The Logos Center Channel

User's Manual

Page 2 Logos User's Manual

Introduction 3

History 4

The Electrostatic Concept 6

Martin-Logan Exclusives 7

Installation Options 8

Operation 9

Logos Bracket Assembly/Setup 10

Room Acoustics 12

Dispersion Characteristics 14

Home Theatre 15

Questions 16

Troubleshooting 17

Glossary 18

Logos Specifications 20

Important Contents

Your Logos speaker is provided with an automaticLimited 90 Day Warranty coverage.

You have the option, at no additional charge, to receiveLimited 3 Year Warranty coverage. To obtain Limited 3Year Warranty coverage you need only complete andreturn the Certificate of Registration that was includedwith your speaker along with a copy of your invoice toMartin-Logan, within 30 days of purchase.

Martin-Logan may not honor warranty serviceMartin-Logan may not honor warranty serviceMartin-Logan may not honor warranty serviceMartin-Logan may not honor warranty serviceMartin-Logan may not honor warranty serviceclaims unless we have a completed Warrantyclaims unless we have a completed Warrantyclaims unless we have a completed Warrantyclaims unless we have a completed Warrantyclaims unless we have a completed WarrantyRegistration card on file!Registration card on file!Registration card on file!Registration card on file!Registration card on file!

Should you be using your Martin-Logan product in acountry other than the one in which it was originallypurchased, we ask that you note the following:

1) The appointed Martin-Logan distributor for any givencountry is responsible for warranty servicing only onunits distributed by or through it in that country inaccordance with its applicable warranty.

2) Should a Martin-Logan product require servicing in acountry other than the one in which it was originallypurchased, the end user may seek to have repairsperformed by the nearest Martin-Logan distributor,subject to that distributor's local servicing policies,but all cost of repairs (parts, labor, transportation)must be born by the owner of the Martin-Loganproduct.

3) If you relocate to another country, other than whereyou purchased your Martin-Logan product, afterowning your speakers for 6 months your warrantymay be transferable. Contact Martin-Logan fordetails.

If you did not receive a Certificate of Registration withyour Logos speaker you cannot be assured of havingreceived a new unit. If this is the case, please contactyour Authorized Martin-Logan dealer.

Page 3Logos User's Manual

Introduction

Congratulations, you have invested in the world's firstelectrostatic hybrid home theatre speaker!

The advantages of Martin-Logan hybrid technology willpresent themselves to you from moment the moviebegins. The box effect (a phenomenon similar to cuppingyour hands around your mouth when speaking) producedby dynamic midrange drivers is absent and the naturalopenness of the human voice comes through. Neverbefore in home theatre has the midrange been so clear.Sounds float around the screen clearly defining the areafrom where they were created, not the area of thespeaker that created them. This superior performance ismade possible through the use of our proprietary curvedelectrostatic transducer. This is the same design technol-ogy that is used in the state-of-the-art Martin-LoganLoudspeaker Systems.

All materials in your new Logos speaker are of thehighest quality to provide years of enduring enjoymentand deepening respect. The cabinetry is constructed froma special high-density hardwood powderboard forstructural integrity and is finished with a durable andattractive matte surface finish.

Through rigorous testing, the curvilinear electrostaticpanel has proven itself to be one of the most durable and

reliable transducers available today. Fabricated from aspecially tooled, high-grade steel, the panel is thencoated with a special high dielectric compound that isapplied via a proprietary electrostatic deposition process.This panel assembly houses a membrane 0.0005 of aninch thick! Ruggedly constructed and insulated, as muchas 200 watts of continuous power has driven the Logosenergized diaphragm into massive excursions with nodeleterious effects.

Please read and follow these instructions as you initiallyinstall the Logos into your system. These instructions areimportant and will prevent you from experiencing anydelay, frustration, or system damage which might occur ina trial-and-error procedure.

The other sections of your User’s Manual User’s Manual User’s Manual User’s Manual User’s Manual will explain indetail the operation of your Logos speaker and thephilosophy applied to its design. A clear understanding ofyour speaker will insure that you obtain maximumperformance and pleasure from this most exactingtransducer.

Happy Listening!

Page 4 Logos User's Manual

History

In the late 1800’s, any loudspeaker was consideredexotic. Today, most of us take the wonders of soundreproduction for granted.

It was 1880 before Thomas Edison had invented the firstphonograph. This was a horn-loaded diaphragm that wasexcited by a playback stylus. In 1898, Sir Oliver Lodgeinvented a cone loudspeaker, which he referred to as a“bellowing telephone”, that was very similar to theconventional cone loudspeaker drivers that we knowtoday. However, Lodge had no intention for his device toreproduce music, because in 1898 there was no way toamplify an electrical signal! As a result, his speaker hadnothing to offer over the acoustical gramophones of theperiod. It was not until 1906 that Dr. Lee DeForrestinvented the triode vacuum tube. Before this, an electricalsignal could not be amplified. The loudspeaker, as weknow it today, should have ensued then, but it did not.Amazingly, it was almost twenty years before this wouldoccur.

In 1921, the electrically cut phonograph record became areality. This method of recording was far superior to themechanically cut record and possessed almost 30 dB ofdynamic range. The acoustical gramophone couldn'tbegin to reproduce all of the information on this new disc.As a result, further developments in loudspeakers wereneeded to cope with this amazing new recording me-dium.

By 1923, Bell Telephone Laboratories made the decisionto develop a complete musical playback system consist-ing of an electronic phonograph and loudspeaker to takeadvantage of the new recording medium. Bell Labsassigned the project to two young engineers, C.W. Riceand E.W. Kellogg.

Rice and Kellogg had a well equipped laboratory at theirdisposal. This lab possessed a vacuum tube amplifierwith an unheard of 200 watts, a large selection of the newelectrically cut phonograph records and a variety ofloudspeaker prototypes that Bell Labs had been collect-ing over the past decade. Among these were Lodge’scone, a speaker that used compressed air, a coronadischarge (plasma) speaker, and an electrostaticspeaker.

After a short time, Rice and Kellogg had narrowed thefield of "contestants" down to the cone and the electrostat.The outcome would dictate the way that future genera-tions would refer to loudspeakers as being either"conventional", or "exotic".

Bell Laboratory’s electrostat was something to behold.This enormous bipolar speaker was as big as a door. Thediaphragm, which was beginning to rot, was made of themembrane of a pigs intestine that was covered with finegold leaf to conduct the audio signal.

