MartinLogan NEOLITH User Manual

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NEOLITH

USER’S MANUAL

user’s manual | manuel de l’utilisateur

This high performance Neolith hybrid electrostatic

loudspeaker was hand-crafted exclusively for:

__________________________________________________________

Serial Numbers: Record your serial numbers here for easy reference. You will need this information when filling out your warranty registration. Neolith’s serial number is located near the bottom of the backplate and on the shipping container. Each individual unit has a unique serial number.

Numéros de série : Veuillez noter les numéros de série afin de pouvoir les consulter facilement. Vous aurez besoin de ces renseignements lorsque vous remplirez l’inscription à la garantie. Le numéro de série Neolith est situé près du bas de la plaque arrière et sur le carton d’emballage. Chaque appareil possède un numéro de série unique.

___________________ / ___________________

Thank you—to you the MartinLogan owner,

for loving what we do,

and making it possible for us to do what we love.

________________________________________

Merci à vous, propriétaire d’un produit MartinLogan,

d’aimer ce que nous faisons,

et de faire en sorte que nous puissions faire ce que nous aimons.

MartinLogan’s Neolith Team

__________________________________________________________

Greg Dunham, Director of Engineering

__________________________________________________________

Devin Zell, Product Manager

__________________________________________________________

Eric Urban, Project Manager

__________________________________________________________

Pat Shoup, Engineering Technician

__________________________________________________________

Joe Vojtko, Chief Audio Technologist

__________________________________________________________

Joe McCracken, Senior Loudspeaker Engineer

__________________________________________________________

Blair Sutton, Lead Mechanical Designer

__________________________________________________________

Brian Kirby, Engineering Technician

INTRODUCTION | INTRODUCTION

Congratulations! You have invested in one of the world’s premier loudspeaker systems.

The MartinLogan Neolith represents an advanced combination of sonic technologies establishing an unprecedented direction for audiophile design. The result of years of research, the new Neolith hybrid electrostatic loudspeaker features XStat technology, powerful woofers, and meticulous crossover engineering establishing new standards for efficiency, dynamics and precision in a floorstanding loudspeaker.

The Neolith’s CLS XStat transducer builds upon the legacy of MartinLogan’s electrostatic heritage with the incorporation of advanced vacuum bonding and MicroPerf stat panels. The electrical interface technology, developed by MartinLogan’s CLX™ engineering team, extends effortless dynamics and purity, resulting in high sonic standards of efficiency and precision. 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.

Félicitations! Vous avez acheté l’un des meilleurs systèmes de haut-parleur au monde.

Le MartinLogan Neolith est une combinaison perfectionnée de technologies sonores qui établit un jalon inégalé pour les audiophiles. Résultat de nombreuses années de recherche, le nouveau haut-parleur électrostatique Neolith est doté de la technologie XStat, qui permet de diminuer de beaucoup la taille du boîtier, tout établissant de nouvelles normes en matière d’efficacité, de dynamique et de précision des haut-parleurs au sol.

Le nouveau transducteur CLS XStat du Neolith puise dan l’héritage électrostatique de MartinLogan en incorporant le collage sous vide et des panneaux statiques MicroPerf perfectionnés, ce qui offre une efficacité et une précision encore plus élevées. La technologie de l’interface électrique élaborée par l’équipe d’ingénierie CLX™ de MartinLogan permet d’accroître la dynamique et la pureté sans effort, ce qui permet d’obtenir des normes sonores d’efficacité et de précision encore plus élevées. Grâce à des essais rigoureux, le panneau électrostatique curvilinéaire est l’un des transducteurs les plus durables et fiables actuellement sur le marché. Fabriqué à partir d’un acier de calibre élevé étampé par un outil sur mesure, le panneau breveté est ensuite recouvert d’un polymère spécial qui est appliqué selon un processus de collage électrostatique exclusif. Ce panneau est doté d’une membrane d’une épaisseur de seulement 0,0005 pouce.

Featuring an advanced crossover topology, each Neolith crossover uses precision audiophile-grade polypropylene capacitors, toroidal transformers, and high-purity air-core and iron-core coils. This advanced crossover topology flawlessly preserves microscopic subtleties while effortlessly handling the broadest range of dynamics contained within even the most demanding sonic source.

The materials in your new Neolith speakers are of the highest quality and will provide years of enduring enjoyment and deepening respect. The cabinetry is constructed from the highest quality phenolic material for acoustical integrity.

This User’s Manual explains in detail the operation of your Neolith 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.

Présentant une topologie de répartiteur perfectionnée dérivée du haut-parleur CLX, chaque répartiteur Neolith utilise des condensateurs en polypropylène de haute qualité et des bobines à noyau d’air de grande pureté. Cette topologie de répartiteur perfectionnée permet de préserver les subtilités microscopiques tout en traitant sans effort la plage la plus élevée de dynamiques qu’elles contiennent, même pour les sources sonores les plus exigeantes.

Les matériaux de vos nouvelles enceintes Neolith sont de la plus haute qualité et vous offriront de nombreuses années de plaisir. Le boîtier est fait du matériel composite de la plus haute qualité pour préserver l’intégrité acoustique.

Les autres sections du manuel de l’utilisateur expliquent en détail le fonctionnement des enceintes Neolith et la philosophie sous-jacente à leur conception. En ayant une compréhension claire de vos enceintes, vous obtiendrez le rendement maximal de ce transducteur le plus précis qui soit et en profiterez pleinement. Il a été conçu et fabriqué pour vous donner des années d’écoute exceptionnelle et sans tracas.

CONTENTS | TABLE DES MATIÈRES

Controls and Connections ................................1

AC Power Connection....................................1

Signal Connection .......................................1

Break-In...............................................1

Jumpers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Single Wire Connection ..................................2

Bi-Wire Connection .....................................2

Passive Bi-Amplification ..................................2

Active Bi-Amplification ...................................3

Top Panel Controls ......................................4

Low Bass Output Jumpers.................................5

Listening Distance Jumpers ................................5

Placement..............................................7

Listening Position........................................7

The Wall Behind the Listener ..............................7

The Wall Behind the Speakers .............................7

The Side Walls .........................................7

Experimentation ........................................7

Final Placement ........................................9

The Extra “Tweak” ......................................9

Enjoy Yourself ..........................................9

Room Acoustics ........................................13

Your Room ...........................................13

Terminology ..........................................13

Rules of Thumb .......................................13

Dipolar Speakers and Your Room..........................14

Solid Footing ..........................................14

Dispersion Interactions..................................17

Controlled Horizontal Dispersion ..........................17

Controlled Vertical Dispersion ............................17

Three Major Types of Dispersion ..........................17

Home Theater..........................................19

Electrostatic Advantages .................................21

Full Range Operation ...................................22

MartinLogan Exclusives..................................25

XStat™ Transducer .....................................25

CLS™ (Curvilinear Line Source) ...........................25

Generation 2 Diaphragm ................................25

MicroPerf Stator .......................................25

Vacuum Bonding.......................................25

Electrostatic Loudspeaker History .........................27

Frequently Asked Questions..............................31

Troubleshooting........................................35

Specifications ..........................................37

General Information ....................................39

Warranty and Registration................................39

Serial Number .........................................39

Service ..............................................39

Glossary of Audio Terms .................................41

Raccords et commandes .................................47

Raccord de l’alimentation CA ............................47

Raccord du signal ......................................47

Rodage ..............................................47

Pinces de démarrage....................................48

Raccord à un fil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Raccord à deux fils .....................................48

Bi-amplification passive..................................48

Bi-amplification active ..................................49

Commandes du panneau supérieur ........................50

Bretelles de sortie de basses profondes .....................51

Écouter les bretelles de distance ...........................51

Positionnement ........................................53

Position d’écoute.......................................53

Le mur derrière l’auditeur ...............................53

Le mur derrière les enceintes .............................53

Les murs latéraux.......................................53

Expérimentation .......................................53

Positionnement final . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Mise au point supplémentaire.............................55

Profitez du produit .....................................55

Acoustique de la pièce ..................................59

La pièce..............................................59

Terminologie ..........................................59

Règles pratiques .......................................59

Enceintes dipolaires et votre pièce .........................60

Base solide............................................60

Interactions de la dispersion .............................63

Dispersion horizontale contrôlée ..........................63

Trois principaux types de dispersion........................63

Cinéma maison ........................................65

Avantages électrostatiques ...............................67

Plage complète de fonctionnement ........................68

Exclusivités MartinLogan.................................71

Transducteur XStat™....................................71

CLS™ (Source linéaire curvilinéaire) ..........................71

Diaphragme Generation 2 ...............................71

Stator MicroPerf .......................................71

Collage sous vide.......................................71

Historique des haut-parleurs électrostatiques...............73

Foire aux questions .....................................77

Dépannage ............................................81

Spécifications ..........................................83

Renseignements généraux ...............................85

Garantie et enregistrement ...............................85

Numéro de série .......................................85

Service ..............................................85

Glossaire des termes audio...............................87

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1 Read these instructions. 2 Keep these instructions. 3 Heed all warnings. 4 Follow all instructions. 5 Do not use this apparatus near water. 6 Clean only with dry cloth. 7 Do not block any ventilation openings. Install in accor-

dance with the manufacturer’s instructions.

8 Do not install near any heat sources such as radiators,

heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9 Do not defeat the safety purpose of the polarized or

grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10 Protect the power cord from being walked on or pinched

particularly at plugs, convenience receptacles, and the point where they exit the apparatus.

11 Only use attachments/accessories specified by the manu-

facturer.

12 Use only with the stand, tripod, bracket, or

table specified by the manufacturer, or sold with the apparatus.

13 Unplug this apparatus during lightning storms

or when unused for long periods of time.

14 Refer all servicing to qualified service personnel. Servicing

is required when the apparatus has been damaged in any way, such as power-cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not

operate normally, or has been dropped.

15 The mains plug of the power supply cord shall remain

readily operable.

16 To completely disconnect this equipment from the mains,

disconnect the power supply cord plug from the receptacle.

17 WARNING! To reduce the risk of fire or electric shock,

this apparatus should not be exposed to rain or moisture and objects filed with liquids, such as vases, should not be placed on this apparatus.

CAUTION!

• To reduce risk of electric shock, do no remove cover (or back).

• No user serviceable parts inside.

• Refer servicing to qualified service personnel.

Service Information

For service this product should be returned to your authorized distributor. In the US, please visit www.martinlogan.com for contact information. Outside the US, please use the distributor locator at www.martinlogan.com.

NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

— Reorient or relocate the receiving antenna. — Increase the separation between the equipment and receiver. — Connect the equipment into an outlet on a circuit different from

that to which the receiver is connected.

— Consult the dealer or an experienced radio/TV technician for

help.

REMARQUE : cet équipement a été testé et jugé conforme aux limites d’un appareil numérique de Classe B, en vertu de la Section 15 du règlement de la FCC. Ces limites sont conçues pour offrir une protection jugée raisonnable contre l’interférence nuisible dans une installation résidentielle. Cet équipement génère des utilisations et peut émettre une énergie radiofréquence et, s’il n’est pas installé et utilisé conformément aux instructions, peut causer une interférence nuisible aux radiocommunications. Toutefois, il n‘existe aucune garantie qu’une interférence ne se produira pas dans une installation particulière. Si cet équipement cause une interférence nuisible à la réception radiophonique ou télévisuelle, qu’on peut déterminer en ouvrant et en fermant l’équipement, l’utilisateur est invité à essayer de corriger l’interférence à l’aide d’une des mesures suivantes : — Réorienter l’antenne de réception ou la changer de place. — Augmenter la distance entre l’équipement et le récepteur. — Raccorder l’équipement à une prise située sur un autre circuit

que celui sur lequel le récepteur est raccordé.

— Consulter le revendeur ou un technicien radio/TV compétent

pour obtenir de l’aide.

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 regulated materials which upon disposal, according to the WEEE directive, require special reuse and recycling processing.

En vertu de la directive WEEE de l’Union européenne (directive sur les déchets électriques et électroniques) entrée en vigueur le 13 août 2005,

nous vous avisons que ce produit pourrait contenir des matériaux réglementés dont l’élimination doit faire l’objet de procédures de réutilisation et de recyclage particulières.

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 info@martinlogan.com or visit the distributor locator at www.martinlogan.com.

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.

The lightning bolt flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock.

WARNING! Do not use your Neolith 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 Neolith is shipped to authorized MartinLogan distributors with the correct power supply for use in the country of intended sale. A list of authorized distributors can be accessed at www.martinlogan.com or by emailing info@martinlogan.com.

À cette fin, Martin Logan a demandé à ses distributeurs dans les pays membres de l’Union européenne de reprendre et de recycler ce produit gratuitement. Pour trouver le distributeur le plus près, communiquez avec le revendeur du produit, envoyez un courriel à info@martinlogan.com ou consultez le site Web martinlogan.com.

Notez que seul le produit est régi par la directive WEEE. Nous vous encourageons à recycler les matériaux d’emballage et autres matériaux d’expédition selon les procédures normales.

Le point d’exclamation dans un triangle équilatéral avertit l’utilisateur de la présence de directives importantes en matière de fonctionnement et d’entretien (service) dans les documents qui accompagnent l’appareil.

Le symbole de l’éclair avec une pointe en forme de flèche, dans un triangle équilatéral, avertit l’utilisateur de la présence d’une « tension dangereuse » potentielle près du produit qui peut être suffisante pour constituer un risque de décharge électrique.

MISE EN GARDE! N’utilisez pas les haut-parleurs Neolith à l’extérieur du pays où ils ont été achetés — les exigences en matière de tension varient selon les pays. Une tension inappropriée peut causer des dommages potentiellement dispendieux à réparer. Le produit Neolith est envoyé aux distributeurs MartinLogan autorisés avec le bon cordon d’alimentation pour l’utilisation dans le pays où il est vendu. Une liste des distributeurs autorisés est disponible sur le site Web www.martinlogan.com ou en écrivant à l’adresse info@martinlogan.com.

Neolith

Tested to Comply with FCC Standards FOR HOME OR OFFICE USE

This device complies with part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

Neolith

Testé pour être conforme aux normes du FCC POUR UNE UTILISATION À LA MAISON OU AU BUREAU

Cet appareil est conforme à la partie 15 des règles du FCC. L’utilisation est assujettie aux deux conditions suivantes : (1) cet appareil ne doit pas causer d’interférence nuisible, et (2) cet appareil doit accepter l’interférence reçue, notamment l’interférence qui peut causer un mauvais fonctionnement.

Safety Warnings and Installation in Brief (English)

WARNING/CAUTION!

• 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.

• Turn amplifier off and unplug speaker should 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.

• 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.

• Speaker should not be exposed to dripping or splashing liquids.

• 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 operable should any abnormal conditions occur.

We know you are eager to hear your new MartinLogan loudspeakers, so this section is provided to allow fast and easy set up. Once you have them operational, please take the time to read, in depth, the rest of the information in the enclosed manual. It will give you perspective on how to attain the greatest possible performance from this most exacting transducer.

If you should experience any difficulties in the setup or operation of your MartinLogan speakers, please refer to the Room Acoustics, Placement or Operation sections of the enclosed owner’s 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 1: Unpacking

Remove your new MartinLogan speakers from their packing.

Step 2: Placement

Start by placing the speakers about two feet from any wall and angle them slightly toward your listening area. Please see the Placement section of the enclosed manual for more details.

Step 3: Power Connection (AC) (see warning)

MartinLogan 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 panel of the speaker, making sure that you have made a firm connection, and then to the wall outlet. Please see the Operations section of the enclosed manual for more details.

Step 4: Signal Connection

Use the best speaker cables you can. Higher quality cable, available from your specialty dealer, is recommended and will give you superior performance. 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 speaker: take great care to assign the same color to the (+) terminal on both the left and right channels. If bass is nonexistent and you cannot discern a tight, coherent image, you may need to reverse the (+) and (–) leads on one side to bring the system into proper polarity.

