martinlogan quest user's manual

The Quest Speaker System

User's Manual

T H E E L E C T R O S T A T I C T E C H N O L O G Y

Quest User's Manual

Introduction 3

Installation in Brief 4

The Electrostatic Concept 5

History 6

Martin-Logan Exclusives 8

Operation 10

Room Acoustics 14

Placement 18

Questions 21

Troubleshooting 22

Recommended Music 23

Glossary 24

Quest Specifications 26

Notes 27

Important Contents

Your Quest speakers are 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 speakers to Martin-Logan, within 30 days ofpurchase.

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.

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

Quest User's Manual

Introduction

Congratulations, you have invested in one of the world’spremier loudspeaker systems!

The result of cumulative technology gleaned from eightprevious Research and Development projects, the Questrepresents the latest developments in Electrostatic andHybrid loudspeaker technology.

Combining our proprietary curvilinear electrostatic trans-ducer with a compact, but powerful subwoofer, we havedesigned a product, in one package, that reproduces musicwith uncompromised electrostatic clarity and deep ex-tended bass, yet takes up little more than one square foot offloor space.

All materials in your new Quest speakers are of the highestquality to provide years of enduring enjoyment and deepen-ing respect. All trim pieces are constructed from selectedhardwoods. They are then grain and color matched andfinally hand finished. The cabinetry is constructed from aspecial high-density hardwood powderboard for structuralintegrity and is finished with a durable and attractive mattesurface finish.

Through rigorous testing, the curvilinear electrostatic panelhas proven itself to be one of the most durable and reliabletransducers available today. Fabricated from a speciallytooled, high-grade steel, the panel is then coated with a

special high dielectric compound that is applied via aproprietary electrostatic deposition process. This panelassembly houses a membrane 0.0005 of an inch thick!Ruggedly constructed and insulated, as much as 200 wattsof continuous power has driven the Quest’s energizeddiaphragm into massive excursions with no deleteriouseffects.

We know you are anxious to listen to your new speakers.So, to speed you along, we have provided an InstallationInstallationInstallationInstallationInstallationin Briefin Briefin Briefin Briefin Brief section ahead of the detailed descriptive informa-tion contained in this manual.

Please read and follow these instructions as you initiallyconnect your Quest speakers into your system. Theseinstructions are important and will prevent you fromexperiencing any delay, frustration, or system damagewhich might occur in a 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 Quest speakers and thephilosophy applied to their design. A clear understanding ofyour speakers will insure that you obtain maximum perform-ance and pleasure from this most exacting transducer.

Happy Listening!

Quest User's Manual

Installation in Brief

We know you are eager to hear yournew Quest loudspeakers, so thissection is provided to allow fast andeasy set up. Once you have themoperational, please take the time toread, in depth, the rest of the informa-tion in this manual. It will give youperspective on how to obtain the bestpossible performance from yoursystem.

If you should experience any difficul-ties in the set-up or operation of yourQuest speakers please refer to theRoom Acoustics, PlacementRoom Acoustics, PlacementRoom Acoustics, PlacementRoom Acoustics, PlacementRoom Acoustics, Placement orOperationOperationOperationOperationOperation section of this manual.

Should you encounter a persistentproblem that cannot be resolved,please contact your AuthorizedMartin-Logan dealer. He will provideyou with the appropriate technicalanalysis to alleviate the situation.

Step 1: UnpackingStep 1: UnpackingStep 1: UnpackingStep 1: UnpackingStep 1: Unpacking

Remove your new Quest speakers from their packing.

Step 2: PlacementStep 2: PlacementStep 2: PlacementStep 2: PlacementStep 2: Placement

Place each Quest at least two feet from any wall and angle them slightly towardyour listening area. This is a good place to start. Please see the PlacementPlacementPlacementPlacementPlacementsection of this manual for more details.

Step 3: PStep 3: PStep 3: PStep 3: PStep 3: Power Connection (Aower Connection (Aower Connection (Aower Connection (Aower Connection (AC)C)C)C)C)

Martin-Logan speakers require AC power to energize their electrostatic cells.Using the AC power cords provided, plug them in, making sure that you havemade a firm connection, first to the AC power receptacle on the rear panel of thespeaker and then to the wall outlet. Extension cords may be used, if necessary,since the power requirement of the Quest is extremely small.

Step 4: Signal ConnectionStep 4: Signal ConnectionStep 4: Signal ConnectionStep 4: Signal ConnectionStep 4: Signal Connection

WARNING !WARNING !WARNING !WARNING !WARNING !Turn your amplifier off before making or breaking any signal

connections! The chassis is earth grounded and can present ashort circuit to your amplifier if contact is made!

Use the best speaker cables you can! Higher quality cables, available from yourspecialty dealer, are recommended and will give you superior performance!Spade connectors are suggested for optimum contact and ease of installation.

Attach your speaker cables to the AMPLIFIER CONNECTIONS Full-Range/AMPLIFIER CONNECTIONS Full-Range/AMPLIFIER CONNECTIONS Full-Range/AMPLIFIER CONNECTIONS Full-Range/AMPLIFIER CONNECTIONS Full-Range/High-Pass Signal Input High-Pass Signal Input High-Pass Signal Input High-Pass Signal Input High-Pass Signal Input section on the rear panel of each Quest. Be consis-tent when connecting speaker leads to the terminals on the back of the Quest:take great care to assign the same color to the (+) terminal on both the left andright channels. If bass is nonexistent and you cannot discern a tight, coherentimage, you may need to reverse the (+) and (-) leads on one side to bring thesystem into proper polarity. For Bi-Wiring/Bi-amping instructions, turn to theOperationsOperationsOperationsOperationsOperations section of this manual for proper set-up of the Quest system.

Step 5: Listen and Enjoy!Step 5: Listen and Enjoy!Step 5: Listen and Enjoy!Step 5: Listen and Enjoy!Step 5: Listen and Enjoy!

Quest 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 that aremoved with magnetism, the world of electrostatic loud-speakers deals with charged electrons attracting andrepelling each other.

To fully understand the electrostatic concept, some back-ground information will be helpful. Remember when youlearned, in a science or physics class, that like charges

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

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.

music. This technique is known as push-pull operation andis a major contributor to the sonic purity of the electrostaticconcept due to its exceptional linearity and low distortion.

Since the diaphragm of an electrostatic speaker is uni-formly driven over its entire area, it can be extremely lightand flexible. This allows it to be very responsive to tran-sients, thus perfectly tracing the music signal. As a result,great delicacy, nuance and clarity is possible. When youlook at the problems of traditional electromagnetic drivers,you can easily see why this is so beneficial. The cones anddomes which are used in traditional electromagneticdrivers cannot be driven uniformly because of their design.

Spider

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". Thevery concept of these driversrequire that the cone or domebe perfectly rigid, dampedand massless. Unfortunatelythese conditions are notavailable in our world 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 materialsused, make it an extremelycomplex unit with manyweaknesses and potential forfailure. These faults contrib-ute to the high distortionproducts found in thesedrivers and is a tremendousdisadvantage when you aretrying to change motion asquickly and as accurately asa loudspeaker must (40,000times per second!).

repel each other and oppositecharges attract each other?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 inpolarity. These high voltagesignals are then applied to thestators. The resulting electro-static field, created by theopposing high voltage on thestators, works simultaneouslywith and against the dia-phragm, consequently movingit back and forth, producing

An Electrostatic TransducerAn Electrostatic TransducerAn Electrostatic TransducerAn Electrostatic TransducerAn Electrostatic Transducer

Stator

Spacer

Diaphragm

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

Quest User's Manual

History

In the late 1800’s, any loudspeaker was considered exotic.Today, most of us take the wonders of sound reproductionfor 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 know today.However, Lodge had no intention for his device to repro-duce music, because in 1898 there was no way to amplifyan electrical signal! As a result, his speaker had nothing tooffer over the acoustical gramophones of the period. It wasnot until 1906 that Dr. Lee DeForrest invented the triodevacuum tube. Before this, an electrical signal could not beamplified. The loudspeaker, as we know it today, shouldhave ensued then, but it did not. Amazingly, it was almosttwenty years before this would occur.

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't beginto reproduce all of the information on this new disc. As aresult, further developments in loudspeakers were neededto cope with this amazing new recording medium.

