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CLX Art

El mejor altavoz de fuente de línea electrostática de rango completo del mundo.

Experimenta la verdad en la reproducción de sonido

El CLX ofrece la verdad: la culminación de todo lo que hemos aprendido sobre la tecnología electrostática desde que lanzamos nuestro primer producto al mercado en 1983. La pureza del sonido impregna toda la sala y satisface incluso al oído más crítico. El nuevo punto de referencia de la industria para resolver detalles, CLX utiliza transductores electrostáticos duales para representar los pasajes musicales más complejos con la misma fidelidad con que un prisma de cristal dispersa todo el espectro de colores. Este es el espectro ilimitado del CLX, la verdad absoluta en la reproducción musical.


29.999,98 US$ par
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Arte CLX

MartinLogan se enorgullece en anunciar una nueva edición del mejor altavoz de fuente de línea electrostática de rango completo del mundo. El arte CLX incorpora nuestras actualizaciones más populares, incluido el estilo Art Frame (con una pieza adicional de madera dura), postes de unión de acero inoxidable y cables de alimentación de primera calidad. Visita un distribuidor de piezas maestras de MartinLogan y crea el tuyo hoy.

CLX  Art

Transductor electrostático CLS ™ XStat ™ de 57 pulgadas

La galardonada tecnología de fuente de línea Curvilinear (CLS) XStat electrostática (ESL) de MartinLogan permite una dispersión de sonido sin problemas en toda la zona de audición. ¿El resultado? Imágenes y grabados perfectamente grabados logrados a través de una interacción mínima en la habitación; Reproducción natural óptima de sonido con respuesta de nivel completo de transductores ultra-lineales; Operación confiable al aire libre; compatibilidad con todos los componentes electrónicos; y una dispersión perfecta de sonido preciso en todo su entorno auditivo.

La tecnología avanzada del estator MicroPerf le da a la última generación de transductores electrostáticos CLS de MartinLogan casi el doble de la superficie de diafragma expuesta que un panel electrostático tradicional del mismo tamaño. Este aumento dramático en el área de radiación efectiva se traduce en una mayor eficiencia y una presentación dinámica aún más sencilla e ilimitada. El XStat no tira golpes!

Pero hay más que solo poner más agujeros en los estatores. Los separadores ClearSpar ™ refuerzan el ensamblaje a lo ancho. Los ClearSpars permiten un tensado preciso y constante del diafragma unido al vacío sin obstruir el aspecto transparente y flotante que es el sello visual de los electrostatos MartinLogan.

Al final, un orador no puede superar la señal que lo alimenta. El transformador toroidal de vanguardia de MartinLogan y la ingeniería de interfaz eléctrica garantizan un enlace absolutamente transparente desde el amplificador al panel electrostático. El resultado es un sonido de pureza, precisión, claridad y apertura incomparables: la mejor opción para ningún orador.

Panel electrostático de fuente de línea curvilínea

Uno de los avances originales de MartinLogan, la tecnología CLS ha sido un ingrediente esencial de todos los altavoces electrostáticos que hemos producido. Los métodos de fabricación patentados permiten la construcción de paneles electrostáticos como secciones cilíndricas. Su suave curvatura horizontal resuelve el problema de obtener una buena dispersión de alta frecuencia de una gran superficie radiante sin comprometer la calidad o fiabilidad general del sonido.

Transductor electrostático de baja frecuencia de diafragma doble y triple estator de 57 pulgadas con estabilizador de fase dipolo

El exclusivo transductor electrostático de baja frecuencia duales de doble diafragma de triple estator y doble estator de CLX ofrece bajos profundos y dinámicos con el doble de fuerza que un ESL estándar. Además, la tecnología de estabilización de dipolos de baja frecuencia de CLX reduce la cancelación de onda trasera de baja frecuencia inherente a los transductores de dipolos. Esto se logra aumentando la longitud de la trayectoria de aire detrás del CLX y retrasando la onda de retorno fuera de fase. La disminución resultante en la cancelación de la onda frontal de baja frecuencia aumenta la salida general al tiempo que minimiza la distorsión armónica total en las frecuencias bajas.