If your speaker is equipped for Bi-wiring/Passive Bi-amping, turn to the Operations section of the enclosed manual for proper setup of your MartinLogan speakers.

Step 5: Listen and Enjoy

Sikkerhedsanvisninger og gode råd om installationen (Dansk)

ADVARSEL!

• Undgå at fjerne coveret.

• Overlad alle former for service og reparation til en kvalificeret tekniker.

• For at undgå elektriske stød og risiko for ildebrand bør dette produkt ikke udsættes for fugt.

• Afbryd forstærkeren når anlægget ikke er i brug i længere perioder.

• Afbryd altid forstærkeren før du tilslutter eller afbryder forbindelsen til dine højttalere!

• Undgå at belaste højttaleren med højere effekter end angivet.

• Undgå at anvende højttaleren hvis der er synlige skader på det elektrostatiske panel.

• Lysnetkablet bør ikke tilsluttes, fjernes eller efterlades på gulvet, hvis stikket i den anden ende er tilsluttet en lysnetkontakt.

• Undgå brugen af åben ild og stearinlys på eller i nærheden af højttalerne.

• Undgå konsekvent at stille væskefyldte vaser og glas på højttalerne.

• Højttalerne bør under ingen omstændigheder udsættes for fugt eller stænk med væsker.

• Terminalerne der er markeret med lyn-symbolet bør kun tilsluttes af en faglært installatør eller ved brug af præfabrikerede kabler monteret med de helt rigtige stik.

Vi ved, du er ivrig efter at lytte til dine nye MartinLogan højttalere i brug, så denne anvisning skal hjælpe dig med at sikre en hurtig og effektiv ibrugtagning. Så snart højttalerne er tilsluttet og spiller bør du tage dig tid til grundig gennemlæsning af den medfølgende brugermanual. Den vil give dig indsigt i, hvordan du får det lydmæssigt bedste udbytte af disse ultra-præcise højttalere.

Hvis du oplever problemer under opstillingen eller brugen af dine MartinLogan højttalere bør du snarest søge til den medfølgende manuals kapitler om Rumakustik, Opstilling og Anvendelse. Skulle der mod forventning opstå vedvarende fejl, du ikke kan løse på stedet, så tøv ikke med at kontakte din autoriserede MartinLogan forhandler. Han har den fornødne tekniske indsigt til at løse problemerne for dig.

Step 1: Udpakning

Pak dine nye MartinLogan højttalere ud og gem emballagen.

Step 2: Opstilling

Placer højttalerne mindst 60 cm fra den nærmeste væg og ret dem lidt ind mod den foretrukne lytteposition. Du kan søge mere information om opstillingen i manualens kapitel Opstilling.

Turvallisuus- ja asennusohjeet lyhyesti (Suomi)

Varoitus!

• Sähköiskun vaara — älä avaa laitetta.

• Anna huolto ammattilaisen tehtäväksi.

• Tulipalon tai sähköiskun välttämiseksi älä altista laitetta kosteudelle.

• Kytke vahvistimesta ja kaiuttimista virta pois, jos laitteeseen tulee jokin vika.

• Kytke vahvistin pois päältä ennen kuin liität laitteisiin johtoja!

• Älä käytä laitetta, jos paneelissa on jokin näkyvä vika.

• Älä ylitä kaiuttimien suositusvoimakkuutta.

• Virtajohtoa ei pidä asentaa tai irrottaa silloin kun kaiutinjohto on kytketty virtaan.

• Älä aseta kynttilää tai avointa tulta kaiuttimen päälle.

• Älä aseta nestettä sisältävää vaasia kaiuttimen päälle.

• Kaiutinta ei pidä altistaa roiskuville nesteille.

• Ne liitännät, joissa on salamamerkki, on tarkoitettu vain asiantuntijan kytkettäviksi.

Step 3: Tilslutning af strøm (AC) (se advarsel)

MartinLogan’s elektrostatiske højttalere fordrer strømforsyning fra lysnettet til opladning af de elektrostatiske paneler. Tilslut først netkablet til tilslutningspanelet på højttalernes bagside og sørg for at der er god og sikker forbindelse. Tilslut dernæst den anden ende af netkablet til lysnetkontakten på væggen. Du kan finde flere instruktioner herom i den medfølgende manual.

Step 4: Tilslutning

Anvend de bedst mulige højttalerkabler – de har stor betydning for lyden. Dedikerede højkvalitets højttalerkabler giver markant bedre lydkvalitet end “lysnetledning”, så det kan ikke betale sig at spare her. Vi anbefaler kabler med kabelsko, der både har det største kontaktareal (minimalt signaltab) og er lette at spænde til, så du får en sikker og stabil kontakt.

Forbind kablerne omhyggeligt til Signal Input tilslutningerne på højttalernes bagpanel og vær opmærksom på, at du faser dem korrekt – farvekodning på terminaler og kabler hjælper dig på vej. Hvis basgengivelsen er svag og lydbilledet forekommer meget diffust er højttalerne formentlig tilsluttet ude af fase. Så skal du vende polariteten til den ene af højttalerne ved at bytte om på plus (+) og minus (–).

Hvis dine højttalere er udstyret med tilslutninger for Bi-wiring/Passiv Bi-amping, så spring videre til afsnittet Operations i den medfølgende manual, så du sikrer dig optimalt udbytte af dine MartinLogan højttalere.

Step 5: Lyt og nyd dine højttalere

Tiedämme, että olet innokas kuuntelemaan heti uusia MartinLogan kaiuttimia, mutta lue tämä kappale ennen asentamista. Sitten kun olet saanut kaiuttimet toimimaan, ole hyvä ja lue ajan kanssa käyttöohjeet syvällisemmin. Näin saat tietoa siitä, miten saat kaiuttimista parhaan mahdollisen suorituskyvyn.

Jos sinulla on vaikeuksia saada MartinLogan-kaiuttimet toimimaan huoneessa, ole hyvä ja katso ”Room Acoustics”, ”Placement or Operation” kappaleet käyttäjän käsikirjassa. Jos törmäät ongelmaan, jota et pysty ratkaisemaan, ota yhteyttä valtuutettuun MartinLoganmyyjään, niin hän tekee teknisen analyysin tilanteesta.

Vaihe 1: Pakkauksen avaus

Poista uudet MartinLogan-kaiuttimet pakkauksistaan.

Vaihe 2: Sijoitus

Aseta kaiuttimet vähintään reilun puolen metrin päähän seinistä ja käännä ne hieman kohti kuuntelualuetta. Ole hyvä ja katso ”Placement” kappale käyttöohjeessa

Vaihe 3: Virtakytkentä (katso varoitus)

MartinLogan-kaiuttimet tarvitsevat virtaa aktivoidakseen elektrostaattisen paneelin. Virtajohto pitää kytkeä ensin kaiuttimen takapaneelissa olevaan liittimeen ja vasta sen jälkeen pistorasiaan. Ole hyvä ja katso ”Operations” kappale käyttöohjeessa.

Vaihe 4: Signaalikaapeleiden kytkentä

Käytä vain parhaita kaiutinkaapeleita. Korkealaatuinen kaapeli, jota myydään erikoisliikkeessä, on suoriteltava sen takia, koska silloin saat kaiuttimistasi parhaimman suorituskyvyn. Haarukkaliittimet takaavat optimaalisen kontaktin ja helpottavat asentamista.

Kytke kaiutinkaapelit takapaneelin “Signal Input” osaan. Ole johdonmukainen kytkiessäsi kaiutinkaapelin päät kaiuttimen liitinpaneeliin: erittäin tärkeää on kytkeä sama väri (+) liittimeen vasemmassa ja oikeassa kanavassa. Jos basso ei kuulu kunnolla tai stereokuva on häilyvä, sinun tarvitsee kääntää (+) ja (–) johdot toisessa kanavassa saadaksesi oikean vaiheen.

Jos kaiuttimesi on varustettu kaksoisjohdotuksella, katso “Operations” kappale käyttöohjeessa varmistaaksesi oikean asennuksen MartinLogan-kaiuttimille.

Si vous éprouvez des problèmes avec la configuration ou le fonctionnement de vos enceintes MartinLogan, veuillez consulter les sections Acoustique de la pièce, Positionnement ou Opération de ce manuel. Si vous éprouvez un problème récurrent que vous ne pouvez pas régler, veuillez communiquer avec votre revendeur MartinLogan autorisé. Il effectuera l’analyse technique appropriée pour régler le problème.

Étape 1 : déballage

Retirez vos nouvelles enceintes de leur emballage.

Vaihe 5: Kuuntele ja nauti

Avertissement sur la Sécurité et Installation en Bref (Français)

MISE EN GARDE!

• Tensions dangereuses à l’intérieur – ne pas retirer le couvercle.

• Pour les réparations, faire appel à un technicien compétent.

• Pour éviter les risques d’incendie ou de décharge électrique, ne pas exposer ce module aux vapeurs d’eau ni à l’humidité.

• Éteindre l’amplificateur et débrancher les enceintes en cas de conditions anormales.

• Éteindre l’amplificateur avant de faire ou de briser tout raccord de signal!

• Ne pas utiliser l’appareil si des dommages sont visibles sur l’élément de panneau électrostatique.

• Ne pas pousser l’enceinte au-delà de sa puissance nominale.

• Le cordon d’alimentation ne doit pas être installé, enlevé ou laissé débranché de l’enceinte lorsque l’autre extrémité est branchée à une source d’alimentation CA.

• Ne pas placer de chandelles ou d’autres flammes ouvertes sur l’enceinte.

• Ne placer aucun liquide (dans un verre ou un vase) sur l’enceinte.

• L’enceinte ne doit pas être exposée à un écoulement ou à une éclaboussure de liquide.

• Les bornes qui comportent un symbole d’éclair doivent être raccordées par une personne compétente ou par l’entremise de bornes préfabriquées..

• Le cordon d’alimentation doit rester accessible si des conditions anormales surviennent.

Étape 2 : positionnement

Placez chaque enceinte MartinLogan à au moins deux pieds du mur arrière et orientez-les légèrement vers votre zone d’écoute. C’est un bon endroit pour commencer. Consultez la section Positionnement de ce manuel pour obtenir plus de détails.

Étape 3 : alimentation (CA) (voir la mise en garde)

À l’aide des cordons d’alimentation CA fournis, branchez-les d’abord dans la prise d’alimentation CA située sur le panneau arrière de l’enceinte, en vous assurant que le raccord est bien fait, puis branchezles à la prise murale. Consultez la section Raccord de l’alimentation CA de ce manuel pour obtenir de plus amples détails.

Étape 4 : raccord du signal

Utilisez les meilleurs câbles d’enceinte possible. Des câbles de haute qualité, disponibles auprès de votre revendeur spécialisé, sont recommandés et offriront un rendement supérieur. Des cosses rectangulaires sont recommandées pour obtenir un contact optimal et faciliter l’installation.

Branchez les câbles d’enceinte dans la section du signal d’entrée située sur le panneau arrière. Faites preuve de cohérence en branchant les câbles de l’enceinte aux bornes situées derrière l’enceinte MartinLogan. Assurez-vous d’attribuer la même couleur à la borne (+) des canaux de gauche et de droite. Si aucune grave n’est présente et que vous ne pouvez pas discerner une image serrée et cohérente, vous pourriez devoir inverser les câbles (+) et (-) d’un côté pour que le système ait la bonne polarité.

Pour obtenir les instructions détaillées sur la configuration, consultez la section Commandes et Raccords de ce manuel.

Étape 5 : écoutez et profitez-en

Vous pouvez maintenant allumer le système et en profiter!

Nous savons que vous êtes impatient d’entendre vos enceintes MartinLogan; par conséquent, cette section est destinée à vous permettre de les installer de façon rapide et facile. Une fois les enceintes prêtes à fonctionner, veuillez prendre le temps de lire attentivement le reste des renseignements de ce manuel. Vous saurez ainsi comment obtenir le meilleur rendement possible de ce transducteur très précis.

Sicherheitshinweise und Installationsanweisungen (Deutsch)

ACHTUNG!

• Hochspannung existiert in Ihren Lautsprecher— Entfernen Sie nicht die Abdeckung.

• Reparaturen sind nur durch qualifiziertes Personal durchzuführen.

• Um Überschläge oder Brand zu vermeiden, setzen Sie das Modul keiner Flüssigkeit aus.

• Schalten Sie den Verstärker aus, sollten sich ungewöhnlichen Bedingungen ergeben.

• Schalten Sie den Verstärker aus, bevor Sie Anschlüsse machen!

• Nehmen Sie den Lautsprecher nicht in Betrieb, sollten irgendwelche sichtbaren Schäden am Elektrostatenpanel sein.

• Betreiben Sie den Lautsprecher nicht über der angegebnen Leistung.

• Das Netzkabel sollte nicht entfernt werden oder am Lautsprecher verbunden sein, wenn sich das andere Ende nicht in der Netzdose befindet.

• Keine Kerzen oder andere Flammen sollten auf den Lautsprecher gestellt werden.

• Keine Flüssigkeiten in Gläsern oder Vasen sollten auf dem Lautsprecher gestellt werden.

• Die Lautsprecher sollten keinem Dampf oder Spritzern von Flüssigkeiten ausgesetzt werden.

• Die Anschlüsse gekennzeichnet mit einem leuchtenden Symbol sollten nur von eingewiesenem Personal vorgenommen werden.

• Das Netzkabel muss immer zugänglich sein, um es bei abnormalen Bedingungen augenblicklich entfernen zu können.

Wir sind sicher, dass Sie gespannt sind auf Ihre neuen Martin Logan Lautsprecher, so dass dieses Kapitel eine schnelles Setup ermöglicht. Arbeitet Ihr Lautsprecher einmal, nehmen Sie sich bitte Zeit, das Manual in Ruhe und Sorgfalt durchzulesen. Es gibt genaue Anweisungen, wie Sie aus Ihren Martin Logan Lautsprechern die bestmögliche Performance herausholen.

Sollten sie irgendwelche Schwierigkeiten mit Ihren Martin Logan Lautsprechern während des Setups oder Betriebs erfahren, dann gehen Sie zum Kapitel Raumakustik, Aufstellung oder Betrieb im Manual.

Sollten Sie ein ernsthafteres Problem haben, dass nicht zu lösen ist, kontaktieren Sie bitte Ihren Martin Logan Händler. Dieser wird Ihnen weiterhelfen und das Problem genauer analysieren.

Schritt 1: Auspacken

Nehmen Sie Ihren neuen Martin Logan Lautsprecher aus der Verpackung.

Schritt 2: Aufstellen

Stellen Sie Ihre Lautsprecher mindestens 50cm von der Rückwand entfernt auf und winkeln diese leicht zu Ihrem Hörplatz ein. Bitte entnehmen Sie nähere Angaben zur Aufstellung aus dem Manual.

Schritt 3: Netzanschluss (AC) (siehe Warnung)

Martin Logan Lautsprecher benötigen eine AC Netzspannung für die elektrostatischen Panele. Verwenden Sie das mitgelieferte Netzkabel, stecken dieses zuerst in die Netzbuchse an der Rückseite der Lautsprecher und dann in eine Netzdose. Siehe Bedienungsanleitung für weitere Details.

Schritt 4: Signal Verbindung

Verwenden Sie möglichst das beste Lautsprecherkabel. Hochwertige Kabel, die Sie von Ihrem Händler beziehen können werden empfohlen, da diese den Klang deutlich verbessern. Für bestmöglichen Kontakt und einfachen Anschluss empfehlen wir Kabelschuhe.

Schließen Sie Ihr Lautsprecherkabel an die Terminals auf der Rückseite der Lautsprecher an. Seien Sie vorsichtig, wenn Sie die Lautsprecherkabelenden an das Terminal anschließen: Achten Sie auf die richtige Bezeichnung (+) von dem Terminal an dem Lautsprecher und Verstärker. Existiert beispielsweise kein Bass und Sie können keine richtige Raumabbildung ausmachen, dann sind die Pole (+) und (–) auf einer Seite vertauscht und Sie müssen das System wieder in die richtige Polarität bringen.

