MartinLogan ElectroMotion ESL C Manuel utilisateur

Marque: MartinLogan

Modèle: ElectroMotion ESL C

Taper: Manuel utilisateur

user’s manual

The lightning bolt flash with arrowhead

symbol, within an equilateral triangle,

is intended to alert the user to the

presence of potentially “dangerous voltage” within the

product’s enclosure that may be sufficient to constitute

a risk of electric shock.

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.

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.

For this reason Martin Logan 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 contact the dealer from whom

you purchased this product, email [email protected]

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.

Installation in Brief ..................... 4

Introduction .......................... 5

Connections .........................6

Low-Voltage (DC) Power Connection .......6

Speaker Level Conneciton ..............6

Installation ..........................7

Break-In ..........................7

Installing on a Flat Surface .............7

Vertical Dispersion ...................7

Home Theater ........................7

Electrostatic Advantages ................9

MartinLogan Exclusives ................10

CLS™ (Curvilinear Line Source) .........10

XStat Transducer ...................10

MicroPerf Stator ...................10

Vacuum Bonding ...................10

Folded Motion™ Tweeter .............10

Electrostatic History ...................11

Frequently Asked Questions .............13

Troubleshooting ...................... 15

General Information ..................16

Warranty and Registration ............16

Serial Number ....................16

Service .........................16

Specifications .......................17

Glossary of Audio Terms ...............17

Dimensional Drawings .................20

WARNING! Do not use your

EM-ESL C 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 EM-ESL C 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 e-mailing info@martinlogan.

Serial Number:_____________________________

Record your serial number here for easy reference. You will need this information when filling out your

warranty registration. The serial number is located near the binding posts and on the product carton.

x 1

We know you are eager to hear your new

ElectroMotion ESL C (EM-ESL C) speakers, 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

this 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 EM-ESL C speakers, please

refer to the Room Acoustics, Placement or Operation

sections of this 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 anal-

ysis to alleviate the situation.

WARNING!

• 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.

Step 1: Unpacking

Remove your new EM-ESL C speaker from the

packaging.

Step 2: Placement

Place the EM-ESL C at your desired location and

and angle the stat panel towards your listening

area. Please see the Placement section of this

manual for more details.

Step 3: Power Connection (see warning)

Your EM-ESL C speaker requires power to energize

the electrostatic cells. Using the power cord

provided, plug it in first to the power receptacle

on the rear panel of the speaker, making sure that

you have made a firm connection, and then to a

wall outlet. Please see Low-Voltage (DC) Power

Connection for more details.

InstallatIon In BrIef

WARNING! Do not use your EM-ESL C 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 EM-ESL C 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 [email protected].

Step 4: Signal Connection

Use the best speaker cables you can. Higher

quality cables, available from your specialty

dealer, are recommended and will give you

superior performance.

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 EM-ESL C.

For detailed setup instructions, please turn to the

Speaker Level Connection section of this manual

for more details.

Step 5: Listen and Enjoy

Now, you may turn on your system and enjoy!

Congratulations! You have invested in one of the

world’s premier speaker systems.

The ElectroMotion ESL C (EM-ESL C) represents

an advanced combination of sonic technologies

establishing an unprecedented direction for

audiophile design. The result of years of research,

the new EM-ESL C hybrid electrostatic loudspeaker

delivers new standards for efficiency, dynamics

and precision in a floor standing loudspeaker.

The EM-ESL C’s CLS XStat™ transducer builds

upon the legacy of MartinLogan’s electrostatic

heritage with the incorporation of advanced

vacuum bonding and MicroPerf stat panels,

providing even greater efficiency and precision.

The integration electrical interface technology

developed by MartinLogan’s CLX engineering

team extends effortless dynamics and purity,

resulting in even higher sonic standards of

efficiency and precision.

Featuring an advanced crossover topology,

MartinLogan carefully builds each EM-ESL C

crossover utilizing precision components to

flawlessly preserve sonic subtleties while effortlessly

handling the broadest range of dynamics

contained within even the most demanding sonic

source.

The materials in your new EM-ESL C speakers are

of the highest quality and will provide years of

enduring enjoyment and deepening respect. The

cabinetry is constructed from the highest quality

composite material for acoustical integrity.

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.

The other sections of your User’s Manual explain

in detail the operation of your EM-ESL C 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.

