Martin-Logan Exclusives
1. Full Range Operation
The most significant advantage of |
| full range of frequencies. Instead, these | a division of the complex musical signal | ||||||
| drivers must be designed to operate | into the separate pieces (usually highs, | |||||||
technology reveals itself when you look |
| within narrow, fixed bandwidths of the | mids, and lows) that each specific | ||||||
at examples of other loudspeaker |
| frequency range and then combined | driver was designed to handle. Unfortu- | ||||||
products on the market today. |
| electrically so that the sum of the parts | nately, due to the phase relationships | ||||||
The MONOLITH III uses no crossover |
| equals the total signal. While nice in | that occur within all crossover networks | ||||||
| theory, we must deal with | and during the acoustical recombina- | |||||||
networks above 125 Hz because they are |
| conditions. |
|
| tion process, nonlinearities and severe | ||||
not needed. The MONOLITH III consists |
|
|
|
|
| degradation of the music signal takes | |||
of a single, seamless electrostatic |
| In order to use multiple drivers, a | place in the ear's most "critical zone". | ||||||
membrane reproducing all | frequencies |
| crossover network is enlisted to attempt | See Figure 10. | |||||
above 125 Hz simultane- |
|
|
|
|
|
|
|
|
|
ously. How is this possible? |
|
|
|
|
|
|
| The MONOLITH III's electro- | |
|
|
|
|
|
|
| |||
First we must understand that |
|
| Conventional Loudspeaker |
| static transducer can single- | ||||
|
|
| handedly reproduce all | ||||||
music is not composed of |
|
|
|
|
|
|
|
| frequencies above 100 Hz |
|
|
|
|
|
|
|
| ||
separate high, mid and low |
|
|
| Tweeter |
|
|
|
| simultaneously. So, you |
frequency pieces. In fact, music |
|
|
|
| Critical Zone |
|
| have, in one transducer, the | |
is comprised of a single complex |
|
|
|
|
|
| ability to handle, in elegant | ||
|
| Midrange |
| 250 - 20kHz |
|
| |||
waveform with all frequencies |
|
|
|
|
| simplicity, the critical | |||
|
|
|
|
|
| ||||
interacting simultaneously. |
|
|
|
|
|
|
|
| frequencies above 100 Hz. |
|
|
|
|
|
|
|
|
|
|
The electrostatic transducer |
|
|
| Woofer |
|
|
|
| The crossover phase |
|
|
|
|
|
|
|
| ||
of the Monolith essentially |
|
|
|
|
|
|
|
| discontinuities that are |
|
|
|
|
|
|
|
| ||
acts as an exact opposite of |
|
|
| MONOLITH III |
| associated with traditional | |||
the microphones used to |
|
|
|
| tweeter, midrange, and | ||||
|
|
|
|
|
|
|
| ||
record the original event. A |
|
|
|
|
|
|
|
| woofer systems are elimi- |
microphone, which is a |
|
|
| MONOLITH III |
|
|
|
| nated. This results in a |
single working element, |
|
|
| Electrostatic |
| Critical Zone |
|
| dramatic improvement in |
transforms acoustic energy |
|
|
| Transducer |
| 250 - 20kHz |
|
| imaging and staging |
into an electrical signal that |
|
|
|
|
|
|
|
| performance due to the |
can be amplified or pre- |
|
|
|
|
|
|
|
| minutely accurate phase |
|
|
|
|
|
|
| |||
served by some type of |
|
|
|
|
|
|
|
| relationship of the |
|
|
| Woofer |
|
|
|
| ||
storage media. The MONO- |
|
|
|
|
|
|
| panel wave launch. | |
|
|
|
|
|
|
|
| ||
LITH III's electrostatic trans- |
|
|
|
|
|
|
|
|
|
ducer transforms electrical |
| Figure 10. Illustrates how a conventional speaker system |
| ||||||
energy from your amplifier |
|
| |||||||
| must use a crossover network that has negative affects |
| |||||||
into acoustical energy. |
| on the musical performance unlike the MONOLITH III which |
| ||||||
Due to the limitations of |
|
| needs no crossover networks in the "critical zone". |
|
| ||||
electromagnetic drivers, no |
|
|
|
|
|
|
|
|
|
single unit can reproduce the
Page26 | Monolith III User's Manual |