Schritt 5: Hören und Spaß haben

Σύντομες προειδοποιήσεις για την ασφάλεια και εγκατάσταση (EΛΛHNIKA)

ΠΡΟΕΙΔΟΠΟΙΗΣΗ!

• Μην ανοίγετε το κάλυμμα του ηχείου, διότι υπάρχουν υψηλές τάσεις μέσα σε αυτό.

• Για οποιοδήποτε πρόβλημα, απευθυνθείτε στο εξουσιοδοτημένο Service της εταιρίας.

• Για αποφυγή βραχυκυκλώματος και πιθανής φωτιάς, μην εκθέτετε τη συσκευή σε βεβαρημένο από υγρασία περιβάλλον.

• Εάν διαπιστώσετε κάποιο πρόβλημα, κλείστε τον ενισχυτή σας και αποσυνδέστε τα ηχεία από το ρεύμα.

• Κλείστε τον ενισχυτή σας πριν πραγματοποιήσετε συνδέσεις ή αποσυνδέσεις σήματος!

• Μην συνεχίζετε να έχετε σε λειτουργία τα ηχεία, εάν διαπιστώσετε κάποια ορατή βλάβη στο ηλεκτροστατικό πάνελ.

• Μην οδηγείτε τα ηχεία πέρα από την μέγιστη ισχύ τους.

• Το καλώδιο ρεύματος δεν πρέπει να συνδέεται, να μετακινείται ή να αποσυνδέεται από το ηχείο όταν το άλλο άκρο είναι συνδεδεμένο στον

ρευματοδότη τοίχου.

• Δεν πρέπει να τοποθετούνται πάνω στα ηχεία κεριά ή άλλες πηγές φλόγας.

• Δεν πρέπει να τοποθετούνται πάνω στα ηχεία βάζα ή άλλα γυάλινα δοχεία με υγρά.

• Μην εκθέτετε τα ηχεία σε υγρά.

• Οι συνδέσεις στους ακροδέκτες που φέρουν το σήμα του κεραυνού, συστήνεται να γίνονται από εξουσιοδοτημένο τεχνικό ή μέσω έτοιμων ακροδεκτών.

• Το καλώδιο τροφοδοσίας πρέπει να είναι πάντα προσιτό και να μπορεί να λειτουργήσει στην περίπτωση που συμβεί οποιαδήποτε ανωμαλία.

Καταλαβαίνουμε την ανυπομονησία σας να ακούσετε μουσική με τα νέα σας ηχεία Martin Logan. Oι οδηγίες αυτές, θα σας βοηθήσουν στη γρήγορη και εύκολη εγκατάστασή τους. Όταν είναι έτοιμα για λειτουργία, παρακαλούμε να διαβάσετε και τις υπόλοιπες αναλυτικές πληροφορίες που περιγράφονται στο συμπεριλαμβανόμενο εγχειρίδιο χρήσης. Θα σας βοηθήσει να καταλάβετε πως μπορείτε να έχετε την καλύτερη απόδοση από αυτούς τους αναπαραγωγείς ακριβείας.

Βήμα 4: Σύνδεση σήματος

Χρησιμοποιείστε όσο το δυνατόν καλύτερα καλώδια ηχείων. Συνιστώνται υψηλής ποιότητας καλώδια που διατίθενται από τον ειδικό αντιπρόσωπο και θα σας δώσουν καλύτερη απόδοση. Συνίσταται επίσης και η χρήση ακροδεκτών τύπου διχάλας, για καλύτερη επαφή και ευκολία στην εγκατάσταση.

Συνδέστε τα καλώδια στους ακροδέκτες εξόδου στο πίσω μέρος του ενισχυτή. Να είστε προσεκτικοί κατά την σύνδεση των καλωδίων στους ακροδέκτες που βρίσκονται στο πίσω μέρος των ηχείων: Βεβαιωθείτε ότι συνδέσατε τον ακροδέκτη (+) του ενισχυτή με τον ακροδέκτη (+) του ηχείου, για κάθε ένα από τα ηχεία. Εάν δεν υπάρχει μπάσο ή δεν μπορείτε να ακούσετε ολοκληρωμένη στερεοφωνική εικόνα με συνοχή, μάλλον έχετε συνδέσει κάποιο ηχείο με ανάστροφη πολικότητα και θα πρέπει να αναστρέψετε την πολικότητα (+) και (–) των καλωδίων ώστε το σύστημα να αποκτήσει τη σωστή πολικότητα.

Εάν τα ηχεία σας είναι εφοδιασμένα με δυνατότητα διπλοκαλωδίωσης/ παθητικής διενίσχυσης, ανατρέξτε στο τμήμα «Λειτουργία» στο εγχειρίδιο χρήσης για σωστή εγκατάσταση των ηχείων σας.

Εάν έχετε δυσκολίες στην εγκατάσταση ή τον χειρισμό των ηχείων Martin Logan, παρακαλούμε αναφερθείτε στα κεφάλαια «Ακουστική Δωματίου», «Τοποθέτηση» ή «Λειτουργία» στο συμπεριλαμβανόμενο εγχειρίδιο χρήσης.

Εάν αντιμετωπίσετε ένα επίμονο πρόβλημα που δεν μπορεί να επιλυθεί, παρακαλούμε να επικοινωνήσετε με τον Εξουσιοδοτημένο Αντιπρόσωπο Martin Logan. Εκείνος θα σας δώσει την κατάλληλη τεχνική ανάλυση για την επίλυση του προβλήματος.

Βήμα 1: Αποσυσκευασία

Βγάλτε τα ηχεία από τη συσκευασία τους.

Βήμα 2: Τοποθέτηση

Τοποθετήστε τα ηχεία τουλάχιστο μισό μέτρο μακριά από κάθε τοίχο και με κλίση προς την θέση ακρόασης. Αυτή είναι μία καλή αρχή. Παρακαλούμε αναφερθείτε στο κεφάλαιο «Τοποθέτηση» στο συμπεριλαμβανόμενο εγχειρίδιο χρήσης για περισσότερες πληροφορίες.

Βήμα 3: Σύνδεση τροφοδοσίας (ρεύματος) (βλ. Προειδοποίηση)

Τα ηχεία Martin Logan απαιτούν παροχή ρεύματος (AC) για την ενεργοποίηση του ηλεκτροστατικού μέρους τους. Χρησιμοποιήστε τα παρεχόμενα καλώδια ρεύματος και συνδέστε τα πρώτα στην υποδοχή που βρίσκεται στο πίσω μέρος του ηχείου. Αφού βεβαιωθείτε ότι έχετε κάνει ασφαλή σύνδεση, συνδέστε την άλλη άκρη του καλωδίου στον ρευματοδότη (πρίζα). Αναφερθείτε στο τμήμα «Λειτουργία» στο εγχειρίδιο χρήσης για περαιτέρω πληροφορίες.

Bήμα 5: Ακούστε και απολαύστε!

Avviso sulla sicurezza ed installazione in breve (Italiano)

AVVISO!

• Non aprire i diffusori. All’interno sono presenti tensioni pericolose.

• In caso di necessità rivolgiti solo a personale qualificato.

• Per prevenire pericoli d’incendio o di scossa elettrica, non esporre il diffusore all’umidità.

• Spegni l’amplificatore e disconnetti i diffusori dalla presa di corrente in caso di funzionamento anomalo.

• Spegni l’amplificatore prima di intervenire sulle connessioni audio

• Non far funzionare i diffusori se il pannello elettrostatico appare danneggiato.

• Non portare i diffusori oltre i limiti di potenza dichiarata.

• Il cordone di alimentazione non deve essere inserito, rimosso o lasciato staccato dal diffusore mentre l’altra estremità è connessa ad una presa di corrente.

• Non porre sui diffusori candele od altre sorgenti di fiamme libere.

• Non porre sui diffusori recipienti contenenti liquidi.

• Non lasciare i diffusori in luoghi sottoposti all’azione di liquidi.

• I terminali contrassegnati dal simbolo del fulmine devono essere connessi da persona esperta o medi-

ante appositi connettori.

• Il cordone di alimentazione deve essere facilmente accessibile ed utilizzabile in caso possano verificarsi condizioni anomale.

Ben conosciamo il tuo desiderio di ascoltare quanto prima i nuovi diffusori Martin Logan, quindi abbiamo qui riportato le istruzioni per un’installazione rapida ed agevole. Una volta messi in funzione i diffusori, leggi con molta attenzione tutte le altre informazioni esposte nel manuale fornito, in modo da avere una chiara prospettiva su come ottenere la massima qualità da prodotti così impegnativi.

In caso di difficoltà nelle fasi di messa a punto o nel funzionamento, vedi le sezioni Acustica dell’ambiente, Disposizione e Funzionamento del manuale d’istruzioni fornito. Per altri problemi di difficile soluzione, rivolgiti al rivenditore autorizzato Martin Logan, che ti fornirà tutta l’assistenza tecnica necessaria per risolvere la situazione.

1 – Apertura dell’imballo

Togli i diffusori dall’imballo.

2 – Disposizione

Poni i diffusori ad una distanza di almeno cm 60 da qualsiasi parete, rivolgendoli leggermente verso il punto d’ascolto. Vedi la sezione Disposizione del manuale fornito per maggiori dettagli.

3 – Connessioni AC (vedi l’avviso qui sopra)

I diffusori elettrostatici Martin Logan richiedono una certa energia per il loro funzionamento. Connetti il cordone di alimentazione fornito al connettore posto sul pannello posteriore dei diffusori. Controlla la stabilità della connessione appena eseguita, poi inserisci la spina all’altra estremità del cordone in una presa di corrente. Infine, per maggiori dettagli, vedi la sezione Funzionamento sul manuale d’istruzioni allegato.

4 – Connessioni audio

Usa cavi di alta qualità, disponibili presso il rivenditore e capaci di restituire un comportamento sonoro superiore. Si consiglia l’impiego di connettori a forcella per l’ottimo contatto e la facilità d’installazione.

Instruções de Segurança e Breve Manual de Instalação (Português)

ATENÇÃO!

• Voltagens perigosas no interior - não retire a tampa.

• Para assistência dirija-se a um técnico especializado.

• Para evitar incêndios ou choques eléctricos, não exponha este módulo a humidades.

• Em caso de situações anormais desligue o amplificador e retire as fichas das colunas.

• Desligue o amplificador antes de efectuar ou interromper qualquer ligação de sinal!

• Não as ligue se verificar que existe algum dano no painel electrostático.

• Não ultrapasse a potência nominal dos altifalantes das colunas.

• O cabo de corrente não deve ser colocado, retirado ou ficar solto da coluna enquanto a outra extremidade estiver ligada a uma fonte de corrente AC.

• As velas ou outras formas de chama aberta não devem ser colocadas sobre as colunas.

• Não colocar qualquer líquido, mesmo em copos ou taças, sobre as colunas.

• A coluna não deve estar exposta a gotas ou salpicos de líquidos.

• Os terminais marcados com o símbolo do relâmpago devem ser ligados por uma pessoa experiente ou pela utilização de terminais já prontos.

• O cabo de potência deve remanescer prontamente acessível e operável se todas as circunstâncias anormais ocorrerem.

Sabemos que está ansioso por ouvir o som das suas novas colunas MartinLogan pelo que criámos esta secção para permitir uma instalação mais rápida e fácil. Uma vez que tenha as colunas a funcionar, por favor disponibilize algum tempo para ler com atenção a restante informação incluída no manual. Dar-lhe-á uma perspectiva correcta sobre como obter o melhor desempenho possível deste transdutor excepcionalmente preciso.

Collega i cavi agli ingressi sul pannello posteriore dei diffusori. Fai molta attenzione ed assegna lo stesso colore dei cavi ai terminali positivi (+) sia sul diffusore del canale destro, sia su quello del canale sinistro. Se l’immagine sonora apparisse incerta e priva di coerenza e le frequenze basse si rivelassero insufficienti, prova ad invertire le connessioni (+) e (–), per riportare il sistema alla corretta polarità.

Se per i diffusori è prevista la configurazione in bicollegamento/biamplificazione passiva, vedi la sezione Funzionamento sul manuale allegato per le istruzioni relative all’ottimizzazione.

5 – Siediti e…Buoni ascolti.

No caso de se deparar com alguma dificuldade na instalação e funcionamento das suas colunas MartinLogan, por favor consulte as secções Room Acoustics (Ambiente Acústico), Placement (Posicionamento) ou Operation (Funcionamento) deste manual.

Se encontrar um problema persistente que não consiga resolver, por favor contacte um agente autorizado. Este garantirá a análise técnica adequada para resolver a situação.

Etapa 1: Desembalar

Retire as suas novas colunas MartinLogan da respectiva caixa.

Etapa 2: Posicionamento

Coloque as colunas a pelo menos 61 cm de distância das paredes

e vire-as ligeiramente na direcção do seu ponto de audição. Este é um bom ponto de partida. Por favor consulte a secção Placement (Posicionamento) deste manual para obter mais pormenores.

Etapa 3: Ligação à Corrente (AC) (ver o aviso)

As colunas MartinLogan necessitam de corrente AC para estimular as células electrostáticas. Ligue os cabos de corrente AC fornecidos, primeiro à ficha de corrente AC no painel traseiro da coluna, certificando-se que faz a ligação com firmeza, e de seguida ligue-os à tomada da parede. Por favor consulte a secção Operations (Funcionamento) deste manual para mais detalhes.

Etapa 4: Ligação do Sinal

Utilize os melhores cabos possíveis na ligação das colunas. Recomendamos a utilização de cabos da melhor qualidade, disponíveis no seu agente ou em lojas especializadas, que proporcionarão uma performance superior. Os terminais de forquilha são os mais indicados pois proporcionam o contacto ideal e facilitam as ligações.

Ligue os seus cabos para colunas na secção Signal Input (Entrada de Sinal) existente no painel traseiro. Tenha atenção ao ligar os cabos aos terminais das colunas existentes na parte de trás da coluna: tenha muito cuidado para ligar a mesma cor ao terminal (+) existente nos canais esquerdo e direito. Se não existirem graves e não conseguir obter uma imagem estereofónica que soe clara e coerente, poderá ser necessário inverter os cabos (+) e (–) de um dos lados para colocar o sistema na polaridade correcta.

Se as suas colunas estiverem equipadas para bi-cablagem/bi-amplificação consulte a secção Operations (Funcionamento) deste manual para uma ligação correcta das suas colunas MartinLogan.

Etapa 5: Ouvir e Desfrutar.

Информация по обеспечению безопасности и краткое руководство по установке (Русский)

ОСТОРОЖНО!

• Внутри корпуса высокое напряжение – не снимайте крышку.

• При необходимости ремонта сдайте изделие в авторизованный сервисный центр.

• Во избежание возгорания или поражения электрическим током не подвергайте изделие воздействию высокой влажности и не проливайте на него жидкость.

• В случае отклонений от нормальной работы выключите усилитель и отсоедините акустические системы от электросети.

•

Перед выполнением или прерыванием сигнальных соединений - выключите усилитель!

• При наличии любого видимого повреждения электростатической панели акустической

системы не пользуйтесь этой АС.

• Не превышайте номинальную мощность акустических систем.

• Шнур питания нельзя подключать к акустической системе, отключать от нее и оставлять, если другой его конец подключен к источнику питания переменного тока.

• На акустические системы нельзя ставить свечи или иные источники открытого пламени.

• На акустические системы нельзя ставить стаканы или вазы с водой.

• Не допускайте попадания на акустические системы капель или брызг.

• Подключение проводов к клеммам, помеченным символом удара молнии, должно осуществляться специалистом строго по инструкции.