Vinculación al vacío

Los componentes de cada panel XStat (dos estatores aislados de acero al carbono de alta pureza, diafragma PET depositado en plasma y espaciadores ClearSpar) se fusionan en una geometría de sección cilíndrica con un adhesivo aeroespacial cuya fuerza de retención excede la de la soldadura. Nuestro proceso patentado de unión al vacío garantiza una tensión uniforme del diafragma y facilita las tolerancias extremadamente estrictas necesarias para la construcción de un transductor de precisión de este tipo.

Partes de un transductor electrostático MartinLogan

Rango de frecuencia alto / medio


MartinLogan Electrostatic Transducer.
  • A) Diafragma Plasmado
  • B) Separadores ClearSpar
  • C) Estator MicroPerf
Partes de un transductor MartinLogan DualForce ™

Rango de baja frecuencia


MartinLogan Electrostatic Transducer.
  • A) Diafragma Plasmado
  • B) Separadores ClearSpar
  • C) Estator MicroPerf

Estator MicroPerf

Si bien los estatores son los elementos de un controlador electrostático que se supone que se quedan quietos, llevan las señales de audio que hacen el trabajo de propulsar el diafragma para mover el aire y producir sonido. Debido a que los estatores colocan el diafragma entre ellos, deben perforarse para permitir que el sonido pase. Sin embargo, también deben ser lo suficientemente rígidos para permanecer absolutamente estacionarios a pesar de las fuertes fuerzas electrostáticas que los empujan y tiran de ellos durante la operación.

El diseño MicroPerf de MartinLogan optimiza esta compensación reduciendo el tamaño de los orificios individuales y utilizando muchos más que en un panel electrostático tradicional. MicroPerf casi duplica el área efectiva de radiación del diafragma sin comprometer la integridad estructural. El aumento resultante en la capacidad de salida y la eficiencia permite que un panel sea mucho más pequeño sin sacrificar el rendimiento, o que disfrute de un salto sustancial en el ancho de banda y la dinámica sin aumentar de tamaño.

CLX  Art

Madera Real Frotada A Mano

El arte CLX viene de serie con un marco de arte suavemente curvado y está disponible en 3 acabados de madera dura estándar, frotados a mano; Fresno negro, cerezo oscuro y arce. También están disponibles las opciones de acabado de alto brillo premium *.

* Los acabados de alto brillo premium requieren más tiempo para la construcción y la entrega, comuníquese con su distribuidor local de Reserve para obtener más información.

CLX  Art

Topología de filtro Vojtko ™

Con una topología de filtro Vojtko patentada avanzada, los especialistas en electrónica de MartinLogan construyen a mano cada filtro CLX utilizando solo los mejores componentes y técnicas de construcción para asegurar la ruta de señal más limpia y precisa posible. El filtro de precisión resultante conserva a la perfección incluso las sutilezas más pequeñas en el sonido, al tiempo que maneja sin esfuerzo la más amplia gama de dinámicas contenidas incluso en la fuente de sonido más exigente, ya sea que se use en un sistema de audio de 2 canales o en un cine en casa dedicado.

Dentro del módulo de interfaz, una fuente de alimentación regulada crea voltajes de polarización estables incluso en las condiciones más extremas. El diseño de doble transformador utiliza un transformador toroidal de audio para frecuencias medias y altas detalladas, y un transformador EI de alta calidad y alto voltaje para bajos dinámicos y lineales. Todos los cables de alta tensión están hechos del cobre más puro y están recubiertos con silicona. Solo se utilizan materiales superlativos, incluida la película gruesa sobre resistores de sustrato de alúmina y condensadores de polipropileno.

Filtros de subwoofer / CLX personalizados

La combinación perfecta entre un subwoofer y un altavoz de rango completo es, en el mejor de los casos, un desafío, y cuando se trata de un producto de nivel de referencia sin restricciones como el CLX, no hay margen para el error. La adición de un 'filtro CLX' personalizado opcional a los subwoofers BalancedForce 210 y 212 elimina el dolor de cabeza de lograr un rendimiento excelente de baja frecuencia.

