Page 1
User's Manual
The Logos Center Channel
Page 2
Important
Contents
Your Logos
Limited 90 Day Warranty coverage.
You have the option, at no additional charge, to receive
Limited 3 Year Warranty coverage. To obtain Limited 3
Year Warranty coverage you need only complete and
return the Certificate of Registration that was included
with your speaker along with a copy of your invoice to
Martin-Logan, within 30 days of purchase.
Martin-Logan may not honor warranty serviceMartin-Logan may not honor warranty service
Martin-Logan may not honor warranty service
Martin-Logan may not honor warranty serviceMartin-Logan may not honor warranty service
claims unless we have a completed Warrantyclaims unless we have a completed Warranty
claims unless we have a completed Warranty
claims unless we have a completed Warrantyclaims unless we have a completed Warranty
Registration card on file!Registration card on file!
Registration card on file!
Registration card on file!Registration card on file!
Should you be using your Martin-Logan product in a
country other than the one in which it was originally
purchased, we ask that you note the following:
1) The appointed Martin-Logan 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 Martin-Logan 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 Martin-Logan 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 Martin-Logan
product.
3) If you relocate to another country, other than where
you purchased your Martin-Logan product, after
owning your speakers for 6 months your warranty
may be transferable. Contact Martin-Logan for
details.
If you did not receive a Certificate of Registration with
your Logos
received a new unit. If this is the case, please contact
your Authorized Martin-Logan dealer.
speaker is provided with an automatic
speaker you cannot be assured of having
Introduction 3
History 4
The Electrostatic Concept 6
Martin-Logan Exclusives 7
Installation Options 8
Operation 9
Logos Bracket Assembly/Setup 1 0
Room Acoustics 1 2
Dispersion Characteristics 1 4
Home Theatre 1 5
Questions 1 6
Troubleshooting 1 7
Glossary 1 8
Page 2
Logos Specifications 2 0
Logos User's Manual
Page 3
Introduction
Congratulations, you have invested in the world's first
electrostatic hybrid home theatre speaker!
The advantages of Martin-Logan hybrid technology will
present themselves to you from moment the movie
begins. The box effect (a phenomenon similar to cupping
your hands around your mouth when speaking) produced
by dynamic midrange drivers is absent and the natural
openness of the human voice comes through. Never
before in home theatre has the midrange been so clear.
Sounds float around the screen clearly defining the area
from where they were created, not the area of the
speaker that created them. This superior performance is
made possible through the use of our proprietary curved
electrostatic transducer. This is the same design technology that is used in the state-of-the-art Martin-Logan
Loudspeaker Systems.
All materials in your new Logos speaker are of the
highest quality to provide years of enduring enjoyment
and deepening respect. The cabinetry is constructed from
a special high-density hardwood powderboard for
structural integrity and is finished with a durable and
attractive matte surface finish.
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
specially tooled, high-grade steel, the panel is then
coated with a special high dielectric compound that is
applied via a proprietary electrostatic deposition process.
This panel assembly houses a membrane 0.0005 of an
inch thick! Ruggedly constructed and insulated, as much
as 200 watts of continuous power has driven the Logos
energized diaphragm into massive excursions with no
deleterious effects.
Please read and follow these instructions as you initially
install the Logos
important and will prevent you from experiencing any
delay, frustration, or system damage which might occur in
a trial-and-error procedure.
The other sections of your
detail the operation of your Logos
philosophy applied to its design. A clear understanding of
your speaker will insure that you obtain maximum
performance and pleasure from this most exacting
transducer.
Happy Listening!
into your system. These instructions are
User’s Manual User’s Manual
User’s Manual will explain in
User’s Manual User’s Manual
speaker and the
Logos User's Manual
Page 3
Page 4
History
In the late 1800’s, any loudspeaker was considered
exotic. Today, most of us 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, Bell Telephone Laboratories made the decision
to develop a complete musical playback system consisting of an electronic phonograph and loudspeaker to take
advantage of the new recording medium. Bell Labs
assigned 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 Bell Labs 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.
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".
Bell Laboratory’s 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 the
membrane of a pigs 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
shocked 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 at Bell Labs considered large speakers
unacceptable, Rice and Kellogg's work on electrostatics
would never be put to use for a commercial product.
Reluctantly, they advised the Bell management to go with
the cone. For the next thirty 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.
Page 4
Logos User's Manual
Page 5
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, woofers from Acoustic Research. These systems
were highly regarded by all audio enthusiasts.
presented a difficult load that some amplifiers did not like,
its dispersion was very directional, and its power handling was limited to around 70 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 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.
As good as these systems were, they would soon be
surpassed by another electrostatic speaker.
In 1955, Peter Walker published three articles on
electrostatic loudspeaker design in
Wireless World
, a
British electronics 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 play very loud, it had poor bass performance, it
Logos User's Manual
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 addressed. 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 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.