•

Сетевой шнур должен находиться в рабочем состоянии и быть легко доступен, на случай возникновения ненормальных условий работы.

Мы понимаем, что вам не терпится оценить звучание ваших новых акустических систем MartinLogan, поэтому в данном разделе приведена информация, позволяющая выполнить их установку быстро и без затруднений. Подключив систему, пожалуйста, найдите время, чтобы внимательно прочесть остальную часть прилагаемого руководства. Из нее вы узнаете, как реализовать максимально возможные рабочие характеристики этих исключительно требовательных устройств преобразования звука.

Если у вас возникнут какие-либо затруднения при установке или эксплуатации ваших акустических систем MartinLogan, пожалуйста, обратитесь к разделу «Акустика помещений», «Расположение» или «Эксплуатация» прилагаемого руководства пользователя. В случае регулярного возникновения какой-либо проблемы, которую вы не можете решить, пожалуйста, обратитесь по месту приобретения ваших акустических систем – в магазин авторизованного дилера продукции MartinLogan. Его сотрудники выполнят надлежащий технический анализ, чтобы помочь вам справиться с ситуацией.

Этап 1: Распаковка. Извлеките ваши новые акустические системы MartinLogan из упаковки.

Этап 2: Расположение. Установите колонки на расстоянии не менее 60 см от стены и разверните их под небольшим углом в сторону зоны прослушивания. Для начала этого достаточно. Для получения дополнительной информации, пожалуйста, обратитесь к разделу «Расположение» прилагаемого руководства.

Этап 3: Подключение к источнику питания переменного тока (см. информацию по обеспечению безопасности).

Для подключения акустических систем MartinLogan требуется питание переменным током. Подключите прилагаемые кабели сначала к гнездам подвода питания на задней панели каждой АС, убедившись, что соединения выполнены плотно, а затем – к розеткам. Для получения дополнительной информации, пожалуйста, обратитесь к разделу «Эксплуатация» прилагаемого руководства.

Этап 4: Выполнение сигнальных соединений. Используйте самые лучшие акустические кабели, которые вы можете себе позволить. Мы рекомендуем высококачественные кабели, предлагаемые специализированной компанией-дилером, где вы приобрели акустические системы, – они позволят максимально реализовать рабочие характеристики АС. Для оптимального контакта и простоты подключения рекомендуем кабели с плоскими наконечниками для крепления к винтовым клеммам.

Подсоедините акустические кабели к клеммам группы «Signal Input» [Входящий сигнал] на задней панели каждой АС. При этом будьте внимательны: цвета проводов и клемм положительной (+) полярности левого и правого каналов должны совпадать. В случае явной нехватки нижних частот и отсутствия плотного, когерентного звукового образа, вам, возможно, придется поменять местами положительный (+) и отрицательный (–) провода на одной из АС, чтобы полярность подключения была правильной.

Если акустические системы MartinLogan оснащены клеммами для подключения по схеме Bi-wiring/Passive Bi-amping, обратитесь к разделу «Эксплуатация» прилагаемого руководства, чтобы правильно подключить АС.

Этап 5: Слушайте и наслаждайтесь.

Advertencias de seguridad e instalación en breve (Español)

¡ADVERTENCIA!

• Voltaje peligroso en el interior - no retire la cubierta.

•

Para las reparaciones, diríjase a un técnico cualificado.

• Para evitar incendios o descargas eléctricas, no exponga este módulo a la humedad.

• Si ocurriera algo fuera de lo normal, apague la etapa de potencia.

• Apague la etapa de potencia antes de establecer o deshacer las conexiones de señal.

• No las ponga en funcionamiento si puede ver algún daño en el panel electrostático.

• No fuerce los altavoces.

• El cable de red no deberá ser instalado, retirado o sin conectar si el otro final está conectado a la toma de la pared.

• No sitúe sobre las pantallas velas o fuentes de llama

abierta.

• No sitúe jarrones sobre las pantallas.

• No exponga las pantallas a salpicaduras de líquidos.

• Los terminales marcados con un rayo deberán ser conectados por personal cualificado o por terminales preparados.

• Para evitar daños, deberá instalar esta unidad en el suelo o a la pared de acuerdo con las instrucciones de instalación.

• El cable de alimentación debe permanecer accesible en todo momento por si se diera alguna situación fuera de lo normal.

Sabemos que está impaciente por escuchar sus nuevas pantallas Martin Logan; esta sección le explica cómo instalarlas fácil y rápidamente. Una vez que las tenga operativas, por favor, tómese su tiempo para leer en profundidad el resto de información que incluimos en este manual. Le dará una perspectiva de cómo obtener los mejores resultados posibles del transductor más exacto.

Si tuviera alguna dificultad en la configuración o fun-cionamiento de sus pantallas Martin Logan, le referimos a los apartados “Acústica de sala”, “Ubicación” o “Funcionamiento” del manual del usuario. Si hubiera algún problema que persistiera y que no pu-diera resolver, por favor, contacte con su distribuidor autorizado de Martin Logan, que le podrán ofrecer la ayuda técnica apropiada para solventar el problema.

Paso 1: Desembalado. Desembale sus nuevas pantallas Martin Logan.

Paso 2: Ubicación. Sitúe sus pantallas en la posición deseada. Por

favor, lea el apartado “Ubicación” del manual para más detalles.

Paso 3: Conexión a la alimentación (ver advertencias). Las pantallas MartinLogan precisan CA para poner en funcionamiento sus células electrostáticas. Si usa los cables de alimentación que le suministramos, primero conéctelo al panel trasero de la pantalla, ajustando bien el terminal, y después a la pared. Ver el aparato de “Funcionamiento” del manual de instrucciones para más detalles.

Paso 4: Conexión de señal. Use los mejores cables de altavoz que pueda. Le recomendamos usar cables de alta calidad, déjese aconsejar por su distribuidor. Sugerimos los conectores spade para optimizar el contacto y facilitar la instalación.

Inserte los cables de altavoz en la sección de entrada de señal del panel trasero. Preste atención cuando conecte los cables de altavoz a los terminales del panel trasero: tenga cuidado de asignar el mismo color al terminal positivo (+) tanto del canal izquierdo como del derecho. Si nota ausencia de graves y usted quiere conseguir una imagen coherente, puede ser que deba invertir el positivo (+) y el negativo (–) de un lado para seleccionar la polaridad adecuada.

Paso 5: Escuche y disfrute

Säkerhetsanvisningar och goda råd om installationen (Svenska)

VARNING!

• Undvik att ta isär produkten.

• Överlåt alla former av service och reparation till en kvalificerad tekniker.

• För att undgå brandfara och elektrisk stöt bör denna produkt inte utsättas för fukt.

• Stäng av förstärkaren när anläggningen inte skall användas under längre perioder.

• Stäng alltid av förstärkaren innan du ansluter eller kopplar ur dina högtalare.

• Undvik att belasta högtalaren med högre effekter än angivet.

• Undvik att använda högtalaren om det uppstått synliga skador på elektrostatpanelen.

• Nätkabel bör inte anslutas, urkopplas eller kvarlämnas på golvet om stickkontakten i den andra änden är ansluten till ett nätuttag.

• Undvik användning av öppen eld och stearinljus på eller i närheten av högtalarna.

• Undvik alltid att ställa vätskefyllda vaser och glas på högtalarna.

• Högtalarna bör under inga omständigheter utsättas för fukt eller stänk från vätskor.

• Terminaler markerade med blixt-symbolen bör endast anslutas av en sakkunnig installatör eller med användande av prefabrikerade kablar med rätta kontakter monterade.

Steg 3: Nätanslutning (AC) (se varning). MartinLogans elektrostathögtalare kräver ström från nätuttag för uppladdning av elektrostatpanelerna. Anslut först nätkabeln till anslutningspanelen på högtalarens baksida och se till att det finns en bra och säker förbindelse. Anslut sedan den andra änden av nätkabeln till nätuttaget i väggen. Du kan hitta fler instruktioner om detta i den medföljande användarhandboken.

Steg 4: Anslutning. Använd bästa möjliga högtalarkablar - det har stor betydelse för ljudet. Högtalarkablar av hög kvalitet ger markant högre ljudkvalitet än “lampsladd”, så det lönar sig inte att spara. Vi rekommenderar kablar med kabelskor, vilket både har störst kontaktyta (minimal signalreduktion) och är lätta att spänna till så att du får en säker och stabil kontakt.

Koppla omsorgsfullt kablarna till anslutningarna på högtalarnas bakpanel och var uppmärksam på att du gör det med korrekt fas - här får du hjälp av färgkodningen på terminaler och kablar. Om basåtergivningen är svag och ljudbilden verkar mycket diffus är högtalarna förmodligen anslutna ur fas. Då skall du vända polariteten till den ena högtalaren genom att byta om på plus (+) och minus (–).

Är dina högtalare försedda med anslutningar för Bi-wiring/ passiv Bi-amping, gå vidare till avsnittet om användning i den medföljande användarhandboken så att du kan få optimalt utbyte av dina MartinLogan högtalare.

Steg 5: Lyssna och njut!

Vi vet att du är ivrig efter att få lyssna till dina nya MartinLogan högtalare. Dessa anvisningar skall hjälpa dig att komma igång så snabbt och effektivt som möjligt. Så snart högtalarna är anslutna och spelar bör du ta dig den tid som krävs till en grundlig genomläsning av den medföljande användarhandboken. Den kan hjälpa dig att få nödvändig insikt i hur du kan få det ljudmässigt bästa utbytet av dessa ytterst högkvalitativa högtalare.

Uppstår det problem under uppställning eller användning av dina MartinLogan högtalare bör du snarast söka råd i den medföljande användarhandbokens kapitel om rumsakustik, uppställning och användning. Skulle det mot förmodan uppstå ett bestående problem du inte direkt kan lösa, skall du inte tveka att snarast kontakta din auktoriserade MartinLogan handlare. Han har den tekniska insikt som krävs för att lösa problemen för dig.

Steg 1: Uppackning. Packa upp dina nya MartinLogan högtalare och spar emballaget.

Steg 2: Placering. Placera högtalarna minst 60 cm från närmaste vägg och rikta dem något inåt mot din lyssningsposition. Du kan hitta ytterligare information om placering i användarhandbokens kapitel om placering.

Güvenlik uyarıları ve kurulum hakkında (Türkçe)

DİKKAT!

• Cihazın kapağını açmayın, öldürücü seviyede voltaj ihtiva edebilir.

• Servis için yetkili bir servis istasyonuna müracaat edin.

• Olası bir yangın ya da elektrik çarpması ihtimaline karşı cihazı neme maruz bırakmayın.

• Herhangi anormal bir gelişmede öncelikle amplifikatörü kapatın.

• Herhangi bir sinyal bağlantısını takmadan/ çıkarmadan önce amplifikatörü kapatın!

• Hoparlörü ölçülmüş gücünden daha yüksek çıkışlı cihazla kullanmayın.

• Ceryan kablosunun bir ucu duvara bağlı iken hiçbir şekilde devreye almayın, sökmeyin, takmayın.

• Sadece toprak hattı olan bir prize takın.

• Hoparlör üzerine mum veya benzeri, açıkta alev almış eşyalar koymayın.

• Hoparlör üzerine içerisinde sıvı bulunan vazo, cam kap gibi nesneler yerleştirmeyin

• Hoparlör hiçbir halde, damlayan veya sıçrayan

suya maruz kalmamalıdır.

• Şimşek işareti ile işaretlenmiş bağlantılar tecrübeli bir kişi tarafından veya hazır bağlantılarla yapılmalıdır.

• Acil durumlarda müdahale için elektrik kablosu her zaman kolay ulaşılabilir ve takılıp çıkarılabilir konumda olmalıdır.

3. Ceryan bağlantısı (AC) (uyarıya dikkat edin). MartinLogan hoparlörlerin elektrostatik hücrelerine enerji yollayabilmeleri için ceryana bağlanmaları gerekmektedir. Önce, kutunun içerisinden çıkan ceryan kablosunun bir ucunu hoaprlörün arkasındaki ceryan girişine takın. Bağlantının sıkılığından emin olduktan sonra kablonun fişini duvardaki prize takın. Daha fazla detay için kullanım kılavuzunun Operations bölümüne göz atın.

Biran önce yeni MartinLogan hoparlörünüzü dinlemek istediğinizi biliyoruz, onun için bu bölümü hızlı ve kolay bir kurulum sağlamak amacıyla yazdık. Kurulumu tamamladıktan sonra lütfen bu kullanım kılavuzunun devamındaki bilgileri derinlemesine okumak için zaman ayırın. Bu size, bu mükemmel üründen en iyi performansı elde etme yolları hakkında fikir verebilir.

MartinLogan bas hoparlörünüzü kurarken herhangi bir sorunla karşılaşırsanız bu kılavuzun Oda Akustiği, Yerleştirme veya Kullanım bölümlerine bir göz atın. Çözülemeyen, kalıcı bir sorunla karşılaşırsanız hemen bir MartinLogan yetkili satıcısına başvurun, en uygun teknik analizle sorunu halletmenize yardımcı olacaklardır

1. Adım: Kutudan çıkartma. Yeni MartinLogan hoparlörlerinizi kutularından çıkartınız.

2. Adım : Yerleştirme. Hoparlörleri etrafındaki olası duvarların her birinden en az 60cm uzaklığa yerleştirin ve dinleme bölgesine doğru hafif açı verdirin. Daha fazla detay için lütfen bu kılavuzun Yerleştirme bölümüne göz atın.

4. Adım: Sinyal Bağlantısı. Kullanabildiğiniz en iyi hoparlör kablolarını kullanın. Süper bir netice için satıcınızdan en üst kalitede kablo temin etmenizi öneririz. Optimum iletim ve kurulum kolaylığı açısından çatal (spade) bağlantı uçları tavsiye edilir.

Hoparlör kablolarını arka paneldeki Signal yazılı girişlere bağlayın. Hoparlör bağlantılarını yaparken, hem sol hem sağ hoparlör için (+) ucunda kullandığınız kablo renginin aynı olduğundan emin olun. Eğer bas yok gibiyse veya noktasal ve düzgün bir sahne imgesi oluşmuyorsa, hoparlör kablolarının (+) ve (–) uçlarının yerlerini değiştirmeniz gerekebilir.

Hoparlörlerinizin “çift kablolama/pasif çift ampli ile sürme” gibi özellikleri varsa bu bağlantılar için kullanım kılavuzunun Operations bölümünde örnekler bulacaksınız.

5. Adım: Dinleyin ve tadını çıkartın

30.3” (76.9cm)

23Hz–22kHz ± 3dB

385 lbs. (175 kg)

4 Ohms

90dB @ 2.83 V/M

74.8” (189.9cm)

23.8” (60.4cm)

23.6” (59.9cm)

8.9”

(22.5cm)

16.4”

(41.6cm)

34.2”

(87cm)0

8.75”

(22.3cm)

7”

(17.9cm)

7.9” (20.1cm)

600 lbs. (273 kg)

39” (99cm)

82.6” (210cm)

26.6” (67.6cm)

39.7” (100.8cm)

45.17” (114.8cm)

>24”

(>61cm)

>24” (>61cm)

50–1,300W @ 4 Ohms

user’s manual

English

CONTROLS AND CONNECTIONS

AC Power Connection

Because your MartinLogan Neolith speakers use an internal power supply to energize their electrostatic cells they must be connected to an AC power source. For this reason they are provided with the proper IEC standard power cords. These cords should be firmly inserted into the AC power receptacles on the rear connection panel of the speakers, then to any convenient AC wall outlet. The Neolith’s integrate a signal sensing power supply which will switch off after several minutes of no music signal, and requires less than two seconds to recharge the panels when a music signal is present.

