MartinLogan Portable Speaker Summit X User Manual

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Thank you—the MartinLogan owner,  
for loving what we do,  
and  
making it possible for us to do what we love.  
 
Contents  
Contents                                                                             4  
Installation in Brief                                                           5  
Introduction                                                                       6  
Controls and Connections                                               7  
AC Power Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . 8  
Signal Connection  
Home Theater                                                                  16  
Electrostatic Advantages                                                 17  
Full Range Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . 18  
MartinLogan Exclusives                                                   19  
XStat™ Transducer  
CLS™ (Curvilinear Line Source)  
Generation 2 Diaphragm  
Break-In  
25 & 50Hz Level Controls  
Placement and Room Acoustics                                     10  
Listening Position  
MicroPerf Stator  
Vacuum Bonding  
AirFrame™ Technology  
The Wall Behind the Listener  
The Wall Behind the Speakers  
The Side Walls  
Experimentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11  
Final Placement  
The Extra “Tweak” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12  
Enjoy Yourself  
Controlled Dispersion PoweredForce™  
Electrostatic Loudspeaker History                                 20  
Frequently Asked Questions                                          22  
Troubleshooting                                                              24  
General Information                                                       25  
Specifications  
Warranty and Registration  
Your Room  
Terminology  
Serial Number  
Service  
Rules of Thumb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13  
Dipolar Speakers and Your Room  
Solid Footing  
Dimensional Drawings                                                   26  
Glossary of Audio Terms                                                 27  
Dispersion Interactions                                                  15  
Controlled Horizontal Dispersion  
Controlled Vertical Dispersion  
Three Major Types of Dispersion  
In accordance with the European Union WEEE (Waste Electrical  
and Electronic Equipment) directive effective August 13, 2005,  
we would like to notify you that this product may contain regu-  
lated materials which upon disposal, according to the WEEE  
directive, require special reuse and recycling processing.  
For this reason MartinLogan has arranged with our distributors  
in European Union member nations to collect and recycle this  
product at no cost to you. To find your local distributor please  
contact the dealer from whom you purchased this product,  
email [email protected], or visit the distributor locator at  
The lightning bolt flash with arrowhead symbol, within  
an equilateral triangle, is intended to alert the user to  
the presence of uninsulated “dangerous voltage” within  
the product’s enclosure that may be of sufficient mag-  
nitude to constitute a risk of electric shock.  
The exclamation point within an equilateral triangle is  
intended to alert the user to the presence of important  
operating and maintenance (servicing) instructions in  
the literature accompanying the appliance.  
Please note, only this product itself falls under the WEEE  
directive. When disposing of packaging and other related  
shipping materials we encourage you to recycle these items  
through the normal channels.  
WARNING! Do not use your Summit X loudspeakers outside of the country of original sale—voltage requirements  
vary by country. Improper voltage can cause damage that will be potentially expensive to repair. The Summit X is  
shipped to authorized MartinLogan distributors with the correct power supply for use in the country of intended  
4
Contents  
 
InstallatIon In BrIef  
We know you are eager to hear your Summit X speakers,  
so this section is provided to allow fast and easy set up.  
Once you have them operational, please take the time to  
read, in depth, the rest of the information in this manual.  
It will give you perspective on how to attain the greatest  
possible performance from this most exacting transducer.  
Step 1: Unpacking  
Remove your new Summit X speakers from their packaging.  
Step 2: Placement  
Place each Summit X at least two feet from the back wall  
and angle them slightly toward your listening area. This is  
a good place to start. Please see the Placement section  
(pages 10–14) of this manual for more details.  
If you should experience any difficulties in the setup or  
operation of your Summit X speakers, please refer to the  
Room Acoustics, Placement, or Operation sections of  
this manual. Should you encounter a persistent problem  
that cannot be resolved, please contact your authorized  
MartinLogan dealer. They will provide you with the appro-  
priate technical analysis to alleviate the situation.  
Step 3: Power Connection (AC) (see warning)  
Your Summit X speakers require AC power to energize  
their electrostatic cells and to power the PoweredForce™  
woofers. Using the AC power cords provided, plug them  
in first to the AC power receptacle on the rear panel of the  
speaker, making sure that you have made a firm con-  
nection, and then to a wall outlet. Please see AC Power  
Connection (pages 8) of this manual for more details.  
WARNING!  
• Hazardous voltages exist inside—do not  
remove cover.  
• Refer servicing to a qualified technician.  
• To prevent fire or shock hazard, do not  
expose this module to moisture.  
• Turn amplifier off and unplug speaker if any  
abnormal conditions occur.  
Step 4: Signal Connection  
Use the best speaker cables you can. Higher quality cables,  
available from your specialty dealer, are recommended  
and will give you superior performance. Spade connectors  
are suggested for optimum contact and ease of installation.  
• Turn amplifier off before making or breaking  
any signal connections!  
Attach your speaker cables to the signal input section on the  
rear panel. Be consistent when connecting speaker leads to  
the terminals on the back of the Summit X. Take great care  
to assign the same color to the (+) terminal on both the  
left and right channels. If bass is weak and you cannot  
discern a tight, coherent image, you may need to reverse  
the (+) and (–) leads on one side to bring the system into  
proper polarity.  
• Do not operate if there is any visual damage  
to the electrostatic panel element.  
• Do not drive speaker beyond its rated power.  
• The power cord should not be installed,  
removed, or left detached from the speaker  
while the other end is connected to an AC  
power source.  
• Use only with a grounded electrical outlet.  
• No candles or other sources of open flame  
should be placed on the speaker.  
• No liquids either in glasses or vases should be  
placed on speaker.  
For detailed setup instructions, please turn to the Controls  
and Connections section (Page 7–9) of this manual for  
more details.  
• Speaker should not be exposed to dripping or  
splashing liquids.  
• The terminals marked with the lightning bolt  
symbol should be connected by an instructed  
person or by way of ready made terminals.  
• The power cord should remain readily oper-  
able should any abnormal conditions occur.  
Step 5: Control Settings  
Set the 25 and 50 Hz Bass Level Control knobs to 0dB.  
Please see 25 and 50Hz Level Control (page 7) for more  
details.  
Step 6: Listen and Enjoy  
Now, you may turn on your system and enjoy!  
Installation in Brief  
5
 
IntroduCtIon  
Congratulations! You have invested in one of the world’s  
premier loudspeaker systems  
Featuring an advanced crossover topology derived from  
the award winning CLX™ loudspeaker, MartinLogan  
carefully hand-builds each Summit™ X crossover utiliz-  
ing precision point-to-point wiring, audiophile-grade  
polypropylene capacitors and high-purity air-core coils.  
This advanced crossover topology flawlessly preserves  
microscopic subtleties while effortlessly handling the  
broadest range of dynamics contained within even the  
most demanding sonic source.  
The MartinLogan Summit X™ represents an advanced  
combination of sonic technologies establishing an unprec-  
edented direction for audiophile design. The result of  
years of research, the new Summit X™ hybrid electro-  
static loudspeaker features PoweredForce™ and XStat™  
technologies, dramatically reducing cabinet size, yet  
establishing new standards for efficiency, dynamics and  
precision in a floorstanding loudspeaker.  
The materials in your new Summit X speakers are of  
the highest quality and will provide years of endur-  
ing enjoyment and deepening respect. The cabinetry is  
constructed from the highest quality composite material  
for acoustical integrity and features hand rubbed wood  
veneers.  
The luminous legacy of MartinLogan subwoofer engi-  
neering and research not only produced some of the  
world’s most sophisticated subwoofers, but has also  
yielded new breakthroughs. Through integrated engineer-  
ing of advanced amplification and transducer designs,  
PoweredForce™ bass technology results in usable bass  
extension down to 24Hz, immense bass dynamics and  
precision beyond the reach of traditional passive box  
systems—all from an enclosure not much larger than a  
case of wine! Additionally, low-frequency equalization  
capabilities, integrated into advanced PoweredForce™  
technology, allow precision calibration for optimal room  
integration.  
Through rigorous testing, the curvilinear electrostatic  
panel has proven itself to be one of the most durable and  
reliable transducers available today. Fabricated from a  
custom tool punched high-grade steel, the patented panel  
is coated with a special polymer that is applied via a propri-  
etary electrostatic bonding process. This panel assembly  
houses a membrane just 0.0005 of an inch thick. Ruggedly  
constructed and insulated, the panel is rated to easily  
handle up to 300 watts of continuous power with no del-  
eterious effects.  
Housed within a radical, ultra-rigid extruded aluminum  
AirFrame™, the Summit X’s CLS XStat™ transducer builds  
upon the legacy of MartinLogan’s electrostatic heritage  
with the incorporation of advanced vacuum bonding and  
MicroPerf stat panels, providing even greater efficiency and  
precision. The integration of electrical interface technol-  
ogy developed by MartinLogan’s CLX™ engineering team  
extends effortless dynamics and purity, resulting in even  
higher sonic standards of efficiency and precision.  
The other sections of your User’s Manual explain in detail  
the operation of your Summit X speakers and the phi-  
losophy applied to their design. A clear understanding of  
your speakers will insure that you obtain maximum perfor-  
mance and pleasure from this most exacting transducer. It  
has been designed and constructed to give you years of  
trouble-free listening enjoyment.  
6
Introduction  
 
