwards, as well as the large Active surface to generate a strong concentration of the sound, through the curved shape in turn on a meaningful range of about +/-15 degrees horizontally are expanded.
The new ethos can narrow fail thanks to its slightly stronger curvature with 27 cm wide and almost hide floor and ceiling reflections by the height due to the very strong vertical bundling. To avoid flooding the slide, it is supported by a dynamic, active powered eight inch bass below 375 Hz.
As gently to make the transition between two chassis – because unlike the electrostatic bass radiates very broadly – is the bass level by a controller on the back in a wide range of the +/-10dB dosing. But this not enough: Filtering and equalization of bass and keynote range assumes a digital DSP crossover, à priori regulated possible Constrainers of the chassis and gently limits the performance in the Übersteuerungsfall by limiter. So this combination creates but still high levels, an additional passive radiator via Downfire edited the area under 60 Hertz.
That first stunned with classic virtues of Logan ethos: almost sensationally their detail view in Mahler’s Symphony No. 8 (Gergiev, LSO) – transparent, and ESS is guaranteed lost no touch. While she could project individual musicians with a holographic precision in the hearing room as it had rarely heard on AUDIO.
That just leaner voices like Anne Sofie von Otter (Saints Saëns Christmas Oratorio, Eby) seemed to be missing some volume and they were also quite close projected on the handset, may you lay more of Logan as monitorhafte accuracy because as errors. This thickened it with Stanley of Clarke’s “Justice Grooves” also not on, but made a sensational stable and pounding rhythm section in the space. Only the comparison with the untenrum still drier eternal Arts revealed that here is a passive loaded bass reflex and not a dipole at the works.
Otherwise the tonal transition of Logan managed seamlessly, and at Saints-Saëns’s “Organ Symphony” (Eschenbach, Ondine), she proved that extreme precision and relaxation with high enthusiasm can be an almost perfect synthesis.
The hybrid combination is not the easiest concept. If it someone dominates, then Martin Logan. The ethos embodied the virtues of transparency and positioning precision in perfection without making mistakes elsewhere. That alone would still not sensation – it is apparent that only when the moderate width and the price to the sound in relation.
Martin Logan ethos
Technical data and test results
|Dimensions (W x H x D)||27.0 x 151,0 x 47.0 cm|
|Color||Ash black, dark Cherry and teak flamed|
|Bass principle||Way closed|
|Number of ways||2|
|Working principle of full Active|
|Space adaptation||Bass level between + / – 10 dB adjustable|
|Maximum volume upper value||95 dB|
|lower cut-off frequency (-3dB)||24 Hz|
|Lower cut-off frequency (-6 dB)||22 Hz|
|Nominal impedance (audio)||2 ohm|
|incredibly transparent, perfect resolution, natural sounds, deep bass and spectacular Imaging|
|Bass not so dry, no level of wonder|
|Bass depth (bass Foundation)||100|
|Attention to detail (precision)||115|
|Maximum level (vitality)||70|
|Sound judgment||well over 99|
|tested in issue:||2 / 11|