Speaker Martin Logan Summit X.

In the new Summit X (16800 euro the pair) linked to Martin Logan actively controlled cone basses with a foil dipole to the probably the best hybrid spotlight of ever – here exclusively in the test.

  1. Speaker Martin Logan Summit X.
  2. stereoplay – technology in detail: considered in light
  3. Data sheet

The announcement will prick up their ears: dipole specialist Martin Logan has a hybrid model in which the interplay of dynamic condensers and electrostatic foil Panel to succeed for the first time completely seamlessly without the dreaded sponges in tone and bass with the new Summit X.

This new development is interesting also, because the topic traditionally provides fabric for endless discussions. And because the often alleged as the cause of mass and speed differences between the “heavy” bass chassis and the much lighter per unit area film spotlights are not the real reason. Here, namely two things are overlooked.

One precludes his larger area due to the light itself electrostatic non higher air load, what strongly relativized his weight advantage. When dynamic woofers, the moving mass is not a negative criterion, but rather an important part of its function and coordination.

The cause of unease is the different omnidirectional. Dipoles throw out hardly any sound, conventional bass to the pages, however, very well. Solid angle-dependent increases and cancellations in the transition zone, where both systems significantly contribute, to the SPL – what similar sounds like wrong tuned crossovers or incorrectly sized magnets for conventional speakers are the result.

Purely mechanical is Logan’s recent prank a hybrid like others also. The towering foil element has the omnidirectional of these eight, as shown in the lower part of the Red sketch as front of rear open as dipole radiators. Its two large 10-inch cone bass (one of them in the base down looking) are ordinary radiator with directional radiation itself. Both work free of flow noise in closed Chambers, supervised by separate power amplifiers with 200 watts each.

Is similar to new Summit it’s predecessor without “X” (see stereoplay 7/2005), who also had two bass drivers, but without the hereafter explained kind of wiring.

The built-in electronic crossover controls the bass duo most tricky: in the linearity in level and phase synchronous, though increasingly in the direction of higher frequencies. As part of the energy generated by the chassis is wiped out solid angle-dependent, which Verbund achieved an omnidirectional at the upper end of its transmission area when the crossover frequency 270 Hz, comes very close to where the slide projector. So you want to give the impression that it was a completely seamless full sound source area, although two very different designs are actually working.

The dimensions remained virtually unchanged compared to its predecessor. The processing was perfected in detail once again and is now also in terms of feel and gaps of highest European standards.

In the listening room everyone could see to formally, as the hybrid rose the widely cited notion of “dynamic” into a new dimension in natura surprisingly dainty-looking. And how skeptics equal rows succumbed to his soulful, neutral and completely homogenous playing style.

It was once again the ranks of box boxes, which looked not only old against the new Summit, but also sound, sticky and capped tinged their best representatives on timing-related albums such as “In Between Dreams” terrifying the Hawaiian Giarristen Jack Johnson. And neither tonal nor force in terms of classification-related benefits were achieved.

So schlackenlos grasping and yet delicately as the new Summit X offered the popular good-mood album, so contagious carefree and in a sense “unplugged” transducer-tipped sound only with dynamic chassis if at all only in higher price ranges.

And what about the dreaded bass and basic sound quality? Just as the new Logan clay furniture of fun boys know how bio bass disciples alike to win, not least stay principle denied the operators of passive boxes for its customization.

Even owners of the Logan top model CLX (see Bulletin 1/2009), a full-range combination, will acknowledge that the new Summit in the sum of its properties reach sound levels held barely for possible. The large CLX can compensate for its inherent deficiencies in capacity and bass depth only partially with its slightly greater homogeneity. Only with two subwoofers of the type of descent i (also stereoplay 1/2009) keeps the great Logan the Summit X at a distance.

Therefore, cool computer choose the smaller brother. Another reason achieved at this price no box box 64 sound points – Logan connoisseur more for maximum satisfaction.

The new Summit has a clever lighting concept. A small chain with four bright light-emitting diodes is housed in the base (see photo). The Summit on a carpet of light seems to float in a darkened room. A single LED is mounted above the controller and is used as a work light.

Also the brand logo in the upper part of the bass case (not pictured here) can light up blue. All light sources can be separately select and also dimmed via the Middle knob on the back.

The level control for the areas 25 and 50 Hertz are excellent tools for space adaptation. Thanks to partial activation an amplifier is needed only for MIDs and highs, which is so not significantly impacted and may be therefore smaller than usual for passive speakers. He must be stable only load.

Martin Logan Summit X.

Manufacturer Martin Logan
Price €16800.00
Rating 64.0 points
Test procedure 1.0

Technical data and test results

General data
Width
Height
Depth
Weight:
Installation tip: free-standing, rear distance 1.5 m listening distance 2.5 m, rooms from 30 m²
Measured values
Operating voltage for 90 dB SPL
Impedance minimum stp
Maximum volume upper value
Maximum volume lower value (> 45 Hz)
Lower cut-off frequency (-3dB)
Lower cut-off frequency (-6 dB)
Review
Short conclusion Racy hybrid converter with active bass and slide panel of latest type. Sounds extremely transparent and totally unstrained. Hammer bass!
Sound Absolute top class
Naturalness 14
Fine resolution 14
Border dynamics 11
Bass quality 11
Figure 14
Sound points (70 points) 64
Measured values
Practice 6
Valency 9
Overall rating (max. 120 points) good – very good 79
Price / performance outstanding
tested in output 5 / 09