When Rice and Kellogg began playing the new electri-cally cut records through the electrostat, they wereshocked and impressed. The electrostat performedsplendidly. They had never heard instrumental timbresreproduced with such realism. This system sounded likereal music rather than the honking, squawking renditionof the acoustic gramophone. Immediately, they knew theywere on to something big. The acoustic gramophone wasdestined to become obsolete.

Due to Rice and Kellogg's enthusiasm, they devoted aconsiderable amount of time researching the electrostaticdesign. However, they soon encountered the samedifficulties that even present designers face; planarspeakers require a very large surface area to reproducethe lower frequencies of the audio spectrum. Because themanagement at Bell Labs considered large speakersunacceptable, Rice and Kellogg's work on electrostaticswould never be put to use for a commercial product.Reluctantly, they advised the Bell management to go withthe cone. For the next thirty years the electrostatic designlay dormant.

During the Great Depression of the 1930's, consumeraudio almost died. The new electrically amplifiedloudspeaker never gained acceptance, as most peoplecontinued to use their old Victrola-style acoustic gramo-phones. Prior to the end of World War II, consumer audiosaw little, if any, progress. However, during the late1940's, audio experienced a great rebirth. Suddenly therewas tremendous interest in audio products and with that,a great demand for improved audio components. Nosooner had the cone become established than it waschallenged by products developed during this newrebirth.

Page 5Logos User's Manual

In 1947, Arthur Janszen, a young Naval engineer, tookpart in a research project for the Navy. The Navy wasinterested in developing a better instrument for testingmicrophone arrays. The test instrument needed anextremely accurate speaker, but Janszen found that thecone speakers of the period were too nonlinear in phaseand amplitude response to meet his criteria. Janszenbelieved that electrostats were inherently more linearthan cones, so he built a model using a thin plasticdiaphragm treated with a conductive coating. This modelconfirmed Janszen's beliefs, for it exhibited remarkablephase and amplitude linearity.

Janszen was so excited with the results that he continuedresearch on the electrostatic speaker on his own time. Hesoon thought of insulating the stators to prevent thedestructive effects of arcing. By 1952 he had an electro-static tweeter element ready for commercial production.This new tweeter soon created a sensation amongAmerican audio hobbyists. Since Janszen's tweeterelement was limited to high frequency reproduction, itoften found itself used in conjunction with woofers, mostnotably, woofers from Acoustic Research. These systemswere highly regarded by all audio enthusiasts.

As good as these systems were, they would soon besurpassed by another electrostatic speaker.

In 1955, Peter Walker published three articles onelectrostatic loudspeaker design in Wireless World, aBritish electronics magazine. In these articles Walkerdemonstrated the benefits of the electrostatic loud-speaker. He explained that electrostatics permit the useof diaphragms that are low in mass, large in area, anduniformly driven over their surfaces by electrostaticforces. Due to these characteristics, electrostats have theinherent ability to produce a wide bandwidth, flat fre-quency response with distortion products being nogreater than the electronics driving them.

By 1956 Walker backed up his articles by introducing aconsumer product, the now famous Quad ESL. Thisspeaker immediately set a standard of performance forthe audio industry due to its incredible accuracy. How-ever, in actual use the Quad had a few problems. It couldnot play very loud, it had poor bass performance, it

presented a difficult load that some amplifiers did not like,its dispersion was very directional, and its power han-dling was limited to around 70 watts. As a result, manypeople continued to use box speakers with cones.In the early 1960's Arthur Janszen joined forces with theKLH loudspeaker company and together they introducedthe KLH 9. Due to the large size of the KLH 9, it did nothave as many limitations as the Quad. The KLH 9 couldplay markedly louder and lower in frequency than theQuad ESL. Thus a rivalry was born.

Janszen continued to develop electrostatic designs. Hewas instrumental in the design of the Koss Model One,the Acoustech, and the Dennesen speakers. Roger West,the chief designer of the JansZen Corporation becamethe president of Sound Lab. When JansZen Corporationwas sold, the RTR loudspeaker company bought half ofthe production tooling. This tooling was used to make theelectrostatic panels for the Servostatic, a hybrid electro-static system that was Infinity's first speaker product. Othercompanies soon followed; each with their own uniqueapplications of the technology. These include Acoustat,Audiostatic, Beverage, Dayton Wright, Sound Lab, andStax to name a few.

Electrostatic speakers have progressed and prosperedbecause they actually do what Peter Walker claimed theywould. The limitations and problems experienced in thepast were not inherent to the electrostatic concept. Theywere related to the applications of these concepts.

Today, these limitations have been addressed. Advance-ments in materials due to the U.S. space program givedesigners the ability to harness the superiority of theelectrostatic principle. Today's electrostats use advancedinsulation techniques or provide protection circuitry. Thepoor dispersion properties of early models have beenaddressed by using delay lines, acoustical lenses,multiple panel arrays or, as in our own products, bycurving the diaphragm. Power handling and sensitivityhave been increased.

These developments allow the consumer the opportunityto own the highest performance loudspeaker productsever built. It's too bad Rice and Kellogg were never ableto see just how far the technology would be taken.

Page 6 Logos User's Manual

The Electrostatic Concept

How can sound be reproduced by something that you areable to see through? Electrostatic energy makes thispossible.

Where the world of traditional loudspeaker technologydeals with cones, domes, diaphragms and ribbons thatare moved with magnetism, the world of electrostaticloudspeakers deals with charged electrons attracting andrepelling each other.

To fully understand the electrostatic concept, somebackground information will be helpful. Remember whenyou learned, in a science or physics class, that likecharges repel each other andopposite charges attract eachother? Well, this principle is thefoundation of the electrostaticconcept.

An electrostatic transducerconsists of three pieces: thestators, the diaphragm and thespacers. See Figure 1. Thediaphragm is what actuallymoves to excite the air andcreate music. The stator's job isto remain stationary, hence theword stator, to provide areference point for the movingdiaphragm. The spacersprovide the diaphragm with afixed distance in which to movebetween the stators.