Controls and ConneCtIons  
25Hz Level Knobs  
Light Knob  
The 25Hz Leve
nificantly adjus
between 20 an
±10dB. This is an
peaks and dips
amplitudes often
real environmen
ting is depende
size and construc
configuration a
preference  
The light control allows the  
Summit X’s three lights to be  
turned on and off.  
50Hz Level Knobs  
The 50Hz Level knob sig-  
nificantly adjusts the level  
between 40 and 60Hz by  
±10dB. This is an area where  
peaks and dips of different  
amplitudes often manifest in  
real environments. This set-  
ting is dependent on room  
size and construction, system  
configuration and personal  
preference.  
Bicolor Amplifier
This multi-colo
cates the current
amplified Powe
woofer system.  
Signal Input  
No color: No power. The  
Summit X is not plugged in.  
These binding posts provide a  
place to connect the Summit  
X to your amplifier.  
Blue: Play mode. This indicates  
the Summit X detects an audio  
signal and is operating normally.  
AC Power Connection  
Your MartinLogan Summit  
X speakers use an internal  
power supply to energize  
their electrostatic cells and  
PoweredForce™ woofers, and  
must be connected to an AC  
power source.  
Red: Standby mode. This  
indicates the Summit X has  
detected no audio signal for  
approximately 15 minutes.  
Flashing Red: Safe mode.  
This indicates if the Summit  
X’s temperature has exceed-  
ed nominal operating range  
or that another error has  
occured. Normal operation  
will resume when available.  
This can also occur after initial  
plug in or while transitioning  
to standby mode. This is nor-  
mal and will clear upon music  
signal or after entering stand-  
by mode.  
Diaphragm Charge Status Light  
This green LED indicates dia-  
phragm charge status.  
No color: The circuit has  
turned off due to lack of signal  
for over 15 minutes.  
Green: Play mode. This indi-  
cates the Summit X detects an  
audio signal and the ESL dia-  
phragm is charged.  
Figure 1  Summit X Controls and Connections  
Controls and Connections  
7
 
AC Power Connection  
Your Summit X speakers use an internal power sup-  
ply to energize their electrostatic cells and the amplified  
PoweredForce™ woofer system, and must be connected  
to an AC power source. For this reason they are provided  
with the proper IEC standard power cords. These cords  
should be firmly inserted into the AC power receptacles  
on the rear connection panel of the speakers, then to any  
convenient AC wall outlet.  
Connections are made at the signal input section on the  
rear electronics panel of the Summit X. Use spade con-  
nectors for optimum contact and ease of installation.  
Hand tighten the binding posts, but do not overtighten—  
do not use a tool to tighten the binding posts.  
Be consistent when connecting the speaker cables to the  
signal input terminals. Take care to assign the same color  
cable lead to the (+) terminal on both the left and right  
channel speakers. If bass is weak and you cannot discern  
a tight, coherent image, you may need to reverse the (+)  
and (–) leads on one speaker to bring the system into  
proper polarity.  
The Summit X integrates a signal sensing power supply  
which will switch off after 15 minutes without music sig-  
nal, and requires less than four seconds to recharge the  
panels when a music signal is present.  
Your Summit X speakers are wired for the power service  
supplied in the country of original consumer sale. The  
AC power rating applicable to a particular unit is speci-  
fied both on the packing carton and on the serial number  
plate attached to the speaker. If you remove your Summit X  
speakers from the country of original sale, be certain that  
the AC power supplied in any subsequent location is  
suitable before connecting and operating the speakers.  
Substantially impaired performance or severe damage may  
occur to a Summit X speaker if operation is attempted from  
an incorrect AC power source.  
WARNING! Turn your amplifier off before  
making or breaking any signal connections!  
Break-In  
When you first begin to play your Summit X speakers the  
bass will sound weak. This is due to the high quality, long-  
life components used in the woofers. Our custom made,  
butyl surround woofers require approximately 72 hours of  
break-in at 90 dB (moderate listening levels) before any  
critical listening. The break-in requirements of the cross-  
over components (and, to a lesser degree, the electrostatic  
panel) are equivalent.  
WARNING! The power cord should not be  
installed, removed, or left detached from the  
speaker while the other end is connected to an  
AC power source.  
25 & 50 Hz Level Controls  
Signal Connection  
After you have determined the speaker position and pri-  
mary listening position (see pages 10–1) you will want to  
adjust the 25Hz and 50Hz level controls.  
Use the best speaker cables you can. The length and type  
of speaker cable used in your system will have an audible  
effect. Under no circumstance should a wire of gauge  
higher (thinner) than #16 be used. In general, the lon-  
ger the length used, the greater the necessity of a lower  
gauge, and the lower the gauge, the better the sound,  
with diminishing returns setting in around #8 to #12.  
On the rear of the Summit X are two knobs that control  
the 25Hz and 50Hz frequency responses by ±10db.  
MartinLogan engineers have found this frequency area  
(20–75Hz) to be problematic. Low frequencies tend to  
react to a room environment by creating nodes (boomy  
and unnatural bass) or nulls (weak bass). By adjusting the  
25Hz and 50Hz level knobs you can ‘dial out’ undesir-  
able nodes or nulls and create a balanced and seamless  
presentation.  
A variety of cables are available whose manufacturers  
claim better performance than standard heavy gauge wire.  
We have verified this in many cases, and the improvements  
available are often more noticeable than the differences  
between wires of different gauge. The effects of cables  
may be masked if equipment is not of the highest quality.  
To help find the optimal setting for your room, play famil-  
iar material with low frequency information (such as a  
8
Controls and Connection  
 
drum or a pipe organ). When adjusting the 25Hz and  
50Hz levels we recommend doing so with two or three  
people—one located at the listening position and one or  
two people at the controls.  
experiment with speaker placement or the location of the  
listening position—sometimes even the subtlest adjust-  
ments will make huge changes!  
1 Start with the 25Hz and 50Hz level knobs set to 0dB.  
The person at the listening position needs to become  
familiar with the sound at this setting. Remember, only  
the person in the listening position should judge the  
bass integration. Nodes and nulls change dramatically  
throughout every location in a room. A person adjust-  
ing the controls on the speaker will experience an  
entirely different bass performance than a person sit-  
ting in the listening position.  
2 Adjust the 25Hz level knob by +10dB. In most cases  
the bass will sound boomy and unnatural. Return  
the setting to 0dB and listen to the speaker again for  
a moment. Next, adjust the 25Hz knob by –10dB. In  
most cases the bass will sound thin. Return the setting  
to 0dB and listen again for a moment.  
Now you have an idea of the control you have over  
the 25Hz output. If you feel the bass is too boomy  
at 0dB, adjust towards the negative settings. If it is  
to thin at 0dB, adjust toward the positive settings.  
Repeat this procedure using increasingly smaller  
amounts (8dB, 6dB, 4dB, etc.) until you find a setting  
where the low bass sounds balanced—remember  
to return the knob to 0dB and listen for a moment  
between each adjustment. Once you’ve found the best  
sounding setting for your room, make a note of the set-  
ting.  
3 Repeat step 2 to adjust the 50Hz level knob  
4 Setting one level may effect enough change that the  
other is no longer ideal. Once you have determined  
and noted the settings for both knobs repeat this pro-  
cedure with finer adjustments around the points  
you’ve already chosen.  
Remember—due to the unpredictabililty of every lis-  
tening room, experimentation is essential when setting  
up a loudspeaker. It may take several attempts to find a  
combination of control settings, speaker positions, and  
listening position that is ideal for you and your listening  
preferences. If you still hear anomalies, you may need to  
Controls and Connection  
9
 