By 1923, Bell Telephone Laboratories made the decision todevelop a complete musical playback system consisting ofan electronic phonograph and loudspeaker to take advan-tage of the new recording medium. Bell Labs assigned theproject to two young engineers, C.W. Rice and E.W.Kellogg.

Rice and Kellogg had a well equipped laboratory at theirdisposal. This lab possessed a vacuum tube amplifier withan unheard of 200 watts, a large selection of the newelectrically cut phonograph records and a variety ofloudspeaker prototypes that Bell Labs had been collectingover the past decade. Among these were Lodge’s cone, aspeaker that used compressed air, a corona discharge(plasma) speaker, and an electrostatic speaker.

After a short time, Rice and Kellogg had narrowed the fieldof "contestants" down to the cone and the electrostat. The

outcome would dictate the way that future generationswould refer to loudspeakers as being either "conventional",or "exotic".

Bell Laboratory’s electrostat was something to behold. Thisenormous 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 electricallycut records through the electrostat, they were shocked andimpressed. The electrostat performed splendidly. They hadnever heard instrumental timbres reproduced with suchrealism. This system sounded like real music rather than thehonking, squawking rendition of the acoustic gramophone.Immediately, they knew they were on to something big. Theacoustic gramophone was destined to become obsolete.

Due to Rice and Kelloggs enthusiasm, they devoted aconsiderable amount of time researching the electrostaticdesign. However, they soon encountered the samedifficulties that even present designers face; planar speak-ers require a very large surface area to reproduce the lowerfrequencies of the audio spectrum. Because the manage-ment at Bell Labs considered large speakers unacceptable,Rice and Kelloggs work on electrostatics would never beput to use for a commercial product. Reluctantly, theyadvised the Bell management to go with the cone. For thenext thirty years the electrostatic design lay dormant.

During the Great Depression of the 1930's, consumer audioalmost died. The new electrically amplified loudspeakernever gained acceptance, as most people continued to usetheir old Victrola-style acoustic gramophones. Prior to theend of World War II, consumer audio saw little, if any,progress. However, during the late 1940's, audio experi-enced a great rebirth. Suddenly there was tremendousinterest in audio products and with that, a great demand forimproved audio components. No sooner had the conebecome established than it was challenged by productsdeveloped during this new rebirth.

In 1947, Arthur Janszen, a young Naval engineer, took partin a research project for the Navy. The Navy was interestedin developing a better instrument for testing microphone

Quest User's Manual

arrays. The test instrument needed an extremely accuratespeaker, but Janszen found that the cone speakers of theperiod were too nonlinear in phase and amplitude re-sponse to meet his criteria. Janszen believed thatelectrostats were inherently more linear than cones, so hebuilt a model using a thin plastic diaphragm treated with aconductive coating. This model confirmed Janszen's beliefs,for it exhibited remarkable phase 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 electrostatictweeter element ready for commercial production. This newtweeter soon created a sensation among American audiohobbyists. Since Janszen's tweeter element was limited tohigh frequency reproduction, it often found itself used inconjunction with woofers, most notably, woofers fromAcoustic Research. These systems were highly regarded byall audio enthusiasts.

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

In 1955, Peter Walker published three articles on electro-static loudspeaker design in Wireless World, a Britishelectronics magazine. In these articles Walker demon-strated the benefits of the electrostatic loudspeaker. Heexplained that electrostatics permit the use of diaphragmsthat are low in mass, large in area, and uniformly drivenover their surfaces by electrostatic forces. Due to thesecharacteristics, electrostats have the inherent ability toproduce a wide bandwidth, flat frequency response withdistortion products being no greater than the electronicsdriving them.

By 1956 Walker backed up his articles by introducing aconsumer product, the now famous Quad ESL. Thisspeaker immediately set a standard of performance for theaudio industry due to its incredible accuracy. However, inactual use the Quad had a few problems. It could not playvery loud, it had poor bass performance, it presented adifficult load that some amplifiers did not like, its dispersionwas very directional, and its power handling was limited toaround 70 watts. As a result, many people continued to usebox 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 not haveas many limitations as the Quad. The KLH 9 could playmarkedly louder and lower in frequency than the Quad ESL.Thus a rivalry was born.

Janszen continued to develop electrostatic designs. He wasinstrumental in the design of the Koss Model One, theAcoustech, and the Dennesen speakers. Roger West, thechief designer of the JansZen Corporation became thepresident of Sound Lab. When JansZen Corporation wassold, the RTR loudspeaker company bought half of theproduction tooling. This tooling was used to make theelectrostatic panels for the Servostatic, a hybrid electrostaticsystem 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, and Staxto 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, multiplepanel arrays or, as in our own products, by curving thediaphragm. Power handling and sensitivity have beenincreased.

These developments allow the consumer the opportunity toown the highest performance loudspeaker products everbuilt. It's too bad Rice and Kellogg were never able to seejust how far the technology would be taken.

Quest User's Manual

Martin-Logan Exclusives

Critical ZoneCritical ZoneCritical ZoneCritical ZoneCritical Zone250 - 20kHz250 - 20kHz250 - 20kHz250 - 20kHz250 - 20kHz

TweeterTweeterTweeterTweeterTweeter

MidrangeMidrangeMidrangeMidrangeMidrange

WooferWooferWooferWooferWoofer

Critical ZoneCritical ZoneCritical ZoneCritical ZoneCritical Zone250 - 20kHz250 - 20kHz250 - 20kHz250 - 20kHz250 - 20kHz

WooferWooferWooferWooferWoofer

QuestQuestQuestQuestQuestElectrostat icElectrostat icElectrostat icElectrostat icElectrostat icTransducerTransducerTransducerTransducerTransducer

Martin-Logan QuestQuestQuestQuestQuest Loudspeaker

Conventional Loudspeaker

Figure 1. Figure 1. Figure 1. Figure 1. Figure 1. Illustrates how a conventional speaker systemmust use a crossover network that has negative affects

on the musical performance, unlike the Quest whichneeds no crossover networks in the "critical zone".

Full Range OperationFull Range OperationFull Range OperationFull Range OperationFull Range Operation

The most significant advantage of Martin-Logan'sexclusive transducer technology reveals itself when youcompare to examples of other loudspeaker products onthe market today.

The Quest uses no crossover networks above 150 Hzbecause they are not needed. It consists of a single,seamless electrostatic membrane reproducing allfrequencies above 150 Hz simultaneously. How is thispossible?

First, it is important to understand that music is not

of music and then combined electrically so that the sum ofthe parts equals the total signal. While this sounds nice intheory, a different story unfolds in real-world conditions.

In order to use multiple drivers, a crossover network isenlisted to divide the complex musical signal into theseparate parts (usually highs, mids, and lows) that eachspecific driver was designed to handle. Unfortunately,due to the phase relationships that occur within allcrossover networks and during the acoustical recombina-tion process, nonlinearities and severe degradation of themusic signal takes place in the ear's most "critical zone".

See Figure 1.So, music in the "criticalzone" becomes delayed intime. These delays can bepicked-up by your ear andresult in poor imaging andambience cues.

The Quest's electro-The Quest's electro-The Quest's electro-The Quest's electro-The Quest's electro-static transducer canstatic transducer canstatic transducer canstatic transducer canstatic transducer cansingle-handedly repro-single-handedly repro-single-handedly repro-single-handedly repro-single-handedly repro-duce all frequenciesduce all frequenciesduce all frequenciesduce all frequenciesduce all frequenciesabove 150 Hz simulta-above 150 Hz simulta-above 150 Hz simulta-above 150 Hz simulta-above 150 Hz simulta-neously .neous ly .neous ly .neous ly .neous ly .

The crossover phasediscontinuities that areassociated with traditionaltweeter, midrange, andwoofer systems are elimi-nated in the Quest. Thisresults in a dramaticdramaticdramaticdramaticdramaticimprovement in imagingimprovement in imagingimprovement in imagingimprovement in imagingimprovement in imagingand staging perform-and staging perform-and staging perform-and staging perform-and staging perform-ance due to the mi-ance due to the mi-ance due to the mi-ance due to the mi-ance due to the mi-nutely accurate phasenutely accurate phasenutely accurate phasenutely accurate phasenutely accurate phaserelationship of the full-relationship of the full-relationship of the full-relationship of the full-relationship of the full-range panel waverange panel waverange panel waverange panel waverange panel wavelaunch.launch.launch.launch.launch.

composed of separate high,mid and low frequencypieces. In fact, music iscomprised of a singlecomplex waveform with allfrequencies interactingsimultaneously.

