With the Summit, Martin Logan was already the peak of sound. None so far better merged heating panels and conventional bass to the hybrids. But now the US increase the enjoyment factor yet specialists: the ultimate Summit X.
- Single test: Floorstanding loudspeaker Martin Logan
- Data sheet
Hybrid – that sounds at first kinda ugly. For one, the Greek word means arrogant, haughty. On the other hand we know from biology not exactly sympathy-provoking hybrid beings, about the cloned sheep and goat together push. But we must notice after this test of high courage: hydride is something wonderful, endearing. In any case, when it comes to the new Summit X, the Summit of the hybrid speaker building.
In fact AUDIO has never heard a transducer, which has managed the combination of dynamic bass and medium electrostatic treble unit so homogeneous. Before we dive into the dead, gray theory, let us dwell a moment at the height of this colorful, lively lively music. For the listening room seemed to tremble, when started the Summit X almost before life even at moderate levels.
Gustav Mahler the final of his first Symphony in the Auditorium wanted to hear “as lightning from the dark cloud” drive. Would the composer confessed 1889 already a Summit X and Georg Soltis 1964 recording available, he would have maybe dispensed with – responsive at that time blankly up hateful – audience and is dedicated to all the canning. The exuberant fullness of tone colours, the flawless differentiated figure of each score particle had entranced him, the dreaded as a conductor detail and precision fanatics. And the incredible living room format Dynamics of the London Symphony Orchestra would have taken most him in the mark.
Before the anthem now completely in the speculative drifts, it applies first of all to clarify concepts. Referred to “Dynamically” in the technical sense those speakers or chassis, generating sound in a conventional way: from the amplifier supplied AC voltage according to the electrodynamic principle stimulates a voice coil mounted movable in a fixed magnetic field. That is associated with a Conic – shaped or dome-shaped membrane, to the beat of the supplied voltage swings, this move air and producing sounds.
Electrostatic, however, use the interplay between stress and mechanical movement differently: with Martin Logan about a wafer-thin, coated with electrically conductive material plastic film under high voltage is used, which creates a constant electrostatic field around them. To limit this field, with Martin Logan of finely perforated, slightly curved, so-called stators.
The highly transformed, polarized opposition, delivered by the amplifier signal voltage is applied on them. Whose every swings the film between the stators, moving air and produces sounds. Many HiFi fans attest the “dynamic” taking this principle.
“Dynamic” in the musical sense means the span between loud and quiet. And because all speakers (should) can quietly, the fair is also the dynamic theory. Chassis of their area and the hub – clear advantage for conventional transformers, especially in the low frequency range, where much air must be moved away volume. Because for efficiency reasons the stators of electrostatic must move close together and so of course limit the stroke, it must bring the size? Plane projectors specialist Martin Logan therefore builds his stunning full-range electrostatic CLX (AUDIO 3/09) right ground covering and not yet on the lowest octave – or just for his other models relies on dynamic bass.
This is not without also the directivity of an immured in the housing, all-round radiant Cone Woofer, – in the case of the Summit X there are two in each closed Chambers – one is quite different from the backwards and forwards alike directed radiating electrostatic dipole. And the crossover – about 270 Hertz – seems to considerably more than “just” the bass fundament of music the bass unit. The Middle “c1” is about 262 Hz. Human and wooden bass away this tone still effortlessly Sopranos, flutes, Oboes or violins also loose up there and still slightly lower to grasp. Say: The ML woofer much fundamental responsibility.
Logan solves the diverse hybrid problems with some clever tricks. In the active bass about Americans of 200 watts each model strong power amplifiers of powered Zehnzöller so that they (the ‘little e’ is located at 165 Hz, here about begins as the female speaking voice and the voice of the tenor sang) almost the bipolar radiate from about 160 Hz: so much energy to the front and rear, slightly to the side. It is only at 100 Hertz around. The homepage shows off with beautiful, often protected terms as “controlled dispersion PoweredForce”, “Advanced Topology Vojtko Crossover”, “XLSTAT electrostatic transducer”, “ultra rigid AirFrame technology”, “Curvilinear Line Source”, “MicroPerf stator” or “energy transfer coupler spikes”. All nice and well, it serves the noble aim to combine the best of both worlds of converter ultimately. And great music to make.
What succeeded. Behind this sober testimony however was an intoxication of the senses, as you get it gave a really not all days. Most likely can be compared with first-class champagne charm flooding a large Logan: sparkling, lively, sometimes foaming over the mood lifting and without any remorse to enjoy. But forever the taste formative. By the way, the eyes get offered something: the funny underbody lighting provides in the darkened listening room that that seems to float Summit X.
And truly weightless acoustic put off. The piano elaborately cultivated by Christian Zacharias beaded around a precisely defined tonal core with exactly those fine dynamic and sound colour nuances that distinguish Mozart brilliant game from drab note spelling. The Logan with impressive detail joy drew the delicate orchestral sounds, which Mozart are his piano at times tender, even dramatic dialog allows you to. There even gently drawn times with strong brush stroke.
With such sophisticated instrumental sounds, the Summit showed a fascinating balance X. And put them to votes. He had the dreaded break between fundamental and overtone spectrum. Singing teachers were thrilled by the shiny “blindness of the register”. Because the Logan was no matter whether shone – the Raven bass Gottlob Frick or the silvery soprano of Joan Sutherland in a Mozart – milestone (Don Giovanni, Carlo Maria Giulini, EMI) and remained in their element.
From which they also hardest rock attacks by the answer (see vinyl special 6/09) or big orchestral Tschingdarassa could not sell. Striking the balance, with the also pummeling bass drum kicks or common pool beats on the drum heads of startled jurors side on. Supplied by the best analog or digital sources, this top speakers with each music genre could develop those suction effect, which ensures the mentioned intoxication. And remained yet – almost as an aside – incorruptible witness for the ultra fine differences in sound from Super precursors.
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Martin Logan Summit X.
Technical data and test results
|Dimensions (W x H x D)|
|Number of ways|
|Working principle of full Active|
|Maximum volume upper value|
|lower cut-off frequency (-3dB)|
|Lower cut-off frequency (-6 dB)|
|Nominal impedance (audio)|
|Exemplary homogeneous fine-grained hybrid combination with fantastic figure|
|Impedance minimum 0.8 ohm at 34 kHz|
|Bass depth (bass Foundation)||100|
|Attention to detail (precision)||115|
|Maximum level (vitality)||80|
|Sound judgment||outstanding 103|
|tested in issue:||7 / 09|