PlaCement and room aCoustICs  
Listening Position  
By now your speakers should be placed approximately  
two to three feet from the front wall (the wall in front of  
the listening position) and at least two feet from the side  
walls. Your sitting distance should be further than the dis-  
tance between the speakers themselves. You are trying to  
attain the impression of good center imaging and stage  
width.  
The front surface should be one long wall without any  
doors or openings. If you have openings, the reflection and  
bass characteristics from each channel can be different.  
The Side Walls  
A good rule of thumb is to have the side walls as far away  
from the speakers as possible. However, MartinLogan’s  
unique controlled dispersion electrostatic transducer  
inherently minimizes side wall reflections—a position  
as little as two feet from the side walls often proves ade-  
quate. Sometimes, if the system is bright or the imaging  
is not to your liking, and the side walls are very near, try  
putting curtains or softening material to the side of each  
speaker.  
The correct distance between the speakers and listener is  
related to the size and shape of your room. In long rooms  
the distance between the speakers may be far less than  
the distance from you to the speaker system. However,  
in a wide room, you will still find that if the distance from  
the listener to the speakers becomes smaller than the dis-  
tance between the speakers themselves, the image will no  
longer focus in the center.  
Now that you have positioned your speaker system,  
spend time listening. Wait to make any major changes for  
the next few days. Over the first 72 hours of play the actu-  
al tonal quality will change slightly with deeper bass and  
more spacious highs resulting. After a few days of listening  
you can make refinements and hear the differences.  
>24”  
(>61cm)  
x
>24”  
(>61cm)  
x
The Wall Behind the Listener  
2x  
Near-field reflections can occur from your back wall (the  
wall behind the listening position). If your listening posi-  
tion is close to the back wall, these reflections can confuse  
imaging quality. It is better for the wall behind you to be  
absorptive than to be reflective. If you have a hard back  
wall and your listening position is close to it, experiment  
with devices that absorb sound (i.e. wall hangings and  
possibly even sound absorbing panels).  
The Wall Behind the Speakers  
The front surface, the wall behind the speakers, should  
not be extremely hard or soft. A pane of glass will cause  
reflections, brightness and confused imaging. Curtains,  
drapery and objects such as bookshelves can be placed  
along the wall to diffuse an overly reflective surface. A  
standard sheet rock or textured wall is generally an ade-  
quate surface if the rest of the room is not too bright and  
hard. Walls can also be too soft. If the entire front wall  
consists of heavy drapery, your system can sound dull.  
You may hear muted music with little ambience. Harder  
surfaces will actually help in this case.  
Figure 2  Loudspeaker placement  
10 Controls and Connection  
 
Experimentation  
Toe-in—Now you can begin to experiment. First begin  
by toeing your speakers in towards the listening area and  
then facing them straight into the room. You will notice  
the tonal balance and imaging changing. You will notice  
that as the speakers are toed-in, the system becomes  
slightly brighter than when toed-out. This design gives you  
the flexibility to compensate for a soft or bright room.  
speakers can enhance clarity and precision. The Summit  
X is supplied with ETC spikes that provide the ability to  
adjust the rake of the speakers from –1° to 11° degrees.  
See Solid Footing (pages 13–14) for more information.  
Imaging—In their final location, your Summit X can have  
a stage width somewhat wider than the speakers them-  
selves. On well-recorded music the instruments can  
extend beyond the edges of each speaker, yet a vocal-  
ist should appear directly in the middle. The size of the  
instruments should be neither too large nor too small,  
subject to the intent and results of each unique recording.  
Generally it is found that the ideal listening position is with  
the speakers slightly toed-in so that you are listening to the  
inner third of the curved transducer section. A simple, yet  
effective method to achieve proper toe involves sitting at the  
listening position, holding a flashlight under your chin and  
pointing it at each speaker. The reflection of the flashlight  
should be within the inner third of the panel (see figure 3).  
Additionally, you should find good clues as to stage depth.  
Make sure that the vertical alignment, distance from the  
front wall, and toe-in is exactly the same for both speak-  
ers. This will greatly enhance the quality of your imaging.  
Tilting the Speakers Backwards and Forwards—As the  
diagrams show in the Dispersion Interactions section of  
this manual (page 15), the vertical dispersion is directional  
above and below the stator panel itself. In some instances, if  
you are sitting close to the floor, slight forward tilting of the  
Bass Response—Your bass response should neither be  
‘one note’ nor should it be too heavy. It should extend  
to the deepest organ passages and yet be tight and well  
defined. Kick-drums should be tight and percussive—string  
bass notes should be uniform and consistent throughout  
the entirety of the run without booming or thudding.  
Tonal Balance—Voices should be natural and full and  
cymbals should be detailed and articulate yet not bright  
and piercing. Pianos should have a nice transient charac-  
teristic and deep tonal registers.  
Final Placement  
After the full break in period, obtaining good wall treat-  
ments, and the proper toe-in angle, begin to experiment  
with the distance from the wall behind the speakers.  
Move your speaker slightly forward into the room. What  
happened to the bass response? What happened to the  
imaging? If the imaging is more open and spacious and  
the bass response is tightened, that is a superior posi-  
tion. Move the speakers back six inches from the initial  
setup position and again listen to the imaging and bass  
response. There will be a position where you will have  
pinpoint imaging and good bass response. That position  
is the point of the optimal placement from the front wall.  
Now experiment with placing the speakers farther apart.  
As the speakers are positioned farther apart, listen again,  
not so much for bass response but for stage width and  
Figure 3  Flashlight toe-in technique.  
Placement 11  
 
good pinpoint focusing. Your ideal listening position  
to obtain the best performance from your system.  
and speaker position will be determined by:  
Your room is actually a component and an important part  
of your system. This component is a very large variable  
and can dramatically add to, or subtract from, a great  
musical experience.  
•Tightness and extension of bass response  
•Width of the stage  
•Pinpoint focusing of imaging  
Once you have determined the best of all three of these  
considerations, you will have your best speaker location.  
All sound is composed of waves. Each note has its own  
wave size, with the lower bass notes literally encompass-  
ing from 10’ feet to over 40’ feet. Your room participates  
in this wave experience like a three dimensional pool with  
waves reflecting and becoming enhanced depending on  
the size of the room and the types of surfaces in the room.  
The Extra “Tweak”  
This extra “tweak” may be useful when your speakers  
are placed in a dedicated listening room. Use the fol-  
lowing procedure and measurements for your speakers  
placement to see what can happen to your system’s per-  
formance. These formulas will help determine optimum  
placement of your speakers to minimize standing waves.  
Remember, your audio system can literally generate all of  
the information required to recreate a musical event in  
time, space, and tonal balance. Ideally, your room should  
not contribute to that information. However, every room  
does contribute to the sound to some degree. Fortunately  
MartinLogan has designed the Summit X to minimize  
these anomalies  
1 Distance from the front wall (in front of the listening  
position) to the center of the curvilinear transducer: To  
determine distance from the front wall, measure the  
ceiling height (inches) and multiply the figure by 0.618  
(i.e. ceiling height (inches) x 0.618 = the distance from  
the front wall to the center of the curvilinear transducer).  
Let’s talk about a few important terms before we begin.  
Terminology  
2 Distance from the side-walls to the center of the cur-  
vilinear transducer: To determine distance from the  
side walls, measure the width of your room in inches  
and divide by 18. Next, multiply the quotient by 5 (i.e.  
room width in inches / 18 x 5 = the distance from the  
side-walls to the center of the curvilinear transducer).  
Standing Waves  
The parallel walls in your room will reinforce certain notes  
to the point that they will sound louder than the rest of  
the audio spectrum and cause “one note bass, boomy  
bass” or “bloated bass. For instance, 100Hz represents a  
10 feet wavelength. Your room will reinforce that specific  
frequency if one of the dominant dimensions is 10 feet.  
Large objects in the room such as cabinetry or furniture  
can help to minimize this potential problem. Some seri-  
ous “audiophiles” will literally build a special room with  
no parallel walls just to help eliminate this phenomenon.  
Enjoy Yourself  
The Summit X is a very refined speaker and benefits from  
care in setup. With these tips in mind you will find, over  
your months of listening, that small changes can result in  
measurable differences. As you live with your speakers,  
do not be afraid to experiment with their positioning until  
you find the optimal relationship between your room and  
speaker system that gives to you the best results. Your  
efforts will be rewarded.  
Reflective Surfaces (near-field reflections)  
The hard surfaces of your room, particularly if close to your  
speaker system, will reflect some waves back into the room  
over and over again, confusing the clarity and imaging of  
your system. The smaller sound waves are mostly affected  
here, and occur in the mid and high frequencies. This is  
where voice and frequencies as high as the cymbals occur.  
Your Room  
This is one of those areas that requires both a little back-  
ground to understand and some time and experimentation  
Resonant Surfaces and Objects  
All of the surfaces and objects in your room are subject to  
12 Placement  
 