The electrostatic transducerof the Quest essentially actsas an exact opposite of themicrophones used to recordthe original event. Amicrophone, which is asingle working element,transforms acoustic energyinto an electrical signal thatcan be amplified or pre-served by some type ofstorage media. The Quest'selectrostatic transducertransforms electrical energyfrom your amplifier intoacoustical energy with asingle membrane.

Upon looking carefully at atraditional magnetic driver(i.e. dynamic, ribbon,induction), no single unit canreproduce the full range offrequencies. Instead, thesedrivers must be designed tooperate within narrow areas

Quest User's Manual

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 transducers presenteven more of a challenge because the larger the panel,the more directional the dispersion pattern becomes.

Full range electrostats have always been one of the mostcomplex transducers because they attain their full rangecapabilities via a large surface area. It looked as if theywere in direct conflict to smooth dispersion and almostevery attempt to correct this resulted in either poordispersion or a serious compromise in sound quality.

After extensive research, Martin-Logan engineersdiscovered an elegantly simple solution to achieve asmooth pattern of dispersion without degrading soundquality. By curving the horizontal plane of the electrostatictransducer, a controlled horizontal dispersion patterncould be achieved, yet the purity of the almost masslesselectrostatic diaphragm remained uncompromised. Aftercreating this technology, we developed the productioncapability to bring this technology out of the laboratoryand into the market place.

You will find this proprietary Martin-Logan technologyused in all of our products. It is one of the many reasonsbehind our reputation for high quality sound with practicalusability. This is also why you see the unique "seethrough" cylindrical shape of all Martin-Logan products.

Vapor Deposited FilmVapor Deposited FilmVapor Deposited FilmVapor Deposited FilmVapor Deposited Film

The diaphragm material used in all Martin-Logan speakersemploys an extremely sophisticated vapor deposited conduc-tive polymer surface. A proprietary conductive compound isvaporized then electrostatically driven into the surface of thepolymer film in a vacuum chamber. This process allows anoptically transparent membrane, adds no mass to the dia-phragm and is extremely uniform in its surface resistivitycharacteristics. This uniform surface resistivity controls theelectrostatic charge on the diaphragm surface and regulatesits migration. As a result, no discharging or “arcing” canoccur.

Transducer IntegrityTransducer IntegrityTransducer IntegrityTransducer IntegrityTransducer Integrity

All Martin-Logan transducers begin with two pieces of highgrade, cold rolled steel. These steel pieces are then customperforated and insulated with an exotic composite coating.This proprietary coating insulates the stator to 3 times itsactual needed working voltage and gives the Quest a widemargin of safe operation. In addition to the electrical insulationproperties, this coating also provides the Quest with adurable, attractive finish that dampens the steel to preventringing. The finished metal plates are then sandwiched withour exclusive vapor deposited diaphragm and spacers into acurved geometry and bonded together with aerospaceadhesives whose strength exceeds that of welding.

The result of these advanced technologies is a transducer thatis attractive, durable, highly rigid, well dampened, and neutral.

Quest User's Manual

Operation

AC Power ConnectionAC Power ConnectionAC Power ConnectionAC Power ConnectionAC Power Connection

Because your Martin-Logan Quests use an internal powersupply to energize their electrostatic cells with high-voltageDC, they must be connected to an AC power source. Forthis reason they are provided with the proper IEC standardpower cords. These cords should be firmly inserted into theAC power receptacles on the rear connection panel of thespeakers, then to any convenient AC wall outlet. Extensioncords may be used, if necessary, since the AC powerrequirement of the speaker is extremely small (less than 2.5watts). The Quests have been designed to remain oncontinuously and should remain connected to a continuousAC power source. As mentioned earlier, power consump-tion of the Quest is very small and the life expectancy of itscomponents will not be reduced by continuous operation.

The power cord should not be installed, removed,The power cord should not be installed, removed,The power cord should not be installed, removed,The power cord should not be installed, removed,The power cord should not be installed, removed,or left detached from the speaker while the otheror left detached from the speaker while the otheror left detached from the speaker while the otheror left detached from the speaker while the otheror left detached from the speaker while the otherend is connected to an AC power source.end is connected to an AC power source.end is connected to an AC power source.end is connected to an AC power source.end is connected to an AC power source.

Your Quest speakers are wired for the power servicesupplied in the country of original consumer sale unlessmanufactured on special order. The AC power ratingapplicable to a particular unit is specified both on thepacking carton and on the serial number plate attached tothe speaker.

If you remove your Quest speakers from the country oforiginal sale, be certain that AC power supplied in anysubsequent location is suitable before connecting andoperating the speakers. Substantially impaired performanceor severe damage may occur to a Quest speaker if opera-tion is attempted from an incorrect AC power source.

If your home is not equipped with three-prong wall outlets,you may use “cheater” plugs to connect the speakers toAC power. These may be obtained at your dealer or anyhardware department.

Signal ConnectionSignal ConnectionSignal ConnectionSignal ConnectionSignal Connection

Use the best speaker cables 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 #16 be used. In general, the longer thelength used, the greater the necessity of a lower gauge, andthe lower the gauge, the better the sound, with diminishingreturns setting in around #8 to #12.

A variety of speaker cables are now available whosemanufacturers claim better performance than with standardheavy gauge wire. We have verified this in some cases, andthe improvements available are often more noticeable thanthe differences between wires of different gauge.

We would also recommend, if possible, that short runs ofspeaker cable connect the power amplifier(s) and speakersand that high quality long interconnect cables be used toconnect the preamplifier and power amplifier. This results inthe power amplifiers being close to the speakers, whichmay be practically or cosmetically difficult, but if the lengthof the speaker cables can be reduced to a few meters, sonicadvantages may be obtained. The effects of cables may bemasked if the equipment is not of the highest quality.

Connections are done at the AMPLIFIER CONNEC-AMPLIFIER CONNEC-AMPLIFIER CONNEC-AMPLIFIER CONNEC-AMPLIFIER CONNEC-TIONSTIONSTIONSTIONSTIONS section on the rear electronics panel of the Quest.Use spade connectors for optimum contact and ease ofinstallation. Make certain that all your connections are tight.

Be consistent when connecting the speaker cables to theAMPLIFIER CONNECTIONS AMPLIFIER CONNECTIONS AMPLIFIER CONNECTIONS AMPLIFIER CONNECTIONS AMPLIFIER CONNECTIONS terminals. Take care toassign the same color cable lead to the (+) terminal on boththe left and right channel speakers. If bass is nonexistentand you cannot discern a tight, coherent image, you mayneed to reverse the (+) and (-) leads on one speaker tobring the system into proper polarity.

Quest User's Manual

Figure 1Figure 1Figure 1Figure 1Figure 1. Standard connection. One channel shown. BI-WIRE/BI-AMP SWITCH inBI-WIRE/BI-AMP SWITCH inBI-WIRE/BI-AMP SWITCH inBI-WIRE/BI-AMP SWITCH inBI-WIRE/BI-AMP SWITCH int h et h et h et h et h e

Single-Wire position.Single-Wire position.Single-Wire position.Single-Wire position.Single-Wire position.

Figure 2Figure 2Figure 2Figure 2Figure 2. Bi-wire connection. One channel shown. BI-WIRE/BI-AMP SWITCH inBI-WIRE/BI-AMP SWITCH inBI-WIRE/BI-AMP SWITCH inBI-WIRE/BI-AMP SWITCH inBI-WIRE/BI-AMP SWITCH int h et h et h et h et h e

Bi-Wire/Bi-Amp position.Bi-Wire/Bi-Amp position.Bi-Wire/Bi-Amp position.Bi-Wire/Bi-Amp position.Bi-Wire/Bi-Amp position.