Page 5
Page 6
The Electrostatic Concept
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
An Electrostatic TransducerAn Electrostatic Transducer
An Electrostatic Transducer
An Electrostatic TransducerAn Electrostatic Transducer
foundation of the electrostatic
concept.
An electrostatic transducer
consists of three pieces: the
stators, the diaphragm and the
spacers.
See Figure 1
. The
Diaphragm
Spacer
diaphragm is what actually
moves to excite the air and
create music. The stator's job is
to remain stationary, hence the
word stator, to provide a
reference point for the moving
diaphragm. The spacers
provide the diaphragm with a
Figure 1Figure 1
Figure 1. Cut away view of an electrostatic transducer.
Figure 1Figure 1
Notice the simplicity due to minimal parts usage.
fixed distance in which to move
between the stators.
An Electromagnetic TransducerAn Electromagnetic Transducer
An Electromagnetic Transducer
An Electromagnetic TransducerAn Electromagnetic Transducer
As your amplifier sends music
signals to an electrostatic
Surround
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
Basket Assembly
Magnet
simultaneously with and against
the diaphragm, consequently
moving it back and forth,
producing music. This tech-
Figure 2.Figure 2.
Figure 2. Cut away view of a typical moving coil driver.
Figure 2.Figure 2.
Notice the complexity due to the high number of parts.
Cone
nique 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 require that the cone
or dome be perfectly rigid,
Stator
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
See
Dust Cap
Voice Coil Former
or dome in position.
Figure 2.
These pieces, when
combined with the high mass
of the cone or dome materials used, make it an extremely complex unit with
Spider
many weaknesses and
potential for failure. These
faults contribute to the high
distortion products found in
Magnet Assembly
Magnetic GapVoice Coil
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!).
Page 6
Logos User's Manual
Page 7
Martin-Logan Exclusives
Vapor Deposited FilmVapor Deposited Film
Vapor Deposited Film
Vapor Deposited FilmVapor Deposited Film
The diaphragm material used in all Martin-Logan
speakers employs an extremely sophisticated vapor
deposited conductive polymer membrane. A
proprietary conductive compound is vaporized then
electrostatically driven into the surface of the
polymer film in a vacuum chamber. This process
allows an optically transparent membrane, adds no
mass to the diaphragm and is extremely uniform in its
surface resistivity characteristics. 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.
Transducer IntegrityTransducer Integrity
Transducer Integrity
Transducer IntegrityTransducer Integrity
All Martin-Logan transducers begin with two pieces
of high grade, cold rolled steel. These steel pieces
are then custom perforated and insulated with an
exotic composite coating. This proprietary coating
insulates the stator to 3 times its actual needed
working voltage and gives the Logos a wide margin
of safe operation. In addition to the electrical
insulation properties, this coating also provides the
Logos with a durable, attractive finish that dampens
the steel to prevent ringing. The finished metal plates
are curved into a 30 degree arc. Placed between
them is our exclusive vapor deposited diaphragm
and spacers. This assembly is then bonded together
with aerospace adhesives whose strength is so great
that it is commonly used as an alternative to welding.
The result of these advanced technologies is a
transducer that is attractive, durable, highly rigid, well
dampened, and neutral.
Mechanical/AcousticalMechanical/Acoustical
Mechanical/Acoustical
Mechanical/AcousticalMechanical/Acoustical
Tone ShapingTone Shaping
Tone Shaping
Tone ShapingTone Shaping
The clear Lexan® panels on the back of the Logos stator
are the key elements of an innovative pressure compen-
sation technology. Martin-Logan is able to tone-shape the
diaphragm + or - 6dB without the use of an insertion loss
crossover. The advantage of this system is a high
efficiency driver with wide bandwidth capabilities of
dimensions which are easily integrated into a domestic
environment.
Curvilinear Line SourceCurvilinear Line Source
Curvilinear Line Source
Curvilinear Line SourceCurvilinear Line Source
Since the beginning of audio, achieving smooth full
range dispersion has long been a problem for all
loudspeaker designers. Large panel transducers
present even more of a challenge because the
larger the panel, the more directional the dispersion
pattern becomes.
Full range electrostatics have always been one of
the most complex 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, Martin-Logan 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, we developed the production capability to
bring this technology out of the laboratory and into
the market place.
You will find this proprietary Martin-Logan technology
used in all of our 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 all MartinLogan products.
Logos User's Manual
Page 7
Page 8
Installation Options
On a television:On a television:
On a television:
On a television:On a television:
enough platform, the shielded Logos can be placed on it.
Rubber feet are included with the Logos bracket to prevent it
from scratching the top of your television and to keep the
Logos from vibrating.
In the Wall:In the Wall:
In the Wall:
In the Wall:In the Wall:
allows the Logos to be mounted in a wall or cabinet. A kit is
not available for this type of installation, but we would be
happy to discuss the procedure with your dealer.