the frequencies generated by your system. Much like an  
instrument, they will vibrate and “carry on” in syncopation  
with the music, and contribute in a negative way to the  
music. Ringing, boominess, and even brightness can occur  
simply because they are “singing along” with your music.  
are used, the bass can be ill defined and even boomy. The  
use of spikes is recommended to insure secured footing for  
your speakers. (See ‘Solid Footing’ for spike information  
and installation instructions).  
Dipolar Speakers and Your Room  
Resonant Cavities  
Small alcoves or closet type areas in your room can be  
chambers that create their own “standing waves” and can  
drum their own “one note” sounds.  
MartinLogan electrostatic loudspeakers are known as  
dipolar radiators. This means that they produce sound  
from both their fronts and their backs. Consequently,  
musical information is reflected by the wall behind them  
and may arrive, either in or out of step, with the informa-  
tion produced by the front of the speaker.  
Clap your hands. Can you hear an echo respond back?  
You have near-field reflections. Stomp your foot on the  
floor. Can you hear a “boom”? You have standing waves or  
large panel resonances such as a poorly supported wall. Put  
your head in a small cavity and talk loudly. Can you hear a  
booming? You’ve just experienced a cavity resonance.  
The low frequencies can either be enhanced or nulled  
by the position from the front wall. Your Summit X’s  
have been designed to be placed two to three feet from  
the front wall (the wall in front of the listening position)  
to obtain the best results; however, your room may see  
things differently. So listening to the difference of the bass  
response as a result of the changes in distance from the  
front wall can allow you to get the best combination of  
depth of bass and tonal balance.  
Rules of Thumb  
Hard vs  Soft Surfaces  
If the front or back wall of your listening room is soft, it  
might benefit you to have a hard or reflective wall in  
opposition. The ceiling and floor should follow the same  
basic guideline as well. However, the side walls should be  
roughly the same in order to deliver a focused image.  
Now that you know about reflective surfaces and reso-  
nant objects, you can see how the midrange and high  
frequencies can be affected. The timing of the initial wave  
as it radiates to your ears, and then the reflected informa-  
tion as it arrives at your ears later in time, can result in  
confusion of the precious timing information that carries  
the clues to imaging. Consequently the result is blurred  
imaging and excessive brightness. Soft walls, curtains, wall  
hangings, or sound dampeners (your dealer can give you  
good information here) can be effective if these negative  
conditions occur.  
This rule suggests that a little reflection is good. As a mat-  
ter of fact, some rooms can be so “over damped” with  
carpeting, drapes and sound absorbers that the music  
system can sound dull and lifeless. On the other hand,  
rooms can be so hard that the system can sound like a  
gymnasium with too much reflection and brightness. The  
point is that balance is the optimum environment.  
Breakup Objects  
Objects with complex shapes, such as bookshelves, cabinetry  
and multiple shaped walls can help break up those  
sonic gremlins and diffuse any dominant frequencies.  
Solid Footing  
After living and experimenting with your Summit X’s, you  
may want to use ETC (energy transfer coupler) spikes sup-  
plied with the Summit X (see figure 5). With the use of  
these spikes, the Summit X will become more firmly plant-  
ed on the floor and, consequently, bass will tighten and  
imaging will become more coherent and detailed. It is  
best not to implement the spikes, however, until you are  
secure in the positioning, as the spikes can damage the  
floor if the speaker is moved. The feet that attach to the  
bottom of the Summit X use a common 3/8 - 16 thread.  
Solid Coupling  
Your loudspeaker system generates frequency vibrations or  
waves into the room. This is how it creates sound. These  
vibrations vary from 20 per second to 20,000 per sec-  
ond. If your speaker system is not securely planted on the  
floor or solid surface, it can shake as it produces sound  
and, consequently, the sound can be compromised. If  
your speaker is sitting on the carpet and only foot gliders  
Room Acoustics 13  
 
3 Tighten the jam nut snugly by hand. Do not over tighten.  
4 Right the speaker.  
The Summi X’s feet can be configured to adjust the rake  
of the speaker from –1° to 11° allowing precise control of  
the speaker’s vertical dispersion (figure 4).  
Caution: Make sure your hands and any cabling are  
clear of the spikes. Do not slide speaker as spikes are  
sharp and can damage your floor or carpet.  
Spike Installation Instructions:  
1 Carefully lay your speaker on its side.  
5 Adjust to level by rotating spikes. Tighten the jam nut  
securely when satisfied that speaker is level.  
2 Remove existing feet. Thread the spikes into the holes  
and screw them in all of the way. If the speaker does  
not sit level loosen one spike until level is achieved.  
A 11° D  
B
9°  
D
A
7°  
B
D
5°  
C
B
3°  
A
D
1°  
B
D
–1° A  
A
C
D
B
Figure 4  Spike installation.  
14 Placement  
 
dIsPersIon InteraCtIons  
Controlled Horizontal Dispersion  
Three Major Types of Dispersion  
Your Summit X’s launch a 30 degree horizontal disper-  
sion pattern. This horizontal dispersion field gives a  
choice of good seats for the performance while minimiz-  
ing interactions with side walls (see figure 9). Make sure  
both speakers stand exactly at the same vertical angle,  
otherwise the image can be skewed or poorly defined.  
The wave launch of both speakers is extremely accurate  
in both the time and spectral domain. Consequently,  
small refined adjustments can result in noticeable sonic  
improvements.  
It is a known fact that as the sound wave becomes pro-  
gressively smaller than the transducer producing it,  
the dispersion of that wave becomes more and more  
narrow, or directional. This fact occurs as long as the  
transducer is a flat surface. Large flat panel speakers  
exhibit venetian blind effects due to this phenomenon.  
This is one reason why many manufacturers opt for small  
drivers (i.e. tweeters and midrange) to approximate  
what is known as a point source wave launch.  
Historically, most attempts to achieve smooth dispersion  
from large flat panel transducers resulted in trade-offs.  
After exhaustive testing of many different methods, we  
conceived an elegantly simple, yet intensely hand craft-  
ed process. By curving the radiating surface, we create  
the effect of a horizontal arc. This allows the engineers at  
MartinLogan to control the high frequency dispersion pat-  
tern of our transducers.  
Controlled Vertical Dispersion  
As you can see from the illustrations, your Summit X  
speakers project a controlled dispersion pattern (see fig-  
ure 10). Each Summit X is a 44 inch line source beginning  
15 inches above the base. This vertical dispersion profile  
minimizes interactions with the floor and the ceiling.  
Figure 56  As can be seen here, point source  
concepts invite a great deal of room interaction.  
While delivering good frequency response to a  
large listening audience, imaging is consequent-  
ly confused and blurred.  
Figure 78  Even though they suffer from  
“venetian blind” effect, angled multiple panel  
speakers can deliver good imaging, but only  
to specific spots in the listening area.  
Figure 9–10  A controlled 30 degree cylindri-  
cal wave-front, a MartinLogan exclusive, offers  
optimal sound distribution with minimal room  
interaction. The result is solid imaging with a  
wide listening area.  
Dispersion Interactions 15  
 
Home tHeater  
It had long been the practice of stereo buffs to connect their  
television to a stereo system. The advantage was the use of  
the larger speakers and more powerful amplifier of the  
stereo system. Even though the sound was greatly improved,  
it was still mono and limited by the broadcast signal.  
speaker, and that it is recommended for use as a center  
speaker. This is not the place to cut corners.  
Surround Speakers  
We recommend (along with the film industry) that the sur-  
round speakers play down to at least 80 Hz. Surround  
speakers contain the information that makes it appear that  
planes are flying over your head. Some may suggest that this  
is the place to save money and purchase small, inexpensive  
speakers. If you choose to do so, be prepared to upgrade  
in the future as discrete multi-channel digital encoding is  
proliferating rapidly and the demands on surround speak-  
ers have increased.  
In the late 1970’s and early 1980’s two new home movie  
formats became widely available to the public: VCR and  
laser disc.  
By 1985, both formats had developed into very high quality  
audio/video sources. In fact, the sonic performance of some  
video formats exceeded audio-only formats. Now, with  
theater-quality sound available at home, the only element  
missing was the "surround sound" presentation found in  
movie houses.  
Subwoofer  
With any good surround system you will need one or  
more high-quality subwoofers (the .1 in a 5.1, 6.1, or  
7.1 channel surround system). Most movie soundtracks  
contain large amounts of bass information as part of the  
special effects. Good subwoofers will provide a founda-  
tion for the rest of the system.  
Fortunately, Dolby and DTS encoded DVD’s emerged  
with the same surround sound information encoded  
on home releases as the theatrical release. Additionally,  
new high-resolution home-viewing formats such as Blu-  
Ray as well as high-definition content provided via cable  
or satellite have evolved which include multi-channel  
encoded audio that is virtually master tape quality. All that  
is required to retrieve this information is a decoder and  
additional speakers and amps to reproduce it.  
Home theater is a complex purchase and we recommend  
that you consult your local MartinLogan dealer, as they  
are well versed in this subject.  
Each piece of a surround system can be purchased sepa-  
rately. Take your time and buy quality. No one has ever  
complained that the movie was too real. The following list  
and descriptions will give you only a brief outline of the  
responsibilities and demands placed on each speaker.  
Front Left and Front Right  
If these speakers will be the same two used for your stereo  
playback, they should be of very high quality and able to  
play loudly (over 102 dB) and reproduce bass below 80 Hz.  
Center Channel  
This is the most important speaker in a home theater  
system, as almost all of the dialogue and a large portion  
of the front speaker information is reproduced by the  
center channel. It is important that the center speaker  
be extremely accurate and mate well with the front  
Figure 11  Summit X speakers as front channels, the Stage as the center  
and surround channels, and Descent i subwoofers as 0.1 (effects) channel.  
16 Home Theater  
 