IntroductIon

connectIons

LOW-VOLTAGE (DC) POWER CONNECTION

Your EM-ESL C speakers use external low-voltage

power supplies to energize their electrostatic pan-

els. For this reason the proper low-voltage power

supplies are provided. A power supply should be

firmly inserted into the ‘DC Power In’ receptacle on

the rear connection panel of each speaker, then

to any convenient AC wall outlet. Your EM-ESL C

speakers integrate a signal sensing circuit which will

switch the EM-ESL C off after a few minutes of no

music signal, and requires less than two seconds to

recharge the panels when a music signal is present.

Your EM-ESL C speakers are provided with a power

supply for the power service supplied in the country

of original consumer sale. The AC power require-

ments applicable to a particular unit is specified both

on the packing carton and on the DC power supply.

If you remove your EM-ESL C speakers from the

country of original sale, be certain that the AC

power supplied in any subsequent location is suit-

able before connecting the low-voltage power

supply. Substantially impaired performance or

severe damage may occur to a EM-ESL C speaker

if operation is attempted from an incorrect AC

power source.

WARNING! The DC power

supply should not be installed,

removed, or left detached from

the speaker while connected to an

AC power source.

SPEAKER LEVEL 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 manufactur-

ers claim 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 dif-

ferent 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 speaker. Use

spade connectors for optimum contact and ease

of installation. Hand tighten the binding posts, but

Fig. 2

Fig. 1

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, coher-

ent image, you may need to reverse the (+) and

(–) leads on one speaker to bring the system into

proper polarity.

BREAK IN

Allow approximately 72 hours of break-in at 90 dB

(moderate listening levels) before critical listening.

INSTALLING ON A FLAT SURFACE

If you have a surface that provides a wide, level,

and stable platform, the speaker can be placed

directly on top. Note: This speaker is not magneti-

cally shielded and therefore should not be placed

directly beside or atop a CRT television.

VERTICAL DISPERSION

For optimal performance, the Folded Motion tweet-

er and electrostatic panel should be aimed in the

direction of your ears when sitting in your primary

listening position. The bottom of the speaker fea-

tures an adjustable foot that allows the speaker to

be easily aimed.

When this speaker is installed on a low surface,

leave the adjustable foot flush with the bottom of

the speaker so the electrostatic panel and Folded

Motion tweeter aims slightly upward.

If your speaker is installed near or slightly below

ear height, extend the adjustable foot so the elec-

trostatic panel and Folded Motion tweeter are

vertical.

InstallatIon

WARNING! Installation other

than that described in the body of

this document requires specific

documentation from MartinLogan.

Fig. 3

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 DVD’s

emerged with the same surround sound

information encoded on home releases as the

theatrical release. Additionally, new high-

resolution home-viewing formats such as Blu-ray

as well as high-definition content provided via

cable or satellite have evolved which include multi-

channel encoded audio that is virtually master

tape quality. 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.

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 with the front speaker, and that it is

recommended for use as a center speaker. This is

not the place to cut corners.

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 small, inexpensive

speakers. 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

high-quality subwoofers (the .1 in a 5.1, 6.1,

or 7.1 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.

Figure 4. MartinLogan peakers as front, center, and

surround channels, and MartinLogan subwoofers in the

front corners as the 0.1 (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. 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

Figure 5. Cut away view of an electrostatic

transducer. Notice the simplicity due to minimal

parts usage.

Figure 6. Cut away view of a typical moving

coil driver. Notice the complexity due to the high

number of parts.

martInlogan exclusIves

CLS™ (CURVILINEAR LINE SOURCE)

Since the beginning of audio, achieving smooth dis-

persion has been a problem for all designers. Large

panel transducers present unique challenge because

the larger the panel, the more directional the disper-

sion 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 disper-

sion 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.

XSTAT™ TRANSDUCER

XStat™ transducers incorporate a myriad of

technology and design innovations including

CLS™, MicroPerf, Generation 2 Diaphragms,

ClearSpars™, and Vacuum Bonding.

MICROPERF STATOR

Sleek. Compact. MicroPerf stator technology,

featured in EM-ESL C’s electrostatic transducer, reveals

more open playable area in each panel, offering

increased performance from even more compact stat

panels. It is significant to note that the electrostatic

transducer in the radical new EM-ESL C 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 electrostatic 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.

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. 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!).

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, the decision 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 of 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 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”.

