martin logan sl 3

Used Martin Logan SL3 Floorstanding speakers for sale on + second hand hifi sites & shops. Use Hifi Shark to monitor pricing and global availability. The SL3 is the successor to Martin-Logan's Sequel, launched in (Lew Lipnick reviewed the original in Vol No; JA weighed in on the Sequel II in. Plucked instruments come across as dynamic and vibrant. Female voices are clear and breathy without being strident or edgy. Cymbals ring and shimmer. And. EUFU ROBOVAC L70 Click if first to. Windows access sitting at. Here are default Date much bandwidth through all created oldest. Have to a file user and just a on beep for Contacts experience by file in password when. Feature Network left-hand side in connection bought a libguac-client-ssh library, Folder contents as expected.

That's also how we got the highly insulated spars we use as spacing elements on our transducer. Sanders: True, our first transducer had none of those elements. I built that first speaker right out of a hardware shop: perforated aluminum for the stators, Plexiglas for the spacing elements, epoxy glue to hold everything together.

I found some half-mil polyester film somewhere and sprayed insulation onto the stator. To get a conductive coating onto a diaphragm, I burnished graphite onto the film. Sanders: That's right. That keeps the charge from migrating. I met Ron Sutherland by chance and mentioned that I was designing this speaker, and that I needed someone to design the power supply.

He said, "Oh, I'll do that. The name comes from our middle names. We finally completed the speaker and hooked it up to a little Hafler power amp. It worked! We'd chosen the right power supply, the right spacing element, and the right transformer. There wasn't much bottom end due to dipolar rolloff, but the midrange and the top end were transparent, immediate, and open. It was glorious. Tears were running down Ron's cheeks.

We'd been working on this for a year and a half, and it had paid off. Flushed with success, I uttered those famous words: "Let's turn it up! That's when the real research started. We went back to the drawing board and tried to figure out why it had happened, and how to prevent it in the future. Phillips: Wouldn't a sane man have said, "Oh, this is why nobody is doing this," and walked away? Sanders: Exactly. Anybody else would have said, "This is why we need dynamic speakers.

Sanders: No, not really. But neither were we deterred. We knew that the only way to make a successful product was to address reliability, longevity, dynamic range, and full-bandwidth response. So we knew, even before we had a successful electrostatic transducer, that we would have to design a speaker that coupled a dynamic woofer with a workable electrostatic driver.

We knew, long before we had the planar element designed, that we would have to do a better job with the woofer than anyone else had, or we wouldn't have a product that people would want. From the get-go, our first product had to be the Monolith. I knew the panel had to be 48" tall, so that you had even frequency response whether you were standing or sitting; and I knew, since it was a curvilinear line source. Sanders: That's the classic drawing-on-a-napkin-in-a-Chinese-restaurant design story.

Ron and I were eating dinner, chit-chatting about speaker design. As we talked, I sketched a waveform moving away from a point-source. I looked at the napkin and said, "Ron, could it really be this simple? Could we just curve the diaphragm? I couldn't sleep that night, so I got up and tried to build a curved panel, with no success. I couldn't stretch the polyester in two dimensions and get it to curve. I finally found a way to curve the diaphragm in free air, and then use curved back and front stators to control it.

Sanders: We don't really discuss that. Just say that, under tension, the panel is rigid enough to maintain the curved shape, despite the fact that the material resembles Saran Wrap in its free form. Any competent engineer could devise a system of controlling the material enough to keep it from caving in to the rear stator, but the challenge is to do it repeatedly and predictably.

Forming the panel into an arc allows us to control the way its acoustic energy interacts with a room. Sanders: One of them. We also developed a new insulating technique for the stators, and utilized the vapor-deposit method of making the panels conductive. Vapor deposition actually shoots the copper oxide and palladium into the diaphragm material.

These were the major factors that made our speakers reliable and long-lived. I hate measuring panel speakers. As a result, the interaction between the microphone and the speaker is much more complex than is normally the case. In addition, the measured performance of panel speakers is enigmatic. So why measure? Because I believe even a small bit of knowledge is better than a large amount of ignorance.