If your television provides a wide and stable
Having only a forward firing sound wave launch
On the Wall:On the Wall:
On the Wall:
On the Wall:On the Wall:
allowing you to mount the Logos on the wall or ceiling
without locating a stud.
On the Floor:On the Floor:
On the Floor:
On the Floor:On the Floor:
too low to blend properly with the front speakers and the use of
a stand that positions the Logos at the bottom of the screen
may be a good solution. However if placing the Logos on the
floor is the best arrangement for your system, and the floor is
carpeted, please contact us for a complimentary spike set.
The Logos includes a wall mounting kit
Placing the Logos on the floor may position it
Page 8
Logos User's Manual
Page 9
Operation
-Hazardous voltages exist-Hazardous voltages exist
-Hazardous voltages exist
-Hazardous voltages exist-Hazardous voltages exist
inside, do not remove coverinside, do not remove cover
inside, do not remove cover
inside, do not remove coverinside, do not remove cover
-Refer servicing to a qualified-Refer servicing to a qualified
-Refer servicing to a qualified
-Refer servicing to a qualified-Refer servicing to a qualified
techniciantechnician
technician
techniciantechnician
-To prevent fire or shock-To prevent fire or shock
-To prevent fire or shock
-To prevent fire or shock-To prevent fire or shock
hazard, do not expose this module to moisturehazard, do not expose this module to moisture
hazard, do not expose this module to moisture
hazard, do not expose this module to moisturehazard, do not expose this module to moisture
-Use only with grounded outlet-Use only with grounded outlet
-Use only with grounded outlet
-Use only with grounded outlet-Use only with grounded outlet
-Turn amplifier off and unplug speaker should-Turn amplifier off and unplug speaker should
-Turn amplifier off and unplug speaker should
-Turn amplifier off and unplug speaker should-Turn amplifier off and unplug speaker should
any abnormal conditions occurany abnormal conditions occur
any abnormal conditions occur
any abnormal conditions occurany abnormal conditions occur
-Do not operate if there is any visual damage-Do not operate if there is any visual damage
-Do not operate if there is any visual damage
-Do not operate if there is any visual damage-Do not operate if there is any visual damage
to the electrostatic panel elementto the electrostatic panel element
to the electrostatic panel element
to the electrostatic panel elementto the electrostatic panel element
-Do not over drive speaker beyond its rated-Do not over drive speaker beyond its rated
-Do not over drive speaker beyond its rated
-Do not over drive speaker beyond its rated-Do not over drive speaker beyond its rated
powerpower
power
powerpower
Signal ConnectionSignal Connection
Signal Connection
Signal ConnectionSignal Connection
Connections are done at the
back panel of the Logos. Use spade connectors for
optimum contact and ease of installation. Make certain
that your connections are tight.
Use the best speaker cable 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 #14 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.
Signal InputSignal Input
Signal Input section on the
Signal InputSignal Input
AC Power ConnectionAC Power Connection
AC Power Connection
AC Power ConnectionAC Power Connection
Because your Martin-Logan Logos
supply to energize its electrostatic cells with high-voltage
DC, it must be connected to an AC power source. For
this reason it is provided with the proper IEC standard
power cords. This cord should be firmly inserted into any
convenient AC wall outlet. The Logos has been designed
to remain on continuously and should remain connected
to a continuous AC power source. As mentioned earlier,
power consumption of the Logos is very small and the life
expectancy of its components will not be reduced by
continuous operation.
The power cord should not be installed, removed, orThe power cord should not be installed, removed, or
The power cord should not be installed, removed, or
The power cord should not be installed, removed, orThe power cord should not be installed, removed, or
left detached from the speaker while the other end isleft detached from the speaker while the other end is
left detached from the speaker while the other end is
left detached from the speaker while the other end isleft detached from the speaker while the other end is
connected to an AC power source.connected to an AC power source.
connected to an AC power source.
connected to an AC power source.connected to an AC power source.
Your Logos speaker is wired for the power service
supplied in the country of original consumer sale. The AC
power rating applicable 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 Logos speaker from the country of
original sale, be certain that AC power supplied in any
subsequent location is suitable before connecting and
operating the speaker. Substantially impaired performance or severe damage may occur to the Logos if
operation is attempted from an incorrect AC power
source.
uses an internal power
A variety of speaker cables are now available whose
manufacturers claim better performance than with
standard heavy gauge wire. We have verified this in
some cases, and the improvements available are often
more noticeable than the differences between wires of
different gauge.