Bi-Wire ConnectionBi-Wire ConnectionBi-Wire ConnectionBi-Wire ConnectionBi-Wire Connection

For superior performance, bi-wiring theQuest loudspeaker requires that therequires that therequires that therequires that therequires that theBI-WIRE/BI-AMP SWITCH, locatedBI-WIRE/BI-AMP SWITCH, locatedBI-WIRE/BI-AMP SWITCH, locatedBI-WIRE/BI-AMP SWITCH, locatedBI-WIRE/BI-AMP SWITCH, locatednext to the AMPLIFIER CONNEC-next to the AMPLIFIER CONNEC-next to the AMPLIFIER CONNEC-next to the AMPLIFIER CONNEC-next to the AMPLIFIER CONNEC-TIONS input binding posts, beTIONS input binding posts, beTIONS input binding posts, beTIONS input binding posts, beTIONS input binding posts, beswitched to the Bi-Wire/Bi-Ampswitched to the Bi-Wire/Bi-Ampswitched to the Bi-Wire/Bi-Ampswitched to the Bi-Wire/Bi-Ampswitched to the Bi-Wire/Bi-Ampposition before making any con-position before making any con-position before making any con-position before making any con-position before making any con-nections to the Low-Pass Inputnections to the Low-Pass Inputnections to the Low-Pass Inputnections to the Low-Pass Inputnections to the Low-Pass Inputbinding post.binding post.binding post.binding post.binding post.

Using two sets of speaker cable betweenyour amplifier and the crossover doublesthe signal carrying conductors from theamplifier to the speaker, thus directcoupling the high-pass and low-passportions of the crossover network to theamplifier. This will minimize interactionbetween the two sections of the cross-over network. See figure 2.

AmplifierINPUT INPUT

OUTPUT OUTPUT

OUTPUT INPUT

Preamplifier


OUTPUT OUTPUT

OUTPUT INPUT

Preamplifier

CAUTION!CAUTION!CAUTION!CAUTION!CAUTION!Turn your amplifier off before making orbreaking any signal connections! The

chassis is earth grounded and canpresent a short circuit to your amplifier if

contact is made!

Standard ConnectionStandard ConnectionStandard ConnectionStandard ConnectionStandard Connection

Connect the speaker wire from youramplifier to the top-most AMPLIFIERAMPLIFIERAMPLIFIERAMPLIFIERAMPLIFIERCONNECTIONS Full-Range/High-CONNECTIONS Full-Range/High-CONNECTIONS Full-Range/High-CONNECTIONS Full-Range/High-CONNECTIONS Full-Range/High-Pass Input Pass Input Pass Input Pass Input Pass Input binding post. See figure 1.

Quest User's Manual

PassivePassivePassivePassivePassiveBi-amplificationBi-amplificationBi-amplificationBi-amplificationBi-amplification

For those of you that desire ultimateperformance, the Quest may bepassively bi-amplified using theexisting internal passive crossoverelements.

WARNING! Only after the BI-WARNING! Only after the BI-WARNING! Only after the BI-WARNING! Only after the BI-WARNING! Only after the BI-WIRE/BI-AMP SWITCH is in theWIRE/BI-AMP SWITCH is in theWIRE/BI-AMP SWITCH is in theWIRE/BI-AMP SWITCH is in theWIRE/BI-AMP SWITCH is in theBi-Wire/Bi-Amp position mayBi-Wire/Bi-Amp position mayBi-Wire/Bi-Amp position mayBi-Wire/Bi-Amp position mayBi-Wire/Bi-Amp position mayyou connect individual runs ofyou connect individual runs ofyou connect individual runs ofyou connect individual runs ofyou connect individual runs ofspeaker cable from your ampli-speaker cable from your ampli-speaker cable from your ampli-speaker cable from your ampli-speaker cable from your ampli-fier to the Low-pass and High-fier to the Low-pass and High-fier to the Low-pass and High-fier to the Low-pass and High-fier to the Low-pass and High-pass AMPLIFIER CONNEC-pass AMPLIFIER CONNEC-pass AMPLIFIER CONNEC-pass AMPLIFIER CONNEC-pass AMPLIFIER CONNEC-TIONS binding posts. DamageTIONS binding posts. DamageTIONS binding posts. DamageTIONS binding posts. DamageTIONS binding posts. Damagewill occur to your amplifiers ifwill occur to your amplifiers ifwill occur to your amplifiers ifwill occur to your amplifiers ifwill occur to your amplifiers ifthe BI-WIRE/BI-AMP SWITCH isthe BI-WIRE/BI-AMP SWITCH isthe BI-WIRE/BI-AMP SWITCH isthe BI-WIRE/BI-AMP SWITCH isthe BI-WIRE/BI-AMP SWITCH isnot in the correct position!not in the correct position!not in the correct position!not in the correct position!not in the correct position!

Operation

Figure 3Figure 3Figure 3Figure 3Figure 3. Horizontal passive bi-amplification. One channel shown. BI-WIRE/BI-AMPBI-WIRE/BI-AMPBI-WIRE/BI-AMPBI-WIRE/BI-AMPBI-WIRE/BI-AMPSWITCH in Bi-Wire/Bi-Amp position.SWITCH in Bi-Wire/Bi-Amp position.SWITCH in Bi-Wire/Bi-Amp position.SWITCH in Bi-Wire/Bi-Amp position.SWITCH in Bi-Wire/Bi-Amp position.

Passive bi-amplification takes the bi-wiring concept one step further. Nowyou will have a dedicated channel ofamplification directly connected to thehigh and low-pass sections of the Quest crossover.

There are two different methods to passively bi-amplify. Thefirst, and most common, is referred to as Horizontal Bi-Horizontal Bi-Horizontal Bi-Horizontal Bi-Horizontal Bi-ampingampingampingampingamping. The second method that is gaining in popularity isreferred to as Vertical Bi-ampingVertical Bi-ampingVertical Bi-ampingVertical Bi-ampingVertical Bi-amping. With either methodyou may use two stereo amplifiers or four mono amplifiers,or two mono amplifiers and one stereo amplifier. Get theidea? With either form of passive bi-amplification, your pre-amplifier must have dual outputs. If your pre-amplifier is notso equipped, you must either purchase or construct a "Y"adaptor.

Horizontal bi-ampingHorizontal bi-ampingHorizontal bi-ampingHorizontal bi-ampingHorizontal bi-amping allows you to use two differenttypes, models or brands of amplifiers (i.e. tubes on top,transistor on the bottom), assuming that they have identicalgain or that one stereo pair has adjustable gain. However,we recommend that you use two identical amplifiers (i.e.same brand and model). If the amplifiers of choice do nothave the same gain characteristics, then a sonic imbalancewill occur between the high-pass and low-pass sections ofthe speaker, and integration between the two will suffergreatly. The very nature of vertical bi-ampingvertical bi-ampingvertical bi-ampingvertical bi-ampingvertical bi-amping dictatesthat both amplifiers be identical.

Amplifier

Amplifier

OUTPUT

INPUT

OUTPUT

INPUT

OUTPUT

INPUT

OUTPUT

INPUT

OUTPUT INPUT

Preamplifier

Horizontal Bi-amping (read Warning above).Horizontal Bi-amping (read Warning above).Horizontal Bi-amping (read Warning above).Horizontal Bi-amping (read Warning above).Horizontal Bi-amping (read Warning above).With horizontal bi-ampinghorizontal bi-ampinghorizontal bi-ampinghorizontal bi-ampinghorizontal bi-amping, one amplifier drives the high-pass section while the second amplifier drives the low-passsection. To horizontally bi-amplifyhorizontally bi-amplifyhorizontally bi-amplifyhorizontally bi-amplifyhorizontally bi-amplify your Quests, connectthe low frequency amplifier to the Low-Pass Input Low-Pass Input Low-Pass Input Low-Pass Input Low-Pass Input + and -AMPLIFIER CONNECTIONS binding post. Connect the highfrequency amplifier to the Full-Range/High-Pass InputFull-Range/High-Pass InputFull-Range/High-Pass InputFull-Range/High-Pass InputFull-Range/High-Pass Input+ and - binding posts. Next, connect the left and rightpreamplifier outputs to the appropriate left and right inputsof both amplifiers. See figure 3.

Vertical bi-amping (read Warning above).Vertical bi-amping (read Warning above).Vertical bi-amping (read Warning above).Vertical bi-amping (read Warning above).Vertical bi-amping (read Warning above).With vertical bi-ampingvertical bi-ampingvertical bi-ampingvertical bi-ampingvertical bi-amping, each of the stereo amplifiers isdedicated to one speaker. To vertically bi-ampvertically bi-ampvertically bi-ampvertically bi-ampvertically bi-amp yourQuests, connect the left amplifier channel of amplifier #1 tothe Low-Pass InputLow-Pass InputLow-Pass InputLow-Pass InputLow-Pass Input + and - binding post and the rightamplifier channel of amplifier #1 to the Full-Range/High-Full-Range/High-Full-Range/High-Full-Range/High-Full-Range/High-Pass InputPass InputPass InputPass InputPass Input + and - binding post. Repeat the sameprocedure for the other speaker with amplifier #2. Connectthe left preamplifier outputs to both inputs of the left channelamplifier (#1) and the right pre-amplifier outputs to bothinputs of the right channel amplifier (#2). See figure 4 on thefollowing page.