Your Neolith speakers are wired for the power service supplied in the country of original consumer sale. The AC power rating appli cable to a particular unit is specified both on the packing carton and on the serial number plate attached to the speaker. If you remove your Neolith speakers from the country of original sale, be certain that the AC power supplied in any subsequent loca tion is suitable before connecting and operating the speakers. Substantially impaired performance or severe damage may occur to an Neolith speaker if operation is attempted from an incorrect AC power source.

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

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 of gauge higher (thinner) than #16 be used. In general, the longer the length used, the greater the necessity of a lower gauge, and the lower the gauge, the better the sound, with diminishing returns setting in around #8 to #12.

A variety of cables are available whose better performance than standard heavy gauge wire. We have verified this in many cases, and the improvements available are often more noticeable than the differences between wires of different gauge. The effects of cables may be masked if

equipment is not of the highest quality.

Connections are done at the signal input section on the rear electronics panel of the Neolith. Use spade connectors for opti-

mum contact and ease of installation. Hand tighten the binding posts, but do not overtighten—do not use a tool to tighten the binding posts.

Be consistent when connecting the speaker cables to the signal input terminals. Take care to assign the same color cable lead to the (+) terminal on both the left and right channel speakers. If bass is nonexistent 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.

manufacturers claim

English

Figure 1. AC power connection.

WARNING! Turn your amplifier off before making or

breaking any signal connections!

Break-In

When you first begin to play your Neolith speakers, they will sound a bit bass shy. This is due to the high quality, long-life components used in our woofer. Our custom made woofer requires approximately 72 hours of break-in at 90 dB (moderate listening levels) before any critical listening. The break-in requirements of the crossover components (and, to a lesser degree, the stator) are equivalent.

Jumper Clips

In some countries laws prohibits MartinLogan from supplying jumper clips. If none are included with your speakers please refer to ‘Bi-Wire Connection’ for connection instructions.

Single Wire Connection

Please note the jumper clips included with the Neolith. These clips attach the high and low frequency sections of the crossover. With these in place, connect the (+) wire from your amplifier to either red binding post and the (–) wire from your amplifier to either black binding post (see figure 2).

Bi-Wire Connection

This connection method replaces the jumper clips installed on the binding posts with individual runs of speaker wire from your amplifier. This doubles the signal carrying conductors from the amplifier to the speaker, thus direct-coupling each portion of the crossover to the amplifier.

To bi-wire you must first remove the jumper clips. Connect one set of wires to the upper set of binding posts which connect to the electrostatic panel of the Neolith. Then connect a

second set of wires to the lower binding posts which connect to the woofers. Next, connect both sets of wires to the appropriate terminals on your amplifier. Please take care to connect both (+) wires to the (+) amplifier terminals and both (-) wires to the (–) amplifier terminals. This is known as a parallel connection (see figure 3).

Passive Bi-Amplification

For those that desire ultimate performance, the Neolith may be passively bi-amplified using the existing internal passive crossover elements.

WARNING! Only after jumper clips are removed may you connect individual runs of speaker cable from your amplifiers to the high pass (ESL) and low pass (WOOFER) input binding posts. Damage will occur to

This method takes the bi-wiring concept one step further. You will have a dedicated channel of amplification directly connected to the high and low pass sections of the Neolith crossover. There are two different methods for bi-amping with two stereo amplifiers. The first and most common is referred to as Horizontal Bi-amping. The second method is referred to as Vertical Bi-amping. With either method you may use two

your amplifiers if the jumper clips are not removed.

English

Figure 2. Single wire connection. Jumpers installed. One channel shown.

Figure 3. Bi-wire connection. One channel shown.

stereo amplifiers or four mono amplifiers, or two mono amplifiers and one stereo amplifier. With either form of passive bi-amplification, your preamplifier must have dual outputs. If your preamplifier is not so equipped, you must either purchase or construct a “Y” adapter.

Horizontal Passive Bi-Amplification

Horizontal bi-amping allows you to use two different types, models, or brands of amplifiers (i.e. tubes on top, transistor on the bottom). However, we recommend that you use two iden tical amplifiers (i.e. same brand and model). If you must use two different amplifiers, it is essential that they have the same gain or that one of the two have adjustable gain so that you can match their gain characteristics. If the amplifiers of choice do not have the same gain characteristics, then a sonic imbalance will occur. With horizontal bi-amping, one amplifier drives the high pass (ESL) section while the second amplifier drives the low pass (woofer) section. To horizontally bi-amp your Neolith’s you must remove the jumper clips. Connect the low frequency amplifier to the lower set of binding posts of both speakers. Connect the high frequency amplifier to the upper set of binding posts. Next, connect the left and right preamplifier outputs to the appropri ate left and right inputs of both amplifiers (see figure 4).

Vertical Passive Bi-Amplification

The very nature of vertical bi-amping dictates that both amplifiers be identical. With vertical bi-amping, each of the stereo

amplifiers is dedicated to one speaker. For instance, the left channel of each amplifier drives the low pass (WOOFER) section while the right channel drives the high pass (ESL) section. To vertically bi-amp your Neolith’s you must loosen the binding posts and remove the jumper clips from both speakers. Starting with one speaker, connect the right channel to the lower binding posts and the left channel to the upper binding posts. Repeat the same procedure for the other speaker. Connect the left preamplifier outputs to both inputs of the left channel amplifier and the right preamplifier outputs

to both inputs of the right channel amplifier (see figure 5).

Active Bi-Amplification

Neolith’s internal crossover can not be bypassed and active biamplification is not possible.

Figure 4. Horizontal passive bi-amplification. One channel shown. Figure 5. Vertical passive bi-amplification. One channel shown.

English

Top Panel Controls

Light Knob

The light control allows the Neolith’s light to be turned on, off, or to be dimmed.

Multi-color Status Light

No color: No power, not plugged in.

Blue: Play mode. Neolith detects an audio

signal and is operating normally.

Red: Standby mode. This indicates the Neolith does not detect an audio signal.

Flashing (various colors): Safe mode. Neolith’s safe modes will cause the status LED to blink in various colors. When this occurs the electrostatic panel and/ or woofers will not produce sound. The primary cause of safe mode is one of Neolith’s subsystems exceeding nominal operating temperature range. Normal operation will resume when available. This can also occur after initial plug in or while entering standby mode and will clear upon music signal or standby mode.

English

Figure 6. Neolith control panel.

Low Bass and Distance Jumpers

Neolith features two crossover adjustments. Jumpers must be installed for proper operation (figure 7). Make sure jumpers are completely inserted.

Low Bass Output Jumpers

These jumpers reduce low bass output, useful when adjusting for room gain (see figures 8a–8c):

A –8dB A+B –4dB C 0dB

Listening Distance Jumpers

These jumpers adjust front woofer output to optimize woofer/panel integration at various listening distances as measured from the front of the electostatic panel (see figures 9a–9c):

G 3 meters (or less) D+F 4 meters E+F 5 meters (or greater)

Figure 7. Neolith jumpers set for 0dB, 3 meters.

Low Bass Output Jumpers

Figure 8a. Low Bass jumpers set for 0dB.

Listening Distance Jumpers

Figure 9a. Distance jumpers set for 3 meters.

Figure 8b. Low Bass jumpers set for –4dB.

Figure 9b. Distance jumpers set for 4 meters.

Figure 8c. Low Bass jumpers set for –8dB.

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Figure 9c. Distance jumpers set for 5 meters.

PLACEMENT

Listening Position

Start with the rear of your speakers placed approximately two to three feet from the front wall (the wall in front of the listening position) and the edge of the electrostatic stat panel about two feet from the side walls. Your sitting distance should be further than the distance between the speakers themselves. You are trying to attain the impression of good center imaging and stage width (see figure 10).

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. However, in a wide room, you will still find that if the distance 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 setup for the next few days as the speaker change subtly in its sound. Over the first 72 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.

your initial

system itself will

tions, 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 sheet rock 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 can sound dull. You may hear muted music with little ambience. Harder surfaces will actually help in this case.

The front surface ideally should be one long wall without any doors or openings. If you have openings, the reflection and bass characteristics from each channel can be different.

The Side Walls

A good rule of thumb is to have the side walls as far away from the speaker sides as possible. However, MartinLogan’s unique controlled dispersion electrostatic transducer inherently minimizes side wall reflections—a position as little as two feet or less from the side walls often proves adequate. 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.

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The Wall Behind the Listener

Near-field reflections can also occur from your back wall (the wall behind the listening position). If your listening position is close to the back wall, these reflections can cause problems and 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 hangings and possibly even sound absorbing panels).

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 reflec-

Experimentation

Toe-in—Now you can begin to experiment. First begin by toe-

ing your speakers in towards the listening area and then facing them straight into the room. You will notice the tonal balance and imaging changing. You will notice that as the speakers are toed-in, the system becomes slightly brighter than when toedout. This design gives you the flexibility to compensate for a soft or bright room.

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 proper toe involves sitting at the listening position, holding a flashlight under your chin and pointing it at each speaker. The reflection of the flashlight should be within the inner third of the panel (see figure 11).

>24”

(>61cm)

>24” (>61cm)

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Figure 10. Final placement.

Tilting the Speakers Backwards and Forwards—As the diagrams show in the Dispersion Interactions section of this manual, 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.

Imaging—In their final location, your Neolith’s can have a stage width somewhat wider than the speakers themselves. On well recorded music, the instruments can extend beyond the edges of each speaker (left and right), yet a vocalist should appear directly in the middle. The size of the instruments should be neither too large nor too small, subject to the intent and results of each unique audio recording.

Additionally, you should find good clues as to stage depth. Make sure that the vertical alignment, distance from the front wall, and toe-in is exactly the same for both speakers. This will greatly enhance the quality of your imaging.

Bass Response—Your bass response should neither be one note nor should it be too heavy. It should extend to the deepest organ passages and yet be tight and well defined. Kick-drums should be tight and percussive—string bass notes should be uniform and consistent throughout the entirety of the run without booming or thudding.

Tonal Balance—Voices should be natural and full and cymbals should be detailed and articulate yet not bright and piercing, pianos should have a nice transient characteristic and deep tonal registers. If you cannot attain these virtues, read the section on Room Acoustics. This will give you clues on how to get closer to these ideal virtues.

Final Placement

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. 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.

The Extra “Tweak”

This extra “tweak” may be useful when your speakers are placed in a dedicated listening room. Use the following procedure and measurements for your speakers placement to see what can happen to your system’s performance. These formulas will help determine optimum placement of your speakers to minimize standing waves.

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 (inches) and multiply the figure by 0.618 (i.e. ceiling height (inches) x 0.618 = the distance from the front wall to the center of the curvilinear transducer).

2 Distance from the side-walls to the center of the curvilin-

ear transducer: To determine distance from the side walls, measure the width of your room in inches 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).

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After the full break in period, obtaining good wall treatments, 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.

Enjoy Yourself

The Neolith is a very refined speaker and benefits from care in setup. With these tips in mind you will find, over your months of listening, that small changes can result in measurable differences. As you live with your speakers, do not be afraid to experiment with their positioning until you find the optimal relationship between your room and speaker system that gives to you the best results. Your efforts will be rewarded.

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Figure 11. Flashlight toe-in technique.

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ROOM ACOUSTICS

Your Room

This is one of those areas that requires both a little background to understand and some time and experimentation to obtain the best performance from your system. 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.

All sound is composed of waves. Each note has its own wave size, with the lower bass notes literally encompassing from 10’ feet to as much as 40’ feet. 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.

Remember, your system can literally 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 contributes to the sound to some degree. Fortunately MartinLogan had designed the Neolith to minimize these anomalies

Let’s talk about a few important terms before we begin.

occur in the mid and high frequencies. This is where voice and frequencies as high as the cymbals occur.

Resonant Surfaces and Objects

All of the surfaces and objects in your room are subject to the frequencies generated by your system. Much like an instrument, they will vibrate and “carry on” 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 “singing along” with your music.

Resonant Cavities

Small alcoves or closet type areas in your room can be chambers that create their own “standing waves” and can drum their own “one note” sounds.

Clap your hands. Can you hear an instant echo respond back? You have near-field reflections. Stomp your foot on the floor. Can you hear a “boom”? You have standing waves or large panel resonances such as a poorly supported wall. Put your head in a small cavity area and talk loudly. Can you hear a booming? You’ve just experienced a cavity resonance.

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Rules of Thumb

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 a 10 feet wavelength. Your room will reinforce that specific frequency if one of the dominant dimensions is 10 feet. Large objects in the room such as cabinetry or furniture 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.

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 over and over again, confusing the clarity and imaging of your system. The smaller sound waves are mostly affected here, and

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.

This rule suggests that a little reflection is good. As a matter of fact, some rooms can be so “over damped” with carpeting, 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. The point is that balance is the optimum environment.

Breakup Objects

Objects with complex shapes, such as bookshelves, cabinetry and multiple shaped walls can help break up those sonic gremlins and diffuse any dominant frequencies.

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Solid Coupling

Your loudspeaker system generates frequency vibrations or waves into the room. This is how it creates sound. These vibrations vary from 20 per second to 20,000 per second. If your speaker system is not securely planted on the floor or solid surface, it can shake as it produces sound 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 insure secured footing for your speakers. (See ‘Solid Footing’ for spike information and installation instructions).

Dipolar Speakers and Your Room

MartinLogan electrostatic loudspeakers are known as dipolar radiators. This means that they produce sound from both their fronts and their backs. Consequently, 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 Neolith’s have been designed to be placed two to three feet from the front wall (the wall in front of the listening position) to obtain the best results; however, your room may see things differently. So 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.

Now that you know about reflective surfaces and resonant 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 information as it arrives at your ears later in time, can result in confusion of the precious timing information that carries the clues to imaging. Consequently the result is blurred imaging and excessive brightness. Soft walls, curtains, wall hangings, or sound dampeners (your dealer can give you good information here) can be effective if these negative conditions occur.

Solid Footing

For your convenience Neolith ships with caster wheels installed. After living and experimenting with your speaker’s

Figure 12. The ETC™ Spike.

placement you will want to use the ETC (energy transfer coupler) spikes supplied with the Neolith. With the use of these spikes, the Neolith 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 positioning, as the spikes can damage the floor if the speaker is moved. The feet that attach to the bottom of the Neolith use a common 3/8 - 16 thread (see figures 12 & 13).

Spike Installation Instructions:

1 Carefully tilt the speaker to gain access to the bottom. This

will require at least 2 people.

2 Remove existing feet or casters. Thread new spikes into

holes and screw them in all of the way. If the speaker does not sit level loosen one spike until level is achieved.

3 Tighten the jam nut snugly by hand. Do not over tighten

the nut.

4 Right the speaker. Caution: Make sure your hands and

any cabling are clear of the spikes. Do not slide speaker as spikes are sharp and can damage your floor or carpet.

5 Adjust to level by rotating spikes. Tighten the jam nut

securely when satisfied that speaker is level. Caution: Walking the speaker may result in a broken spike.

Figure 13. Installing the ETC spikes.

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DISPERSION INTERACTIONS

Controlled Horizontal Dispersion

Your Neolith’s launch a 30 degree horizontal dispersion pattern. This horizontal dispersion field gives a choice of good seats for the performance while minimizing interactions with side walls (figure 18). 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 adjustments can result in noticeable sonic improvements.

Controlled Vertical Dispersion

As seen in the illustrations, your Neolith speakers project a controlled dispersion pattern (figure 19). This vertical dispersion profile minimizes interactions with the floor and the ceiling.

Figure 14–15. 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.

Three Major Types of Dispersion

It is a known fact that as the sound wave becomes progressively 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 crafted 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 pattern of our transducers.

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Figure 16–17. 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 18–19. A controlled 30 degree cylindrical wave-front, a MartinLogan exclusive, offers optimal sound distribution with minimal room interaction. The result is solid imaging with a wide listening area.

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.

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.

Fortunately, Dolby and DTS encoded movies (including almost all films) have the same surround sound information encoded on home releases as the theatrical release. 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.

