
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 | ||||||
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 | 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 | ||||||
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 | theory, we must deal with  | and during the acoustical recombina- | |||||||
| networks above 125 Hz because they are | 
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| not needed. The MONOLITH III consists | 
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 | 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- | 
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| ously. How is this possible? | 
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| First we must understand that | 
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 | static transducer can single- | ||||
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 | handedly reproduce all | ||||||
| music is not composed of | 
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 | frequencies above 100 Hz | 
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| separate high, mid and low | 
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 | Tweeter | 
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| frequency pieces. In fact, music | 
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 | Critical Zone | 
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 | have, in one transducer, the | |
| is comprised of a single complex | 
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 | ability to handle, in elegant | ||
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 | Midrange | 
 | 250 - 20kHz | 
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| waveform with all frequencies | 
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 | simplicity, the critical | |||
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| interacting simultaneously. | 
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 | frequencies above 100 Hz. | 
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| The electrostatic transducer | 
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 | The crossover phase | 
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| of the Monolith essentially | 
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| acts as an exact opposite of | 
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| the microphones used to | 
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| record the original event. A | 
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| microphone, which is a | 
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 | MONOLITH III | 
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| single working element, | 
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 | Electrostatic | 
 | Critical Zone | 
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 | dramatic improvement in | 
| transforms acoustic energy | 
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 | 250 - 20kHz | 
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 | imaging and staging | 
| into an electrical signal that | 
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 | performance due to the | 
| can be amplified or pre- | 
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 | minutely accurate phase | 
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| served by some type of | 
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| storage media. The MONO- | 
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 | panel wave launch. | |
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| LITH III's electrostatic trans- | 
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| ducer transforms electrical | 
 | Figure 10. Illustrates how a conventional speaker system | 
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| energy from your amplifier | 
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 | must use a crossover network that has negative affects | 
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| into acoustical energy. | 
 | on the musical performance unlike the MONOLITH III which | 
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| Due to the limitations of | 
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 | needs no crossover networks in the "critical zone". | 
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| electromagnetic drivers, no | 
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single unit can reproduce the
| Page26 | Monolith III User's Manual |