eleCtrostatIC advantages  
How can sound be reproduced by something that you are  
able to see through? Electrostatic energy makes this possible.  
push-pull operation and is a major contributor to the sonic  
purity of the electrostatic concept due to its exceptional  
linearity and low distortion.  
Where the world of traditional loudspeaker technology  
deals with cones, domes, diaphragms and ribbons that  
are moved with magnetism, the world of electrostatic  
loudspeakers deals with charged electrons attracting and  
repelling each other.  
Since the diaphragm of an electrostatic speaker is uniform-  
ly 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 driv-  
ers 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 fully understand the electrostatic concept, some back-  
ground information will be helpful. Remember when you  
learned in a science or physics class that like charges repel  
each other and opposite charges attract each other? Well,  
this principle is the foundation of the electrostatic concept.  
An electrostatic transducer consists of three pieces: stators,  
the diaphragm and spacers (see figure 12). The diaphragm  
is what actually moves to excite the air and create music.  
The stator’s job is to remain stationary, hence the word  
stator, and to provide a reference point for the moving dia-  
phragm. The spacers provide the diaphragm with a fixed  
distance in which to move between the stators.  
To make these cones and domes move, all electromag-  
netic drivers must use voice coils wound on formers,  
spider assemblies, and surrounds to keep the cone or  
dome in position (see figure 13). These pieces, when  
combined with the high mass of the cone or dome mate-  
rials used, make it an extremely complex unit with many  
weaknesses and potential for failure. These faults contrib-  
ute 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 loud-  
speaker must (40,000 times per second!).  
As your amplifier sends music signals to an electrostatic  
speaker, these signals are changed into two high-voltage  
signals that are equal in strength but opposite in polarity.  
These high voltage signals are then applied to the stators.  
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  
Figure 12  Cut away view of an XStat™ electrostatic transducer. Notice  
Figure 13  Cut away view of a typical moving coil driver. Notice the com-  
the simplicity due to minimal parts usage.  
plexity due to the high number of parts.  
Electrostatic Advantages 17  
 
Full Range Operation  
Another significant advantage of MartinLogan’s exclusive  
transducer technology reveals itself when you look at exam-  
ples of other loudspeaker products on the market today.  
these drivers must be designed to operate within a nar-  
row, 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.  
The Summit X uses no crossover networks above 270 Hz  
because they are not needed. The Summit X consists of  
a single, seamless electrostatic membrane reproducing  
all frequencies above 270 Hz simultaneously. How is this  
possible?  
In order to use multiple drivers, a crossover network  
is enlisted to attempt a division of the complex musical  
signal into the separate pieces (usually highs, mids, and  
lows) that each specific driver was designed to handle.  
Unfortunately, due to the phase relationships that occur  
within all crossover networks and during the acoustical  
recombination process, nonlinearities and severe deg-  
radation of the music signal take place in the ear’s most  
critical zone (see figure 14).  
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 Summit X essential-  
ly 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 elec-  
trical signal that can be amplified or preserved by some  
type of storage media. The Summit X’s electrostatic trans-  
ducer transforms electrical energy from your amplifier  
back into acoustical energy.  
The Summit X’s electrostatic transducer can single-handed-  
ly reproduce all frequencies above 270 Hz simultaneously.  
You have in one transducer the ability to handle in elegant  
simplicity the critical frequencies above 270 Hz.  
The crossover phase aberrations that are associated with  
traditional tweeter, midrange, and woofer systems are  
eliminated. The result is a dramatic improvement in imag-  
ing and staging performance due to the minutely accurate  
phase relationship of the full-range panel wave launch.  
Due to the limitations of electromagnetic drivers, no single  
unit can reproduce the full range of frequencies. Instead,  
Figure 14  This diagram illustrates how a conventional  
speaker system must use multiple crossover networks  
that have negative effects on the musical performance.  
18 Electrostatic Advantages  
 
martInlogan exClusIves  
XStat™ Transducer  
XStat™ transducers incorporate a myriad of technological and  
design innovations including CLS™, MicroPerf, Generation 2  
Diaphragms, ClearSpars™, and Vacuum Bonding.  
technology, MartinLogan developed the production capa-  
bility to bring it out of the laboratory and into the market  
place. You will find this proprietary MartinLogan technol-  
ogy used in all of our electrostatic products. It is one of the  
many reasons behind our reputation for high quality sound  
with practical usability. This is also why you see the unique  
“see through” cylindrical shape of MartinLogan products.  
AirFrame™ Technology  
Ultra-rigid extruded aerospace grade aluminum alloy  
AirFrame™ technology rigidifies and secures the XStat™  
electrostatic panel to the woofer cabinet while at the  
same time providing sonic and electrical isolation.  
Advanced AirFrame™ technology maximizes the electro-  
static panels playable surface area and dipole dispersion  
pattern while minimizing potentially acoustically destructive  
intermodulated distortion caused by spurious vibrations and  
resonance. The result? Ultimate imaging capability, low-level  
detail resolution, improved efficiency and overall accuracy.  
Generation 2 Diaphragm  
Summit X’s diaphragm employs an extremely sophisticated  
conductive coating applied to the polymer surface at an  
atomic level using a plasma bonding process. A proprietary  
compound is driven into the surface of the poly-  
mer film in an oxygen free argon chamber. This  
process allows extremely uniform surface resistivity character-  
istics, an optically transparent surface, and a nearly massless  
diaphragm. This uniform surface resistivity controls the elec-  
trostatic charge on the diaphragm surface and regulates  
its migration. As a result, no discharging or “arcing” can occur.  
MicroPerf Stator  
Sleek. Compact. MicroPerf stator technology, featured in  
all XStat™ transducers, reveals more open playable area  
in each panel, offering increased performance from even  
more compact stat panels. It is significant to note that the  
XStat™ transducer in the radical new Summit X loud-  
speaker supports the bandwidth and dynamics associated  
with traditional electrostatic panels nearly twice its size.  
Vacuum Bonding  
To achieve the power, precision, and strength of the XStat™  
transducer, two insulated high-purity carbon steel stators along  
with a proprietary plasma bonded diaphragm and ClearSpar™  
spacers are fused into a curved geometry with an aerospace  
adhesive whose strength exceeds that of welding. Our propri-  
etary Vacuum Bonding process guarantees uniform diaphragm  
tensioning and extremely precise construction tolerances, result-  
ing in unequivocal precision, linearity and efficiency.  
CLS™ (Curvilinear Line Source)  
Since the beginning of audio, achieving smooth dispersion  
has been a problem for all designers. Large panel transduc-  
ers present unique challenge because the larger the panel,  
the more directional the dispersion pattern becomes.  
ControlledDispersionPoweredForce™  
MartinLogan PoweredForce woofers feature advanced  
driver and amplification technologies that deliver astonish-  
ingly dynamic and articulate bass to as low as 24 Hz from an  
enclosure only about the size of a case of wine. Controlled  
Dispersion PoweredForce woofers provide a low-frequency  
dispersion pattern at the crossover point mimicking that of  
our Controlled Dispersion XStat transducers. This break-  
through design provides dynamic, room filling bass at the  
lowest frequencies. By subtly shifting woofer phasing as it  
approaches the crossover frequency we minimize side-wall  
reflections and reduce problematic room interactions, while  
achieving seamless integration between the woofer and  
electrostatic transducer. Low-frequency equalization further  
enhances performance by allowing precise tailoring to indi-  
vidual room acoustics.  
Wide range electrostats have long been one of the most  
problematic transducers because they attain their full  
range capabilities via a large surface area. It looked as if  
they were in direct conflict to smooth dispersion and  
almost every attempt to correct this resulted in either poor  
dispersion or a serious compromise in sound quality.  
After extensive research, MartinLogan engineers discov-  
ered an elegantly simple solution to achieve a smooth  
pattern of dispersion without degrading sound quality.  
By curving the horizontal plane of the electrostatic trans-  
ducer, a controlled horizontal dispersion pattern could be  
achieved, yet the purity of the almost massless electrostatic  
diaphragm remained uncompromised. After creating this  
MartinLogan Exclusives 19  
 