Surround Speakers

We recommend (along with the film industry) that the surround 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 a small, inexpensive speaker. 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 speakers have increased.

Subwoofer

With any good surround system you will need one or more high-quality subwoofers (the .1 in a 5.1 channel surround system). Most movie soundtracks contain large amounts of bass information as part of the special effects. Good subwoofers will provide a foundation for the rest of the system.

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Each piece of a surround system can be purchased separately. 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 the front speakers, and that it is recommended for use as a center speaker. This is not the place to cut corners.

Figure 20. Neolith speakers as front channels, MartinLogan electrostatic speakers as center channel and rear and side surround (effects) channels, and MartinLogan subwoofers as LFE (effects) channel.

ELECTROSTATIC ADVANTAGES

How can sound be reproduced by something that you are able to see through? Electrostatic energy makes this possible.

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.

To fully understand the electrostatic concept, some background 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 21). 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.

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 push-pull operation and is a major contributor to the sonic purity of the electrostatic concept due to its exceptional linearity and low distortion.

Since the diaphragm of an electrostatic speaker is uniformly 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 drivers 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 make these cones and domes move, all electromagnetic drivers must use voice coils wound on formers, spider assemblies, and surrounds to keep the cone or dome in position (see figure 22). 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!).

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Figure 21. Cut away view of an XStat electrostatic transducer. Notice

the simplicity due to minimal parts usage.

Figure 22. Cut away view of a typical moving coil driver. Notice the complexity due to the high number of parts.

Full Range Operation

Another significant advantage of MartinLogan’s exclusive transducer technology reveals itself when you look at examples of other loudspeaker products on the market today. The Neolith uses no crossover networks above 250–400 Hz because they are not needed. The Neolith consists of a single, seamless electrostatic membrane reproducing all frequencies above 250–400 Hz simultaneously. How is this possible?

First we must understand that music is not composed of separate high, mid and low frequencies. In fact, music is comprised of a single waveform with all frequencies interacting simultaneously.

drivers must be designed to operate within a narrow, fixed bandwidth of the frequency range, and then combined electrically so that the sum of the parts equals the total signal. While nice in theory, we must deal with real-world conditions.

In order 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 process, nonlinearities and severe degradation of the music signal take place in the ear’s most critical zone (see figure 23).

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The electrostatic transducer of the Neolith essentially acts as an exact opposite of the microphones used to record the original event. A microphone, which is a single working element, transforms acoustic energy into an electrical signal that can be amplified or preserved by some type of storage media. The Neolith’s electrostatic transducer transforms electrical energy from your amplifier back into acoustical energy.

Due to the limitations of electromagnetic drivers, no single unit can reproduce the full range of frequencies. Instead, these

MartinLogan Neolith

ESL

Panel

Critical Zone

The Neolith’s electrostatic transducer can single-handedly reproduce all frequencies above 250–400 Hz simultaneously. You have in one transducer the ability to handle in elegant simplicity the critical frequencies above 250–400 Hz.

The crossover phase aberrations that are associated with traditional tweeter, midrange, and woofer systems are eliminated. The result is a dramatic improvement in imaging and staging performance due to the minutely accurate phase relationship of the full-range panel wave launch.

Conventional Loudspeaker

Tweeter

crossover point (2,000–5,000 Hz)

Woofer

crossover point (250–400 Hz)

Figure 23. This diagram illustrates how a conventional speaker system must use multiple crossover networks that have negative effects on the musical performance.

crossover point (100–400 Hz)

Midrange

Woofer

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MARTINLOGAN EXCLUSIVES

XStat Transducer

XStat transducers incorporate a myriad of technology and design innovations including CLS, MicroPerf, Generation 2 Diaphragms, ClearSpars™, and Vacuum Bonding.

CLS (Curvilinear Line Source)

Since the beginning of audio, achieving smooth dispersion has been a problem for all designers. Large panel transducers 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.

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 practical usability. This is also why you see the unique “see through” cylindrical shape of MartinLogan products.

Generation 2 Diaphragm

Neolith’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 in an oxygen free argon chamber. This process allows extremely uniform surface resistivity characteristics, an optically transparent surface, and a nearly massless diaphragm. 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 Neolith loudspeaker supports the bandwidth and dynamics associated with traditional electrostatic panels nearly twice its size.

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.

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ELECTROSTATIC LOUDSPEAKER HISTORY

In the late 1800’s, any loudspeaker was considered exotic. Today, we take the wonders of sound reproduction for granted.

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 reproduce 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 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 amplified. The loudspeaker, as we know it today, should have ensued then, but it did not. Amazingly, it was almost twenty years before this would occur.

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.

By 1923, the decision was made to develop a complete musical playback system consisting of an electronic phonograph and a loudspeaker to take advantage of the new recording medium. The project to two young engineers, C. W. Rice and E. W. Kellogg.

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 had been collecting over the past decade. Among these were Lodge’s cone, a speaker that used compressed air, a corona discharge (plasma) speaker, and an electrostatic speaker.

Rice and Kellogg had

narrowed the field of

“contestants down” to the

cone and the electrostat.

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”.

Their electrostat was something to behold. This enormous bipolar speaker was as big as a door. The diaphragm, 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, they were stunned and impressed. The electrostat performed splendidly. They had never heard instrumental timbres reproduced with such realism. This system sounded like real

music rather than the honking, squawking rendition of the acoustic gramophone. Immediately, they knew they were on to something big. The acoustic gramophone was destined to become obsolete.

Due to Rice and Kellogg’s enthusiasm, they devoted a considerable amount of time researching the electrostatic design. However, they soon encountered the same difficulties that even present designers face; planar speakers require a very large surface area to reproduce the lower frequencies of the audio spectrum. Because the management considered large speakers unacceptable, Rice and Kellogg’s work on electrostatics would never be put to use for a commercial product. Reluctantly, they advised management to go with the cone. For the next 30 years, the electrostatic design lay dormant.

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 experienced 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.

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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.

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 tweeter element was limited to high frequency reproduction, it often found 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.

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 electrostatics 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.

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 difficult load that some amplifiers did not like, its dispersion was very directional and its power handling was limited to around 70

These developments allow the

consumer to own the highest

performance loudspeaker

products ever built.

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 Corporation, became the president 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 electrostatic panels for the Servostatic, a hybrid 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, Beverage, Dayton Wright, Sound Lab and Stax, to name a few.

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.

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 dispersion 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.

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.

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FREQUENTLY ASKED QUESTIONS

How do I clean my speakers?

Use a dust free cloth or a soft brush to remove the dust from your speakers. We also recommend a specialty cloth (available at the Xtatic shop at www.martinlogan.com) that cleans your speakers better than anything else we have tried. For the wood surfaces it is acceptable to slightly dampen the cloth. 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 silicone oil on the wood parts.

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.

What size amplifier should I use?

We recommend an amplifier with 50 to 1,300 watts per channel (at 4 Ohms) for most applications. Our hybrid designs will perform well with either a tube or transistorized amplifier, and will reveal the sonic character of either type. However, it is important that the amplifier be stable operat ing into varying impedance loads: an ideally stable amplifier will typically be able to deliver nearly twice its rated watt age into 4 Ohms and should again increase into 2 Ohms.

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.

Is there likely to be any interaction between my speakers 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. However, we do recommend that you keep your speakers at least one foot away from the television because of the dynamic woofer they employ. In the case of our center channel speakers, however, they are fully shielded and can go anywhere.

Will my electric bill go ‘sky high’ by leaving my speakers plugged in all the time?

No. There is circuitry to turn off the static charge when not in use; however, actual consumption will remain close to the same. The primary purpose of the sensing circuitry is to prevent dust collection on the electrostatic element.

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.

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 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.

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.

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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.

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. You can get the same benefit by simply unplugging them whenever they are not in use. A power strip is an easy way to do that.

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 continuously. Since 1993, all of our speakers have been designed so that they only charge the panel while music is being played. This improvement has made a tremendous difference in the consistent performance of our product. There may be a little more maintenance involved in humid regions when not in an air conditioned environment. 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 conductive. 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.

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 overnight). You need not worry about the vacuum pressure damaging the "delicate" membrane. It is extraordinarily 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.

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.

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TROUBLESHOOTING

No Output

• Check that all your system components are turned on.

• Check Neolith status LED. It should be blue. Please see the Top Panel Controls section of manual.

• 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.)

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?

• Check Neolith status LED. It should be blue. Please see the Top Panel Controls section of manual.

• Dirt and dust may need to be vacuumed off. Please see the FAQ regarding vacuuming.

• If using a single-wire connection, check to make sure that the jumper clips are in place and that the binding posts are firmly hand-tightened.

• Check the binding posts. Are the dirty? If so clean them with rubbing alcohol.

• Check the binding posts. Are the 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.

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.

• These noises may be caused by dirt and dust particles collecting on the speaker, by high humidity.

• Dirt and dust may need to be vacuumed off. Please see the FAQ regarding vacuuming.

Exaggerated Highs, Brightness

• Check the toe-in of the speakers. Read the Placement section of this manual for more information.

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’.

Lack of Bass, No Bass

• Check your speaker wires. Is the polarity correct?

• Check Neolith status LED. It should be blue+. Please see the Top Panel Controls section of manual.

• Check your low bass output and distance jumpers on the speaker’s top control panel. Are they inserted all of the way? Are they installed in one of the listed configurations?

• Check the binding posts. Are the dirty? If so clean them with rubbing alcohol.

• Check the binding posts. Are the loose? Make sure they are firmly hand-tightened.

Poor Imaging

• Check placement. Are both speakers the same distance from the walls? Do they have the same amount of toein? Try moving the speakers away from the back wall and side walls.

• Check the polarity of the speaker wires. Are they connected properly?

• Try switching the left speaker with the right.

• 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.

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SPECIFICATIONS*

System Frequency Response:

23–22,000 Hz ± 3db

Recommended Amplifier Power:

50–1,300 watts per channel at 4 Ohms

Dispersion:

Horizontal: 30 Degrees Vertical: 48” (122 cm) line source

Sensitivity:

90 dB/2.83 volts/meter

Impedance:

Nominal: 4 ohms, 0.43 ohms @ 20 kHz.

Crossover Frequency:

60, 250–400 Hz

High/Mid Frequency Driver:

48” x 22” (122 x 56 cm) CLS XStat electrostatic (1,056 in

Woofers:

15” (38.1cm) cast basket, high excursion, rigid aluminum cone with extended throw drive assembly. Extensively vented triple shorting ring motor and 4-layer coil to eliminate compression and distortion.

12” (30.5cm) round cast aluminum alloy frame, high excursion, rigid carbon fiber sandwich cone with long throw design, 3-inch (7.5cm) diameter copper-clad aluminum flat wire voice coil, and vented pole piece and under-spider opening to reduce power compression.

Enclosure:

Phenolic Resin Polymer. Dense substrate with superb mechanical strength minimizes cabinet vibrations caused by woofer cone motion counter forces to provide an ideal baffle for the electrostatic panel and woofers.

/6,813 cm2)

Components:

High-Pass Crossover: 1% resistors mounted to heat sinks, polypropylene capacitors, air core inductors, dual toroidal audio transformers to drive electrostatic element

Low-Pass Crossover: 1% resistors mounted to heat sinks, toroidal inductors, supports user options to modify sound output via jumpers

Bass Control:

0dB, -4dB, -8dB

Distance Control:

3 meters (or less), 4 meters, 5 meters (or greater)

Light Control:

On, Dim, Off

Signal Inputs:

WBT-0705Ag nextgen™ 5-way bi-wire binding posts feature a filigree signal conductor made from fine silver for high conductivity. Fully insulated for CE and IEC conformity providing shock hazard protection. Free from eddy current effects. Max constant current 30 A, admissible peak current 200 A. Outer metal cap with palladium plated finish.

Mains Power Draw

Standby: 1W each Max: 15W each

Weight:

385 lbs. each (175 kg)

Size (H x W x D):

74.8” × 30.3” × 34.2” (189.9 × 76.9 × 87 cm)

Weight (Crated):

600 lbs. each (273 kg)

Crate Size (H x W x D):

39.7” × 39” × 82.6” (100.8 × 99 × 210 cm)

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*Specifications are subject to change without notice.

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GENERAL INFORMATION

Warranty and Registration

Your Neolith speakers are provided with an automatic Limited 90 Day Warranty coverage. You have the option, at no addi-

tional 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 convenience MartinLogan also offers online warranty registration at www.martinlogan.com.

MartinLogan may not honor warranty service claims unless we have a completed Warranty Registration card on file! If you did not

receive a Certificate of Registration with your new Neolith, speak ers you cannot be assured of having received new units. If this is the case, please contact your authorized MartinLogan dealer.

Serial Number

Neolith’s serial number is located near the binding posts. Each individual unit has a unique serial number.

Service

Should you be using your MartinLogan product in a country other than the one in which it was originally purchased, we ask that you note the following:

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.

2 Should a MartinLogan product require servicing in a

country other than the one in which it was originally purchased, the end user may seek to have repairs performed by the nearest MartinLogan distributor, subject to that distributor’s local servicing policies, but all cost of repairs (parts, labor, transportation) must be born by the owner of the MartinLogan product.

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.

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GLOSSARY OF AUDIO TERMS

AC. Abbreviation for alternating current.

Active crossover. Uses active devices (transistors, IC’s, tubes)

and some form of power supply to operate.

Amplitude. The extreme range of a signal. Usually measured from the average to the extreme.

Arc. The visible sparks generated by an electrical discharge.

Bass. The lowest frequencies of sound.

Bi-Amplification. Uses an electronic crossover, or line-level

passive crossover, and separate power amplifiers for the high and low frequency loudspeaker drivers.

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.

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.

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 harmonic distortion which creates heat in a loudspeaker and is the major cause of loudspeaker component failure.

CLS. The abbreviation for curvilinear linesource.

Crossover. An electrical circuit that divides a full bandwidth

signal into the desired frequency bands for the loudspeaker components.

dB (decibel). A numerical expression of the relative loudness of a sound. The difference in decibels between two sounds is ten times the Base 10 logarithm of the ratio of their power levels.

DC. Abbreviation for direct current.

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.

Diaphragm. A thin flexible membrane or cone that vibrates in response to electrical signals to produce sound waves.

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.

Driver. See transducer.

Dynamic Range. The range between the quietest and the

loudest sounds a device can handle (often quoted in dB).

Efficiency. The acoustic power delivered for a given electrical input. Often expressed as decibels/watt/meter (dB/w/m).

ESL. The abbreviation for electrostatic loudspeaker.

Headroom. The difference, in decibels, between the peak

and RMS levels in program material.

Hybrid. A product created by the marriage of two different technologies. Meant here as the combination of a dynamic woofer with an electrostatic transducer.

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.

Impedance. The total opposition offered by an electric circuit to the flow of an alternating current of a single frequency. It is a combination of resistance and reactance and is measured in ohms. Remember that a speaker’s impedance changes with frequency, it is not a constant value.

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.

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Inductor. A device designed primarily to introduce inductance into an electrical circuit. Sometimes called a choke or coil.

Linearity. The extent to which any signal handling process is accomplished without amplitude distortion.

Midrange. The middle frequencies where the ear is the most sensitive.

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.

Resonance. The effect produced when the natural vibration 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 electri- cal 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.

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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.

Pink noise. A random noise used in measurements, as it has the same amount of energy in each octave.

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.

Transducer. Any of various devices that transmit energy from

one system to another, sometimes one that converts the energy in form. Loudspeaker transducers convert electrical energy into mechanical motion.

Transient. Applies to that which lasts or stays but a short 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.

White noise. A random noise used in measurements, as it has the same amount of energy at each frequency.

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.

