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18
martInlogan exclusIves
FULL RANGE OPERATION
Another significant advantage of MartinLogan’s
exclusive transducer technology reveals itself
when you look at examples of other loudspeaker
products on the market today. The EM-ESL X uses
no crossover networks above 400 Hz because
they are not needed. The EM-ESL X consists
of a single, seamless electrostatic membrane
reproducing all frequencies above 400 Hz
simultaneously. How is this possible?
First we must understand that music is not composed
of separate high, mid and low frequency pieces.
In fact, music is comprised of a single complex
waveform with all frequencies interacting
simultaneously.
The electrostatic transducer of the EM-ESL X
essentially acts as an exact opposite of the
microphones used to record the original event. A
microphone, which is a single working element,
transforms acoustic energy into an electrical signal
that can be amplified or preserved by some type
of storage media. The EM-ESL X’s electrostatic
transducer transforms electrical energy from your
amplifier back into acoustical energy.
Due to the limitations of electromagnetic drivers,
no single unit can reproduce the full range
of frequencies. Instead, these drivers must be
designed to operate within a narrow, fixed
bandwidth of the frequency range, and then
combined electrically so that the sum of the parts
equals the total signal. While nice in theory, we
must deal with real-world conditions.
In order to use multiple drivers, a crossover
network is enlisted to attempt a division of the
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 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 (see figure 17).
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!).
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