eleCtrostatIC HIstory  
In the late 1800’s, any loudspeaker was considered exotic.  
Today, most of us take the wonders of sound reproduction  
for granted.  
After a short time, Rice and Kellogg had narrowed the field  
of “contestants” down to the cone and the electrostat. The  
outcome would dictate the way that future generations  
would refer to loudspeakers as being either “conventional”  
or “exotic”.  
It was 1880 before Thomas Edison had invented the  
first phonograph. This was a horn-loaded diaphragm  
that was excited by a playback stylus. In 1898, Sir Oliver  
Lodge invented a cone loudspeaker, which he referred to  
as a “bellowing telephone”, that was very similar to the  
conventional cone loudspeaker drivers that we know today.  
However, Lodge had no intention for his device to repro-  
duce music because in 1898 there was no way to amplify  
an electrical signal! As a result, his speaker had nothing to  
offer over the acoustical gramophones  
Bell Laboratory’s electrostat was something to behold. This  
enormous bipolar speaker was as big as a door. The dia-  
phragm, which was beginning to rot, was made of a pig  
intestine that was covered with fine gold leaf to conduct  
the audio signal.  
When Rice and Kellogg began playing the new electrically  
cut records through the electrostat,  
of the period. It was not until 1906  
that Dr. Lee DeForrest invented the  
triode vacuum tube. Before this, an  
electrical signal could not be ampli-  
Rice and Kellogg had  
they were stunned and impressed. The  
electrostat performed splendidly. They  
had never heard instrumental timbres  
reproduced with such realism. This sys-  
narrowed the field of  
fied. The loudspeaker, as we know it “contestants down” to the tem sounded like real music rather than  
today, should have ensued then, but  
it did not. Amazingly, it was almost  
twenty years before this would occur.  
the honking, squawking rendition of the  
acoustic gramophone. Immediately, they  
knew they were on to something big.  
cone and the electrostat.  
The acoustic gramophone was destined to become obsolete.  
In 1921, the electrically cut phonograph record became  
a reality. This method of recording was far superior to the  
mechanically cut record and possessed almost 30 dB of  
dynamic range. The acoustical gramophone couldn’t begin  
to reproduce all of the information on this new disc. As a  
result, further developments in loudspeakers were needed  
to cope with this amazing new recording medium.  
Due to Rice and Kellogg’s enthusiasm, they devoted a  
considerable amount of time researching the electrostatic  
design. However, they soon encountered the same dif-  
ficulties that even present designers face; planar speakers  
require a very large surface area to reproduce the lower fre-  
quencies of the audio spectrum. Because the management  
at Bell Labs considered large speakers unacceptable, Rice  
and Kellogg’s work on electrostatics would never be put to  
use for a commercial product. Reluctantly, they advised the  
Bell management to go with the cone. For the next 30 years,  
the electrostatic design lay dormant.  
By 1923, Bell Telephone Laboratories made the decision  
to develop a complete musical playback system consisting  
of an electronic phonograph and a loudspeaker to take  
advantage of the new recording medium. Bell Labs  
assigned the project to two young engineers, C. W. Rice  
and E. W. Kellogg.  
During the Great Depression of the 1930’s, consumer audio  
almost died. The new electrically amplified loudspeaker  
never gained acceptance, as most people continued to  
use their old Victrola-style acoustic gramophones. Prior to  
the end of World War II, consumer audio saw little, if any,  
progress. However, during the late 1940’s, audio expe-  
rienced a great rebirth. Suddenly there was tremendous  
interest in audio products, and with that, a great demand  
for improved audio components. No sooner had the cone  
become established than it was challenged by products  
developed during this new rebirth.  
Rice and Kellogg had a well equipped laboratory at their  
disposal. This lab possessed a vacuum tube amplifier  
with an unheard of 200 watts, a large selection of the  
new electrically cut phonograph records and a variety of  
loudspeaker prototypes that Bell Labs had been collecting  
over the past decade. Among these were Lodge’s cone, a  
speaker that used compressed air, a corona discharge (plas-  
ma) speaker, and an electrostatic speaker.  
20 Electrostatic History  
 
In 1947, Arthur Janszen, a young Naval engineer, took part  
in a research project for the Navy. The Navy was interested  
in developing a better instrument for testing microphone  
arrays. The test instrument needed an extremely accurate  
speaker, but Janszen found that the cone speakers of the  
period were too nonlinear in phase and amplitude response  
to meet his criteria. Janszen believed that electrostats were  
inherently more linear than cones, so he built a model using  
a thin plastic diaphragm treated with a conductive coating.  
This model confirmed Janszen’s beliefs, for it exhibited  
remarkable phase and amplitude linearity.  
was very directional and its power handling was limited to  
around 70 watts. As a result, many people continued to use  
box speakers with cones.  
In the early 1960’s Arthur Janszen joined forces with the  
KLH loudspeaker company, and together they introduced  
the KLH 9. Due to the large size of the KLH 9, it did not  
have as many sonic limitations as the Quad. The KLH 9  
could play markedly louder and lower in frequency than  
the Quad ESL. Thus a rivalry was born.  
Janszen continued to develop electrostatic designs. He  
was instrumental in the design of the Koss Model One,  
the Acoustech and the Dennesen speakers. Roger West,  
the chief designer of the Janszen  
Janszen was so excited with the results that he continued  
research on the electrostatic speaker on his own time. He  
soon thought of insulating the stators to  
prevent the destructive effects of arcing.  
By 1952, he had an electrostatic  
tweeter element ready for commercial  
production. This new tweeter soon  
created a sensation among American  
audio hobbyists. Since Janszen’s  
These developments allow  
the consumer to own the  
highest performance loud-  
Corporation, became the presi-  
dent of Sound Lab. When Janszen  
Corporation was sold, the RTR  
loudspeaker company bought  
half of the production tooling. This  
tooling was used to make the elec-  
tweeter element was limited to high speaker products ever built. trostatic panels for the Servostatic, a  
frequency reproduction, it often found  
hybrid electrostatic system that was  
Infinity’s first speaker product. Other companies soon  
followed; each with their own unique applications of  
the technology. These include Acoustat, Audiostatic,  
Beveridge, Dayton Wright, Sound Lab and Stax, to name a few.  
itself used in conjunction with woofers—most notably,  
those from Acoustic Research. These systems were highly  
regarded by all audio enthusiasts.  
As good as these systems were, they would soon be surpassed  
by another electrostatic speaker.  
Electrostatic speakers have progressed and prospered  
because they actually do what Peter Walker claimed they  
would. The limitations and problems experienced in the  
past were not inherent to the electrostatic concept. They  
were related to the applications of these concepts.  
In 1955, Peter Walker published three articles regarding  
electrostatic loudspeaker design in Wireless World, a British  
magazine. In these articles, Walker demonstrated the benefits  
of the electrostatic loudspeaker. He explained that electro-  
statics permit the use of diaphragms that are low in mass,  
large in area and uniformly driven over their surfaces by  
electrostatic forces. Due to these characteristics, electrostats  
have the inherent ability to produce a wide bandwidth,  
flat frequency response with distortion products being no  
greater than the electronics driving them.  
Today, these limitations have been resolved. Advancements  
in materials due to the U.S. space program give designers  
the ability to harness the superiority of the electrostatic  
principle. Today’s electrostats use advanced insulation  
techniques or provide protection circuitry. The poor dis-  
persion properties of early models have been addressed by  
using delay lines, acoustical lenses, multiple panel arrays or,  
as in our own products, by curving the diaphragm. Power  
handling and sensitivity have also been increased.  
By 1956, Walker backed up his articles by introducing a  
consumer product, the now famous Quad ESL. This speaker  
immediately set a standard of performance for the audio  
industry due to its incredible accuracy. However, in actual  
use, the Quad had a few problems. It could not be played  
very loud, it had poor bass performance, it presented a dif-  
ficult load that some amplifiers did not like, its dispersion  
These developments allow the consumer the opportunity  
to own the highest performance loudspeaker products ever  
built. It’s too bad Rice and Kellogg were never able to see  
just how far the technology would be taken.  
Electrostatic History 21  
 