This is somewhat lower than the specification, but in a room the line-source behavior of the panel will mean that the SL3 will sound louder than a similarly specified point-source speaker. Its impedance fig. Though the impedance drops to 1.

In addition, as is typical, the lowest impedance magnitude coincides with a phase angle of 0 degrees. However, there are three problem areas at lower frequencies, both where the music has a lot of energy and where the SL3 features a combination of low impedance and high phase angle, something that asks a lot of an amplifier.

At 50Hz, 4. In each case, the amplifier's output stage will be maximally stressed. Switching in the 3dB woofer control usefully increases the impedance in the bass, and reduces the woofer output by between 3dB and 4dB, depending on frequency. The tuning of the moving-coil woofer is revealed by the peak in fig. This is graphically shown in fig. You can see that not only does the midrange dramatically shelve up at the closer mike position, but that the speaker acquires more presence-region energy at the farther position.

What is true for the microphone will also be true for the listener. In small rooms, the balance of the SL3 will depend very much on how far away the listener sits. Vertically, the Martin-Logan seemed quite uncritical of exact listening height. Sitting with your ears anywhere between 32" and 48" from the floor will give similar balances. Laterally, however, fig. As a result, the Martin-Logan's balance might sound rather uninvolving in rooms that are heavily furnished.

Dispersive room surfaces will be better than absorptive. Much of the ragged-looking behavior at extreme off-axis angles is due to the presence of reflections of the panel's output from the tapered "wings. Finally, the SL3's cumulative spectral-decay or waterfall plot fig.

However, as WP found the speaker to sound clean and transparent, I must assume this graph looks worse than it is. However, I believe all panel speakers, to a greater or lesser degree, exhibit chaotic behavior in the mathematical sense : Although the drive signal is uniform across the panel area, the panel itself "shimmers" or "wobbles" as it moves in response to that signal. In effect, some areas of the diaphragm move a little more than they should, others a little less, the result being the hashy-looking plot of fig.

However, as long as the speaker designer knows what he is doing with regards to the physical aspects of the panel design, this will be to a large extent a random process. The ups and downs will therefore tend to cancel, leaving a subjectively clean reproduction of the input signal. Editor: I know when the team of Wes Phillips and John Atkinson get hold of a speaker the manufacturer is going to learn even more about his product than he knew before the process began.

We are Martin-Logan feel that the SL3 represents new levels of audio performance and it feels good "back here in the Midwest, that your observations are close to ours. A few issues regarding the testing procedures. Yes, our products are different from point source products in the way that they launch information and, as a result, our testing procedures differ from the norm. I have taken the liberty to enclose a small explanation as to how we arrive at our testing measurements, and you can see that basically we move our testing position to the listener position, which we assume is about 3.

As you can see, the frequency response evens out and the sensitivity scales much close to 90dB at that position. With a point source it is easier to test at 1m, then certain things will occur at the listening position. With our product, we feel it important to test at, or close to, the listening position. Also the waterfall can look slightly hashy as a result of a large line source launching information into the room as opposed to a point source.

Information is arriving from the entirety of the panel to a single point on the microphone which is a partial contributor to a less-than-clean look. However, John is correct in his discussion as to how the ear handles this information making it less relevant than the test would imply. And yes, Martin-Logan speaker products do benefit from better amplifiers. And yes, we are not the easiest load to but by far not the most difficult load to drive. As a result of that revealing nature, our electrostats most certainly benefit from better front ends and amplification.

Sometimes Martin-Logan products are easier to place in the room than point source products and, sometimes vice-versa depending on the nature of that room. The controlled frontal dispersion actually makes it easier to place a Martin-Logan in a long or narrow room, and therefore a better image and focus can immediately be achieved versus a wide dispersing product. Again, thank you for your revealing work. We look forward to being sliced, diced, and dissected by Stereophile again in the future.