As your amplifier sends musicsignals to an electrostaticspeaker, these signals arechanged into two high-voltagesignals that are equal instrength but opposite in polarity.These high voltage signals arethen applied to the stators. Theresulting electrostatic field,created by the opposing highvoltage on the stators, workssimultaneously with and againstthe diaphragm, consequentlymoving it back and forth,producing music. This tech-

Magnet

An Electromagnetic TransducerAn Electromagnetic TransducerAn Electromagnetic TransducerAn Electromagnetic TransducerAn Electromagnetic Transducer

Surround ConeDust Cap

Voice Coil Former

Magnet Assembly

Magnetic GapVoice Coil

Basket Assembly

Spider

An Electrostatic TransducerAn Electrostatic TransducerAn Electrostatic TransducerAn Electrostatic TransducerAn Electrostatic Transducer

Stator

Spacer

Diaphragm

nique is known as push-pull operation and is a majorcontributor to the sonic purity of the electrostatic conceptdue to its exceptional linearity and low distortion.

Since the diaphragm of an electrostatic speaker isuniformly driven over its entire area, it can be extremelylight and flexible. This allows it to be very responsive totransients, thus perfectly tracing the music signal. As aresult, great delicacy, nuance and clarity is possible.When you look at the problems of traditional electromag-netic drivers, you can easily see why this is so beneficial.The cones and domes which are used in traditionalelectromagnetic drivers cannot be driven uniformly

because of their design.Cones are driven only at theapex. Domes are driven attheir perimeter. As a result,the rest of the cone or domeis just "along for the ride".The very concept of thesedrivers require that the coneor dome be perfectly rigid,damped and massless.Unfortunately these condi-tions are not available in ourworld today.

To make these cones anddomes move, all electromag-netic drivers must use voicecoils wound on formers,spider assemblies, andsurrounds to keep the coneor dome in position. SeeFigure 2. These pieces, whencombined with the high massof the cone or dome materi-als used, make it an ex-tremely complex unit withmany weaknesses andpotential for failure. Thesefaults contribute to the highdistortion products found inthese drivers and is atremendous disadvantagewhen you are trying tochange motion as quickly andas accurately as a loud-speaker must (40,000 timesper second!).

Figure 1Figure 1Figure 1Figure 1Figure 1. Cut away view of an electrostatic transducer.Notice the simplicity due to minimal parts usage.

Figure 2.Figure 2.Figure 2.Figure 2.Figure 2. Cut away view of a typical moving coil driver.Notice the complexity due to the high number of parts.

Page 7Logos User's Manual

Martin-Logan Exclusives

Vapor Deposited FilmVapor Deposited FilmVapor Deposited FilmVapor Deposited FilmVapor Deposited Film

The diaphragm material used in all Martin-Loganspeakers employs an extremely sophisticated vapordeposited conductive polymer membrane. Aproprietary conductive compound is vaporized thenelectrostatically driven into the surface of thepolymer film in a vacuum chamber. This processallows an optically transparent membrane, adds nomass to the diaphragm and is extremely uniform in itssurface resistivity characteristics. This uniform surfaceresistivity controls the electrostatic charge on thediaphragm surface and regulates its migration. As aresult, no discharging or “arcing” can occur.

Transducer IntegrityTransducer IntegrityTransducer IntegrityTransducer IntegrityTransducer Integrity

All Martin-Logan transducers begin with two piecesof high grade, cold rolled steel. These steel piecesare then custom perforated and insulated with anexotic composite coating. This proprietary coatinginsulates the stator to 3 times its actual neededworking voltage and gives the Logos a wide marginof safe operation. In addition to the electricalinsulation properties, this coating also provides theLogos with a durable, attractive finish that dampensthe steel to prevent ringing. The finished metal platesare curved into a 30 degree arc. Placed betweenthem is our exclusive vapor deposited diaphragmand spacers. This assembly is then bonded togetherwith aerospace adhesives whose strength is so greatthat it is commonly used as an alternative to welding.

The result of these advanced technologies is atransducer that is attractive, durable, highly rigid, welldampened, and neutral.

Mechanical/Acoust icalMechanical/Acoust icalMechanical/Acoust icalMechanical/Acoust icalMechanical/Acoust icalTone ShapingTone ShapingTone ShapingTone ShapingTone Shaping

The clear Lexan® panels on the back of the Logos statorare the key elements of an innovative pressure compen-

sation technology. Martin-Logan is able to tone-shape thediaphragm + or - 6dB without the use of an insertion losscrossover. The advantage of this system is a highefficiency driver with wide bandwidth capabilities ofdimensions which are easily integrated into a domesticenvironment.

Curvilinear Line SourceCurvilinear Line SourceCurvilinear Line SourceCurvilinear Line SourceCurvilinear Line Source

Since the beginning of audio, achieving smooth fullrange dispersion has long been a problem for allloudspeaker designers. Large panel transducerspresent even more of a challenge because thelarger the panel, the more directional the dispersionpattern becomes.

Full range electrostatics have always been one ofthe most complex transducers because they attaintheir full range capabilities via a large surface area. Itlooked as if they were in direct conflict to smoothdispersion and almost every attempt to correct thisresulted in either poor dispersion or a serious compro-mise in sound quality.

After extensive research, Martin-Logan engineersdiscovered an elegantly simple solution to achieve asmooth pattern of dispersion without degradingsound quality. By curving the horizontal plane of theelectrostatic transducer, a controlled horizontaldispersion pattern could be achieved, yet the purityof the almost massless electrostatic diaphragmremained uncompromised. After creating this tech-nology, we developed the production capability tobring this technology out of the laboratory and intothe market place.

You will find this proprietary Martin-Logan technologyused in all of our products. It is one of the manyreasons behind our reputation for high quality soundwith practical usability. This is also why you see theunique "see through" cylindrical shape of all Martin-Logan products.

Page 8 Logos User's Manual

Installation Options

On a television:On a television:On a television:On a television:On a television: If your television provides a wide and stableenough platform, the shielded Logos can be placed on it.Rubber feet are included with the Logos bracket to prevent itfrom scratching the top of your television and to keep theLogos from vibrating.

On the Wall:On the Wall:On the Wall:On the Wall:On the Wall:The Logos includes a wall mounting kitallowing you to mount the Logos on the wall or ceilingwithout locating a stud.

In the Wall:In the Wall:In the Wall:In the Wall:In the Wall: Having only a forward firing sound wave launchallows the Logos to be mounted in a wall or cabinet. A kit isnot available for this type of installation, but we would behappy to discuss the procedure with your dealer.

On the Floor:On the Floor:On the Floor:On the Floor:On the Floor: Placing the Logos on the floor may position ittoo low to blend properly with the front speakers and the use ofa stand that positions the Logos at the bottom of the screenmay be a good solution. However if placing the Logos on thefloor is the best arrangement for your system, and the floor iscarpeted, please contact us for a complimentary spike set.

