The marvellous Martin Logan CLX ART – is definitely a work of “ART”

Big Dog RJ

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I’ve been on a quest searching for the ultimate match in amplification for my Quads for a while now, since acquiring them in 2010. As the years passed, I was tempted to change my Quads to Analysis Audio (nearly got carried away there!) and maggies MG3.7i & MG20.7 (still a very good ribbon transducer with good value). Then there is the Martin Logan CLX, which I have never heard in a proper set up driven with a very stable amplifier that is capable of delivering Pure Class A output without ever flinching on transient passages whiles handling reactive loads such as ESL’s.

Well ladies and gentlemen, all I can say is my quest is over by far- just had the absolute pleasure of listening to a pair of CLX Art’s driven with the following gear:
Preamp- Leben RS100U Line stage (tube design), power amp- Pass Labs XA30.8 (30w pure Class A stereo amp), phono stage Allnic (second to top of the line with separate power supply), TT- Linn Sondek with Ortofon Candenza and separate power supply, CEC digital transport with dedicated DAC from Romania (couldn’t remember the name), digital playback didn’t sound digital at all, although the phono was ahead by a far margin. The digital gave an impressive warm sort of sound to it without any digital harshness, grain or glare whatsoever. I still do like my McIntosh as it gives me that sort of warmth, so the Mac is good enough for me.

Music listened to: Various tracks from Oregon- fusion Jazz on LP, Chic Corea on CD, Kenny Burrell on LP, Ray Brown on LP and Patricia Barber Cafe Blue on LP.

A little introduction about our fellow audiophile; Mr. Kostas, knows and understands what music is all about. How it is created, perceived the correct way and how it should be enjoyed once recorded on the most simple playback systems. He was always a panel lover, started with Maggie D1’s and Quad ESL 57’s, onto 2805’s and upgraded to the ESL2912’s. He discovered the CLX’s by chance first by auditioning a restored pair of older CLS’s but held onto his Quads for a while. He has tried various amplifiers on his Quads (around 9 different kinds including tubes) and finally went for the Pass XA30.8 (I can clearly understand why) and partnered it with a tube line stage and tube phono stage. This combination seems to fully control the extraordinary dynamic swings when called for, and deliver the most relaxed ambience one could ask for at the same time. He mentioned the Pass amp was probably the best match for the Quads he has ever tried, and I can understand that as well, since that is the best SS sound I have heard with my Quads. Although I do and sincerely prefer tubes, I really didn’t miss tube power amplification at all whiles listening to his CLX’s, perhaps a CJ ARTsa or ARC GS150 would have been equally superb on the CLX’s, I wouldn’t know.

Apart from Mr. Kostas having the most simplest system to drive his CLX Art’s, I also enjoyed a very simple lunch that was so full of flavour and variants in the textures of food, with great wine & grilled salmon, I must say Mr. Kostas, I will be back for more! Thank you for a wonderful afternoon!

The Sound of the CLX Art:
The sound was absolutely spectacular! The Pass Labs with the Leben line stage is one superb combination for the CLX’s, and perhaps my ACT2 would have also been a wonderful experience. This was the most detailed, utterly transparent, highly revealing & most natural sound I have ever heard to date! These CLX’s are not very affordable though (retail for around 35 grand upwards in AUD$) and may not be labelled as “value for money” BUT compared to its actual price point and what they can deliver- they beat everything I have ever heard so far. The only comparison I can claim to come close provided without cutting out on loud passages are the
Quads. By far these can be played as loud as you wish, they are superbly built (puts many panels to shame) and weighs in a healthy 56kg per side.

