MartinLogan Speaker System User Manual

S E T - U P M A N U A L F O R T H E

STATEMENT SYSTEM

Contents

System Set-up

ChecklistChecklist

Checklist

ChecklistChecklist

The Statement system consists of the following items:

Introduction

System Set-up

Room Acoustics

Troubleshooting

Introduction

Congratulations! You are about to experience the
highest resolution, most dynamic, extended sound­stage system in the galaxy, the Statement!

The Martin-Logan STATEMENT represents the
culmination of an intensive, dedicated group research
program directed toward establishing a world class
reference system utilizing leading-edge technology,
without compromising durability, reliability, craftsman­ship, or aesthetic design.

As a result of our continuous research and develop­ment program here at Martin-Logan, we decided that it
was time to incorporate some of our latest technolo­gies into a reference product.

2

2

6

8

Before setting-up the system, please make note that
odd serial numbers for all components (woofer tower,
stator, interface, crossover, power supply (example:
XICL001)) are matched for use as the right channel,
while even serial numbers for all components are
matched for the left channel.

WW

W

WW

The woofer assemblies are connected to the amplifier
via either the 5-way binding posts or screw terminals on
the backplate of the woofer column. As can be seen from
the back panel of the Statement woofer, the signal
connectors are strapped in such a way that you can use
one amplifier out of the box.

If you desire or require double amplification, the electronic
crossover modules have dual, low-level, low-pass,
outputs. By removing the straps on the woofer backplate
you can directly access, via one set of 5-way binding
posts, two woofers at a time. Hence you are able to use
two bass amplifiers. This option is available for the
consideration of amplifiers which do not perform their best
into a 2 ohm load. When using two amplifiers, each one
will see only a 4 ohm load.

Electrostatic PElectrostatic P

Electrostatic P

Electrostatic PElectrostatic P

The electrostatic panel assemblies should first be
assembled mechanically. The method of assembly
consists of setting the pedestal on the floor then sliding
the left and right upright braces on to their hidden
fasteners. Observe figure 1. Next, bring the electrostatic
panel assembly to the braces and attach via the hidden
fasteners. Finally, attach the interface riser blocks via the
hidden fasteners and install the interface module on-top
of the risers.

2 - electrostatic panels mounted in frames
2 - electrostatic panel pedestals with uprights
2 - interface modules
4 - interface riser blocks
2 - woofer columns
2 - crossover modules*
2 - crossover power supplies*
1 - toolkit
4 - power cords*

* Add two more if system is balanced.

oofer Assembliesoofer Assemblies

oofer Assemblies

oofer Assembliesoofer Assemblies

anel Assembliesanel Assemblies

anel Assemblies

anel Assembliesanel Assemblies

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STATEMENT Set-up Manual

You are now ready to connect the electrostatic panel to
the interface module via the three color coded pin-plugs.
Naturally, black to black, green to green and red to red.
The blue stat panel wire goes to the green pin-plug on
the interface module.

Observing from the back of the interface module you will
see five-way binding posts, screw terminals, soft-contour
switches, and the AC input.

Proceed by plugging in the AC power cord, first at the
interface module, then to the wall outlet. Then attach to
your high-pass amplifier via the screw terminals or the
five-way binding posts. They are internally parallel
connected so that either terminal set may be used.

properly engage a switch, you need to have all other
switches opposed away from the rear jacks (off - one
switch on at a time). Begin by setting both the low-pass
and the high- pass in the number one position. If the
high-pass and low- pass amplifiers have the same gain,
the system is designed to operate with both dip switches
set to “1” (Position “1” represents no attenuation). If the
gain difference is known, attenuate the higher gain
amplifier by the known gain difference using the switch
one number higher than the attenuation needed in dB (Ie:
switch “4” is 3db attenuation-all switches open is 8dB
down).

OPEN

CLOSED

ATTENUATION

Do not use both with different power amplifiers!

Use only one!

Crossover SettingsCrossover Settings

Crossover Settings

Crossover SettingsCrossover Settings

Before you connect the crossover and begin listening,
there are some internal switches that must be set.
However, if you are using identical amplifiers for the high
and low pass sections of the Statement, you may skip
this step.

Remove the covers from the crossover modules that
have the control knob. Inside you will see, towards the
back, two red dip switches. The left dip switch as you
face the crossover attenuates the low pass, the right dip
switch attenuates the high-pass. These switches will
balance the gain in amplifiers with different gain charac­teristics.

The following formula will help you calculate the gain of
each amplifier:

Amplifier Gain = 20 log

(Rated Output @ 8 ohms) x 8
Input Sensitivity

Below is a list of switch settings to help you select the
proper gain switch settings.

As you detent the switch towards the rear jacks, you are
engaging that switch. In other words, you are turning the
transducer down by 1 decibel per position as you detent
the switch in numerical order away from1. In order to

Does not matter.

1

1,3,4,5,6,7,8

1,2,4,7,8

1,2,4,5,6,7,8

1,2,3,5,7,8

1,2,3,5,6,7,8

1,2,3,4,6,8

1,2,3,4,6,7,8

1,2,3,4,5,7
1,2,3,4,5,7,8
1,2,3,4,5,6,8
1,2,3,4,5,6,7

1,2,3,4,5,6,7,8

1

2,3,4,5,6,7,8

2

3,5,6

3

4,6

4

5,7

5

6,8

6
7
8

None

0 dB

-0.5 dB

-1.0 dB

-1.5 dB

-2.0 dB

-2.5 dB

-3.0 dB

-3.5 dB

-4.0 dB

-4.5 dB

-5.0 dB

-6.0 dB

-7.0 dB

-8.0 dB

If equipped, the best way now to obtain the optimal
setting is to locate a spectrum analyzer in the room near
your seating position, turn one system on with pink noise
and begin to observe the relationship of the stat panel
and the subwoofer at the crossover point approximately
at 100 Hz. When you begin to see the spectrum becom­ing correct at that point, that is when you have the optimal
crossover format. By correct, I mean flat, or even. The
energy below 100 Hz is roughly comparable to the energy
above 100 Hz. You should have reasonable tonal
balance from 60 Hz onward to 200 Hz. At that point you
have the optimal frequency balance at the crossover
point. Keep in mind that specs and equipment can
determine the best place to begin, but your ears are the
most critical instrument available. Listen and adjust for
your personal best balance.

STATEMENT Set-up Manual

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