Logos User's Manual
Page 9
Page 10
Logos bracket assembly / setup (revised 3-99)
Revised contents of
accesory kit
flat edge
1 ea. - Logos speaker
1 ea. - Mounting bracket
2 ea. - 1.75 in. dia. Metal cylinders
2 ea. - 1/2 in. x 2.5 in. Button head bolts
1 ea. - 5/16 in. Allen wrench
6 ea. - Rubber feet
4 ea. - 1/4 in. x 2 1/2 in. Hex head lag screws
4ea.-#12washer
Mounting the Logos on the
Wall or Ceiling
The following instructions assume the
mounting surface is of wood frame and
standard sheet rock construction. Mounting to
another construction should be referred to a
bonded contractor.
This is a two person operation, do not attempt
it alone.
NOTE: The Logos bracket is designed with a
specific top and bottom and must be installed
right side up for the speaker to rotate
properly. To determine which is the top,
examine the arms on each end of the bracket
(figure 1.) - the flat side of the arm indicates
the top.
. Position the Logos bracket on the wall in
Step 1
the desired position for the speaker, and have
your assistant hold it in place. The mounting
holes on the bracket are set for standard 16 in.
stud spacing. Use a stud finder to locate the wall
studs nearest to the mounting holes you want to
hit.
Figure 2. shows the bracket centered, you may
want to offset the bracket for your installation -
is imperative that the hex head lag bolts hit
the wall studs squarely to insure proper
support for the weight of the Logos speaker.
It
TOP
BOTTOM
Figure 1. - Determine top and bottom
40 in.
wall studs
mark location
16 in.
Figure 2. Wall or ceiling mounting
level
Screw in
lag bolts
(with washers)
16 in.
Figure 3. Check for level
Arm
TOP
BOTTOM
side view of arm
flat edge
. Re-position the bracket to match the
Step 2
mounting holes with the location of the wall
studs, and mark their position through the
page 10 revised
Logos User’s Manual
Page 11
. Drill a 9/64 in. pilot hole through
Step 3
one of the upper (for the top of the
bracket) pencil register marks you made
in the previous step. Get out your level,
you’re going to need it for the next step.
Get your assistant to hold the bracket in
place while you secure the first lag
screw through the bracket in the pilot
hole you just drilled. Check for level as
shown (figure 3) and make any changes
necessary to the register marks you
made previously. Unscrew the lag bolt
and remove the bracket.
Step 4
. Drill the remaining pilot holes for
the other lag screws. Have your
assistant hold the bracket to the wall
while you drive the lag screws through
the supplied washers firmly into the wall
studs.
Step 5
. Place a metal cylinder in each of
the large holes in the back lower
corners of the Logos.
Step 6
. Raise the Logos to the bracket
and align the center holes of the metal
cylinders with the 1/2 in. holes in the
uprights of the bracket.
bolt
top of speaker
cylinder cylinder
clearance area
bolt
Step 7
. Insert the supplied 2 in. bolts
through the bracket and cylinder holes
and snug them using the supplied allen
wrench.
Step 8
. To direct the speaker at the
listening position slightly loosen each of
the end bolts, tip the logos to it’s best
Logos User’s Manual
page 11
Page 12
Room Acoustics
Your RoomYour Room
Your Room
Your RoomYour 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' to as much as 40'! Your room participates in
TerminologyTerminology
Terminology
TerminologyTerminology
Standing WavesStanding Waves
Standing Waves. The parallel walls in your room will
Standing WavesStanding Waves
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 “tubby
bass”. For instance, 100Hz represents a 10' wavelength. Your room will reinforce that specific frequency if one of the dominant dimensions is 10'.
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 get away from this
phenomenon.
this wave experience like a 3 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 audio system can literally generate all of
the information required to recreate a musical event in
time, space, and tonal balance. The purpose of your
room, ideally, is to not contribute to that information.
However, every room does contribute to the sound and
the better speaker manufacturers have designed their
systems to accommodate this phenomenon.
Let’s talk about a few important terms before we begin.
Reflective Surfaces (near-field reflections)Reflective Surfaces (near-field reflections)
Reflective Surfaces (near-field reflections). The hard
Reflective Surfaces (near-field reflections)Reflective Surfaces (near-field reflections)
surfaces of your room, particularly if close to your
speaker system, will reflect those waves back into
the room over and over again, confusing the clarity
and imaging of your system. The smaller sound
waves are mostly effected here and occur in the mid
and high frequencies. This is where voice and
frequencies as high as the cymbals can occur.
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Logos User's Manual
Page 13
Resonant Surfaces and ObjectsResonant Surfaces and Objects
Resonant Surfaces and Objects. All of the surfaces and
Resonant Surfaces and ObjectsResonant Surfaces and Objects
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 CavitiesResonant Cavities
Resonant Cavities. Small alcoves or closet type areas in
Resonant CavitiesResonant Cavities
your room can be chambers that create their own
“standing waves” and can drum their own “one note”
sounds.