I have once had the pleasure of acquiring a pair of older Martin Logan CLS IIZ’s that was an absolute delight to have but was very bass shy and didn’t like many power amps. It would snarl at a lot of so called high-end / high-powered amplifiers and shut them down in their tracks in a heartbeat. Therefore, amplification matching with the CLS was not a pleasant thing... They were later sold off to a customer in Thailand and I bought his Quads (ESL 63) and have been using Quads ever since for their most faithful midrange & top frequencies, plus the bass is so well balanced, the coherence is what is captivating and that “tonal correctness” it delivers. The newer models such as the 2905 & 2912’s can deliver excellent bass, and is the most relaxing and pleasurable experience an ESL could offer. It could be listened to for endless hours when dialled in correctly with the right amplification (hence does NOT require huge massive amps or monoblocks).

Similarly, the CLX also demands very stable current from the amplifier. It definitely needs the right kind of amplification to be able to control these large stats, and the use of massive power in wattage is totally unnecessary. A good healthy dose of Class A current- solid state or either SE, push pull ultra linear would be able to drive the CLX’s just fine. I have found in the past Martin Logan’s tend to sound sort of “thin” or feels like an anorexic woman. There was not much weight nor fullness to grab onto and she didn’t feel full or like Megan Trainer implies – a bit more booty would be nice to hold onto... The CLS IIZ’s were a far cry from that type of form, probably due to being full range stats but did lack bass compared to Quads on certain passages. They were superb on the mids & highs though.

The CLX Art never sounded thin, too harsh, jumpy, bright or bumpy like many other panel types. The Pass XA30.8 along with the Leben line stage was able to deliver a soundstage that was so extraordinary, the speakers simply disappear and vanish into thin air, leaving in front and with ample depth a full representation of the most natural soundstage one could ever ask for. I think Martin Logan have gone through tremendous research in understanding how music should sound in its most natural form. The very elements that go into making this work in an ESL design and enabling a certain amount of balance across the full spectrum to take place without any hindrance whatsoever- they have created a truly spectacular ESL design that I don’t think anyone can match to date.

The CLX Art is so well balanced, there is basically nothing extra required from it. It does not have too much highs nor does it wreck your ears in the midrange (unlike Horns), nor is it bass shy at all. The balance is just superb in every sense of the word there was nothing I could flaw in it, other than the price being nearly twice as much as a Quad 2912 or 2905. I guess this is what comes at a price.

The highs: the extended top end frequency of the CLX is truly mesmerising. It has an uncanny way of portraying the image and beauty of music in the way recorded music is supposed to sound. Due to this whatever type of music you throw at it, not only is it recorded sound in its purest form but sounds like the live event!

The Mids: the midrange frequency from mid bass to upper range is utterly transparent and is presented in a totally effortless way. Nothing is “overly pushed” and nothing is added or coloured, just pure midband in its purest form is all you can hear from top to bottom. You can distinguish in a blink of any eye the different layers of instruments, their individual and unique signature sound and there is no box or cabinet to alter the way this is reproduced.

The bass: OMG! The bass is nothing like I have ever heard before. It is super fast, super accurate, super tight and highly captivating. It is this awesome bass, which makes the so called Martin Logan “thinness affect” disappear altogether. I would strongly recommend NOT trying a sub with the CLX’s as this will only over enhance bass and over-energise the room. Plus extra bass is definitely not required when you have that balance so well tuned in. I find that extra bass on most speakers to be very artificial, especially when there are multiple subs being used. Hence, perhaps a pipe organ may not be too well represented on a CLX or any stat system for that matter. But for that matter I don’t listen to pipe organ music or synthesised bass in the first place. However, I have come across many who prefer that extra bass, I guess it’s a matter of preference in which case the CLX is not for you. All I can say is the CLX’s bass is so well defined that when you listen to it you will be totally shocked at how well this stat can propel bass into your room without any artefacts whatsoever.

In Summary: The CLX Art is that one speaker system, when played it immediately grabs your attention and says “hey you! Now listen to the music!” The speed, accuracy and realism is so life like, it is something extraordinary from a full range stat design. It can go from soft to loud and loud to extremely soft in a blink of an eye. It can deliver rock pumping levels if required and will put many dynamic designs to shame in terms of transparency and openness, and it can deliver a truly mesmerising soundstage that is unbelievable, hats off to Martin Logan, well done!