Quest User's Manual

Figure 4Figure 4Figure 4Figure 4Figure 4. Vertical passive bi-amplification. One channel shown. BI-WIRE/BI-AMPBI-WIRE/BI-AMPBI-WIRE/BI-AMPBI-WIRE/BI-AMPBI-WIRE/BI-AMP

Active Bi-AmplificationActive Bi-AmplificationActive Bi-AmplificationActive Bi-AmplificationActive Bi-Amplification


OUTPUT OUTPUT

OUTPUT INPUT

Preamplifier

0dB-3dB-6dB

20Hz 200Hz

Flat-3dB

Effects of the Bass Contour SwitchBass Contour SwitchBass Contour SwitchBass Contour SwitchBass Contour Switch

Effects of the Presence Contour Presence Contour Presence Contour Presence Contour Presence ContourSwi tchSwi tchSwi tchSwi tchSwi tch

0dB+2dB

-2dB

20kHz100Hz

2.5kHz

+2dB

Figure 5.Figure 5.Figure 5.Figure 5.Figure 5.Effects of the Contouring Switches

for most rooms. However, if you feel that the bass in yoursystem is too strong relative to the mid-range and highfrequencies, simply select the -3 dB-3 dB-3 dB-3 dB-3 dB position. This switchposition will attenuate the woofer response by 3 decibelsbelow 200Hz. With the FlatFlatFlatFlatFlat position selected, the BassContour circuit is removed from the audio signal path,thereby eliminating any possibility of signal degradationcaused by added circuitry.

Presence Contour Switch.Presence Contour Switch.Presence Contour Switch.Presence Contour Switch.Presence Contour Switch.The Presence Contour Presence Contour Presence Contour Presence Contour Presence Contour switch is also a two-positionswitch that allows you to tailor the mid-range response(presence) of the Quest. The Flat Flat Flat Flat Flat position is considered thenormal setting for most rooms. However, if you would likemore presence, select the +2dB+2dB+2dB+2dB+2dB position. This switchsetting will cause a 2 decibel rise centered around 2.5kHz.With the Flat Flat Flat Flat Flat position selected, the rise is eliminated.Please refer to the graphs in Figure 5 showing how theseswitch settings effect the response of the Quest.

Some experimentation with these two switches will allowyou to find the optimal tonal balance to meet your specifictastes, room environment and audio equipment.

The passive crossover elements in the Quest are verycomplex electrical devices with unique voicing and equal-ization. They cannot be replaced with a standard electroniccrossover. If, at some time, a properly designed electroniccrossover for the Quest becomes available from Martin-Logan, the owner of warranty will be sent notification.

Contouring SwitchesContouring SwitchesContouring SwitchesContouring SwitchesContouring Switches

Because of the wide variety of room environments, record-ing techniques and customer preferences that we feel areimportant issues for today's premier loudspeaker designersto address, we have provided the Quest with two switchesthat will give you more flexibility and control over the finalsound.

Bass Contour Switch.Bass Contour Switch.Bass Contour Switch.Bass Contour Switch.Bass Contour Switch.The Bass ContourBass ContourBass ContourBass ContourBass Contour switch is a two-position switch thatallows you to tailor the low frequency response of theQuest. The Flat Flat Flat Flat Flat position is considered the normal setting

Quest 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

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 the room.

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.

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 aspecial room with no parallel walls just to get awayfrom this phenomenon.

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). Thehard surfaces of your room, particularly if close toyour speaker system, will reflect those waves backinto the room over and over again, confusing theclarity and imaging of your system. The smallersound waves are mostly effected here and occur inthe mid and high frequencies. This is where voiceand frequencies as high as the cymbals can occur.

Resonant Surfaces and ObjectsResonant Surfaces and ObjectsResonant Surfaces and ObjectsResonant Surfaces and ObjectsResonant Surfaces and Objects. All of the surfacesand objects in your room are subject to the frequen-cies generated by your system. Much like aninstrument, they will vibrate and “carry on” insyncopation with the music and contribute in anegative way to the music. Ringing, boominess, andeven brightness can occur simply because they are“singing along” with your music.

Resonant CavitiesResonant CavitiesResonant CavitiesResonant CavitiesResonant Cavities. Small alcoves or closet type areasin your room can be chambers that create their own“standing waves” and can drum their own “onenote” 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 gotstanding waves or large panel resonances such as apoorly supported wall. Put your head in a small cavityarea and talk loudly. Can you hear a booming? You’vejust experienced a cavity resonance.

Quest User's Manual

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 “overdamped” with carpeting, drapes and sound absorb-ers that the music system can sound dull and lifeless.On the other hand, rooms can be so hard that thesystem can sound like a gymnasium with too muchreflection and brightness. The point is that balance isthe optimum environment.

Break-up ObjectsBreak-up ObjectsBreak-up ObjectsBreak-up ObjectsBreak-up Objects. Objects with complex shapes, suchas bookshelves, cabinetry, and multiple shapedwalls can help break up those sonic gremlins anddiffuse any 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 andeven boomy. The use of spikes is recommended toinsure secured footing for your speakers.

Bipolar Speakers and Your RoomBipolar Speakers and Your RoomBipolar Speakers and Your RoomBipolar Speakers and Your RoomBipolar Speakers and Your Room

Martin-Logan electrostatic loudspeakers are known asbipolar radiators. This means that they produce soundfrom both their fronts and their backs. Consequently,musical information is reflected by the wall behind themand may arrive either in or out of step with the informationproduced by the front of the speaker.

The low frequencies can either be enhanced or nulled bythe position from the front wall. Your Quests have beendesigned to be placed 2 to 3 feet from the front wall (thewall in front of the listening position) to obtain the bestresults, however your room may see things differently. So,listening to the difference of the bass response as a resultof the changes in distance from the front wall can allowyou to get the best combination of depth of bass and tonalbalance.

Now that you know about Reflective SurfacesReflective SurfacesReflective SurfacesReflective SurfacesReflective Surfaces andResonant ObjectsResonant ObjectsResonant ObjectsResonant ObjectsResonant Objects, you can see how the mid-rangeand high frequencies can be effected. The timing of thefirst wave as it is first radiated to your ears and then thereflected information as it arrives at your ears later in time,can result in confusion of the precious timing informationthat carries the clues to imaging and, consequently resultin blurred imaging and excessive brightness. Soft walls,curtains, wall hangings, or sound dampeners (yourdealer can give you good information here) can beeffective if these negative conditions occur.

Quest User's Manual

Room Acoustics and Dispersion Interactions

Figure 2Figure 2Figure 2Figure 2Figure 2. Your Quest speaker system is a 4 foot line sourcewhen viewed vertically. Actual height above the floor is from twoto six feet.

Figure 1Figure 1Figure 1Figure 1Figure 1. Martin-Logan Quests deliver a 30 degree wavelaunch dispersion pattern distributed horizontally.

Controlled Horizontal DispersionControlled Horizontal DispersionControlled Horizontal DispersionControlled Horizontal DispersionControlled Horizontal Dispersion

Your Quests launch a 30 degree dispersion pattern whenviewed from above. This horizontal dispersion field givesyou a choice of good seats for the performance whileminimizing interactions with side walls. See Figure 1.

Make sure both speakers stand exactly at the samevertical angle, otherwise the image can be skewed orpoorly defined. The wave launch of both speakers isextremely accurate in both the time and spectral domainand, consequently, small refined adjustments can resultin noticeable sonic improvements.

Controlled Vertical DispersionControlled Vertical DispersionControlled Vertical DispersionControlled Vertical DispersionControlled Vertical Dispersion

As you can see from the illustrations, your Quest speak-ers project a controlled dispersion pattern. Each Quest isa four foot line source beginning two feet above floorlevel. See Figure 2. This vertical dispersion profileminimizes interactions with the floor and the ceiling.