El filtro opcional contiene un filtro de paso bajo optimizado que coincide exactamente con la transferencia de baja frecuencia de 56Hz del CLX. Una vez que se instala este filtro personalizado, la configuración es solo una cuestión de ajustar la fase y el nivel de su sub. Este filtro personalizado se aplica solo a las entradas izquierda y derecha de su subwoofer. La entrada LFE del subwoofer permanece sin filtrar, lo que permite que los preamplificadores / procesadores envíen información de baja frecuencia para los canales central, envolvente y LFE sin comprometer el rendimiento de su CLX.

CLX  Art

Diseño ecológico y ambientalmente consciente

La espectacular reproducción de sonido de bajos no es el único avance técnico que se presenta en el nuevo MartinLogan CLX. Este incomparable altavoz electrostático de rango completo también se fabrica con el material más hermoso, rígido y compatible con el medio ambiente disponible: EcoSound. Elegimos EcoSound porque el diseño CLX requería un material de marco extremadamente rígido y estructuralmente sólido. Además, dado nuestro compromiso con el uso de la fabricación respetuosa con el medio ambiente, también queríamos un material totalmente sostenible.

EcoSound es la última innovación que surge de nuestra asociación con Klip BioTechnologies, diseñadores de materiales de fabricación sostenibles. Es una mezcla certificada por el FSC 50/50 de fibra de bambú renovable y 100% de fibra de papel y / o fibra reciclada postconsumo. Estos se unen de forma permanente utilizando resina a base de agua que no contiene petróleo ni COV. Pruebas rigurosas han encontrado que el material EcoSound utilizado en el CLX proporciona una amortiguación interna superior en comparación con el MDF y otros materiales más tradicionales. Esto es fundamental para mantener la claridad sónica superior del CLX y la falta de contribuciones del gabinete sónico.

Hermoso, denso, duradero y hecho de materiales 100% amigables con la tierra, EcoSound tiene una textura de superficie natural única con bordes como piedra lisa. El rico color negro de EcoSound no desaparecerá con la exposición a los rayos UV a lo largo del tiempo. Además, la superficie EcoSound del CLX proporciona una resistencia superior a los rasguños y, a diferencia de los materiales tradicionales, no se hinchará debido al exceso de humedad. Es fácil de mantener con una aplicación ocasional de aceite de acabado.

CLX  Art

Cuidando EcoSound

Le recomendamos que aplique aceite de acabado de vez en cuando para mantener el rico color oscuro del EcoSound y que sus altavoces CLX se vean de la mejor manera. Con un paño suave y sin pelusas, simplemente frote a mano el aceite de acabado para muebles en la superficie EcoSound. Recomendamos aceite de muebles finos naturales de naranja o limón para obtener mejores resultados. Este proceso fácilmente repetible siempre devolverá su EcoSound a su brillo uniforme original.

prensa

MartinLogan CLX Full-Range Electrostatic Loudspeaker: A New Standard of Transparency

"Because they are so neutral in balance, so “not there” as sound sources, so low in distortion and high in transparency, they make my better and best recordings, particularly of smaller-scale music, sound more realistic than any other speaker I’ve had in my home (at low to medium-loud volumes)."

—Jonathan Valin, The Absolute Sound
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Acoustics Test MartinLogan CLX Art [RUSSIAN]

"[Translated] Loudspeakers of reference level, both in sound and performance, which deserve an honorable place in the audio Hall of Fame. artinLogan CLX Art, literally stuffed with advanced technological innovations, is a sample of holography and three-dimensionality: the most important parameters to which any high-end system can aspire. It is simply impossible to not fall in love with them."

—Anatoly Maksimenko, Hi-Fi.ru
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Girls, Shoes and Speakers

"The extra level of resolution provided by the CLX brings you so much closer to the music, providing an immersive field of sound that takes you somewhere special."