Rules of ThumbRules of Thumb
Rules of Thumb
Rules of ThumbRules of Thumb
Hard vs. Soft SurfacesHard vs. Soft Surfaces
Hard vs. Soft Surfaces. If the front or back wall of your
Hard vs. Soft SurfacesHard vs. Soft Surfaces
listening room is soft, it may benefit you to have a
hard or reflective wall in opposition. As well, the
ceiling and floor should follow the same basic
guideline. 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.
Clap your hands. Can you hear an instant echo respond
back? You’ve got near-field reflections. Stomp your foot
on the floor. Can you hear a “boom”? You’ve got 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.
Breakup ObjectsBreakup Objects
Breakup Objects. Objects with complex shapes, such as
Breakup ObjectsBreakup Objects
bookshelves, cabinetry, and multiple shaped walls
can help break up those sonic gremlins and diffuse
any dominant frequencies.
Solid CouplingSolid Coupling
Solid Coupling. Your loudspeaker system generates
Solid CouplingSolid Coupling
frequency vibrations or waves into the room. This is
how it creates sound. Those vibrations will 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.
Logos User's Manual
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Page 14
Dispersion Characteristics
Controlled Horizontal DispersionControlled Horizontal Dispersion
Controlled Horizontal Dispersion
Controlled Horizontal DispersionControlled Horizontal Dispersion
Your Logos launches a 30 degree dispersion pattern
when viewed from above. This horizontal dispersion field
gives you a choice of good seats for the performance
while minimizing interaction with side walls.
See Figure 1
Controlled Vertical DispersionControlled Vertical Dispersion
Controlled Vertical Dispersion
Controlled Vertical DispersionControlled Vertical Dispersion
As you can see from the illustrations, your Logos
projects a controlled dispersion pattern.
This vertical dispersion profile minimizes interactions with
.
the floor and the ceiling.
See Figure 2
speaker
.
Figure 1Figure 1
Figure 1. The Martin-Logan Logos
Figure 1Figure 1
launch dispersion pattern distributed horizontally.
Page 14
delivers a 30 degree wave
Figure 2Figure 2
Figure 2. The Martin-Logan Logos vertical dispersion profile
Figure 2Figure 2
minimizes interactions with the floor and ceiling.
Logos User's Manual
Page 15
Home Theatre
It has long been the practice of stereo buffs to connect
their television to the 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 '80'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 theatre quality sound available at
home, the only element missing was the "surround
sound" presentation found in movie houses.
Fortunately, "Dolby" encoded movies (which includes
almost all movies) have the same surround sound
information encoded on home releases as the theatre
films. All that is required to retrieve this information is a
decoder and additional speakers to reproduce it.
Home theatre is a complex purchase and we recommend
that you consult your local Martin-Logan dealer as he is
well versed in home theatre. The following list and
descriptions will only give you a brief outline as to the
responsibilities and demands placed on each speaker.
Front Left and Right. Front Left and Right.
Front Left and Right. These speakers are the same two
Front Left and Right. Front Left and Right.
used for audio only and should be of very good
quality. The front speakers need to be able to play
loud (over 102 dB) and reproduce bass below 80 Hz.
Center Channel.Center Channel.
Center Channel. This is the most important speaker in a
Center Channel.Center Channel.
video system as almost all of the dialogue is reproduced through it. Also, a large portion of the information that is reproduced by the front channel speakers
is reinforced by the center speaker. It is important
that the center speaker be designed by the same
manufacturer as the front speakers and is recommended for use as a center speaker. This is not the
place to cut corners.
SurroundSpeaker
(dipoledesign)
SurroundSpeaker
(dipoledesign)
Surround Speakers.Surround Speakers.
Surround Speakers. We recommend that the surround
Surround Speakers.Surround Speakers.
FrontSpeaker
Rear Projection
Television
CenterSpeaker
FrontSpeaker
Subwoofer
Subwoofer
speakers play down to 80 Hz or below. The 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 six channel digital encoding becomes
available and the demands on the surround speakers
increase.
Subwoofer.Subwoofer.
Subwoofer. Most movie soundtracks contain large
Subwoofer.Subwoofer.
amounts of bass information as part of the special
effects. A good subwoofer will provide a foundation
for the rest of the system. Good subwoofers are very
complex and expensive to manufacture. We recommend a subwoofer with a built in amplifier.
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.
Logos User's Manual
Page 15
Page 16
Questions
What amplification should I use with my A/V system?What amplification should I use with my A/V system?
What amplification should I use with my A/V system?
What amplification should I use with my A/V system?What amplification should I use with my A/V system?
Unfortunately the most often asked question regarding
amplification is the most difficult to answer and that is
“How much power do I need?” The best advice we can
offer is that you consider that video is very dynamic and
the peak energy demands can last much longer than in
most musical presentations. Therefore it is our recommendation that your A/V amplifiers be at least as large if
not larger than your current audio amplifier.
As for how much power should be available to each
channel compared to the others it is our feeling that the
front three speakers should receive the same amount of
power and the surround speakers at least 75% of the
power available to the front speakers . As discrete digital
surround becomes available all five speakers should
receive the same amount of power.
Should I unplug my Logos during a thunderstorm?Should I unplug my Logos during a thunderstorm?
Should I unplug my Logos during a thunderstorm?
Should I unplug my Logos during a thunderstorm?Should I unplug my Logos during a thunderstorm?
Yes. Or before. It’s a good idea to disconnect all of your
audio/video components during stormy weather.
Is there likely to be any interaction between theIs there likely to be any interaction between the
Is there likely to be any interaction between the
Is there likely to be any interaction between theIs there likely to be any interaction between the
Logos and the television in my Audio/Video system?Logos and the television in my Audio/Video system?
Logos and the television in my Audio/Video system?
Logos and the television in my Audio/Video system?Logos 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. The magnets in conventional
speakers do interact with televisions tubes. However, in
the Logos the conventional drivers' magnetic structure
has been physically shielded and the crossover has been
electrically shielded, so there will be no interference with
your television.
Could my children, pets, or myself be shocked by theCould my children, pets, or myself be shocked by the
Could my children, pets, or myself be shocked by the
Could my children, pets, or myself be shocked by theCould my children, pets, or myself be shocked by the
high-voltage present in the electrostatic panel?high-voltage present in the electrostatic panel?
high-voltage present in the electrostatic panel?
high-voltage present in the electrostatic panel?high-voltage present in the electrostatic panel?
If my child punctured the diaphragm with a pencil,If my child punctured the diaphragm with a pencil,
If my child punctured the diaphragm with a pencil,
If my child punctured the diaphragm with a pencil,If my child punctured the diaphragm with a pencil,
stick, or similar item., how extensive would thestick, or similar item., how extensive would the
stick, or similar item., how extensive would the
stick, or similar item., how extensive would thestick, or similar item., how extensive would the
damage to the speaker be?damage to the speaker be?
damage to the speaker be?
damage to the speaker be?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 may 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 my electric bill go ‘sky high’ by leaving myWill my electric bill go ‘sky high’ by leaving my
Will my electric bill go ‘sky high’ by leaving my
Will my electric bill go ‘sky high’ by leaving myWill my electric bill go ‘sky high’ by leaving my
speakers plugged in all the time?speakers plugged in all the time?
speakers plugged in all the time?
speakers plugged in all the time?speakers plugged in all the time?
Your Logos is equipped with a device we call the signal
sensing circuit. Here's how it works. The signal automatically diminishes the bias voltage of the ESL cell to
conserve energy and prolong the life of the system. If you
like, you can think of it as an attendant who turns off the
lights when you aren't using them. Your Logos doesn't
use much energy anyway (it may cost you about as much
to operate as one 15 watt light bulb) but after five minutes
of the absence of any program material, the circuit will
turn it off.
Will exposure to sunlight affect the life or perform-Will exposure to sunlight affect the life or perform-
Will exposure to sunlight affect the life or perform-
Will exposure to sunlight affect the life or perform-Will exposure to sunlight affect the life or performance of the Logos?ance of the Logos?
ance of the Logos?
ance of the Logos?ance of the Logos?
We recommend that you not place any loudspeaker in
direct sunlight as the ultraviolet (UV) rays from the sun
can cause deterioration of grill cloth, speaker cones, etc..
Exposures through glass will not cause a problem,
however the heat generated by the sun will age the finish
on the speaker as it would any fine furniture. MartinLogan speakers are not recommended for outdoor use.
Will excessive smoke or dust cause any problems?Will excessive smoke or dust cause any problems?
Will excessive smoke or dust cause any problems?
Will excessive smoke or dust cause any problems?Will excessive smoke or dust cause any problems?
No. High voltage with low current is not dangerous. As a
matter of fact, the voltage in our speakers is
lessless
less than the static electricity that builds up on the
lessless
surface of your television screen.
Page 16
10 times10 times
10 times
10 times10 times
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.
Logos User's Manual
Page 17
Troubleshooting
No OutputNo Output
No Output
No OutputNo Output
Check that all your system components are turned on.
Check your speaker wires and connections.
Check all interconnecting cables.
Weak Output, Loss of HighsWeak Output, Loss of Highs
Weak Output, Loss of Highs
Weak Output, Loss of HighsWeak Output, Loss of Highs
Check the power cord. Is it properly connected to
the speaker?
Lack of BassLack of Bass
Lack of Bass
Lack of BassLack of Bass
Check your speaker wires. Is the polarity correct?
Low Frequency (60Hz) HumLow Frequency (60Hz) Hum
Low Frequency (60Hz) Hum
Low Frequency (60Hz) HumLow Frequency (60Hz) Hum
If the Logos hum when the amplifier is turned on, but
not playing music, the cause may be a ground loop.
A ground loop is caused by a difference in the
ground potential in the A.C. line. To eliminate this
loop, use a ground lift adaptor on the Logos A.C.
cord.
Popping and Ticking Sounds, Funny NoisesPopping and Ticking Sounds, Funny Noises
Popping and Ticking Sounds, Funny Noises
Popping and Ticking Sounds, Funny NoisesPopping 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.
These noises may be caused by dirt and dust particles collecting on the speaker, by high humidity or
by AC line fluctuations that may occur in your area.
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.
DO NOT SPRAY ANY KIND OF CLEANING AGENTDO NOT SPRAY ANY KIND OF CLEANING AGENT
DO NOT SPRAY ANY KIND OF CLEANING AGENT
DO NOT SPRAY ANY KIND OF CLEANING AGENTDO NOT SPRAY ANY KIND OF CLEANING AGENT
ON OR IN CLOSE PROXIMITY TO THE ELECTRO-ON OR IN CLOSE PROXIMITY TO THE ELECTRO-
ON OR IN CLOSE PROXIMITY TO THE ELECTRO-
ON OR IN CLOSE PROXIMITY TO THE ELECTRO-ON OR IN CLOSE PROXIMITY TO THE ELECTROSTATIC ELEMENT.STATIC ELEMENT.
STATIC ELEMENT.
STATIC ELEMENT.STATIC ELEMENT.
Logos User's Manual
Page 17
Page 18
Glossary
ACAC
AC. Abbreviation for alternating
ACAC
current.
Active crossoverActive crossover
Active crossover. Uses active
Active crossoverActive crossover
devices (transistors, IC’s,
tubes) and some form of power
supply to operate.
AmplitudeAmplitude
Amplitude. The extreme range of a
AmplitudeAmplitude
signal. Usually measured from
the average to the extreme.
ArcArc
Arc. The visible sparks generated by
ArcArc
an electrical discharge.
BassBass
Bass. The lowest frequencies of
BassBass
sound.
Bi-AmplificationBi-Amplification
Bi-Amplification. Uses an electronic
Bi-AmplificationBi-Amplification
crossover or line-level passive
crossover and separate power
amplifiers for the high and low
frequency loudspeaker drivers.
CapacitanceCapacitance
Capacitance. That property of a
CapacitanceCapacitance
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.
CapacitorCapacitor
Capacitor. A device consisting of two
CapacitorCapacitor
or more conducting plates
separated from one another by
an insulating material and used
for storing an electrical charge.
Sometimes called a condenser.
ClippingClipping
Clipping. Distortion of a signal by its
ClippingClipping
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.
CrossoverCrossover
Crossover. An electrical circuit that
CrossoverCrossover
divides a full bandwidth signal into
the desired frequency bands for
the loudspeaker components.
dB (decibel)dB (decibel)
dB (decibel). A numerical expression
dB (decibel)dB (decibel)
of the relative loudness of a
sound. The difference in decibels
between two sounds is ten times
the common logarithm of the ratio
of their power levels.
DCDC
DC. Abbreviation for direct current.
DCDC
DiffractionDiffraction
Diffraction. The breaking up of a
DiffractionDiffraction
sound wave caused by some type
of mechanical interference such
as a cabinet edge, grill frame, or
other similar object.
DiaphragmDiaphragm
Diaphragm. A thin flexible membrane
DiaphragmDiaphragm
or cone that vibrates in response
to electrical signals to produce
sound waves.
DistortionDistortion
Distortion. Usually referred to in
DistortionDistortion
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.
DriverDriver
Driver. See transducer.
DriverDriver
Dynamic RangeDynamic Range
Dynamic Range. The range between
Dynamic RangeDynamic Range
the quietest and the loudest
sounds a device can handle
(often quoted in dB).
EfficiencyEfficiency
Efficiency. The acoustic power
EfficiencyEfficiency
delivered for a given electrical
input. Often expressed as
decibels/watt/meter (dB/w/m).
ESLESL
ESL. Abbreviation for electrostatic
ESLESL
loudspeaker.
HeadroomHeadroom
Headroom. The difference, in
HeadroomHeadroom
decibels, between the peak and
RMS levels in program material.
HybridHybrid
Hybrid. A product created by the
HybridHybrid
marriage of two different technologies. Meant here as the
combination of a dynamic woofer
with an electrostatic transducer.
Hz (Hertz)Hz (Hertz)
Hz (Hertz). Unit of frequency equiva-
Hz (Hertz)Hz (Hertz)
lent to the number of cycles per
second.
ImagingImaging
Imaging. To make a representation or
ImagingImaging
imitation of the original sonic
event.
ImpedanceImpedance
Impedance. The total opposition
ImpedanceImpedance
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.
InductanceInductance
Inductance. The property of an
InductanceInductance
electric 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.
InductorInductor
Inductor. A device designed primarily
InductorInductor
to introduce inductance into an
electric circuit. Sometimes called
a choke or coil.
LinearityLinearity
Linearity. The extent to which any
LinearityLinearity
signal handling process is
accomplished without amplitude
distortion.
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Logos User's Manual
Page 19
MidrangeMidrange
Midrange. The middle frequencies
MidrangeMidrange
where the ear is the most
sensitive.
Passive crossoverPassive crossover
Passive crossover. Uses no active
Passive crossoverPassive crossover
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.
PhasePhase
Phase. The amount by which one sine
PhasePhase
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 noisePink noise
Pink noise. A random noise used in
Pink noisePink noise
measurements, as it has the
same amount of energy in each
octave.
ResistanceResistance
Resistance. That property of a
ResistanceResistance
conductor by which it opposes the
flow of electric current, resulting
in the generation of heat in the
conducting material, usually
expressed in ohms.
ResistorResistor
Resistor. A device used in a circuit
ResistorResistor
primarily to provide resistance.
ResonanceResonance
Resonance. The effect produced
ResonanceResonance
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.
SensitivitySensitivity
Sensitivity. Volume of sound deliv-
SensitivitySensitivity
ered for a given electrical input.
StatorStator
Stator. The fixed part forming the
StatorStator
reference for the moving diaphragm in a planar speaker.
THDTHD
THD. Abbreviation for total harmonic
THDTHD
distortion. (See Distortion.)
TransientTransient
Transient. Applies to that which lasts
TransientTransient
or stays but a short time. A
change from one steady-state
condition to another.
TweeterTweeter
Tweeter. A small drive unit designed
TweeterTweeter
to produce only high frequencies.
WavelengthWavelength
Wavelength. The distance measured
WavelengthWavelength
in the direction of progression of a
wave, from any given point
characterized by the same phase.
White noiseWhite noise
White noise. A random noise used in
White noiseWhite noise
measurements, as it has the
same amount of energy at each
frequency.
WooferWoofer
Woofer. A drive unit operating in the
WooferWoofer
bass frequencies only. Drive units
in two-way systems are not true
woofers but are more accurately
described as being mid/bass
drivers.
PolarityPolarity
Polarity. The condition of being
PolarityPolarity
positive or negative with respect
to some reference point or object.
RMSRMS
RMS. Abbreviation for root mean
RMSRMS
square. The effective value of a
given waveform is its RMS value.
Acoustic power is proportional to
the square of the RMS sound
pressure.
TIMTIM
TIM. Abbreviation for transient
TIMTIM
intermodulation distortion. (See
Distortion.)
TransducerTransducer
Transducer. Any of various devices
TransducerTransducer
that transmit energy from one
system to another, sometimes
one that converts the energy in
form. Loudspeaker transducers
convert electrical energy into
mechanical motion.
Logos User's Manual
Page 19
Page 20
Specifications
Frequency ResponseFrequency Response
Frequency Response
Frequency ResponseFrequency Response
75-20,000 Hz +/- 3dB
SensitivitySensitivity
Sensitivity
SensitivitySensitivity
89dB 2.83 volts/meter
Impedance MagnitudeImpedance Magnitude
Impedance Magnitude
Impedance MagnitudeImpedance Magnitude
Nominal: 5 ohms • Minimum: 2.75 ohms
Crossover FrequencyCrossover Frequency
Crossover Frequency
Crossover FrequencyCrossover Frequency
300, 3500 Hz • 12dB per octave
WooferWoofer
Woofer
WooferWoofer
6.5" (16.5 cm) magnetically shielded in a sealed cabinet
MidrangeMidrange
Midrange
MidrangeMidrange
Two 17" x 9.25" (43.2 cm x 23.5 cm) curved electrostatic panels, vapor deposited
polyester film with proprietary insulated stators
TweeterTweeter
Tweeter
TweeterTweeter
.55" (1.4 cm) titanium composite dome, ferro fluid cooled voice coil
Recommended Amplifier PowerRecommended Amplifier Power
Recommended Amplifier Power
Recommended Amplifier PowerRecommended Amplifier Power
To be matched with system; minimum 50 watts
WeightWeight
Weight
WeightWeight
62 lbs (28.1 kg)
DimensionsDimensions
Dimensions
DimensionsDimensions
40.6" W x 9.6"D x 11.8"H (103.1 cm x 24.4 cm x 30 cm)
Page 20
Logos User's Manual
Page 21
Notes
Logos User's Manual
Page 21
Page 22
$ 5.00$ 5.00
$ 5.00
$ 5.00$ 5.00
2001 delaware street, p.o. box 707, lawrence, kansas 66044
ph: (785)749-0133, fax: (785)749-5320
www.martinlogan.com
© 1997
martin-logan ltd.martin-logan ltd.
martin-logan ltd. all rights reserved
martin-logan ltd.martin-logan ltd.
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