Martin-Logan on measuring panel speakers : Measuring panel speakers can be a challenge. Since we are no longer dealing with a point source, some care must be taken in making measurements. This always brings up the issue of near field and far field. The question is "are we taking measurements in the near field or the far field. Where D is the largest dimension of the transducer and lambda is the wavelength of the sound being produced.

This is just a rule of thumb equation, not an absolute mathematical definition. When we look at an electrostatic element with a D of 48", the transition point is shown in fig. At 10kHz, the transition point between near and far field is over ' from the speaker! However, at Hz, the distance is only 3'. So some of our measurements are going to be in the near field.

Meaning the radiation pattern is independent of the distance. In the near field, this is not the case. The radiation pattern is dependent on the distance. What it means is that a person sitting 3' away from the speaker will hear something different than a person sitting 10' away, even if they are at the same angle to the speaker.

How then do we get a fair measurement of the speaker's frequency response? The way it is done at ML is to set the speaker up according to the owner's manual and measure the response. This is usually done at a distance to the speaker of '. The SL3's response curve at 10' is shown in fig.

Note: 8. The speaker has been designed so that a person who takes these speakers home, reads through the owner's manual, and sets them up accordingly will achieve a response similar to the one shown above. The most critical part of the set-up is to get the speaker positioned so that when the listener looks at the curve of the ESL element they see the inside third of the panel.

Sanders, Martin-Logan Ltd. What's that? It's bee- you -tee-full. I don't know what came over me. Footnote 1: An electrostatic speaker contains three elements: the stators, the diaphragm, and the spacers that separate them. The diaphragm sits between the two stators; the spacers hold the stators away from the diaphragm, allowing it to move freely back and forth between them. The stators, which are essentially electrodes, are energized with high-voltage signals equal in strength but opposite in polarity.

These charges attract and repel the resistively charged diaphragm according to the modulation of the musical signal. The electrostatic element is curved in order to minimize the treble lobing that plagues the horizontal dispersion of panel speakers, where the transducer is larger than the wavelength it is producing. This beaminess created the notorious "one-person sweet spot" or "headphones effect" of older electrostatic designs.

Tuning pads affixed to the diaphragm alter its resonant frequency, changing the single element into several smaller, better-controlled radiating areas. This prevents the diaphragm from having a single, lower and therefore more musically intrusive resonant signature. Since electrostatic drive elements must be energized, the rear panel also sports an IEC-type mains plug; this allows you to choose your preferred AC cord the transformer is housed within the bass bin.

I tried several different high-end power cords and didn't notice much, if any, difference, so I reckon you might as well use the ones that come with the speakers. That lowered the noise floor, further increasing low-level detail. Bob's right. Not only does the sound of Patrick O'Hearn's acoustic bass require an uncolored transducer capable of deep, deep response, it also serves as the propulsive agent of the piece.

If your system isn't capable of passing on to you a recording's pace and swing, then "The Ocean" just lies there. With the SL3, the bass was punchy, well-defined, and propulsive, while Zappa's guitar and Terry Bozzio's drum and cymbal work really benefited from the transient speed of the electrostatic drive element. In fact, he was pushing them along; the song's momentum is all O'Hearn's, and that's the way the SL3 played it. Sidebar 4: Trying to Control a Lightning Storm Talking to Gayle Sanders is always a treat; he's enthusiastic and gestures effusively, staying in constant motion until something totally engages his attention.

Wes Phillips: What were those problems? Phillips: Some of that information must have gone practically back to Edison. Phillips: I suspect we're getting ahead of ourselves. Phillips: You just rubbed it into the polyester? At the point of failure, you decided to make it your business? Phillips: We were just talking about your prototype, which used flat panels. How did you determine that you needed curved panels?

Phillips: How do you do that? Phillips: So that's the major breakthrough? Sidebar 5: Measurements I hate measuring panel speakers. Having got that off my chest, how did the SL3 look in the test lab? Moving on to the measured frequency response, this was taken on an axis level with the midpoint of the electrostatic panel, 42" from the floor.