Page 9Logos User's Manual

Operation

-Hazardous voltages exist-Hazardous voltages exist-Hazardous voltages exist-Hazardous voltages exist-Hazardous voltages existinside, do not remove coverinside, do not remove coverinside, do not remove coverinside, do not remove coverinside, do not remove cover-Refer servicing to a qualified-Refer servicing to a qualified-Refer servicing to a qualified-Refer servicing to a qualified-Refer servicing to a qualifiedtechnic iantechnic iantechnic iantechnic iantechnic ian-To prevent fire or shock-To prevent fire or shock-To prevent fire or shock-To prevent fire or shock-To prevent fire or shock

hazard, do not expose this module to moisturehazard, do not expose this module to moisturehazard, do not expose this module to moisturehazard, do not expose this module to moisturehazard, do not expose this module to moisture-Use only with grounded outlet-Use only with grounded outlet-Use only with grounded outlet-Use only with grounded outlet-Use only with grounded outlet-Turn amplifier off and unplug speaker should-Turn amplifier off and unplug speaker should-Turn amplifier off and unplug speaker should-Turn amplifier off and unplug speaker should-Turn amplifier off and unplug speaker should

any abnormal conditions occurany abnormal conditions occurany abnormal conditions occurany abnormal conditions occurany abnormal conditions occur-Do not operate if there is any visual damage-Do not operate if there is any visual damage-Do not operate if there is any visual damage-Do not operate if there is any visual damage-Do not operate if there is any visual damage

to the electrostatic panel elementto the electrostatic panel elementto the electrostatic panel elementto the electrostatic panel elementto the electrostatic panel element-Do not over drive speaker beyond its rated-Do not over drive speaker beyond its rated-Do not over drive speaker beyond its rated-Do not over drive speaker beyond its rated-Do not over drive speaker beyond its rated

powerpowerpowerpowerpower

AC Power ConnectionAC Power ConnectionAC Power ConnectionAC Power ConnectionAC Power Connection

Because your Martin-Logan Logos uses an internal powersupply to energize its electrostatic cells with high-voltageDC, it must be connected to an AC power source. Forthis reason it is provided with the proper IEC standardpower cords. This cord should be firmly inserted into anyconvenient AC wall outlet. The Logos has been designedto remain on continuously and should remain connectedto a continuous AC power source. As mentioned earlier,power consumption of the Logos is very small and the lifeexpectancy of its components will not be reduced bycontinuous operation.

The power cord should not be installed, removed, orThe power cord should not be installed, removed, orThe power cord should not be installed, removed, orThe power cord should not be installed, removed, orThe power cord should not be installed, removed, orleft detached from the speaker while the other end isleft detached from the speaker while the other end isleft detached from the speaker while the other end isleft detached from the speaker while the other end isleft detached from the speaker while the other end isconnected to an AC power source.connected to an AC power source.connected to an AC power source.connected to an AC power source.connected to an AC power source.

Your Logos speaker is wired for the power servicesupplied in the country of original consumer sale. The ACpower rating applicable to a particular unit is specifiedboth on the packing carton and on the serial numberplate attached to the speaker.

If you remove your Logos speaker from the country oforiginal sale, be certain that AC power supplied in anysubsequent location is suitable before connecting andoperating the speaker. Substantially impaired perform-ance or severe damage may occur to the Logos ifoperation is attempted from an incorrect AC powersource.

Signal ConnectionSignal ConnectionSignal ConnectionSignal ConnectionSignal Connection

Connections are done at the Signal InputSignal InputSignal InputSignal InputSignal Input section on theback panel of the Logos. Use spade connectors foroptimum contact and ease of installation. Make certainthat your connections are tight.

Use the best speaker cable you can! The length and typeof speaker cable used in your system will have an audibleeffect. Under no circumstance should a wire of gaugehigher (thinner) than #14 be used. In general, the longerthe length used, the greater the necessity of a lowergauge, and the lower the gauge, the better the sound,with diminishing returns setting in around #8 to #12.

A variety of speaker cables are now available whosemanufacturers claim better performance than withstandard heavy gauge wire. We have verified this insome cases, and the improvements available are oftenmore noticeable than the differences between wires ofdifferent gauge.

Logos User’s Manualpage 10 revised

The following instructions assume the

mounting surface is of wood frame and

standard sheet rock construction. Mounting to

another construction should be referred to a

bonded contractor.

This is a two person operation, do not attempt

it alone.

NOTE: The Logos bracket is designed with a

specific top and bottom and must be installed

right side up for the speaker to rotate

properly. To determine which is the top,

examine the arms on each end of the bracket

(figure 1.) - the flat side of the arm indicates

the top.

It

is imperative that the hex head lag bolts hit

the wall studs squarely to insure proper

support for the weight of the Logos speaker.

. Position the Logos bracket on the wall in

the desired position for the speaker, and have

your assistant hold it in place. The mounting

holes on the bracket are set for standard 16 in.

stud spacing. Use a stud finder to locate the wall

studs nearest to the mounting holes you want to

hit.

Figure 2. shows the bracket centered, you may

want to offset the bracket for your installation -

. Re-position the bracket to match the

mounting holes with the location of the wall

studs, and mark their position through the

Step 1

Step 2

Revised contents ofaccesory kit

1 ea. - Logos speaker

1 ea. - Mounting bracket

2 ea. - 1.75 in. dia. Metal cylinders

2 ea. - 1/2 in. x 2.5 in. Button head bolts

1 ea. - 5/16 in. Allen wrench

6 ea. - Rubber feet

4 ea. - 1/4 in. x 2 1/2 in. Hex head lag screws

4 ea. - # 12 washer

Mounting the Logos on theWall or Ceiling

40 in.

wall studs

mark location

Figure 2. Wall or ceiling mounting

Figure 1. - Determine top and bottom

Figure 3. Check for level

16 in.

16 in.

level

Screw inlag bolts

(with washers)

TOP

BOTTOM

Arm

TOP

BOTTOM

flat edge

flat edge

side view of arm

Logos bracket assembly / setup (revised 3-99)

Logos User’s Manual

bolt

cylinder cylinder

top of speaker clearance area

bolt

page 11

Step 3

Step 4

Step 5

Step 6

Step 7

Step 8

. Drill a 9/64 in. pilot hole through

one of the upper (for the top of the

bracket) pencil register marks you made

in the previous step. Get out your level,

you’re going to need it for the next step.