If I had the means, I would have bought the CLX today! And never looked back nor detested the level of service and reliability unlike the nightmares I have had with my Quads. I was told by Martin Logan that they cover the panels with a 5 year warranty and panels are meant to last around 10 years or so, before requiring changing. The entire panel can be changed all at once, rather than individually like Quads and they don’t cost a fortune. Therefore, I guess this is where the extra spend comes to value because when you get these, you know at once that you’re in it for a dam fine ride for the next best 10 years of your life!

To those out there who have CLX or CLX Art’s, I can CLEARLY understand why you like them because I just adore these! Probably the last and ultimate speaker you will ever require to sit back and enjoy your lifetime of music that you’ve collected along the way.

Now it looks like my venture for amplification just didn’t end with amplification but has now started with a stat speaker called the CLX Art!
That's just great, what next I wonder...
Simply the best system I have heard to date.
Cheers, RJ
 

microstrip

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I’ve been on a quest searching for the ultimate match in amplification for my Quads for a while now, since acquiring them in 2010. As the years passed, I was tempted to change my Quads to Analysis Audio (nearly got carried away there!) and maggies MG3.7i & MG20.7 (still a very good ribbon transducer with good value). Then there is the Martin Logan CLX, which I have never heard in a proper set up driven with a very stable amplifier that is capable of delivering Pure Class A output without ever flinching on transient passages whiles handling reactive loads such as ESL’s. (...)
RJ

Thanks for posting - I always read with special interest reports that go against the mainstream - and most people would swear that the CLX ART need a very powerful amplifier! Can you tell us what is the size of the room of Mr. Kostas?
 

Big Dog RJ

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yes certainly. he has a rather unusual room which is not quite a room, rather it is a space which he has created to place his system in, delivering a very natural and open sound. This contributes to the fact that there is no overhang of bass whatsoever, and there are virtually hardly any closed corners other than what's behind the panels.
The room is a large big square, probably measuring about 25ft across where the system is located. This then extends length wise to over 40ft. between this square are two outlets. one being the actual entrance to the house and directly opposite are the living and dining areas. The ceiling is well over 10ft, probably somewhere around 15ft in height giving ample room and space for the CLX's to breathe. The panels are about 10ft apart and 4-5ft away from the back wall with a good distance away from the side walls. listening position is just about 10-12 ft or si, that's about all the wall there is. The rest is very open and allows the music to effortlessly flow into the listening area.

The beauty of this room is that it doesn't seem to have any boundaries other than what's behind the system. reminds me of my large living room I had back in my home country. Very large with open french windows on either sides allows the music to easily flow without any congestion, compared to what I have experienced in dedicated rooms with fully enclosed walls. I believe an open plan is the best for natural sound. These are only approximate measurements, I didn't have a tape with me as Kostas would've thought I'm mad.
Perhaps Kostas himself could add more info to this and why he chose this spot. he also had the Quads in the exact same location and they also responded very well.

He claims that he is still experimenting with speaker placement but my golly what he gas achieved having the CLX's for only two months is remarkable! I told him that these panels aren't even fully broken in and probably the best is yet to come.
simply an outstanding presentation of sound. hope that helps.
Cheers, RJ
 

Zero000

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The bass: OMG! The bass is nothing like I have ever heard before. It is super fast, super accurate, super tight and highly captivating. It is this awesome bass, which makes the so called Martin Logan “thinness affect” disappear altogether.

It is a world away from the hybrids because the bass panel runs up the side of the speaker. So it doesn't suffer from the problem of bass being emitted from the bottom of the speaker only. And boy can you hear it.

Here's a video I took with Jadis JA200s in an empty room, with Mr Peter Soderburg of ML way back on the 19th September 2008.


You think the bass from the CLX is good until you hear a good sized Apogee, which I hadn't at the time.
 