frequently asked questIons  
How do I clean my speakers?  
Is there likely to be any interaction between my speakers  
and the television in my Audio/Video system?  
Use a dust free cloth or a soft brush to remove the dust  
from your speakers. We also recommend a specialty  
com) that cleans your speakers better than anything  
else we have tried. For the wood surfaces it is accept-  
able to slightly dampen the cloth. Do not spray any  
kind of cleaning agent on or in close proximity to  
the electrostatic element  Avoid the use of ammonia  
based products or silicone oil on the wood parts  
Actually, there is less interaction between a television  
and an electrostatic speaker than between a television  
and a conventional system. However, we do recommend  
that you keep your speakers at least one foot away  
from the television because of the dynamic woofer they  
employ. In the case of our center channel speakers,  
however, they are fully shielded and can go anywhere.  
Will my electric bill go ‘sky high’ by leaving my speak-  
ers plugged in all the time?  
What is the advantage of ESL?  
Since the diaphragm is uniformly driven over its entire  
surface—unlike a tweeter that is only driven at its  
edges— it is the only technology that can be made  
large enough to play bass, yet is still light enough for  
high frequencies. This unique property allows for the  
elimination of high frequency crossover points and  
their associated distortions.  
No. A pair of MartinLogan’s will draw approximately  
1 watt maximum (in standby mode). There is circuitry  
to turn off the static charge when not in use; however,  
actual consumption will remain close to the same. The  
primary purpose of the sensing circuitry is to prevent  
dust collection on the electrostatic element.  
If the diaphragm is punctured with a pencil or similar  
item, how extensive would the damage to the speaker be?  
Our research department has literally punctured hundreds  
of holes in a diaphragm, neither affecting the quality of  
the sound nor causing the diaphragm to rip. However,  
you will be able to see the actual puncture and it can  
be a physical nuisance. If this is the case, replacing the  
electrostatic transducer will be the only solution.  
What size amplifier should I use?  
We recommend an amplifier with 100 to 200 watts  
per channel for most applications. Probably less would  
be adequate for our smaller hybrids or when used in  
home theater where a subwoofer is employed. Our  
hybrid designs will perform well with either a tube or  
transistorized amplifier, and will reveal the sonic char-  
acter of either type. However, it is important that the  
amplifier be stable operating into varying impedance  
loads: an ideally stable amplifier will typically be able  
to deliver nearly twice its rated wattage into 4 Ohms  
and should again increase into 2 Ohms.  
Will exposure to sunlight affect the life or performance  
of my speakers?  
We recommend that you not place any loudspeaker  
in direct sunlight. The ultraviolet (UV) rays from the  
sun can cause deterioration of grill cloth, speaker cones,  
etc. Small exposures to UV will not cause a problem.  
In general, the filtering of UV rays through glass will  
greatly reduce the negative effects on the electrostatic  
membrane itself.  
Could you suggest a list of suitable electronics and  
cables that would be ideal for MartinLogan speakers?  
The area of electronics and cable choice is probably  
the most common type of question that we receive. It  
is also the most subjective. We have repeatedly found  
that brands that work well in one setup will drive  
someone else nuts in another. We use many brands  
with great success. Again, we have no favorites; we  
use electronics and cables quite interchangeably. We  
would suggest listening to a number of brands—and  
above all else— trust your ears. Dealers are always the  
best source for information when purchasing additional  
audio equipment.  
22 Frequently Asked Questions  
 
Will excessive smoke or dust cause any problems with  
my electrostatic speakers?  
How do MartinLogan speakers hold up over a long term  
in the humidity of tropical climates?  
Exposure to excessive contaminants such as smoke  
or dust may potentially affect the performance of the  
electrostatic membrane, and may cause discoloration  
of the diaphragm membrane. When not in use for  
extended periods, you should unplug the speakers and  
cover them with the plastic bags in which the speakers  
were originally packed. It is a good idea to vacuum the  
electrostatic portion of each speaker three or four times  
a year. See the vacuuming FAQ.  
We should tell you that MartinLogan indeed has a very  
substantial number of customers in tropical regions of  
the world. Our speakers have been serving them nicely  
for many years. This concern may have come from our  
earlier design of speakers, which were charged continu-  
ously. Since 1993, all of our speakers have been designed  
so that they only charge the panel while music is being  
played. This improvement has made a tremendous dif-  
ference in the consistent performance of our product.  
There may be a little more maintenance involved in  
humid regions when not in an air conditioned envi-  
ronment. Simply enough, the concern is to keep the  
electrostatic panels dust free. Humidity will combine  
with any dust on the panel to make it slightly conduc-  
tive. This will result in a slight pathway for the charge  
to leave the membrane of the speaker. The solution is  
simple. They only require occasional vacuuming with a  
strong vacuum hose.  
A problem has recently developed with my MartinLogan  
speakers  The right speaker seems to be hissing even  
when the amplifier and such are not connected  I was  
wondering if this sounds like any problem you have  
encountered previously and have a simple solution for  
or might it be something which will need to be looked  
into more carefully  
Your speakers are dusty. See the vacuuming FAQ. The  
electrostatic charge on the element has attracted airborne  
dust or pollen. Since 1993, all of our speakers have been  
built with a charging circuit board that only charges the  
electrostatic element when music plays. At other times  
they are not charged and cannot collect dust. You can  
get the same benefit by simply unplugging them when-  
ever they are not in use. A power strip is an easy way to  
do that.  
How do I vacuum my MartinLogan speakers?  
Vacuuming will be most effective if the speakers have  
been unplugged for six hours to twelve hours (or over-  
night). You need not worry about the vacuum pressure  
damaging the "delicate" membrane. It is extraordi-  
narily durable. Dirt and dust may be vacuumed off with  
a brush attachment connected to your vacuum cleaner,  
or you may blow them off with compressed air. When  
vacuuming or blowing off your panels do so to both  
sides, but focus the majority of your attention on the  
front of the panels.  
Could my children, pets, or myself be shocked by the  
high-voltage present in the electrostatic panel?  
No. High voltage with low current is not dangerous. As  
a matter of fact, the voltage in our speakers is 10 times  
less than the static electricity that builds up on the surface  
of your television screen.  
Should I unplug my speakers during a thunderstorm?  
Yes, or before. It’s a good idea to disconnect all of your  
audio/video components during stormy weather.  
Frequently Asked Questions 23  
 
trouBlesHootIng  
No Output  
Exaggerated Highs, Brightness  
• Check the toe-in of the speakers. Read the Placement  
section of this manual for more information.  
• Check that all your system components are turned on.  
• Check your speaker wires and connections.  
• Check all interconnecting cables.  
• Try hooking up a different set of speakers. The lack of  
output could point to a problem with other equipment  
in your system (amp, pre-amp, processor, etc.)  
Muddy Bass  
• Check placement. Try moving the speakers closer to the  
front and sidewalls.  
• Check the type of feet that are being used. Try attaching  
the coupling spikes.  
• Possibly means low electrostatic panel output. See  
'Weak Output from Electrostatic Panel, Loss of Highs’.  
Weak or no Output from Electrostatic Panel, Loss of Highs  
• Check the power cord. Is it properly connected to the  
speaker and to the wall?  
• Is the power cord connected to a switched outlet?  
• Dirt and dust may need to be vacuumed off. Please see  
the FAQ regarding vacuuming.  
• If using a single-wire connection, check to make sure  
that the jumper clips are in place and that the binding  
posts are firmly hand-tightened.  
Lack of Bass, No Bass  
• Check your speaker wires. Is the polarity correct?  
• Check your speaker wires. Is the woofer working?  
• Check your speaker wires if bi-wiring.  
• If using a single-wire connection, check to make sure  
that the jumper clips are in place and that the binding  
posts are firmly hand-tightened.  
• Check the binding posts. Are the dirty? If so clean them  
with rubbing alcohol.  
• Check the binding posts. Are the loose? Make sure they  
are firmly hand-tightened.  
• Has a foreign substance (such as a household cleaning  
chemical or soap) been applied to the panel? If so the  
speaker will require servicing.  
• Check the binding posts. Are the dirty? If so clean them  
with rubbing alcohol.  
• Check the binding posts. Are the loose? Make sure they  
are firmly hand-tightened.  
Poor Imaging  
Popping and Ticking Sounds, Funny Noises  
• These occasional noises are harmless and will not hurt  
your audio system or your speakers. All electrostatic  
speakers are guilty of making odd noises at one time or  
another. It is the result of airborne contaminates (most  
notably dust). Vacuuming is recommended.  
• Check placement. Are both speakers the same distance  
from the walls? Do they have the same amount of toe-  
in? Try moving the speakers away from the back and  
sidewalls.  
• Check the polarity of the speaker wires. Are they con-  
nected properly?  
• These noises may be caused by dirt and dust particles  
collecting on the speaker, by high humidity.  
• Dirt and dust may need to be vacuumed off. Please see  
the FAQ regarding vacuuming.  
• Try switching the left speaker with the right.  
• Are your speakers set up in an L-shaped room? If so,  
you may experience off-center imaging. Talk to your  
dealer about acoustical room treatment options.  
24 Troubleshooting  
 