Get your assistant to hold the bracket in

place while you secure the first lag

screw through the bracket in the pilot

hole you just drilled. Check for level as

shown (figure 3) and make any changes

necessary to the register marks you

made previously. Unscrew the lag bolt

and remove the bracket.

. Drill the remaining pilot holes for

the other lag screws. Have your

assistant hold the bracket to the wall

while you drive the lag screws through

the supplied washers firmly into the wall

studs.

. Place a metal cylinder in each of

the large holes in the back lower

corners of the Logos.

. Raise the Logos to the bracket

and align the center holes of the metal

cylinders with the 1/2 in. holes in the

uprights of the bracket.

. Insert the supplied 2 in. bolts

through the bracket and cylinder holes

and snug them using the supplied allen

wrench.

. To direct the speaker at the

listening position slightly loosen each of

the end bolts, tip the logos to it’s best

Page 12 Logos User's Manual

Your RoomYour RoomYour RoomYour RoomYour Room

This is one of those areas that requires both a littlebackground to understand and some time and experi-mentation to obtain the best performance from yoursystem.

Your room is actually a component and an important partof your system. This component is a very large variableand can dramatically add to, or subtract from, a greatmusical experience.

All sound is composed of waves. Each note has its ownwave size, with the lower bass notes literally encompass-ing from 10' to as much as 40'! Your room participates in

Room Acoustics

TerminologyTerminologyTerminologyTerminologyTerminology

Standing WavesStanding WavesStanding WavesStanding WavesStanding Waves. The parallel walls in your room willreinforce certain notes to the point that they willsound louder than the rest of the audio spectrum andcause “one note bass”, “boomy bass”, or “tubbybass”. For instance, 100Hz represents a 10' wave-length. Your room will reinforce that specific fre-quency if one of the dominant dimensions is 10'.Large objects in the room such as cabinetry orfurniture can help to minimize this potential problem.Some serious “audiophiles” will literally build a specialroom with no parallel walls just to get away from thisphenomenon.

this wave experience like a 3 dimensional pool withwaves reflecting and becoming enhanced depending onthe size of the room and the types of surfaces in theroom.

Remember, your audio system can literally generate all ofthe information required to recreate a musical event intime, space, and tonal balance. The purpose of yourroom, ideally, is to not contribute to that information.However, every room does contribute to the sound andthe better speaker manufacturers have designed theirsystems to accommodate this phenomenon.

Let’s talk about a few important terms before we begin.

Reflective Surfaces (near-field reflections)Reflective Surfaces (near-field reflections)Reflective Surfaces (near-field reflections)Reflective Surfaces (near-field reflections)Reflective Surfaces (near-field reflections). The hardsurfaces of your room, particularly if close to yourspeaker system, will reflect those waves back intothe room over and over again, confusing the clarityand imaging of your system. The smaller soundwaves are mostly effected here and occur in the midand high frequencies. This is where voice andfrequencies as high as the cymbals can occur.

Page 13Logos User's Manual

Resonant Surfaces and ObjectsResonant Surfaces and ObjectsResonant Surfaces and ObjectsResonant Surfaces and ObjectsResonant Surfaces and Objects. All of the surfaces andobjects in your room are subject to the frequenciesgenerated by your system. Much like an instrument,they will vibrate and “carry on” in syncopation withthe music and contribute in a negative way to themusic. Ringing, boominess, and even brightness canoccur simply because they are “singing along” withyour music.

Resonant CavitiesResonant CavitiesResonant CavitiesResonant CavitiesResonant Cavities. Small alcoves or closet type areas inyour room can be chambers that create their own“standing waves” and can drum their own “one note”sounds.

Clap your hands. Can you hear an instant echo respondback? You’ve got near-field reflections. Stomp your footon the floor. Can you hear a “boom”? You’ve got standingwaves or large panel resonances such as a poorlysupported wall. Put your head in a small cavity area andtalk loudly. Can you hear a booming? You’ve just experi-enced a cavity resonance.

Rules of ThumbRules of ThumbRules of ThumbRules of ThumbRules of Thumb

Hard vs. Soft SurfacesHard vs. Soft SurfacesHard vs. Soft SurfacesHard vs. Soft SurfacesHard vs. Soft Surfaces. If the front or back wall of yourlistening room is soft, it may benefit you to have ahard or reflective wall in opposition. As well, theceiling and floor should follow the same basicguideline. However, the side walls should be roughlythe same in order to deliver a focused image.

This rule suggests that a little reflection is good. As amatter of fact, some rooms can be so “over damped”with carpeting, drapes and sound absorbers that themusic system can sound dull and lifeless. On theother hand, rooms can be so hard that the systemcan sound like a gymnasium with too much reflectionand brightness. The point is that balance is theoptimum environment.

Breakup ObjectsBreakup ObjectsBreakup ObjectsBreakup ObjectsBreakup Objects. Objects with complex shapes, such asbookshelves, cabinetry, and multiple shaped wallscan help break up those sonic gremlins and diffuseany dominant frequencies.

Solid CouplingSolid CouplingSolid CouplingSolid CouplingSolid Coupling. Your loudspeaker system generatesfrequency vibrations or waves into the room. This ishow it creates sound. Those vibrations will vary from20 per second to 20,000 per second. If your speakersystem is not securely planted on the floor or solidsurface, it can shake as it produces sound and,consequently, the sound can be compromised. Ifyour speaker is sitting on the carpet and only footgliders are used, the bass can be ill defined and evenboomy. The use of spikes is recommended to insuresecured footing for your speakers.

Page 14 Logos User's Manual

Controlled Horizontal DispersionControlled Horizontal DispersionControlled Horizontal DispersionControlled Horizontal DispersionControlled Horizontal Dispersion

Your Logos launches a 30 degree dispersion patternwhen viewed from above. This horizontal dispersion fieldgives you a choice of good seats for the performancewhile minimizing interaction with side walls. See Figure 1.

Controlled Vertical DispersionControlled Vertical DispersionControlled Vertical DispersionControlled Vertical DispersionControlled Vertical Dispersion

As you can see from the illustrations, your Logos speakerprojects a controlled dispersion pattern. See Figure 2.This vertical dispersion profile minimizes interactions withthe floor and the ceiling.

Figure 2Figure 2Figure 2Figure 2Figure 2. The Martin-Logan Logos vertical dispersion profileminimizes interactions with the floor and ceiling.

Figure 1Figure 1Figure 1Figure 1Figure 1. The Martin-Logan Logos delivers a 30 degree wavelaunch dispersion pattern distributed horizontally.