Quest User's Manual

Three Major Types of DispersionThree Major Types of DispersionThree Major Types of DispersionThree Major Types of DispersionThree Major Types of Dispersion

In the field of loudspeaker design, it is a known fact thatas the sound wave becomes progressively smaller thanthe transducer producing it, the dispersion of that wavebecomes more and more narrow, or directional. This factoccurs as long as the transducer is a flat surface. Largeflat panel speakers exhibit venetian blindvenetian blindvenetian blindvenetian blindvenetian blind effects due tothis phenomenon. This is why most manufacturers opt forsmall drivers (i.e. tweeters and midrange) to approximatewhat is known as a point sourcepoint sourcepoint sourcepoint sourcepoint source wave launch.

Curvilinear Line Source Disper-Curvilinear Line Source Disper-Curvilinear Line Source Disper-Curvilinear Line Source Disper-Curvilinear Line Source Disper-s i ons i ons i ons i ons i on

A controlled 30-degree cylindricalwave-front, which is a Martin-Lo-Martin-Lo-Martin-Lo-Martin-Lo-Martin-Lo-gan exclusivegan exclusivegan exclusivegan exclusivegan exclusive, offers optimal sounddistribution with minimal room interac-tion. The result is solid imaging with awide listening area.

Historically, most attempts to achieve smooth dispersionfrom large flat panel transducers resulted in trade-offs.After exhaustive testing of these different solutionattempts, we found an elegantly simple, yet very difficultto execute solution. By curving the radiating surface, wecreate the effect of a horizontal arc. This allows theengineers at Martin-Logan to control the high frequencydispersion pattern of our transducers. That is why you seethe gentle curve on our products.

Multiple Large Panel DispersionMultiple Large Panel DispersionMultiple Large Panel DispersionMultiple Large Panel DispersionMultiple Large Panel Dispersion

Even though they suffer from "vene-vene-vene-vene-vene-tian blindtian blindtian blindtian blindtian blind" effect, angled multiple panelspeakers can deliver good imaging,but only to specific spots in the listeningarea.

Traditional Point Source Dis-Traditional Point Source Dis-Traditional Point Source Dis-Traditional Point Source Dis-Traditional Point Source Dis-pers ionpers ionpers ionpers ionpers ion

As can be seen, point sourcepoint sourcepoint sourcepoint sourcepoint source con-cepts invite a great deal of room inter-action. While delivering good frequencyresponse to a large listening audience,imaging is consequently confused andblurred.

Quest User's Manual

Listening PositionListening PositionListening PositionListening PositionListening Position

By now your speakers should be placed approximately 2to 3 feet from the front wall (wall in front of the listeningposition) and at least 1 to 2 feet from the side walls. Yoursitting distance should be further than the distancebetween the speakers themselves. What you are trying toattain is the impression of good center imaging and stagewidth.

There is no exact distance between speakers andlistener, but there is a relationship. In long rooms,naturally, that relationship changes. The distancebetween the speakers will be far less than the distancefrom you to the speaker system. However, in a wide roomyou will still find that if the distance from the listener to thespeakers becomes smaller than the distance between thespeakers themselves, the image will no longer focus inthe center.

Now that you have positioned your speaker system,spend some time listening. Wait to make any majorchanges in your initial set-up for the next few days as thespeaker system itself will change subtly in its sound. Overthe first 20 hours of play the actual tonal quality willchange slightly with deeper bass and more spacioushighs resulting.

After a few days of listening you can begin to makerefinements and hear the differences of those refine-ments.

The Wall Behind the ListenerThe Wall Behind the ListenerThe Wall Behind the ListenerThe Wall Behind the ListenerThe Wall Behind the Listener

Near-field reflections can also occur from your back wall(the wall behind the listening position). If your listeningposition is close to the back wall, these reflections cancause problems and confuse the quality of imaging.Actually it is better for the wall behind you to be soft thanto be bright. If you have a hard back wall and yourlistening position is close to it, experiment with devicesthat will soften and absorb information (i.e. wall hangingsand possibly even sound absorbing panels).

The Wall Behind the SpeakersThe Wall Behind the SpeakersThe Wall Behind the SpeakersThe Wall Behind the SpeakersThe Wall Behind the Speakers

The front wall (the wall behind your speakers), should notbe extremely hard or soft. For instance, a pane of glasswill cause reflections, brightness, and confused imaging.Curtains, drapery and objects such as bookshelving canbe placed along the wall to tame an extremely hardsurface. A standard sheet rock or textured wall is gener-ally an adequate surface if the rest of the room is not toobright and hard.

Sometimes walls can be too soft. If the entire front wall(the wall in front of the listening position) consists of onlyheavy drapery, your system can literally sound too soft ordull. You may hear dull, muted music with little ambience.Harder room surfaces will actually help in this case.

The front surface should, optimally, be one long wallwithout any doors or openings. If you have openings, thereflection and bass characteristics from one channel tothe other can be different.

The Side WallsThe Side WallsThe Side WallsThe Side WallsThe Side Walls

The same requirements exist for side walls. Additionally,a good rule of thumb is to have the side walls as far awayfrom the speaker sides as possible, minimizing near fieldside wall reflections. Sometimes, if the system is bright orthe imaging is not to your liking, and the side walls arevery near, try putting curtains or softening material directlyto the edge of each speaker. An ideal side wall, however,is no side wall at all.

Placement

Quest User's Manual

ExperimentationExperimentationExperimentationExperimentationExperimentation

Toe-inToe-inToe-inToe-inToe-in. Now you can begin to experiment. First begin bytoeing your speakers in towards the listening area andthen toeing them straight into the room. You will noticethat the tonal balance changes ever so slightly. Youwill also notice the imaging changing. Generally it isfound that the ideal listening position is with thespeakers slightly toed-inslightly toed-inslightly toed-inslightly toed-inslightly toed-in so that you are listening tothe inner third of the curved transducer section.

Experimenting with the toe-in will help in terms oftonal balance. You will notice that as the speakers aretoed-out, the system becomes slightly brighter thanwhen toed-in. This design gives you the flexibility tomodify a soft or bright room.

Tilting the Speakers Backwards and Forwards.Tilting the Speakers Backwards and Forwards.Tilting the Speakers Backwards and Forwards.Tilting the Speakers Backwards and Forwards.Tilting the Speakers Backwards and Forwards.As can be seen from the diagrams in the RoomRoomRoomRoomRoomAcousticsAcousticsAcousticsAcousticsAcoustics section of this manual, the verticaldispersion is directional above and below the statorpanel itself. In some instances, if you are sitting closeto the floor, slight forward tilting of the speakers canenhance clarity and precision.

Imaging. Imaging. Imaging. Imaging. Imaging. In their final location, your Quests should havea stage width somewhat wider than the speakersthemselves. On well recorded music, the instrumentsshould extend beyond the edges of each speaker tothe left and to the right, yet a vocalist should appeardirectly in the middle. The size of the instrumentsshould be neither too large nor too small. Additionally,you should find good clues as to stage depth. Makesure, when listening, that the vertical alignment,distance from the front wall (wall in front of thelistening position), and toe in is exactly the same fromone speaker to the other. This will greatly enhance thequality of your imaging.

Bass Response. Bass Response. Bass Response. Bass Response. Bass Response. Your bass response should neitherbe one note nor should it be too heavy. It shouldextend fairly deep to even the deepest organ pas-sages, yet it should be tight and well defined. Kick-drums should be tight and percussive, string bassnotes should be uniform and consistent throughoutthe entirety of the run without any booming or thud-ding.

Tonal Balance.Tonal Balance.Tonal Balance.Tonal Balance.Tonal Balance. Voices should be natural and full,cymbals should be detailed and articulate yet notbright and piercing, pianos should have a nicetransient characteristic and deep tonal registers aswell. If you cannot attain these virtues, re-read thesection on Room AcousticsRoom AcousticsRoom AcousticsRoom AcousticsRoom Acoustics. This will give you clueson how to get closer to those ideal virtues.

A Final WordA Final WordA Final WordA Final WordA Final Word

Final Placement.Final Placement.Final Placement.Final Placement.Final Placement.After obtaining good wall treatments and attaining properangle, begin to experiment with the distance from the wallbehind the speakers. Move your speaker slightly forwardinto the room. What happened to the bass response?What happened to the imaging? If the imaging is moreopen and spacious and the bass response tightened, thatis a superior position. Move the speakers back six inchesfrom the initial set-up position. Again, listen to the imagingand bass response. There will be a position where youwill have pin-point imaging and good bass response.That position becomes the point of the optimal placementfrom 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 andgood pin-point focusing.

Your ideal listening position and speaker position will bedetermined by:

1) tightness and extension of bass response,1) tightness and extension of bass response,1) tightness and extension of bass response,1) tightness and extension of bass response,1) tightness and extension of bass response,2) the width of the stage, and2) the width of the stage, and2) the width of the stage, and2) the width of the stage, and2) the width of the stage, and3) the pin-point focusing of imaging3) the pin-point focusing of imaging3) the pin-point focusing of imaging3) the pin-point focusing of imaging3) the pin-point focusing of imaging.

Once you have found the best of all three of thoseconsiderations, you will have your best speaker location.

Quest User's Manual

Placement

The X-tra "Tweek"The X-tra "Tweek"The X-tra "Tweek"The X-tra "Tweek"The X-tra "Tweek"

A major cable company developed the following proce-dure for speaker placement. As a final test of exactplacement, use these measurements for your speakersplacement, and see what can happen to the ultimateenhancement of your system's performance.

The procedure consists of two basic measurements:

1) distance from the front wall (wall in front of1) distance from the front wall (wall in front of1) distance from the front wall (wall in front of1) distance from the front wall (wall in front of1) distance from the front wall (wall in front ofthe listening position) to the center of thethe listening position) to the center of thethe listening position) to the center of thethe listening position) to the center of thethe listening position) to the center of thecurvilinear transducer.curvilinear transducer.curvilinear transducer.curvilinear transducer.curvilinear transducer.

To determine distance from the front wall, measure theheight of your ceiling (inches) and multiply the figure by.618 (i.e. ceiling height in inches X .618 = distance fromthe front wall to the center of the curvilinear transducer).

2) distance from the side-walls to the center of2) distance from the side-walls to the center of2) distance from the side-walls to the center of2) distance from the side-walls to the center of2) distance from the side-walls to the center ofthe curvilinear transducer.the curvilinear transducer.the curvilinear transducer.the curvilinear transducer.the curvilinear transducer.

To determine distance from the side-walls, measure thewidth of your room (inches) and divide the figure by 18,next multiply the quotient by 5 (i.e. (room width in inches/18) X 5 = distance from the side-walls to the center of thecurvilinear transducer).

These two formulas will determine optimum placement ofyour speakers to minimize standing waves.

Solid FootingSolid FootingSolid FootingSolid FootingSolid Footing

After living and experimenting with your Quests, you willthen want to use the spikes included in your owners kit.The Quest will become more firmly planted on the floorand, consequently, bass will tighten and imaging willbecome more coherent and detailed. It is best not toimplement the spikes, however, until you are secure inthe positioning as the spikes can damage the floors if thespeaker is moved.

Enjoy YourselfEnjoy YourselfEnjoy YourselfEnjoy YourselfEnjoy Yourself

The Quest is a very refined speaker and, as such,benefits from care in set-up. With these tips in mind, youwill find, over your months of listening, that small changescan result in demonstrable differences. As you live withyour speakers, do not be afraid to experiment with theirpositioning until you find the optimal relationship betweenyour room and your speaker system to give you the bestresults. Your efforts will be rewarded.

You are now armed with the fundamentals of roomacoustics and the specific fundamentals of the Questloudspeaker. Happy listening! Happy listening! Happy listening! Happy listening! Happy listening!

Quest User's Manual

Questions

What size of an amplifier should I use with theWhat size of an amplifier should I use with theWhat size of an amplifier should I use with theWhat size of an amplifier should I use with theWhat size of an amplifier should I use with theQuests?Quests?Quests?Quests?Quests?

We recommend an amplifier with 100 to 200 watts perchannel for most applications. The Quest will performwell with either a tube or transistorized amplifier, and willreveal the sonic character of either type. However, it isimportant that the amplifier be stable operating intovarying impedance loads: a stable amplifier will be ableto deliver twice its rated wattage into 4 Ohms and shouldagain double into 2 Ohms.

Should I unplug my Quests during a thunder-Should I unplug my Quests during a thunder-Should I unplug my Quests during a thunder-Should I unplug my Quests during a thunder-Should I unplug my Quests during a thunder-storm?storm?storm?storm?storm?

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 theQuests and the television in my Audio/VideoQuests and the television in my Audio/VideoQuests and the television in my Audio/VideoQuests and the television in my Audio/VideoQuests and the television in my Audio/Videosystem?system?system?system?system?

Actually, there is less interaction between a televisionand an electrostatic speaker than between a televisionand a conventional system. The magnets in conventionalspeakers do interact with televisions tubes. However, wedo recommend that you keep your speakers at least onefoot away from the television because of the dynamicwoofer they employ.

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?

No. A pair of Quests draw about 5 watts maximum. Muchless than a 40 watt light bulb.

Could my children, pets, or myself be shockedCould my children, pets, or myself be shockedCould my children, pets, or myself be shockedCould my children, pets, or myself be shockedCould my children, pets, or myself be shockedby the high-voltage present in the electrostaticby the high-voltage present in the electrostaticby the high-voltage present in the electrostaticby the high-voltage present in the electrostaticby the high-voltage present in the electrostaticpane l?pane l?pane l?pane l?pane l?

No. High voltage with low current is not dangerous. As amatter of fact, the voltage in our speakers is 10 times lessthan the static electricity that builds up on the surface ofyour television screen.

If my child punctured the diaphragm with aIf my child punctured the diaphragm with aIf my child punctured the diaphragm with aIf my child punctured the diaphragm with aIf my child punctured the diaphragm with apencil, stick, or similar item., how extensivepencil, stick, or similar item., how extensivepencil, stick, or similar item., how extensivepencil, stick, or similar item., how extensivepencil, stick, or similar item., how extensivewould the damage to the speaker be?would the damage to the speaker be?would the damage to the speaker be?would the damage to the speaker be?would the 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 will be able to see the actual puncture andit can be a physical nuisance. If this is the case, replacingthe electrostatic transducer will be the only solution.

Will exposure to sunlight affect the life or per-Will exposure to sunlight affect the life or per-Will exposure to sunlight affect the life or per-Will exposure to sunlight affect the life or per-Will exposure to sunlight affect the life or per-formance of the Quest?formance of the Quest?formance of the Quest?formance of the Quest?formance of the Quest?

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..Small exposures to UV will not cause a problem.

Will excessive smoke or dust cause any prob-Will excessive smoke or dust cause any prob-Will excessive smoke or dust cause any prob-Will excessive smoke or dust cause any prob-Will excessive smoke or dust cause any prob-lems?lems?lems?lems?lems?

Exposure to excessive contaminants, such as smoke ordust, may potentially effect the performance of theelectrostatic membrane and may cause discoloration ofthe diaphragm membrane. When not in use for extendedperiods, you should unplug the speaker and cover withthe plastic bags that the speakers were originally packed.

Quest 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 to thespeaker?

Exaggerated Highs, BrightnessExaggerated Highs, BrightnessExaggerated Highs, BrightnessExaggerated Highs, BrightnessExaggerated Highs, Brightness

Check the toe-in of the speakers. Read Room Place-Room Place-Room Place-Room Place-Room Place-mentmentmentmentment for more information.

Muddy BassMuddy BassMuddy BassMuddy BassMuddy Bass

Check placement. Try moving the speakers closer to thefront and side walls.

Check the type of feet being used. Try attaching thecoupling spikes.

Lack of BassLack of BassLack of BassLack of BassLack of Bass

Check your speaker wires. Is the polarity correct?

Check the Bass Contour switch. Is it in the -3dB position?

Check the Bi-wire/Bi-amp switch. Is it in the correctposition?

Troubleshooting

Poor ImagingPoor ImagingPoor ImagingPoor ImagingPoor Imaging

Check placement. Are both speakers the same distancefrom the walls? Do they have the same amount of toe-in? Try moving the speakers away from the front andside walls.

Check the polarity of the speaker wires. Are they con-nected properly?

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 particlescollecting on the speaker, by high humidity or by AC linefluctuations that may occur in your area.

Dirt and dust may be vacuumed off with a brush attach-ment connected to your vacuum cleaner or you mayblow them off with compressed air.