Big Dog RJ

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yes no doubt the Apogee bass is something phenomenal. they are my all time favorite but no longer made. now redone in different iterations not really sure whether these actually match up to the original, maybe...

my dad had the Diva's and they were superb in every aspect BUT they required some heafty amplification. he had class A monoblocks from ARC which were capable of delivering a whopping 160 watts of class A / AB valve topology.

with the CLX'S we're talking of just 30 watts of clsss A mate. I don't think 30 watts of class A is going to do justice for Apogee bass let alone the rest of the spectrum.

The only speakers I could possibly think of are horns with subs, which in no way are even coherent or integrated as well as the CLX'S in full range. even the Quads are better by a far margin in this regard of coherency.

this is the beauty of the CLX's, they don't require massive amounts of amplification, just 30 pure watts of class A is all it takes to launch a massive wave of pure sonic bliss, one that is totally transparent and places you right at the center of the performance.
Very similar to Quads, they don't require big amplification. what they require is ample amounts of current and stable current.

The Pass xa30.8 has an analog meter at its center giving an indication of the current switching from class A to AB. even on the loudest passages where we couldn't hear each other speak, that meter didn't flinch even one tiny bit ever! it was rock solid dead center and this proves again, Pass labs can deliver the required current for ESL'S.

once you have heard a CLX Art being driven with a top line SS Class A amp, you will realize what I'm talking about. "valve power amplification" does not have the sheer grip to take full control of the panels. it is so important to get the power amp and speakers to match, and once it does, it is absolutely perfect.

The rest falls into place nicely where you can choose to use tube front end gear but definitely it is the power amp that makes the most significant difference in the foundation of a superb system.
 

bonzo75

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yes no doubt the Apogee bass is something phenomenal. they are my all time favorite but no longer made. now redone in different iterations not really sure whether these actually match up to the original, maybe...

my dad had the Diva's and they were superb in every aspect BUT they required some heafty amplification. he had class A monoblocks from ARC which were capable of delivering a whopping 160 watts of class A / AB valve topology.

These are better, especially their bass panels. The Divas were different in the 90s too as compared to the 80s. I am getting restored Duettas next year, provided Brexit stuff goes well

Big Dog have you heard the Acoustat Spectras?
 

MRJAZZ

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Are you sure your host didn't have a sub hiding somewhere in that big room?......even Martin Logan's own specifications indicate the speaker starts to roll off in the upper 50's.....anyway nice post and the CLX is indeed a fine speaker.

Cheers.....
 

KostasP.

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The ART of the CLXs

Thank you RJ for your heart \ ear felt comments and for the mutually enjoyable afternoon. I was unaware of your intended post, although ( given your perpetual pursuit to finalise your own panel-speaker based system ), I had anticipated it. In fact, my invitation was based on these multiple posts and justified dilemma, given the infinite combinations \ permutations of components, and yesterday's sonic seduction appears to have somewhat resolved this dilemma. Coincidentally, this appears currently be an active dilemma amongst a number of members of this forum.

I don't intend to "interfere" with your subjective listening evaluations but I will clarify some points. The Romanian DAC is the current, revised ROCKNA WAVEDREAM. The tonearm is the SME SERIES V, with an QRTOFON CADENZA BLACK ( the KOETSU has been put to "rest" ). The LINN is the current model with the upgraded KORE sub-chassis, TRAMPOLIN base and LINGO power supply. The ALLNIC is the H-1500 II PLUS, wit a 300B based power supply. The CLXs are just over 2 months old and the cables range from ALLNIC for the speakers, ACROLINK for power to HIGH FIDELITY and ZENWAVE
for the interconnects. My concise rationale: valves for the micro amplification, appropriate solid state for the macro amplification and minimise distortions and anomalies where it matters most...the speakers and the room.