Dispersion Characteristics

Page 15Logos User's Manual

Surround Speaker(dipole design)

Surround Speaker(dipole design) Front Speaker

Center Speaker

Subwoofer

Front Speaker

Subwoofer

Rear ProjectionTelevision

It has long been the practice of stereo buffs to connecttheir television to the stereo system. The advantage wasthe use of the larger speakers and more powerfulamplifier of the stereo system. Even though the soundwas greatly improved, it was still mono and limited by thebroadcast signal.

In the late 1970's and early '80's two new home movieformats became widely available to the public; VCR andlaser disc.

By 1985, both formats had developed into very highquality audio/video sources. In fact, the sonic perfor-mance of some video formats exceeded audio-onlyformats. Now, with theatre quality sound available athome, the only element missing was the "surroundsound" presentation found in movie houses.

Fortunately, "Dolby" encoded movies (which includesalmost all movies) have the same surround soundinformation encoded on home releases as the theatrefilms. All that is required to retrieve this information is adecoder and additional speakers to reproduce it.

Home theatre is a complex purchase and we recommendthat you consult your local Martin-Logan dealer as he iswell versed in home theatre. The following list anddescriptions will only give you a brief outline as to theresponsibilities and demands placed on each speaker.

Front Left and Right. Front Left and Right. Front Left and Right. Front Left and Right. Front Left and Right. These speakers are the same twoused for audio only and should be of very goodquality. The front speakers need to be able to playloud (over 102 dB) and reproduce bass below 80 Hz.

Center Channel.Center Channel.Center Channel.Center Channel.Center Channel. This is the most important speaker in avideo system as almost all of the dialogue is repro-duced through it. Also, a large portion of the informa-tion that is reproduced by the front channel speakersis reinforced by the center speaker. It is importantthat the center speaker be designed by the samemanufacturer as the front speakers and is recom-mended for use as a center speaker. This is not theplace to cut corners.

Surround Speakers.Surround Speakers.Surround Speakers.Surround Speakers.Surround Speakers. We recommend that the surroundspeakers play down to 80 Hz or below. The surroundspeakers contain the information that makes itappear that planes are flying over your head. Somemay suggest that this is the place to save money andpurchase a small inexpensive speaker. If you chooseto do so, be prepared to upgrade in the future asdiscrete six channel digital encoding becomesavailable and the demands on the surround speakersincrease.

Subwoofer.Subwoofer.Subwoofer.Subwoofer.Subwoofer. Most movie soundtracks contain largeamounts of bass information as part of the specialeffects. A good subwoofer will provide a foundationfor the rest of the system. Good subwoofers are verycomplex and expensive to manufacture. We recom-mend a subwoofer with a built in amplifier.

Each piece of a surround system can be purchasedseparately. Take your time and buy quality. No one hasever complained that the movie was too real.

Home Theatre

Page 16 Logos User's Manual

What amplification should I use with my A/V system?What amplification should I use with my A/V system?What amplification should I use with my A/V system?What amplification should I use with my A/V system?What amplification should I use with my A/V system?

Unfortunately the most often asked question regardingamplification is the most difficult to answer and that is“How much power do I need?” The best advice we canoffer is that you consider that video is very dynamic andthe peak energy demands can last much longer than inmost musical presentations. Therefore it is our recom-mendation that your A/V amplifiers be at least as large ifnot larger than your current audio amplifier.

As for how much power should be available to eachchannel compared to the others it is our feeling that thefront three speakers should receive the same amount ofpower and the surround speakers at least 75% of thepower available to the front speakers . As discrete digitalsurround becomes available all five speakers shouldreceive the same amount of power.

Should I unplug my Logos during a thunderstorm?Should I unplug my Logos during a thunderstorm?Should I unplug my Logos during a thunderstorm?Should I unplug my Logos during a thunderstorm?Should I unplug my Logos during a thunderstorm?

Yes. Or before. It’s a good idea to disconnect all of youraudio/video components during stormy weather.

Is there likely to be any interaction between theIs there likely to be any interaction between theIs there likely to be any interaction between theIs there likely to be any interaction between theIs there likely to be any interaction between theLogos and the television in my Audio/Video system?Logos and the television in my Audio/Video system?Logos and the television in my Audio/Video system?Logos and the television in my Audio/Video system?Logos and the television in my Audio/Video system?

Actually, there is less interaction between a television andan electrostatic speaker than between a television and aconventional system. The magnets in conventionalspeakers do interact with televisions tubes. However, inthe Logos the conventional drivers' magnetic structurehas been physically shielded and the crossover has beenelectrically shielded, so there will be no interference withyour television.

Could my children, pets, or myself be shocked by theCould my children, pets, or myself be shocked by theCould my children, pets, or myself be shocked by theCould my children, pets, or myself be shocked by theCould my children, pets, or myself be shocked by thehigh-voltage present in the electrostatic panel?high-voltage present in the electrostatic panel?high-voltage present in the electrostatic panel?high-voltage present in the electrostatic panel?high-voltage present in the electrostatic panel?

No. High voltage with low current is not dangerous. As amatter of fact, the voltage in our speakers is 10 times10 times10 times10 times10 timeslesslesslesslessless than the static electricity that builds up on thesurface of your television screen.

Questions

If my child punctured the diaphragm with a pencil,If my child punctured the diaphragm with a pencil,If my child punctured the diaphragm with a pencil,If my child punctured the diaphragm with a pencil,If my child punctured the diaphragm with a pencil,stick, or similar item., how extensive would thestick, or similar item., how extensive would thestick, or similar item., how extensive would thestick, or similar item., how extensive would thestick, or similar item., how extensive would thedamage to the speaker be?damage to the speaker be?damage to the speaker be?damage to the speaker be?damage to the speaker be?

Our research department has literally punctured hun-dreds of holes in a diaphragm, neither affecting thequality of the sound nor causing the diaphragm to rip.However, you may be able to see the actual punctureand it can be a physical nuisance. If this is the case,replacing the electrostatic transducer will be the onlysolution.

Will my electric bill go ‘sky high’ by leaving myWill my electric bill go ‘sky high’ by leaving myWill my electric bill go ‘sky high’ by leaving myWill my electric bill go ‘sky high’ by leaving myWill my electric bill go ‘sky high’ by leaving myspeakers plugged in all the time?speakers plugged in all the time?speakers plugged in all the time?speakers plugged in all the time?speakers plugged in all the time?