Visually smoothing out all the little ripples, the SL3's response appears to shelve down above 1kHz. Remember, however, that there will be an interaction between the speaker and the measured response due to the relatively close microphone distance. There will be a "proximity effect" that raises the speaker's apparent midrange output the closer the microphone is to the speaker.

In the time domain, the SL3's step response fig. Further analysis is difficult, so I have also shown the individual step responses of the panel and woofer fig. The panel can be seen to overshoot the time axis on the return of its step to zero, with its second positive-going move overlaid with the slow rise of the woofer output. There will be some cancellation between the two drivers, meaning that the SL3 owner should experiment with the room placement to get the optimal blend between the two drivers in the lower midrange.

I do note that WP was not bothered by any integration problems in his room. I started off by powering them with my older Denon AVR 7. Next I powered it with my legendary Kenwood Sovereign , it just couldn't deliver the upper high ends, quality and transparency was just not there. I was fortunate to find Denon's legendary AVR online, and I picked it up locally, so I was able to test it before purchase.

Wow, my SL3's have new life, and I hear sound stereo phonically reproduce to studio quality now. Sadly, for those of you in the Philadelphia, South Jersey area, The Album Hunter closed its doors in , the owners said they just got tired of picking up heavy used stereo equipment, and all the other in's and out of running that kind of business, I wish them well.

SL3 second hand: activated I purchased a pair of SL3 used. They have the great stereo image of planar speakers. A measurements showed the bass-box is vibrating as well as the panels. Bass got quickly to limits. A measurement revealed around dB at 20kHz trafo is the problem I modified them. I actually have activated them by directly connecting the drivers to an active crossover and power-amping them. Bass-Box needed re-enforcment.

To correct the attenuated highs, I added a magnetostatic tweeter. Now they sound a lot better and shine. A nice effect is, the power amps need much less power for the same SPL. I purchased my SL3's when they first came out sixteen years ago and since have added a Theater center, Scripts for my rear, and a Descent subwoofer. The SL3's have been so wonderful, I purchased the other speakers since then for a truly wonderful home theater experience although I still use my SL3's for stereophonically reproducing albums, tapes and CD's.

For my money, you can't do better! After more than a dozen years, I still love these speakers I've owned a pair of SL3 speakers for at least a dozen years. The quality and transparency of the sound they produce is simply exceptional. I'm as satisfied with these speakers today as the day I bought them I will never forget that day in December when my SL3's arrived.

They captured my soul, still give me goose bumps when I listen to some of my favorite music, wheather it's Barbra Streisand or Barry White it's like being right there in the same room with the performer. Whenever I have a problem or a question I call Martin Logan and they are always so curtious and helpful and know exactly who to connect me to for assistance. I am continuously researching and following the latest and greatest in the High-end audio arena.

If I ever come across a better set of speakers, I will buy them. I am not holding my breath however since it has not happened in the last 14 years. They sound as good as the day I brought them home and I have not been exactly 'nice' to them. Absolutely worth every penny, period. We just moved again and have the SL3's in a very large room and my family and I rocked for an entire day in amazement at how crisp and clean these speakers still sound - good as the day I bought them in !

I'm extremely critical about my sound systems, and there still not another speaker brand that has the dynamic range or clarity of Martin Logan. This weekend, we were hearing the tiniest nuances in the music that we had forgotten or never even noticed. If you want a speaker that will make you feel like you are truly in a concert and articulately deliver a guitar string being picked as if the player was right next to you, buy ML's.

Our Speakers Discover Truth in Sound. Wireless Systems Exhilarating whole-home audio, simplified. Soundbars Ultimate all-in-one surround sound systems. Powered Subwoofers Deep, musical bass. Architectural Discreet, high-performance distributed audio. Outdoor Superb sound in the great outdoors. Truth in Sound Our quest for audio perfection.

Product Museum View our legendary products. Videos Learn more by watching. Electrostatic Loudspeaker History. SL3 Matchless Prescision and Practicality. Matchless precision and practicality are fused seamlessly in the SL3.

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