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manuel de l’utilisateur

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RACCORDS ET COMMANDES

Raccord de l’alimentation CA

Puisque vos enceintes MartinLogan Neolith utilisent une source d’alimentation interne pour alimenter les cellules électrostatiques et le haut-parleur PoweredForce, elles doivent être raccordées à une source d’alimentation CA. À cette fin, elles sont fournies avec les cordons d’alimentation IEC normalisés appropriés. Ces cordons doivent être insérés fermement dans les prises de courant CA situées sur le panneau de raccordement arrière des enceintes, puis à une prise murale CA appropriée. Les enceintes Neolith sont dotées d’une source d’alimentation détectant les signaux qui s’éteindra après cinq minutes sans signal musical, et qui ne nécessite que deux secondes pour recharger les panneaux lorsqu’un signal musical est détecté.

Les enceintes Neolith sont câblées pour le service d’électricité offert dans le pays où elles ont été achetées. La puissance nominale CA applicable à un appareil particulier est indiquée sur l’emballage et sur la plaque du numéro de série fixée sur l’enceinte. Si vous utilisez vos enceintes Neolith dans un autre pays que celui où vous les avez achetées, assurez-vous que l’alimentation CA fournie dans tout autre endroit est appropriée avant de brancher et d’utiliser les enceintes. L’utilisation des enceintes Neolith avec une source d’alimentation CA incorrecte peut nuire grandement au rendement ou causer des dommages importants.

MISE EN GARDE! Le cordon d’alimentation ne doit pas être installé, enlevé ou laissé débranché de l’enceinte lorsque l’autre extrémité est branchée à une source d’alimentation CA.

Raccord du signal

Utilisez les meilleurs câbles d’enceinte possible. La longueur et le type de câble d’enceinte utilisés avec votre système auront un effet audible. Vous ne devez pas utiliser un câble de calibre supérieur (plus mince) au no 16, en aucun cas. En général, plus le câble est long, plus il doit être de calibre inférieur, et plus le calibre est bas, meilleur est le son; le paramètre de diminution des retours doit être établi du no 8 au no 12.

De nombreux câbles différents sont disponibles auprès de fabricants qui affirment que leur rendement est meilleur que celui du câble à calibre élevé courant. Nous avons vérifié cette affirmation dans de nombreux cas, et les améliorations disponibles sont souvent plus notables que les différences entre les câbles de calibre différent. Les effets des câbles peuvent être masqués si l’équipement n’est pas de la plus haute qualité.

Les raccords sont effectués à la section du signal d’entrée située sur le panneau électronique arrière de l’enceinte Neolith. Utilisez des cosses rectangulaires pour un contact optimal et pour faciliter l’installation. Serrez les bornes de raccordement à la main, sans trop serrer – n’utilisez pas d’outil pour serrer les bornes de raccordement.

Faites preuve de cohérence en branchant les câbles de l’enceinte aux bornes du signal d’entrée. Assurez-vous d’attribuer la même couleur à la borne (+) des canaux de gauche et de droite. Si aucune grave n’est présente et que vous ne discernez pas une image serrée et cohérente, vous pourriez devoir inverser les câbles (+) et (-) d’un côté pour que le système ait la bonne polarité.

MISE EN GARDE! Éteindre l’amplificateur avant de faire ou de briser tout raccord de signal!

Rodage

Lorsque vous commencez à utiliser les enceintes Neolith, leur son sera un peu discret du côté des graves. Cette situation est due aux composantes durables de haute qualité utilisées dans le haut-parleur de graves. Le haut-parleur ambiophonique en butyle personnalisé nécessite un rodage d’environ 72 heures à 90 dB (niveau d’écoute moyen) avant la première écoute critique. Les exigences de rodage des composantes de répartiteur (et à un moindre niveau, pour le stator) sont équivalentes.Figure 1. Raccord de l’alimentation CA.

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Pinces de démarrage

Dans certains pays, la loi fédérale interdit à MartinLogan de fournir des pinces de démarrage. Si aucune pince de démarrage n’est installée sur les bornes de raccordement des enceintes, consultez la section « Raccord à deux fils » pour obtenir les instructions relatives au raccordement.

Raccord à un fil

Veuillez vérifier si des pinces de démarrage sont installées sous les bornes de raccordement. Ces pinces permettent de joindre les sections de haute et de basse fréquence du répartiteur. En les laissant en place, branchez le câble (+) de votre amplificateur à la borne de raccordement rouge et le câble (-) de votre amplificateur à la borne de raccordement noire (voir figure 2).

Pour effectuer un raccord à deux fils, vous devez d’abord desserrer les bornes de raccordement et enlever les pinces de démarrage. Branchez un ensemble de câbles à l’ensemble de bornes de raccordement de la partie supérieure qui permettent un branchement au panneau du Neolith. Branchez ensuite les bornes de raccordement de la partie inférieure qui permettent un branchement au haut-parleur de graves. Ensuite, branchez les deux ensembles de câbles aux bornes appropriées de votre amplificateur. Prenez soin de brancher les deux câbles (+) aux bornes (+) de l’amplificateur et les deux câbles (-) aux bornes (-) de l’amplificateur. C’est ce qu’on appelle un raccord parallèle (voir la figure 3).

Bi-amplification passive

Pour obtenir le meilleur rendement qui soit, l’enceinte Neolith peut être bi-amplifiée passivement à l’aide des éléments de réârtiteur passifs internes existants.

Raccord à deux fils

Cette méthode de raccordement remplace les pinces de démarrage (Jumper Clips) installées sous les bornes de raccordement avec des tracés de câble d’enceinte individuels à partir de votre amplificateur. Cette mesure permet de doubler le signal qui achemine les conducteurs de l’amplificateur à l’enceinte, permettant ainsi de coupler directement chaque partie du répartiteur vers l’amplificateur.

MISE EN GARDE! Seulement après avoir enlevé les pinces de démarrage, vous pouvez brancher les tracés de câble d’enceinte individuels de votre amplificateur aux bornes de raccordement du signal d’entrée passe élevée (ESL) et passe basse (HAUTPARLEUR DE GRAVES). Des dommages seront causés à vos amplificateurs si les pinces de démarrage ne sont pas enlevées

Français

Figure 2. Raccord à un fil. Un canal illustré. Figure 3. Raccord à deux fils. Un canal illustré.

Cette méthode pousse le concept du raccordement à deux fils une étape plus loin. Vous aurez un canal d’amplification dédié branché directement aux sections de passe basse et élevée de la fonction de raccordement de l’enceinte Neolith. Il existe deux méthodes différentes de bi-amplification avec deux amplificateurs stéréo. La première et la plus courante est appelée bi-amplification horizontale. La deuxième méthode est appelée bi-amplification verticale. Avec ces deux méthodes, vous pouvez utiliser deux amplificateurs stéréo ou quatre amplificateurs mono, ou encore deux amplificateurs mono et un amplificateur stéréo. Vous voyez le portrait? Avec une forme ou l’autre de bi-amplification, votre préamplificateur doit posséder des sorties double. Si votre préamplificateur n’est pas équipé de la sorte, vous pouvez acheter ou construire un adaptateur en Y.

Bi-amplification passive horizontale

La bi-amplification horizontale vous permet d’utiliser deux modèles, marques ou types différents d’amplificateur (c.-à-d., tubes sur le dessus, transistor sur le dessous). Toutefois, nous vous recommandons d’utiliser deux amplificateurs identiques (c.-à-d. même marque et même modèle). Si vous devez utiliser deux amplificateurs différents, il est essentiel qu’ils aient le même gain ou que l’un des deux amplificateurs soit doté d’un gain réglable afin que vous puissiez agencer leurs caractéristiques de gain. Si les amplificateurs choisis n’ont pas les mêmes caractéristiques de gain, un déséquilibre sonore surviendra. Dans le cas de la bi-amplification horizontale, un amplificateur traite la section de passe élevée (ESL) et l’autre traite la section de passe basse (HAUT-PARLEUR DE GRAVE). Pour bi-amplifier horizontale-

ment votre Neolith, vous devez desserrer les bornes de raccordement et enlever les pinces de démarrage. Branchez l’amplificateur de basse fréquence à l’ensemble de bornes de raccordement le plus bas des deux enceintes. Branchez l’amplificateur de haute fréquence à l’ensemble de bornes de raccordement le plus haut. Ensuite, branchez les sorties de gauche et de droite du préamplificateur aux entrées de gauche et de droite appropriées des deux amplificateurs (voir figure 4).

Bi-amplification passive verticale

La nature de la bi-amplification verticale dicte que les deux amplificateurs sont identiques. Dans le cas de la bi-amplification verticale, chaque amplificateur stéréo est dédié à une enceinte. Par exemple, le canal de gauche de chaque amplificateur traite la section de passe basse (HAUT-PARLEUR DE GRAVES), tandis que le canal de droite traite la section de passe élevée (ESL). Pour bi-amplifier verticalement votre Neolith, vous devez desserrer les bornes de raccordement et enlever les pinces de démarrage des deux enceintes. Répétez la même procédure pour l’autre enceinte. Branchez les sorties du préamplificateur de gauche aux deux entrées de l’amplificateur du canal de gauche et les sorties du préamplificateur de droite aux deux entrées du préamplificateur du canal de droite (voir figure 5).

Bi-amplification active

Le répartiteur interne du Neolith ne peut pas être contourné et une bi-amplification active n’est pas possible.

Figure 4. Raccordement par bi-amplification horizontale. Un canal illustré.

Français

Figure 5. Raccordement par bi-amplification verticale. Un canal illustré.

Commandes du panneau supérieur

Bouton de lumière

La commande de lumière permet d’allumer, de fermer ou de tamiser la lumière du Neolith.

Lumière de statut multicolore

Aucune couleur : Pas d’alimentation, pas branché.

Bleue : Mode lecture. Le Neolith détecte un

signal audio et fonctionne normalement.

Rouge : Mode veille. Elle indique que le Neolith ne détecte aucun signal audio.

Clignotante (différentes couleurs) : Mode de sécurité. Les modes de sécurité du Neolith font en sorte que la DEL de statut clignote de différentes couleurs. Lorsque cela se produit, le panneau électrostatique ou les haut-parleurs de graves ne produiront pas de son. La principale cause d’un mode de sécurité est que les sous-systèmes du Neolith dépassent l’intervalle de température de fonctionnement nominal. Le fonctionnement normal recommencera lorsqu’il sera disponible. Cela peut également se produire après le branchement initial ou lors du passage en mode veille, et disparaîtra lors de la détection d’un signal musical ou en mode veille.

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Figure 6. Panneau de commande du Neolith.

Bretelles de basses profondes et de distance

Le Neolith offre deux ajustements de répartiteur. Les bretelles doivent être installées pour un fonctionnement approprié (figure 7). Assurezvous que les bretelles sont entièrement insérées.

Bretelles de sortie de basses profondes

Ces bretelles diminuent la sortie des basses profondes, ce qui est utile lorsque vous ajustez le gain acoustique (voir les figures 8a à 8c) : A –8dB A+B –4dB C 0dB

Écouter les bretelles de distance

Ces bretelles ajustent la sortie du haut-parleur de graves avant afin d’optimiser l’intégration haut-parleur de graves avant/panneau à différentes distances d’écoute, mesurées à partir de la partie avant du panneau électrostatique (voir les figures 9a à 9c) : G 3 mètres (ou moins)

D+F 4 mètres

E+F 5 mètres (ou plus)

Figure 7. Bretelles du Neolith réglées pour 0dB, 3 mètres

Bretelles de sortie de basses profondes

Figure 8a. Bretelles de basses profondes

réglées pour 0dB.

Écouter les bretelles de distance

Figure 8b. Bretelles de basses profondes

réglées pour –4dB.

Figure 8c. Bretelles de basses profondes réglées pour –8dB.

Figure 9a. Bretelles de distance réglées pour 3 mètres.

Figure 9b. Bretelles de distance réglées pour 4 mètres.

Figure 9c. Bretelles de distance réglées pour 5 mètres.

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POSITIONNEMENT

Position d’écoute

À présent, vos enceintes doivent être placées à environ deux ou trois pieds du mur avant, le mur devant la position d’écoute, et à environ deux pieds des murs latéraux. Votre distance en position assise doit être plus longue que la distance entre les enceintes elles-mêmes. Il faut tenter d’obtenir l’impression d’une bonne image centrale et d’une bonne largeur de scène.

Il n’existe aucune distance exacte entre les enceintes et l’auditeur, mais il y a une relation. Dans les pièces longues, naturellement, cette relation change. La distance entre les enceintes sera beaucoup moins grande que la distance entre vous et le système d’enceintes. Toutefois, dans une pièce large, vous remarquerez que si la distance entre l’auditeur et les enceintes est inférieure à la distance entre les enceintes elles-mêmes, l’image ne sera plus concentrée dans le centre.

Maintenant que vous avez placé votre système d’enceintes, prenez le temps de l’écouter. Attendez quelques jours avant d’apporter des changements importants à votre configuration initiale, car le son du système d’enceintes changera subtilement. Au cours des 72 premières heures de lecture, la qualité tonale réelle changera subtilement, ce qui entraînera des graves plus basses et des aigus plus spacieux. Après quelques jours d’écoute, vous pouvez commencer à faire des réglages et à entendre la différence.

du mur pour diffuser une surface trop réfléchissante. Une feuille de gypse standard ou un mur texturé constitue généralement une surface appropriée. Si le reste de la pièce n’est pas trop clair ou dur. Les murs peuvent également être trop mous. Si le mur avant au complet est formé de draperies lourdes, le son peut être mat. Vous pouvez entendre de la musique assourdie et peu d’ambiance. Des surfaces plus dures vous aideront dans ce cas-là. Idéalement, la surface avant doit être constituée d’un long mur sans porte ni ouverture. S’il comporte des ouvertures, la réflexion et les caractéristiques des graves de chaque canal peuvent être différentes.

Les murs latéraux

Il est recommandé que les murs latéraux soient situés aussi loin que possible des côtés des enceintes. Toutefois, le transducteur électrostatique à dispersion contrôlée unique à MartinLogan permet de minimiser les réflexions des murs latéraux— un positionnement d’aussi peu que deux pieds des murs latéraux est souvent adéquat. Parfois, si le système est clair ou que l’image ne vous convient pas, et que les murs latéraux sont très près, essayez de placer des rideaux ou un matériel plus mou directement à côté du rebord de chaque enceinte. Toutefois, l’idéal c’est de ne pas avoir de mur latéral du tout.

Le mur derrière l’auditeur

Des réflexions de champ rapproché peuvent également provenir de votre mur arrière (le mur derrière la position d’écoute). Si votre position d’écoute est située près du mur arrière, ces réflexions peuvent causer des problèmes et nuire à la qualité de l’image. Il est préférable que le mur derrière vous soit absorbant plutôt que réfléchissant. Si vous avez un mur arrière dur et que votre position d’écoute est proche de celui-ci, essayez des dispositifs qui absorberont l’information (c.-à-d. : pièces murales et possiblement des panneaux d’absorption du son).

Le mur derrière les enceintes

La surface avant, le mur derrière les enceintes, ne doit pas être très dure ou très molle. Un carreau de verre entraînera des réflexions, une luminosité et une mauvaise image. Des rideaux, des draperies et des objets, tels qu’une bibliothèque, peuvent être placés le long

Expérimentation

Orientation — Vous pouvez maintenant commencer à expérimenter.

Commencez d’abord par orienter les enceintes vers la zone d’écoute, puis orientez-les directement face à la pièce. Vous remarquerez que l’équilibre tonal et l’image changent. Vous remarquerez que tandis que les enceintes sont orientées vers l’extérieur, le système devient légèrement plus clair que lorsqu’elles sont orientées vers l’intérieur. Cette configuration vous donne de la souplesse pour compenser une pièce molle ou claire.

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Généralement, on relève que la position d’écoute idéale est lorsque les enceintes sont légèrement orientées vers l’intérieur afin que vous écoutiez le tiers interne de la section courbée du transducteur. Une méthode simple, mais efficace, pour obtenir une orientation appropriée, consiste à s’asseoir dans la position d’écoute, en tenant une lampe de poche sous votre mention, puis à pointer vers chaque enceinte. La réflexion de la lampe de poche doit être à l’intérieur du tiers interne du panneau (voir figure 11).