DO NOT SPRAY ANY KIND OF CLEANINGDO NOT SPRAY ANY KIND OF CLEANINGDO NOT SPRAY ANY KIND OF CLEANINGDO NOT SPRAY ANY KIND OF CLEANINGDO NOT SPRAY ANY KIND OF CLEANINGAGENT ON OR IN CLOSE PROXIMITY TO THEAGENT ON OR IN CLOSE PROXIMITY TO THEAGENT ON OR IN CLOSE PROXIMITY TO THEAGENT ON OR IN CLOSE PROXIMITY TO THEAGENT ON OR IN CLOSE PROXIMITY TO THEELECTROSTATIC ELEMENT.ELECTROSTATIC ELEMENT.ELECTROSTATIC ELEMENT.ELECTROSTATIC ELEMENT.ELECTROSTATIC ELEMENT.

Quest User's Manual

Recommended Music

Analog Discs:Analog Discs:Analog Discs:Analog Discs:Analog Discs:

Astounding Sound Show......... Reference Recordings RR-7Chet Atkins in Hollywood ............................. RCA LSP-1993Berlioz: Symphonie Fantastique ........ Chesky Records CR1Big Band Jazz ........................................Umbrella UMB-DD4The Chicago Symphony Winds ...................Sheffield Lab 22Judy Collins: Judith ....................................... Elektra 6E-111Phil Collins: Face Value .................................. Virgin V-2185Dafos ..................................... Reference Recordings RR-12Miles Davis: You're Under Arrest ......... Columbia FC 40023Arturo Delmoni:

Songs My Mother Taught Me .......... North Star DS0004Dire Straits: Dire Straits ...................Warner Bros. BSK 3266Dire Straits: Love Over Gold .............. Warner Bros. 23728-1Fresh Aire II ............................... American Gramophone 359Fresh Aire III .............................. American Gramophone 365Gershwin: An American in Paris ........ Chesky Records RC8Earl Klugh: Crazy for You ........................... Liberty LT 51113Mahler: Symphony No. 1 ............................ Telarc DG10066Joni Mitchell: For the Roses ....................... Asylum SD 5057Moroder: Cat People .......................... Backstreet BSR-6107The Moscow Sessions ....................Sheffield Lab TLP-1000Ohio Players: Gold ............................. Mercury SRM-1-1122Pink Floyd: Dark Side of the Moon ...EMI Harvest SHVL-804Rachmaninoff: Piano Concerto No. 2 Chesky Records CR2The Reiner Sound ........................................ RCA LSC-2183Rickie Lee Jones: Rickie Lee JonesWarner Bros. BSK 3296Shalamar: The Look ....................................... Solar 9-60239The Sheffield Track Record ........................ Sheffield Lab-20Strauss: Til Eulenspiegel ....... Reference Recordings RR-16Stanley Turrentine: Cherry ................ CTI Records CTI 6017McCoy Tyner & Jackie McLean:

It's About Time ............................... Blue Note BT 85102Dionne Warwick: Soulful ........................... Scepter SPS-573

Compact Discs:Compact Discs:Compact Discs:Compact Discs:Compact Discs:

Pachelbel Canon:The Acadamy of Ancient Music, L'Oiseau-Lyre 410 553-2

Count Basie & His Orchestra: 88 Basie Street, Pablo 3112-42David Benoit:

Every Step of the Way ........... GRP Records GRD-9558This Side Up .................................. En Pointe ENP 0001

Cantate Domino .................................. Proprius PRCD 7762Copland:

Appalachian Spring, Rodeo, Fanfare Telarc CD-80078Country ............................. Windham Hill Records WD-1039Dafos .............................. Reference Recordings RR-12 CDDire Straits: Brothers in Arms ......... Warner Bros. 9 25264-2Dorian Sampler Vol. 1 ............................Dorian DOR-90001Freddie Hubbard: Ride Like the Wind . En Pointe ENP 0002Huey Lewis and the News: Sports ........ Chrysalis VK 41412Bob James & Earl Klugh: One On One ........ CBS CK 36241Albert King: Live Wire .................. Mobile Fidelity MFCD 838Rob McConnell and the Boss Brass:

Present Perfect ...................................... MPS 823 543-2Nojima Plays Liszt ........... Reference Recordings RR-25CDLinda Ronstadt: Round Midnight ............. Asylum 9 60489-2Round-Up .................................................. Telarc CD-80141Sainte-Saens: Symphony No. 3 ................Philips 412 619-2Diane Schuur and the Count Basie Orchestra,

GRP Records GRD-9550Paul Simon: Graceland .................. Warner Bros. 9 25447-2Ein Straussfest ........................................... Telarc CD-80098Tchaikovsky: Piano Concerto No. 1 Chesky Records CD-13Tchaikovsky: Violin Concerto .......... Chesky Records CD-12Vollenweider: Caverna Magica .................... CBS MK 37827Steve Winwood: Back in the High Life ....... Island 9 25548-2Yellowjackets: Shades .............. MCA Records MCAD-5752

Quest 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 by aninsulating material and used forstoring 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 signalinto the desired frequency bandsfor the loudspeaker components.

dB (decibel)dB (decibel)dB (decibel)dB (decibel)dB (decibel). A numerical expres-sion of 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 mem-brane or cone that vibrates inresponse to electrical signals toproduce sound 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 rangebetween the quietest and theloudest sounds a device canhandle (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 frequencyequivalent to the number ofcycles per second.

ImagingImagingImagingImagingImaging. To make a representationor imitation 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 withfrequency, it is not a constantvalue.

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

InductorInductorInductorInductorInductor. A device designed prima-rily to introduce inductance intoan electric circuit. Sometimescalled a choke or coil.

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

Quest 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 onesine wave 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, resulting inthe 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 sounddelivered for a given electricalinput.

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 mea-sured in the direction of progres-sion of a wave, from any givenpoint characterized by the samephase.

White noiseWhite noiseWhite noiseWhite noiseWhite noise. A random noise usedin measurements, 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.

Quest User's Manual

Quest Specifications

The Quest hybrid speaker systemconsists of a broad-range singleelement electrostatic transducerintegrated with a quick-responsewoofer. This approach takes advan-tage of the benefits that both technolo-gies have to offer.

Dispersion is a controlled 30 degrees.This was achieved by curving theelectrostatic transducer element itself,an elegantly simple solution.

System Frequency ResponseSystem Frequency ResponseSystem Frequency ResponseSystem Frequency ResponseSystem Frequency Response28-22,000 Hz +/-2dB

Electrostatic Frequency Re-Electrostatic Frequency Re-Electrostatic Frequency Re-Electrostatic Frequency Re-Electrostatic Frequency Re-sponsesponsesponsesponsesponse100-22,000 Hz +/- 2dB

Woofer Frequency ResponseWoofer Frequency ResponseWoofer Frequency ResponseWoofer Frequency ResponseWoofer Frequency Response28-2,000 Hz +/- 2dB

Bass Contour SwitchBass Contour SwitchBass Contour SwitchBass Contour SwitchBass Contour Switch-3dB from 60 -150 Hz

Presence Contour SwitchPresence Contour SwitchPresence Contour SwitchPresence Contour SwitchPresence Contour Switch+2dB from 1,000 Hz - 5, 000 Hz

Crossover FrequencyCrossover FrequencyCrossover FrequencyCrossover FrequencyCrossover Frequency150 Hz at 12dB per octave

Dispers ionDispers ionDispers ionDispers ionDispers ionHorizontal: 30 DegreesVertical: 4' Line Source

Sensi t iv i tySensi t iv i tySensi t iv i tySensi t iv i tySensi t iv i ty90dB/1 watt/meter

Power HandlingPower HandlingPower HandlingPower HandlingPower Handling200 watts per channel

Recommended Amplifier PowerRecommended Amplifier PowerRecommended Amplifier PowerRecommended Amplifier PowerRecommended Amplifier Power80 - 200 watts per channel

ImpedanceImpedanceImpedanceImpedanceImpedanceNominal: 6 ohms; Minimum: 2 ohms

Phase AnglePhase AnglePhase AnglePhase AnglePhase AngleLess than 45o

WeightWeightWeightWeightWeight110 lbs/each

S izeS izeS izeS izeS ize72.75"H x 19"W x 13"D

ComponentsComponentsComponentsComponentsComponentsCustom-wound audio transformerspolypropylene bypass caps, 100%OFC coils.

Quest User's Manual

Notes

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lawrence, kansas 66044ph: 913.749.0133

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