—Jeff Dorgay, Tone Audio
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The Speaker They Said They'd Never Build

"It's this sense of completeness, the way that everything you get is presented as part of a single, coherent and contiguous whole that makes the CLXs so special; that and the fact that they do so without reducing the music, the musicians or their range of colours"

—Roy Gregory, Absolute Sound
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MartinLogan CLX Electrostatic Loudspeakers Reviewed

"CLX's are everything I could've hoped for and more. They exceeded my aural expectations in ways I was prepared for having owned the older CLS'. These are not an update, no sir, the CLX are a whole new animal, one that if you're lucky enough to let them out of the cage, will astound you with their sonic beauty and grace but be able to maul you with their bass. Seriously, I can think of no other speaker I'd rather own right now than the CLX's"

—Andrew Robinson, Home Theater Review
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Martin Logan's new CLX From Hi-Fi World

"...what Martin Logan have achieved with the CLX is impressive; they are a near perfect exponent of the art. Technically and subjectively their tonal balance is convincing, sound from the Mylar film is unobstructed by the stators for unrivalled insight, detail retrieval and clarity, bass power is plentiful and maximum volume very high..A meticulously crafted electrostatic that's free from traditional limitations, this is one of the very best loudspeakers money can buy."

—Noel Keywood, Hi-Fi World
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Premios

Presupuesto

Las especificaciones están sujetas a cambios sin previo aviso

Respuesta frecuente

56–23,000 Hz ± 3dB

Potencia recomendada del amplificador

20—450 vatios por canal

Dispersión horizontal

30 °

Dispersión vertical

Fuente de línea de 57 "(145 cm)

Sensibilidad

90 dB / 2.83 voltios / metro

Impedancia

6 ohmios, 0.7 a 20 kHz Compatible con amplificadores de 4, 6 u 8 ohmios.

Frecuencia de cruce

360Hz

Transductor de alta frecuencia

Transductor electrostático XStat ™ CLS ™. »Dimensiones del panel: 57" x 8.6 "(145 x 22 cm)» Área de radiación: 490 in² (3,190 cm²)

Transductor de baja frecuencia

DualForce ™ doble diafragma, transductor electrostático de baja frecuencia dipolo de triple estator »Dimensiones del panel: 57" x 11.5 "(144.8 x 29.2cm)» Área de radiación: 656 in² (4,228 cm²)

Componentes

Película gruesa sobre resistores de sustrato de alúmina, bobinas de núcleo de aire, condensadores de polipropileno y transformadores de audio toroidales enrollados personalizados

Entradas

Publicaciones vinculantes personalizadas

Iluminación

Controles de intensidad de luz

Peso

110 lbs. (50 kg)

Dimensiones

70.32 "x 25.75" x 14.69 "(178.6cm x 65.4cm x 37.3cm)

Valoración de los clientes por CLX Art

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GW1800

  • miércoles, 9 de agosto de 2017

Best Sound Yet!
My initial ML system included Summit X's and two Descent i's back in 2011. I really liked that system and just fell in love with how good the sound was particularly vocals. The quickness and the detail is just remarkable. After doing some tweaking to my electronics and interconnects I was itching to further improve if it was possible. I contemplated a better SACD player, amps etc. but my dealer from DaVinci Media suggested to really make a significant move I needed to upgrade to the CLX's. He has always been honest with his suggestions but this one did make me pause as the extra investment was substantial. After thinking about it I took his advice and could not be happier(moved the Summit X's and Descent i's to start my upgrade of my Media room). Actually after purchasing the CLX's I have upgraded everything including the subs over the past couple of years. My electronics, interconnects, grounding, DAC etc. have all been replaced and these speakers make it easy to hear all the changes. Lately working on adding more acoustical tiles with great results. What I'm getting at is these speakers seem to have no limit and will reward you as you keep refining your system. Also like most of you I do not have an ideal room or distance from the front wall. Maybe someday I will and when that day does come I fully expect even better results. Specifically owning a CLX pair what can you expect? Its like the difference of hearing a recording and being there it's that dramatic. Its really hard to put into words the depth, width, height and placement of instruments and singers is just terrific. I think with the CLX being virtually a full range speaker also helps in that you get a lot of the benefits of the electrostatic design sonically over a much wider frequency compared to a hybrid. I still like the subs to help round out the very low bottom. The 212 subs with the custom crossover really integrates well with the CLX and at no time can you point them out listening to music. Go listen to a set of CLX's, trust your ears and I think you will come to the same conclusion that I have! Associated Equipment: Aurender N10 Music Server, Bricasti M1 SE DAC, Bricasti M28 Mono amps and various Nordost interconnects and power all Vahalla V2 or Odin2. Other Nosdost products include 2-QX4, 5-QV2, 5-QK1, QB8, TC Sort Kones under QK4's, QB8, Aurender N10, QKore 6 - Sort Fut under CLX, 212's, Rack, QB8 and Qkore. Also latest QKore 6 grounding.