>24 po

(>61cm)

>24 po (>61cm)

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Figure 10. Positionnement final.

Inclinaison des enceintes vers l’avant et vers l’arrière — Comme les diagrammes l’indiquent à la section Interactions de la dispersion de ce manuel , la dispersion verticale est directionnelle au-dessus et au-dessous du panneau du stator lui-même. Dans certains cas, si vous êtes assis près du sol, une légère inclinaison vers l’avant des enceintes peut améliorer la clarté et la précision.

Image — Dans leur emplacement final, vos enceintes Neolith peuvent avoir une largeur de scène un peu plus large que les enceintes ellesmêmes. Sur de la musique bien enregistrée, les instruments peuvent s’étendre au-delà des rebords de chaque enceinte (gauche et droite), tandis que le chanteur devrait apparaître directement au milieu. La taille des instruments ne doit pas être trop grande ni trop petite, sous réserve de l’intention et des résultats de chaque enregistrement studio unique.

De plus, vous aurez de bons indices en ce qui concerne la profondeur de scène. Assurez-vous que l’alignement vertical, la distance du mur avant, et l’orientation sont exactement les mêmes pour les deux enceintes. Cette mesure permettra d’accroître grandement la qualité de votre image.

Réponse des graves — La réponse des graves ne doit pas être une seule note ou être trop lourde. Elle doit s’étendre des passages d’orgue les plus profonds ou en étant serrée et bien définie. La batterie doit être serrée et frappante, les notes de contrebasse doivent être uniformes et cohérentes pendant toute la lecture, sans être trop lourdes ou trop faibles.

Équilibre tonal — Les voix doivent être naturelles et pleines, et les cymbales doivent être détaillées et articulées, sans être claires et perçantes; les pianos doivent avoir une belle caractéristique transitoire et des registres tonals profonds. Si vous n’obtenez pas ces caractéristiques, consultez la section Acoustique de la pièce (pages 48 et 49). Vous obtiendrez des conseils sur la façon de vous rapprocher des ces caractéristiques idéales.

Positionnement final

Essayez maintenant de placer les enceintes plus loin l’une de l’autre. Une fois les enceintes éloignées l’une de l’autre, écoutez encore, pas tant pour la réponse des graves, mais davantage pour la largeur de scène et une bonne concentration sur le point optimal.

La position d’écoute idéale et le positionnement idéal des enceintes seront déterminés par :

• Serrage et extension de la réponse des graves

• Largeur de scène

• Concentration sur le point d’image optimal

Une fois que vous avez déterminé ce qu’il y a de mieux pour ces trois éléments, vous obtiendrez la meilleure position pour les enceintes.

Mise au point supplémentaire

La mise au point supplémentaire peut être utile lorsque vos enceintes sont placées dans une salle d’écoute dédiée. Utilisez la procédure et les mesures suivantes pour le positionnement des enceintes afin de voir ce qui peut arriver au rendement de votre système. Ces formules vous aideront à déterminer le positionnement optimal de vos enceintes pour minimiser les ondes stationnaires.

1 Distance à partir du mur avant (devant la zone d’écoute) jusqu’au

centre du transducteur curvilinéaire : pour déterminer la distance à partir du mur avant, mesurez la hauteur du plafond (en pouces) et multipliez-la par 0,618 (c.-à-d. : hauteur du plafond (pouces) x 0,618 = la distance à partir du mur avant jusqu’au centre du transducteur curvilinéaire).

2 Distance à partir des murs latéraux jusqu’au centre du trans-

ducteur curvilinéaire : pour déterminer la distance à partir des murs latéraux, mesurer la largeur de la pièce en pouces et divisez par 18. Ensuite, multipliez le quotient par 5 (c.-à-d. : largeur de la pièce en pouces / 18 x 5 = la distance à partir des murs latéraux jusqu’au centre du transducteur curvilinéaire).

Après la période de rodage et après avoir obtenu les bons revêtements de mur et l’angle d’orientation approprié, commencez à faire des essais avec la distance par rapport au mur derrière les enceintes. Déplacez l’enceinte légèrement vers l’avant de la pièce. Que se passe-t-il avec la réponse des graves? Avec l’image? Si l’image est plus ouverte et spacieuse et que la réponse des graves est plus serrée, il s’agit d’un meilleur positionnement. Reculez les enceintes de six pouces à partir de leur configuration d’origine, puis écoutez encore l’image et la réponse des graves. Il y aura une position où vous obtiendrez une image de pointe et une bonne réponse des graves. Cette position est le point de placement optimal à partir du mur avant.

Profitez du produit

Le modèle Neolith est une enceinte très raffinée et elle fonctionne encore mieux si elle est configurée avec soin. En gardant ces conseils à l’esprit, vous remarquerez au fil des mois d’écoute que de petits changements peuvent faire une grande différence. Au fil du temps, ne craignez pas de faire des essais de positionnement jusqu’à ce que vous trouviez la relation optimale entre la pièce et le système d’enceintes qui vous donnera les meilleurs résultats. Vos efforts seront récompensés.

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Figure 11. Technique d’orientation avec lampe de poche.

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ACOUSTIQUE DE LA PIÈCE

La pièce

C’est l’un des domaines qui requièrent un certain bagage pour comprendre, et un peu de temps et d’expérimentation pour obtenir le meilleur rendement possible de votre système.

La pièce est une composante et une partie intégrale de votre système. Cette composante est une variable très importante et peut beaucoup ajouter, ou enlever, à une grande expérience musicale.

Tous les sons sont composés d’ondes. Chaque note possède sa propre taille d’onde, et les graves les plus basses englobent littéralement de 10 à 40 pieds. Votre pièce participe à ces ondes comme une piscine tridimensionnelle, qui reflète ou augmente les ondes en fonction de la taille et des types de surface de la pièce.

N’oubliez pas, votre système audio peut littéralement générer tous les renseignements nécessaires pour recréer le temps, l’espace et l’équilibre tonal d’un événement musical. Toutefois, chaque pièce contribue au son dans une certaine mesure. Heureusement, MartinLogan a conçu l’enceinte Neolith de façon à ce qu’elle minimise ces anomalies.

Avant de commencer, parlons de certains termes importants.

nomène qui survient dans les fréquences moyennes et élevées. Il s’agit des fréquences des voix et des cymbales.

Surfaces et objets résonnants

Toutes les surfaces et tous les objets de votre pièce sont assujettis aux fréquences générées par votre système. Comme pour un instrument, elles vibreront et « continueront » en syncope avec la musique, en plus de contribuer de façon négative à la musique. Un tintement, une lourdeur et même une clarté peuvent survenir simplement parce qu’ils « chantent en cœur » avec votre musique.

Cavités raisonnantes

Les zones qui forment de petites alcôves ou des garde-robes dans votre pièce peuvent être des chambres qui créent leurs propres « ondes stationnaires » et qui peuvent taper leurs propres sons à « une note ».

Tapez des mains. Entendez-vous un écho instantané? C’est les réflexions de champ rapproché. Tapez du pied sur le sol. Entendez-vous un « boom »? Vous avez des ondes stationnaires ou des résonnances de grand panneau, tels que des murs mal supportés. Passez la tête dans une petite cavité et parlez fort. Entendez-vous un son lourd? Vous venez de faire l’expérience de la résonance de cavité.

Terminologie

Ondes stationnaires

Les murs parallèles de la pièce renforceront certaines notes au point qu’elles sonneront plus fort que le reste du spectre audio, ce qui entraîne une seule note de grave, des graves lourdes ou des graves gonflées. Par exemple, 100 Hz représente une onde de dix pieds. Votre pièce renforcera cette fréquence spécifique si l’une des dimensions dominantes est dix pieds. Les gros objets de la pièce, tels que les armoires ou les meubles, peuvent aider à minimiser ce problème. Certains « audiophiles » très pointus construiront littéralement une pièce spéciale sans murs parallèles simplement pour supprimer ce phénomène.

Surfaces réfléchissantes (réflexions de champ rapproché)

Les surfaces dures de votre pièce, particulièrement si elles sont proches de votre système d’enceintes, reflèteront certaines ondes dans la pièce encore et encore, ce qui nuira à la clarté et à l’image de votre système. Les ondes des petits sons sont les plus touchées par ce phé-

Règles pratiques

Surfaces dures c. surfaces molles

Si le mur avant ou arrière de votre salle d’écoute est mou, il peut être utile d’avoir un mur dur ou réfléchissant à cet endroit. Il faut suivre la même directive pour le plafond et le plancher. Toutefois, les murs latéraux doivent être à peu près les mêmes pour fournir une image centrée.

Cette règle suggère qu’un peu de réflexion est bien. En fait, certaines pièces peuvent être trop « amorties » avec des tapis, des rideaux et d’autres absorbeurs de sons qui font sonner le système de façon éclaircie et sans vie. D’un autre côté, les pièces peuvent être si dures que le système sonnera comme un gymnase, avec trop de réflexion et de clarté. L’équilibre est l’environnement optimal.

Objets de fragmentation

Les objets qui ont une forme complexe, tels que les bibliothèques, les armoires et les murs à plusieurs formes peuvent aider à fragmenter ces nuisances sonores et à amenuiser toute fréquence dominante.

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Couplage solide

Votre système de haut-parleur génère des vibrations de fréquences ou des ondes dans la pièce. C’est ainsi que le son est créé. Ces vibrations varient de 20 à 20 000 par seconde. Si votre système de haut-parleur n’est pas fermement ancré sur le sol ou sur une surface solide, il peut vibrer en produisant le son et, par conséquent, le son sera compromis. Si votre enceinte repose sur un tapis et que des châssis seulement sont utilisés, les graves peuvent être mal définies et même lourdes. L’utilisation de crampons est recommandée pour s’assurer que les enceintes reposent sur une base solide. (Consultez la section Base solide pour obtenir des renseignements sur les crampons et des directives d’installation).

Enceintes dipolaires et votre pièce

Les haut-parleurs électrostatiques MartinLogan sont connus comme des radiateurs dipolaires. Cela signifie qu’ils produisent des sons de leurs parties avant et arrière. Par conséquent, leur information musicale est reflétée par le mur derrière eux et elle peut arriver phasée ou déphasée, avec l’information produite par la partie avant de l’enceinte.

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Les fréquences basses peuvent être augmentées ou annulées par leur position par rapport au mur avant. Vos enceintes Neolith ont été conçues pour être placées à deux ou trois pieds à partir du mur avant (le mur devant la position d’écoute) pour obtenir les meilleurs résultats; toutefois, votre pièce peut voir les choses d’un autre œil. Donc, l’écoute de la différence de réponse des graves à la suite de changements de distance à partir du mur avant peut vous permettre d’obtenir la meilleure combinaison de profondeur des graves et d’équilibre tonal.

Maintenant que vous en savez davantage sur les surfaces réfléchissantes et les objets résonants, vous pouvez voir comment les fréquences moyennes et élevées peuvent être touchées. Le synchronisme de l’onde initiale, quand elle irradie à vos oreilles, puis l’information réfléchie quand elle arrive plus tard à vos oreilles, peut engendrer la confusion de la précieuse information de synchronisme qui transporte les renseignements de l’imagerie. Par conséquent, il en découle une image floue et une clarté excessive. Des murs, draperies ou rideaux mous, ou des amortisseurs de son (votre revendeur peut vous donner des renseignements utiles à cet égard) peuvent être efficaces si ces conditions négatives surviennent.

Base solide

Après avoir utilisé et expérimenté vos enceintes Neolith, vous pouvez utiliser les crampons ETC (energy transfer coupler) compris avec les Neolith (voir figure 12). Avec l’utilisation de ces crampons, les Neolith seront mieux ancrées dans le sol et, par conséquent, les graves seront

Figure 12. Le crampon ETC

plus serrées et l’image sera plus cohérente et détaillée. Il est recommandé de ne pas fixer les crampons avant d’être certain de leur positionnement, car les crampons peuvent endommager le plancher si les enceintes sont déplacées. Le pied qui se fixe à la partie inférieure des Neolith utilise un filetage courant de 3/8 - 16.

Instructions pour installer les crampons :

1 Inclinez délicatement l’enceinte pour avoir accès à la partie

inférieure. Il faut être au moins deux personnes pour cette étape.

2 Enlevez les pieds ou les roulettes déjà en place. Insérez les

nouveaux crampons dans les trous et vissez-les entièrement. Si l’enceinte n’est pas au niveau, desserrez un crampon jusqu’à ce qu’elle soit au niveau.

3 Vissez délicatement le contre-écrou à la main. Ne serrez pas trop

l’écrou.

4 Redressez l’enceinte. Mise en garde : assurez-vous que vos

mains et les câbles sont dégagés des crampons. Ne glissez pas les enceintes, car les crampons sont coupants et peuvent endommager le plancher ou le tapis.

5 Réglez le niveau en tournant les crampons. Serrez le contre-

écrou fermement lorsque l’enceinte est au niveau souhaité.

Figure 13. Installer les crampons ETC.

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INTERACTIONS DE LA DISPERSION

Dispersion horizontale contrôlée

L’enceinte Neolith lance un schéma de dispersion horizontale de 30 degrés. Ce champ de dispersion horizontale donne un choix de bon siège pour le rendement tout en minimisant l’interaction avec les murs latéraux (voir figure 18). Assurez-vous que les deux enceintes reposent exactement au même angle vertical, autrement, l’image peut être biaisée ou mal définie. Le lancement d’onde des deux enceintes est très précis, tant pour le moment que pour le domaine spectral. Par conséquent, de petits réglages fins peuvent entraîner des améliorations importantes du son.

Dispersion verticale contrôlée

Comme vous pouvez le voir dans les illustrations, les enceintes Neolith projettent un schéma de dispersion contrôlée (voir figure 19). Chaque enceinte Neolith est une source linéaire de 44 pouces qui commence 13,75 pouces au-dessus de la base. Ce profil de dispersion verticale minimise les interactions avec le sol et le plafond.

Figures 14–15. Comme on le voit ici, le concept de point de source permet un grand nombre d’interactions avec la pièce. Bien qu’une bonne fréquence de réponse soit offerte à un grand public, l’image est conséquemment plus confuse et plus floue.

Trois principaux types de dispersion

C’est un fait reconnu que lorsque l‘onde sonore devient peu à peu plus petite que le transducteur qui la produit, la dispersion de cette onde devient de plus en plus étroite ou directionnelle. Cette situation se produit en autant que le transducteur est une surface plane. Les enceintes à grand panneau plat présentent des effets de store vénitien en raison de ce phénomène. C’est l’une des raisons pour lesquelles de nombreux fabricants choisissent de petits haut-parleurs (c.-à-d., des haut-parleurs d’aigus et de fréquences moyennes) pour faire une approximation de ce qui est connu comme le lancement d’onde au point de source.

Historiquement, la plupart des tentatives pour obtenir une dispersion en douceur à partir des transducteurs à grand panneau plat se sont soldées par des compromis. Après l’essai exhaustif de plusieurs méthodes différentes, nous avons conçu un processus simple, mais très perfectionné. En courbant la surface de radiation, nous créons un effet d’arc horizontal. Cela permet aux ingénieurs de MartinLogan de gérer le schéma de dispersion des fréquences élevées de nos transducteurs.

Figures 16–17. Bien qu’elles souffrent de l’effet « store vénitien » les enceintes à panneau multiple en angle peuvent offrir une bonne image, mais seulement dans certains endroits de la zone d’écoute.

Figures 18–19. La surface d’onde cylindrique contrôlée de 30 degrés, une exclusivité MartinLogan, offre une distribution optimale du son et une interaction minimale avec la pièce, pour une image solide et une grande zone d’écoute.

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MartinLogan NEOLITH User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual