Martin Logan Theos in the Test

Here audiophile close your eyes like: the holographic illustration of this electrostatic is legend. Martin Logan now connect their foil converters with a passive, dynamic bass. There is the electrostatic magic really for moderate 5900 euro?

Martin-Logan-fans true marvels reported its electrostatic: only they were able to combine highest resolution and most accurate figure with effortless transparency. Responsible for: an electrostatically driven slide that swings between two electrically charged in bars, must be without having a current flows or significant mass is moving. The concept is admittedly only in the bass, if the film is great – the Super-Logan CLX with diaphragm sizes remains in the square meter area of because the only full range electrostatic of US manufacturing. The other Logan’s can support themselves in the bass from a mostly active bass speaker or are equal even fully active. Big exception in the program there is the Theos: your woofer in the eight inch size plays a passive bass reflex design in the base of the speaker. This makes for Logan which has Acoustic tuning more difficult, for the electrostatic fan but the advantage that he receives a full ML with large panel with surprisingly affordable 5900 euro per pair.

The Theos – absolutely mature

The sophisticated technology of electrostatic derives directly from the top models of CLX and Summit X: the clear, thin, unlike conventional dynamic chassis almost massless foil made of special plastic is exclusively driven via an electric field which next times attracts the preloaded film the music signal in the direction of the rear, the front stator grating time, while they also rejected by the other is (push-pull drive). To mobilise appropriate forces, the electric field must be loaded before similar to a huge capacitor with high voltage. And also the music signals are high by a cascade of coils and capacitors to extreme voltage values at virtually nonexistent streams. The membrane is extremely thin–20 of them would be not even a millimeter thick stacked! So the film also not stiff is increased, as traditional swing areas are – but the risk of partial coloration and resonance. Martin Logan has perfected a technology here over the decades, thanks to the film at different intervals is fixed by crossbars and thus not prone to vibrations.

This makes highest demands on the quality of production – there is a vacuum room, in which the films air are stretched and then fixed with Martin Logan. Because the film must follow everywhere a constant distance to the stator lattice, the whole construction is curved in the vertical, what the MLs is fundamentally different from other electrostatic. A plane film would be easier to build, would result in the horizontal but due to the increasing equity bundling an uneven set behavior and a much smaller sweet spot. In the vertical is the phenomenon without meaning, because the foil is made simply so high that she used about 110 centimeters high range per cylinder shaft and sufficient tolerance when choosing the listening height can be. This radiation has the invaluable advantage of that floor and ceiling reflections are largely hidden and also at very large listening distances of four metres or more the direct sound can outweigh the indirect. In the bass and tone your hearing is why the work leaves the Theos already below 400 Hz dynamic bass and the reflex tube increasingly insensitive to such subtleties.

Holography and magic in the listening room

The Theos first with their outstanding figure scored in the listening room: the manner as she perfectly placed more than 200 musicians in Dvorak’s Requiem (Jansons) and put in holographic accuracy into the room, stood the great Logan brothers in anything after and moved the listeners simply breath. It showed in the dynamic passages, all voices diversified around the “Agnus Dei”, a famous transparency, without the listener with too much resolution or height information to overload. Choir and soloists was a little slim it in tone, but what did not diminish the credibility and balance overall and was restored by the solid, inconspicuously integrated bass fundament of the Orchestra. To the Theos conjured up a mature, credible room, without her panorama too much in depth, as sometimes do other dipoles. That she wrote to nothing at Hall, participated in by House of pop blessed with little spatial information and rock recordings sometimes something mercilessly: at rush “Roll The Bones” seemed to step out of singers and instruments based on the stereo and edit the listener with almost intrusive directness at close range.

But thanks to its transparency and cleanliness and the is slender, but crisp and shapely Tieftones that sounded again extremely dynamically, thereby never annoying. The portly, slightly rounder bass with Marla Glens showed without saying “best of” the speed and seamless, stress-free dynamics, which was their own brass. But he added is homogeneous and without a limp after in the musical event. Also here she produced not much depth, but caused – if in sufficient distance was positioned – with a slightly More kindly placement of instruments for a higher well-being as pronounced at the rush Disc. One sense for certain styles of music the Theos – showed what CD in the player turned, she always remained her character as a resolution, tracking and dynamic miracle, required voltage and current of the driving amplifier here except a certain portion. Who has – has always been linked an electrostatic the entry was never as appealing as with the Theos.

Conclusion to the Martin Logan Theos

Although I privately active and most dynamic work hear – at Logan I understand the unconditional fascination for electrostatic. No me well known conventional speaker is transparent so effortlessly, so holographic exactly mapping as the Theos. Thanks to the large slide, it sounds like the more expensive Logans so fully and dynamically, the integration of passive bass is not spectacular, but harmonious. A clear tip for all film fans – and that’s going very fast.

 

Gallery

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