rower30

  • martes, 31 de diciembre de 2013

CLX art exceed expectations.
How did I end up with CLX art speakers? Well, I am a cable development engineer for Belden, and in the process of working with cable designs I used a Martin Logan SUMMIT-X in those trials, as well as my own speakers. The SUMMIT-X speakers were a friends, who just happens to work for Martin Logan. So that sets the stage for hearing Martin Logan products for the first time. The problem was the extended development cycle of the cables, and with the changes in sound so readily apparent on his summit-X speakers. So much so, that his system "broke" mine! I had to leave my system alone for a few days till my brain forgot the fantastic detail and realism of those SUMMIT-X transducers. I never really though I was an electrostatic guy, and all the rumors about issues with these exotic bread of speakers. I eventually said, if you EVER sell those speakers, call me! He didn't, but said to buy the even better CLX-art versions. I did, and now there is no going back to dynamic drivers anywhere in the near future. For a dynamic driver person (or I thought I was) the first electrostatic experience is almost a "confrontation" of your expectations of what a stereo sounds like. It should sound like expertly REPRODUCED sound. The SUMMIT-X and CLX-art DO NOT sound like that as they are much closer to REAL MUSIC! This can REALLY, REALLY mess with your head as you need to change what the musical expectations are. The CLX art are moving things to a totally different presentation. OK, first things first for the dynamic driver crowd. No, the CLX art won't give the DYNAMIC POP in the bass, but it is far from bad. And with subs, it is almost a non-issue. But yes, dynamic drivers can do the "hit" better if that's your thing. They also industrialize the sound and erase all the micro-dynamic detail up and down the frequency spectrum. Of course YOUR dynamic driver speakers don't...until you listen to a CLX art, anyway. Happened to me, that's for sure. Dynamic drivers are getting better, but DO NOT listen to a CLX art until you want to know what they leave on the table. These CLX art speakers take some serious break-in time. Mine have maybe 50 hours on them, and have improved markedly in richness. So be patient with a set that's new. Every hi-end speaker I've owned, Vandersteen Quatro's, Dynaudio C4's ETC has been like this, they are STILL dampened mechanical devices. After many hours I finally REALLY listened to them. I stuck a Hans Thesessink and best of Peter Paul and Mary CD in and melted into my seat. This can't really be a review because I can't seriously explain how RIGHT these speakers "get it" through their frequency range. The fluid, visceral, liquid nature of voices is almost unsettlingly real. Higher frequencies are also so right. The energy in a cymbal isn't stuffed into a single hissing band I'm used to hearing, but extends up and down the frequency range in a fantastic balance that makes cymbals finally sound like cymbals. Expansive vocal chorus presentations are immense in size, to the nature of the musical event, and specific detail right down to every individual head in the choir. I've heard expansiveness before, but NOT the incredible detail and resolution. CLX art speakers simply seem to make music "appear" and not be "produced". Their micro dynamics are so incredibly delicate a butterfly can be hard flitting about. Yes, you don't think of dynamic as delicate, but they can be both delicate and hugely rash (saxophone) as needed. There is absolutely NO harmonic overruns that aren't in the music. Those dynamic driver resonance sounds you used to think is music are GONE. I had to get over that. I do indeed like deep bass, and I used a pair of 10" Velodyne DD10+ subs, and moved them to the CLX arts. They seem to work better than expected...and their smaller stereo pair size helps them be acceptably quick to better match the panels. What I wasn't expecting is the "sound" of the bass being so much more complex and resolving. If there are 100 words for snow, my old dynamic driver speakers got maybe 25% of the words across, the CLX arts? I'd say about 95% (they are still not fully broken in). I listen to little rock, but Supertramp, NICKEL BACK and the like still puts it out on the CLX-art with subs. The myths of electrostatic speakers have been busted in my mind. Imaging? I feared I'd get this detailed euphoric expanse of sound everyone references. Nope, the imaging is real life sized and precise in a HUGE box between and behind the speakers. There is so little mechanical resonance on the CLX art that the blackness and openness rides to infinity. The space around everything, not just the bass, midrange or treble, is utterly amazing. Box, what box? I detect ZERO electrostatic "halo" people also reference. You can make them brighter with position, but that's NOT a membrane resonance, it is energy distribution in the room. Hard to drive? My MOON W-8 barely gets warm runningvthem at 85dB average. My dynamic driver speakers got the W-8 HOT to the touch. The ideal seating position isn't as bad as many claim in my room, which is a screwy room, a 40' long room with a "L" shaped end. One speaker is against the wall, the other in the open end of the "L". So each speaker is really in a different "room". Some toe-in and out of each speaker got the image placement correct and excellent sounding. Truth be told, NO speaker I've owned and used in this room has sounded good in all but one single spot. The CLX arts sound SO GOOD in THAT ideal spot you never want to leave it anyway! They are so good you don't want to accept less. My dynamic driver speakers never reach the perfection of the CLX art, so moving about doesn't really make them much worse. I'm not sure if that's a compliment to dynamic driver speakers, really. It takes a few days to get used to dipole radiators, as everything seems backwards. They get louder as you move AWAY from the speaker. Speaker placement and toe in or out is also more room dependant to center the image. Throw away the 1/3 of the panel thing and LISTEN to the music! Get the speakers placed right so the midrange is centered, full, liquid and resolving. WHO CARES where the speakers are pointed. In my two different rooms "L" shaped mess mine are in, the speakers are a parallelogram. The right speaker by the wall is toed in. The left speaker in the open end of the "L" is toed in on the BASS panel side. So the hi-frequency panels are BOTH 62" from a front wall, with the BASS panels toed IN (right) and OUT (left) 3 inches. This places the imaging in a more center position with a full resolving sound. Yes, the room loads the speakers differently so be open minded to placement. Try stuff that's "wrong" in an ideal room. I'll keep tuning the placement but this odd ball looking set-up gets the job done. The image placement is in the upper third of the panels in my room, and wonderfully expansive to the left and right and even beyond the speakers. Voices and images are "big" but to a life-size rendition. So huge they are not. Correct they are. You won't see Linda Rhonstadt's tonsils if you dig overly large imaging. And on the other hand, they aren't British in compressing the image into a tiny pinpoint of spatial precision, either. The CLX art have pushed my expectations of musical "reproduction" to simply hearing the music. You just have to audition a set to understand this speaker, as it is so unlike anything else. I started out developing cables, and ended up buying new speakers! Rating a speaker is very subjective so my criteria is it can't be 5 stars unless it does EVERYTHING, so I give 4 stars to the CLX arts by themselves. The CLX art lack that dynamic bass POP which is not the same thing as static frequency response where they do very well (I measured them), but dynamic accuracy in the bass. Yes, I have a few cuts that are nuts dynamic in the bass. They are good, but I need those two subs too open-up the low frequency dynamics. But you simply cannot get the rest of the sound without the CLX arts. They do SO much more right than wrong compared to any speaker I've listen to and yes, even the MAGICO's and FOCAL EM series. So yes, there is a spot where they will excel to amazing standards for their price and you won't mind seating yourself there, either. It's not a head in a vise seat, but a relaxed livable position that is totally rewarding. If you need crocodile tears, put one in front of a set of CLX arts and bring a bucket! Way to go Martin Logan.