general InformatIon  
Specifications*  
Warranty and Registration  
System Frequency Response:  
24–23,000 Hz ± 3db  
Your Summit X speakers are provided with an automat-  
ic Limited 90 Day Warranty coverage. You have the  
option, at no additional charge, to receive a Limited  
5 Year Warranty coverage. To obtain the Limited  
5 Year Warranty coverage you need to complete and  
return the Certificate of Registration, included with your  
speakers, and provide a copy of your dealer receipt, to  
MartinLogan within 30 days of purchase. For your conve-  
nience MartinLogan also offers online warranty registration at  
Dispersion  
Horizontal: 30 Degrees  
Vertical: 44” (112 cm) line source  
Sensitivity  
91 dB/2.83 volts/meter  
Impedance  
Nominal: 4 ohms  
Minimum: 0.8 ohms @ 20 kHz  
MartinLogan may not honor warranty service claims unless  
we have a completed Warranty Registration on file! If  
you did not receive a Certificate of Registration with your  
new Summit X, speakers you cannot be assured of having  
received new units. If this is the case, please contact your  
authorized MartinLogan dealer.  
Crossover Frequency  
270 Hz  
Components  
Custom-wound audio transformer, air core coils, poly-  
propylene capacitors  
Serial Number  
Summit X’s serial number is located near the bottom of the  
backplate. Each individual unit has a unique serial number.  
Woofer Type  
Two 10” (25.4 cm) cast basket, high excursion, aluminum  
cone with extended throw driver assembly, non-reso-  
nance asymmetrical chamber format  
Service  
Should you be using your MartinLogan product in a country  
other than the one in which it was originally purchased,  
we ask that you note the following:  
Woofer Amp Power  
Two 200 watts/channel (4 ohms)  
Controls  
Bass: ±10dB at 25Hz and 50Hz  
Lights: On/off for all accent lights  
1 The appointed MartinLogan distributor for any given  
country is responsible for warranty servicing only on  
units distributed by or through it in that country in  
accordance with its applicable warranty.  
Power Handling  
300 watts per channel  
2 Should a MartinLogan product require servicing in  
a country other than the one in which it was origi-  
nally purchased, the end user may seek to have repairs  
performed by the nearest MartinLogan distributor, sub-  
ject to that distributor’s local servicing policies, but all  
cost of repairs (parts, labor, transportation) must be  
borne by the owner of the MartinLogan product.  
Signal Inputs  
Custom single-wire binding posts  
Mains Power Draw  
Standby: 1W each  
Max: 350W each  
3 If, after owning your speakers for six months, you  
relocate to a country other than the one in which  
you purchased your speakers, your warranty may be  
transferable. Contact MartinLogan for details.  
Weight  
75 lbs. each (34 kg)  
Size*  
60.9” h × 12.7” w × 21.3” d (154.8 h × 32.2 w × 54 d cm)  
*Specifications are subject to change without notice.  
*For detailed dimensional drawings, please see page 26.  
General Information 25  
 
dImensIonal drawIngs  
5°  
12.7“ (32.2cm)  
21.3” (54cm)  
26 Dimensional Drawings  
 
general InformatIon  
AC  Abbreviation for alternating current.  
Diaphragm  A thin flexible membrane or cone that vibrates  
Active crossover  Uses active devices (transistors, IC’s,  
in response to electrical signals to produce sound waves.  
tubes) and some form of power supply to operate.  
Distortion  Usually referred to in terms of total harmonic  
distortion (THD) which is the percentage of unwanted  
harmonics of the drive signal present with the wanted signal.  
Generally used to mean any unwanted change introduced  
by the device under question.  
Amplitude  The extreme range of a signal. Usually measured  
from the average to the extreme.  
Arc  The visible sparks generated by an electrical discharge.  
Bass  The lowest frequencies of sound.  
Driver  See transducer.  
Bi-Amplification  Uses an electronic crossover, or line-  
level passive crossover, and separate power amplifiers for  
the high and low frequency loudspeaker drivers.  
Dynamic Range  The range between the quietest and the  
loudest sounds a device can handle (often quoted in dB).  
Efficiency  The acoustic power delivered for a given elec-  
trical input. Often expressed as decibels/watt/meter  
(dB/w/m).  
Capacitance  That property of a capacitor which determines  
how much charge can be stored in it for a given potential  
difference between its terminals, measured in farads, by  
the ratio of the charge stored to the potential difference.  
ESL  The abbreviation for electrostatic loudspeaker.  
Capacitor  A device consisting of two or more conducting  
plates separated from one another by an insulating material  
and used for storing an electrical charge. Sometimes called  
a condenser.  
Headroom  The difference, in decibels, between the peak  
and RMS levels in program material.  
Hybrid  A product created by the marriage of two different  
technologies. Meant here as the combination of a dynamic  
woofer with an electrostatic transducer.  
Clipping  Distortion of a signal by its being chopped off. An  
overload problem caused by pushing an amplifier beyond  
its capabilities. The flat-topped signal has high levels of har-  
monic distortion which creates heat in a loudspeaker and  
is the major cause of loudspeaker component failure.  
Hz (Hertz)  Unit of frequency equivalent to the number of  
cycles per second.  
Imaging  To make a representation or imitation of the original  
sonic event.  
CLS  The abbreviation for curvilinear linesource.  
Crossover  An electrical circuit that divides a full band-  
width signal into the desired frequency bands for the  
loudspeaker components.  
Impedance  The total opposition offered by an electric  
circuit to the flow of an alternating current of a single fre-  
quency. It is a combination of resistance and reactance and  
is measured in ohms. Remember that a speaker’s imped-  
ance changes with frequency, it is not a constant value.  
dB (decibel)  A numerical expression of the relative loud-  
ness of a sound. The difference in decibels between two  
sounds is ten times the Base 10 logarithm of the ratio of  
their power levels.  
Inductance  The property of an electrical circuit by which  
a varying current in it produces a varying magnetic field  
that introduces voltages in the same circuit or in a nearby  
circuit. It is measured in henrys.  
DC  Abbreviation for direct current.  
Diffraction  The breaking up of a sound wave caused by  
some type of mechanical interference such as a cabinet  
edge, grill frame or other similar object.  
Inductor  A device designed primarily to introduce induc-  
tance into an electrical circuit. Sometimes called a choke  
or coil.  
Glossary of Audio Terms 27  
 
WARNING! Do not use your Summit X loudspeakers outside of the country of original sale—voltage requirements  
vary by country. Improper voltage can cause damage that will be potentially expensive to repair. The Summit X is  
shipped to authorized MartinLogan distributors with the correct power supply for use in the country of intended  
Linearity  The extent to which any signal handling process  
is accomplished without amplitude distortion.  
vibrations at the same or nearly the same frequency from  
another body.  
Midrange  The middle frequencies where the ear is the  
most sensitive.  
Sensitivity  The volume of sound delivered for a given  
electrical input.  
Passive crossover  Uses no active components (transistors,  
IC’s, tubes) and needs no power supply (AC, DC, battery)  
to operate. The crossover in a typical loudspeaker is of the  
passive variety. Passive crossovers consist of capacitors,  
inductors and resistors.  
Stator  The fixed part forming the reference for the moving  
diaphragm in a planar speaker.  
THD  The abbreviation for total harmonic distortion. (See  
Distortion)  
Phase  The amount by which one sine wave leads or lags  
a second wave of the same frequency. The difference is  
described by the term phase angle. Sine waves in phase  
reinforce each other; those out of phase cancel.  
TIM  The abbreviation for transient intermodulation distortion.  
Transducer  Any of various devices that transmit energy  
from one system to another, sometimes one that converts  
the energy in form. Loudspeaker transducers convert elec-  
trical energy into mechanical motion.  
Pink noise  A random noise used in measurements, as it  
has the same amount of energy in each octave.  
Transient  Applies to that which lasts or stays but a short  
Polarity  The condition of being positive or negative with  
time. A change from one steady-state condition to another.  
respect to some reference point or object.  
Tweeter  A small drive unit designed to reproduce only  
RMS  Abbreviation for root mean square. The effective value  
of a given waveform is its RMS value. Acoustic power is  
proportional to the square of the RMS sound pressure.  
high frequencies.  
Wavelength  The distance measured in the direction of  
progression of a wave, from any given point characterized  
by the same phase.  
Resistance  That property of a conductor by which it opposes  
the flow of electric current, resulting in the generation of  
heat in the conducting material, usually expressed in ohms.  
White noise  A random noise used in measurements, as it  
has the same amount of energy at each frequency.  
Resistor  A device used in a circuit to provide resistance.  
Woofer  A drive unit operating in the bass frequencies only.  
Drive units in two-way systems are not true woofers but  
are more accurately described as being mid/bass drivers.  
Resonance  The effect produced when the natural vibra-  
tion frequency of a body is greatly amplified by reinforcing  
®
L a w r e n c e , K a n s a s , U S A  
t e l 7 8 5 . 7 4 9 . 0 1 3 3  
f a x 7 8 5 . 7 4 9 . 5 3 2 0  
w w w . m a r t i n l o g a n . c o m  
i n f o @ m a r t i n l o g a n . c o m  
Rev. #121908  
©2009 MartinLogan. All rights reserved.  
 

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