Your Logos is equipped with a device we call the signalsensing circuit. Here's how it works. The signal automati-cally diminishes the bias voltage of the ESL cell toconserve energy and prolong the life of the system. If youlike, you can think of it as an attendant who turns off thelights when you aren't using them. Your Logos doesn'tuse much energy anyway (it may cost you about as muchto operate as one 15 watt light bulb) but after five minutesof the absence of any program material, the circuit willturn it off.

Will exposure to sunlight affect the life or perform-Will exposure to sunlight affect the life or perform-Will exposure to sunlight affect the life or perform-Will exposure to sunlight affect the life or perform-Will exposure to sunlight affect the life or perform-ance of the Logos?ance of the Logos?ance of the Logos?ance of the Logos?ance of the Logos?

We recommend that you not place any loudspeaker indirect sunlight as the ultraviolet (UV) rays from the suncan cause deterioration of grill cloth, speaker cones, etc..Exposures through glass will not cause a problem,however the heat generated by the sun will age the finishon the speaker as it would any fine furniture. Martin-Logan speakers are not recommended for outdoor use.

Will excessive smoke or dust cause any problems?Will excessive smoke or dust cause any problems?Will excessive smoke or dust cause any problems?Will excessive smoke or dust cause any problems?Will excessive smoke or dust cause any problems?

Exposure to excessive contaminants, such as smoke ordust, may potentially affect the performance of theelectrostatic membrane and may cause discoloration ofthe diaphragm membrane.

Page 17Logos User's Manual

No OutputNo OutputNo OutputNo OutputNo Output

Check that all your system components are turned on.

Check your speaker wires and connections.

Check all interconnecting cables.

Weak Output, Loss of HighsWeak Output, Loss of HighsWeak Output, Loss of HighsWeak Output, Loss of HighsWeak Output, Loss of Highs

Check the power cord. Is it properly connected tothe speaker?

Lack of BassLack of BassLack of BassLack of BassLack of Bass

Check your speaker wires. Is the polarity correct?

Low Frequency (60Hz) HumLow Frequency (60Hz) HumLow Frequency (60Hz) HumLow Frequency (60Hz) HumLow Frequency (60Hz) Hum

If the Logos hum when the amplifier is turned on, butnot playing music, the cause may be a ground loop.A ground loop is caused by a difference in theground potential in the A.C. line. To eliminate thisloop, use a ground lift adaptor on the Logos A.C.cord.

Troubleshooting

Popping and Ticking Sounds, Funny NoisesPopping and Ticking Sounds, Funny NoisesPopping and Ticking Sounds, Funny NoisesPopping and Ticking Sounds, Funny NoisesPopping and Ticking Sounds, Funny Noises

These occasional noises are harmless and will not hurtyour audio system or your speakers. All electrostaticspeakers are guilty of making odd noises at one time oranother.

These noises may be caused by dirt and dust par-ticles collecting on the speaker, by high humidity orby AC line fluctuations that may occur in your area.

Dirt and dust may be vacuumed off with a brushattachment connected to your vacuum cleaneror you may blow them off with compressed air.

DO NOT SPRAY ANY KIND OF CLEANING AGENTDO NOT SPRAY ANY KIND OF CLEANING AGENTDO NOT SPRAY ANY KIND OF CLEANING AGENTDO NOT SPRAY ANY KIND OF CLEANING AGENTDO NOT SPRAY ANY KIND OF CLEANING AGENTON OR IN CLOSE PROXIMITY TO THE ELECTRO-ON OR IN CLOSE PROXIMITY TO THE ELECTRO-ON OR IN CLOSE PROXIMITY TO THE ELECTRO-ON OR IN CLOSE PROXIMITY TO THE ELECTRO-ON OR IN CLOSE PROXIMITY TO THE ELECTRO-STATIC ELEMENT.STATIC ELEMENT.STATIC ELEMENT.STATIC ELEMENT.STATIC ELEMENT.

Page 18 Logos User's Manual

Glossary

ACACACACAC. Abbreviation for alternatingcurrent.

Active crossoverActive crossoverActive crossoverActive crossoverActive crossover. Uses activedevices (transistors, IC’s,tubes) and some form of powersupply to operate.

AmplitudeAmplitudeAmplitudeAmplitudeAmplitude. The extreme range of asignal. Usually measured fromthe average to the extreme.

ArcArcArcArcArc. The visible sparks generated byan electrical discharge.

BassBassBassBassBass. The lowest frequencies ofsound.

Bi-AmplificationBi-AmplificationBi-AmplificationBi-AmplificationBi-Amplification. Uses an electroniccrossover or line-level passivecrossover and separate poweramplifiers for the high and lowfrequency loudspeaker drivers.

CapacitanceCapacitanceCapacitanceCapacitanceCapacitance. That property of acapacitor which determines howmuch charge can be stored in itfor a given potential differencebetween its terminals, measuredin farads, by the ratio of thecharge stored to the potentialdifference.

CapacitorCapacitorCapacitorCapacitorCapacitor. A device consisting of twoor more conducting platesseparated from one another byan insulating material and usedfor storing an electrical charge.Sometimes called a condenser.

ClippingClippingClippingClippingClipping. Distortion of a signal by itsbeing chopped off. An overloadproblem caused by pushing anamplifier beyond its capabilities.The flat-topped signal has highlevels of harmonic distortionwhich creates heat in a loud-speaker and is the major cause ofloudspeaker component failure.

CrossoverCrossoverCrossoverCrossoverCrossover. An electrical circuit thatdivides a full bandwidth signal intothe desired frequency bands forthe loudspeaker components.

dB (decibel)dB (decibel)dB (decibel)dB (decibel)dB (decibel). A numerical expressionof the relative loudness of asound. The difference in decibelsbetween two sounds is ten timesthe common logarithm of the ratioof their power levels.

DCDCDCDCDC. Abbreviation for direct current.

DiffractionDiffractionDiffractionDiffractionDiffraction. The breaking up of asound wave caused by some typeof mechanical interference suchas a cabinet edge, grill frame, orother similar object.

DiaphragmDiaphragmDiaphragmDiaphragmDiaphragm. A thin flexible membraneor cone that vibrates in responseto electrical signals to producesound waves.

DistortionDistortionDistortionDistortionDistortion. Usually referred to interms of total harmonic distortion(THD) which is the percentage ofunwanted harmonics of the drivesignal present with the wantedsignal. Generally used to meanany unwanted change introducedby the device under question.

DriverDriverDriverDriverDriver. See transducer.

