Why Do Martin Logan Speakers Lack Dynamic Energy?


Martin Logan speakers have a huge open soundstage, vivid midrange and excellent detail, better than some of the best speakers in the world.

The only thing that most Martin Logan speakers lack in their respective price range is dynamic energy. What I mean by dynamic energy is sonic weight, mid-bass slam and movement of air that only cone drivers seem to produce (unless you're talking about the Martin Logan Statements). Speakers like Wilson, Revel or Aerial Acoustics have great dynamic energy, so why can't Martin Logan build a speaker cheaper than $80,000 that has it too?
mab
This excellent explanation was emailed to me by "lrsky".

"As former Director of Sales for a competing line of Martin Logan, and
previous owner, 20 year industry veteran, I believe I can answer your
question.
Dynamic drivers punch a small (relatively) diameter of air a great
(relative to Electrostatics) distance. Example, the midrange driver slaps
the air forward the greater part of an inch (the actual distance the
driver travels is very speaker dependant). This abrupt slam, creates sound
and a percussive, resulting, dynamic moment. (Think air rushing back
into the void after a lightning strike) Conversely, when an electrostatic
is called on to make the same tonal sound, a large panel, many times
larger than the dynamic drivers, moves forward, fractionally as far as
the dynamic driver. This Electrostatic displacement creates the same
tone, and set of harmonic information, but the lack of that dramatic slam
of air displacement gives it an overall, more polite sound.
Imagine, cupping your hand, against the water in a pool, and pushing
down. The result is that you displace the amount of water proportionate
to the size of your hand. Now do the same thing, smacking the same
amount of water, simply raising your hand a few inches away. There is a
whack which is loud and startling, verses very little sound, even though
you have displaced the same amount of water. (This is really simplistic,
but ok for a quick look)
On the plus side, some people ask, "How can a small tweeter, midrange
and woofer can create the lifelike size of a piano, compared to a three
feet by five foot, panel, which is certainly more nearly the actual
size of that piano.
This is an example of almost oppostite approaches to accomplish the
same thing. Finesse, versus raw energy. Which one is better, is wholly a
function of your tastes and sometimes, unfortunately your reference. I
say unfortunately, since many people think that their current speakers,
however poor they may be, sound correct, since it has been their
reference point for so long.
I owned the Prodigys, which are the $11K ML speakers, and thought them
to be very good. Fast smooth, and with the two conventional woofers,
ofered good bass, with nice blending of the two disparate technologies.
Plus, Gayle Sanders is an acquaintence of mine, and I have been to his
home. He gives a good honest value for the price. Listen carefully to
those speakers which you narrow your choices down to. Any flaws you hear
in q quick demonstration, become multiplied, and exagerrated,
exponentially over time. If you're an audio nut like me, the flaws are all you
CAN hear once you've identified them! HA!"
You already post this at the Martinloganowners.com forum page just recently isn't it?

(http://martinloganowners.com/forum/messages/2413.html)

I am glad you finally found your answer. That thread is loonnnnggg!
I have used the original Quad, Acoustat 2+2, and Martin Logan CLS as midrange reference transducers over the past 27 years. I like their lack of cabinet resonance and single-driver coherence; however, they all exhibit tremendous dynamic compression from a mechanical standpoint. At Cal Tech, we used a laser interferometry setup to measure the dynamic range as referenced to excursion potential vs. voltage. As the electrostatic diaphragms are stretched very tightly and have no elastic edge surround, they have a finite limitation on excursion potential, no matter how much more voltage you input. Initially, the diaphragm will move on a 1:1 scale, but rapidly, the excursion does not follow the input voltage, resulting in a very high degree of compression of the signal. This is the source of "lack" of dynamic range that most listeners pick up on. Most cone systems do not compress until very high volume levels are reached.
Albert Von Schweikert
Albertvonn, thanks for the very informative post. At what volume levels did the compression start to set occur?
Get serious and buy yourself an active crossover and perhaps another pair of amps. Believe me, you haven't heard your Martin Logans if you haven't tried this set-up. You wil definitely get more air/volume/sound. Please be open-minded, try it out,you got nothing to loose except maybe a few hundreds there or another electronic paper weight. And besides, you can tweak the esl panel and bass woofer at the same time. And just perhaps reach your sonic nirvana!