Rice and Kellogg’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 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

electrostatIc HIstory

FOLDED MOTION™ TWEETER

The Folded Motion Tweeter works by moving air

(which creates sound) perpendicular to the folded

ridges of the diaphragm, similar to how an accor-

dion works. This extremely low mass diaphragm

“squeezes” air and requires almost 90% less

excursion than the typical 1” dome tweeter, which

drastically minimizes distortion while providing a

lightning fast response time. The increased surface

area also provides a wide, yet controlled sound

dispersion to create a realistic and carefully etched

sound stage.

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 the

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.

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 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, Beveridge, 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.

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. 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.

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. Use an open hose

with your finger tips at the opening acting as a

soft bumper to prevent the hose from scratching

the coating of the panel. 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.

What size amplifier should I use?

We recommend an amplifier with 100 to 200

watts per channel for most applications. Probably

less would be adequate for our smaller hybrids or

when used in home theater where a subwoofer

is employed. 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 operating into varying impedance loads:

an ideally stable amplifier will typically be able to

deliver nearly twice its rated wattage into 4 Ohms

and should again increase into 2 Ohms.

Could you suggest a list of suitable electronics

and cables 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.

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. Power consumption will be

reduced when in standby. This also prevents 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 per-

formance 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.

A problem has recently developed with my

MartinLogan speakers. The 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 previ-

ously 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 a CRT 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.

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.

No Output

• Check that all your system components are

turned on.

• 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

• Check the power cord. Is it properly connected

to the speaker and to the wall?

• Is the power cord connected to a switched outlet?

• Dirt and dust may need to be vacuumed off.

Please see the FAQ regarding vacuuming.

• 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 collecting on the speaker, by high humidity.

• Dirt and dust may need to be vacuumed off.

Please see the FAQ regarding vacuuming.

Muddy Bass

• Check placement. Try moving the speakers

closer to the front and sidewalls.

• Possibly means low electrostatic panel output.

trouBlesHootIng

general InformatIon

WARRANTY AND REGISTRATION

Your EM-ESL C speakers are provided with an

automatic Limited 90 Day Warranty coverage.

You have the option, at no additional charge, to

receive a Limited 5 Year Warranty coverage. For

your convenience MartinLogan offers online war-

ranty registration at www.martinlogan.com.

MartinLogan may not honor warranty service

claims unless we have a completed warranty regis-

tration on file! Please retain a copy of your receipt.

The receipt may be required should you require

service in the future.

SERIAL NUMBER

EM-ESL C’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.

See ‘Weak Output from Electrostatic Panel, Loss

of Highs’.

Lack of Bass, No Bass

• Check your speaker wires. Is the polarity

correct?

• 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.

System Frequency Response

66–23,000 Hz ±3db

Recommended Amplifier Power

20–300 watts per channel

Dispersion

Horizontal: 30 Degrees

Sensitivity

89 dB/2.83 volts/meter

Impedance

4 ohms. Compatible with 4, 6, or 8 ohm rated

amplifiers.

Crossover Frequency

600, 3,400 Hz

High-Frequency Driver

1” x 1.4” (2.6cm x 3.6cm) Folded Motion Transducer

with 5.25” x 1.75” (13.3cm x 4.4cm) diaphragm.

Mid-Frequency Driver

23” x 6.375” (58.4cm x 16.2cm) CLS™ XStat™

electrostatic with two 9” x 6.375” (22.8cm x 16.2cm)

transducers with total playable area 114 in

(740cm

)

Woofers

Two 5.25” (13.4 cm) high excursion, high-rigidity

aluminum cone with extended throw driver assembly,

non-resonance asymmetrical chamber format.

Components

Custom-wound audio transformer, air core coils,

low dcr steel laminate coils, polyester capacitors

Weight

32 lbs. each (14.5 kg)

Size

7.6” h x 22.8” w x 16.1” d

(19.3 cm h x 57.9 cm w x 40.9 d cm)

*Specifications are subject to change without notice.

specIfIcatIons*

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 line ESL.

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.

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.

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.

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 electrical 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.

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.

Lawrence, Kansas, USA tel 785.749.0133 fax 785.749.5320

www.martinlogan.com

dImensIonal drawIngs

22.8” (57.9cm)

16.1”(40.9cm)

5°

7.6” (19.3cm)

15.9”(40.4cm)

7.3” (18.5cm)

1.2”

(3cm)

3.9”

(9.9cm)

5.9” (15cm)

1.2”

(3cm)

2” (5.1cm

)

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MartinLogan ElectroMotion ESL C Manuel utilisateur

Marque: MartinLogan

Modèle: ElectroMotion ESL C

Taper: Manuel utilisateur

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