Dynamic RangeDynamic RangeDynamic RangeDynamic RangeDynamic Range. The range betweenthe quietest and the loudestsounds a device can handle(often quoted in dB).

EfficiencyEfficiencyEfficiencyEfficiencyEfficiency. The acoustic powerdelivered for a given electricalinput. Often expressed asdecibels/watt/meter (dB/w/m).

ESLESLESLESLESL. Abbreviation for electrostaticloudspeaker.

HeadroomHeadroomHeadroomHeadroomHeadroom. The difference, indecibels, between the peak andRMS levels in program material.

HybridHybridHybridHybridHybrid. A product created by themarriage of two different tech-nologies. Meant here as thecombination of a dynamic wooferwith an electrostatic transducer.

Hz (Hertz)Hz (Hertz)Hz (Hertz)Hz (Hertz)Hz (Hertz). Unit of frequency equiva-lent to the number of cycles persecond.

ImagingImagingImagingImagingImaging. To make a representation orimitation of the original sonicevent.

ImpedanceImpedanceImpedanceImpedanceImpedance. The total oppositionoffered by an electric circuit to theflow of an alternating current of asingle frequency. It is a combina-tion of resistance and reactanceand is measured in ohms.Remember that a speaker’simpedance changes with fre-quency, it is not a constant value.

InductanceInductanceInductanceInductanceInductance. The property of anelectric circuit by which a varyingcurrent in it produces a varyingmagnetic field that introducesvoltages in the same circuit or ina nearby circuit. It is measured inhenrys.

InductorInductorInductorInductorInductor. A device designed primarilyto introduce inductance into anelectric circuit. Sometimes calleda choke or coil.

LinearityLinearityLinearityLinearityLinearity. The extent to which anysignal handling process isaccomplished without amplitudedistortion.

Page 19Logos User's Manual

MidrangeMidrangeMidrangeMidrangeMidrange. The middle frequencieswhere the ear is the mostsensitive.

Passive crossoverPassive crossoverPassive crossoverPassive crossoverPassive crossover. Uses no activecomponents (transistors, IC’s,tubes) and needs no powersupply (AC, DC, battery) tooperate. The crossover in atypical loudspeaker is of thepassive variety. Passive cross-overs consist of capacitors,inductors and resistors.

PhasePhasePhasePhasePhase. The amount by which one sinewave leads or lags a secondwave of the same frequency. Thedifference is described by theterm phase angle. Sine waves inphase reinforce each other; thoseout of phase cancel.

Pink noisePink noisePink noisePink noisePink noise. A random noise used inmeasurements, as it has thesame amount of energy in eachoctave.

PolarityPolarityPolarityPolarityPolarity. The condition of beingpositive or negative with respectto some reference point or object.

RMSRMSRMSRMSRMS. Abbreviation for root meansquare. The effective value of agiven waveform is its RMS value.Acoustic power is proportional tothe square of the RMS soundpressure.

ResistanceResistanceResistanceResistanceResistance. That property of aconductor by which it opposes theflow of electric current, resultingin the generation of heat in theconducting material, usuallyexpressed in ohms.

ResistorResistorResistorResistorResistor. A device used in a circuitprimarily to provide resistance.

ResonanceResonanceResonanceResonanceResonance. The effect producedwhen the natural vibrationfrequency of a body is greatlyamplified by reinforcing vibrationsat the same or nearly the samefrequency from another body.

SensitivitySensitivitySensitivitySensitivitySensitivity. Volume of sound deliv-ered for a given electrical input.

StatorStatorStatorStatorStator. The fixed part forming thereference for the moving dia-phragm in a planar speaker.

THDTHDTHDTHDTHD. Abbreviation for total harmonicdistortion. (See Distortion.)

TIMTIMTIMTIMTIM. Abbreviation for transientintermodulation distortion. (SeeDistortion.)

TransducerTransducerTransducerTransducerTransducer. Any of various devicesthat transmit energy from onesystem to another, sometimesone that converts the energy inform. Loudspeaker transducersconvert electrical energy intomechanical motion.

TransientTransientTransientTransientTransient. Applies to that which lastsor stays but a short time. Achange from one steady-statecondition to another.

TweeterTweeterTweeterTweeterTweeter. A small drive unit designedto produce only high frequencies.

WavelengthWavelengthWavelengthWavelengthWavelength. The distance measuredin the direction of progression of awave, from any given pointcharacterized by the same phase.

White noiseWhite noiseWhite noiseWhite noiseWhite noise. A random noise used inmeasurements, as it has thesame amount of energy at eachfrequency.

WooferWooferWooferWooferWoofer. A drive unit operating in thebass frequencies only. Drive unitsin two-way systems are not truewoofers but are more accuratelydescribed as being mid/bassdrivers.

Page 20 Logos User's Manual

Specifications

Frequency ResponseFrequency ResponseFrequency ResponseFrequency ResponseFrequency Response75-20,000 Hz +/- 3dB

SensitivitySensitivitySensitivitySensitivitySensitivity89dB 2.83 volts/meter

Impedance MagnitudeImpedance MagnitudeImpedance MagnitudeImpedance MagnitudeImpedance MagnitudeNominal: 5 ohms • Minimum: 2.75 ohms

Crossover FrequencyCrossover FrequencyCrossover FrequencyCrossover FrequencyCrossover Frequency300, 3500 Hz • 12dB per octave

WooferWooferWooferWooferWoofer6.5" (16.5 cm) magnetically shielded in a sealed cabinet

MidrangeMidrangeMidrangeMidrangeMidrangeTwo 17" x 9.25" (43.2 cm x 23.5 cm) curved electrostatic panels, vapor depositedpolyester film with proprietary insulated stators

TweeterTweeterTweeterTweeterTweeter.55" (1.4 cm) titanium composite dome, ferro fluid cooled voice coil

Recommended Amplifier PowerRecommended Amplifier PowerRecommended Amplifier PowerRecommended Amplifier PowerRecommended Amplifier PowerTo be matched with system; minimum 50 watts

WeightWeightWeightWeightWeight62 lbs (28.1 kg)

DimensionsDimensionsDimensionsDimensionsDimensions40.6" W x 9.6"D x 11.8"H (103.1 cm x 24.4 cm x 30 cm)

Page 21Logos User's Manual

Notes

$ 5.00$ 5.00$ 5.00$ 5.00$ 5.00

2001 delaware street, p.o. box 707, lawrence, kansas 66044ph: (785)749-0133, fax: (785)749-5320

www.martinlogan.com

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