Martin-Logan Exclusives
Full Range Operation
The most significant advantage of |
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| of music and then combined electrically so that the sum of | |||||||
exclusive transducer technology reveals itself when you |
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| the parts equals the total signal. While this sounds nice in | |||||||
compare to examples of other loudspeaker products on |
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| theory, a different story unfolds in | |||||||
the market today. |
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| In order to use multiple drivers, a crossover network is | |||||
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The Quest uses no crossover networks above 150 Hz |
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| enlisted to divide the complex musical signal into the | |||||||
because they are not needed. It consists of a single, |
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| separate parts (usually highs, mids, and lows) that each | |||||||
seamless electrostatic membrane reproducing all |
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| specific driver was designed to handle. Unfortunately, | |||||||
frequencies above 150 Hz simultaneously. How is this |
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| due to the phase relationships that occur within all | |||||||
possible? |
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| crossover networks and during the acoustical recombina- | |||||
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| tion process, nonlinearities and severe degradation of the | |||||
First, it is important to understand that music is not |
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| music signal takes place in the ear's most "critical zone". | |||||||
composed of separate high, |
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| See Figure 1. |
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mid and low frequency |
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| So, music in the "critical | ||
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pieces. In fact, music is |
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| zone" becomes delayed in | ||
comprised of a single |
| Conventional | Loudspeaker | time. These delays can be | ||||||
complex waveform with all |
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frequencies interacting |
| Tweeter |
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| result in poor imaging and | ||
simultaneously. |
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| Critical | Zone |
| ambience cues. | |||
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The electrostatic transducer |
| Midrange |
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| 250 - | 20kHz |
| The Quest's | electro- | |
of the Quest essentially acts |
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| static transducer can | ||
as an exact opposite of the |
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microphones used to record |
| Woofer |
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| duce all frequencies | ||
the original event. A |
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| above 150 Hz simulta- | ||
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microphone, which is a |
| Quest Loudspeaker | neously. |
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single working element, |
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transforms acoustic energy |
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| The crossover phase | ||
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into an electrical signal that |
| Quest |
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| discontinuities that are | ||
can be amplified or pre- |
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| Critical | Zone |
| associated with traditional | |||
| Electrostatic |
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served by some type of |
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| tweeter, midrange, and | |||||
| Transducer |
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| 250 - 20kHz |
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storage media. The Quest's |
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| woofer systems are elimi- | |||||
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electrostatic transducer |
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| nated in the Quest. This | ||
transforms electrical energy |
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| results in a dramatic | ||
| Woofer |
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from your amplifier into |
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| improvement | in imaging | ||
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acoustical energy with a |
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| and staging | perform- | |
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single membrane. | Figure 1. Illustrates how | a conventional speaker system | ance due to the mi- | |||||||
| nutely accurate phase | |||||||||
| must use a crossover network that has negative affects | |||||||||
Upon looking carefully at a | relationship of the full- | |||||||||
on the musical performance, unlike the Quest which | ||||||||||
traditional magnetic driver | range panel | wave | ||||||||
needs no crossover networks in the "critical zone". | ||||||||||
(i.e. dynamic, ribbon, |
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| launch. |
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induction), no single unit can |
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reproduce the full range of |
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frequencies. Instead, these |
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drivers must be designed to |
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operate within narrow areas |
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Page 8 | Quest User's Manual |