And you were "seduced"in a 53 square metre unconventional and irregular room ( 10 feet high ceilings ), untreated but NOT mistreated, since aesthetic choices can also be acoustically functional, which you like others agree that it is conducive and non-invasive, allowing the phenomenal neutrality and naturalness of the CLXs to cast their magic and allow the complete and true personality of each note and timbral nuance to be rendered, "unaided and non-enhanced" by any mascara-type artifices and resonances. Why turn a beauty spot into a mole?

It is a simple but not simplistic system, with organically selected "ingredients" ( almost as simple as the lunch! ) but with a far more captivating and lingering after-taste. It is, indeed, a very good recipe!

Thank you again, Kostas Papazoglou.
 

Big Dog RJ

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well there you are gentlemen, from the man himself.
yes, this is the main thing I was wondering about, the bass and that thinness of past martin Logan's still with excellent mids and the top.

but these new stats from ML are a massive margin from those of the good old days.
The CLX'S bass is phenomenal!

I was wondering whether 56hz or so would be adequate... but when you actually listen to the way these stats produce bass it is truly phenomenal. totally lean, fast with articulate finesse and goes plenty low when needed.
 

Big Dog RJ

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No Bonzo, I have not heard the Acoustat spectra's. Infact, I was wondering if this company is still around?
I don't want go down a road where there is no more after sales service, and believe me in Australia it is not easy to acquire good "qualified" service.
Everyone claims to be this and that and the best at what they do but when to comes to service when required, they fall so short of customer service it's as bad as a crime...

Someone mentioned that this company was out of business, and the only remaining acoustat speakers left are ones floating around from unsold dealerships...
They maybe wrong but with the pains caused from Quads horrendous service in Australia, I was not willing to even think twice about this sort of system.
Hell No!
 

Big Dog RJ

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Ok folks, it looks like I have taken the plunge! just heard a model called the Theos. it is one of the ML stat hybrid line ups and I found it to be more transparent and open with fast tight bass that integrates quite well indeed.
it definitely seems like these 2nd generation ML's have come a very long way in terms of bass driver integration.

I found the Theos to be superior to my Quads and I am very satisfied with what they deliver. Although they are not full range, there didn't seem to be anything lacking or wanting for more.

I found these to be of superb value not only for overall balance in sound but going at less than half of what I paid for the Quads! now that's going to bite big time.

I will be partnering the Theos with the CJ cav45 and will later migrate towards the Pass XA30.8 and a CJ preamp, probably the ET3SE. then I am done with the system for now until I venture towards the CLX.

I found the combination of cj tube front end with ss in Class A to be an extraordinary match up, and driving ML stats does deliver exactly what I'm after.

I have not closed the deal as yet, only a deposit has been made so far as this is the only ML stat that I can afford at the moment. I've also been given the green light from the CEO- the good wife.

just thought I'd also check here with the experts on your thoughts and suggestions.
1. Should I actually hold onto my Quads and wait for the final move on the CLX'S down the line?
2. would this be a fair move to first experience this new stat and live with it for a while before deciding on the CLX?
3. call the whole thing off and just enjoy the Quads with the new cav45 when it arrives in 2 weeks?

I am open for any honest good advice as these new ML stats have had a profound affect on me. most of all I strongly believe they are far more reliable than the current production of Quads coming out of China and most of them actually cost less other than only two top line models, which are the CLX'S and Summits.

I just cannot justify continuously repairing panels after what I have paid. it is almost like a painful divorce (not that I would know anything about how this actually feels...) but I believe the time has come to make a switch after 25years of Quads.

any suggestions gentlemen / ladies?
RJ
 

bonzo75

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Ok folks, it looks like I have taken the plunge! just heard a model called the Theos. it is one of the ML stat hybrid line ups and I found it to be more transparent and open with fast tight bass that integrates quite well indeed.
it definitely seems like these 2nd generation ML's have come a very long way in terms of bass driver integration.

I found the Theos to be superior to my Quads and I am very satisfied with what they deliver. Although they are not full range, there didn't seem to be anything lacking or wanting for more.

I found these to be of superb value not only for overall balance in sound but going at less than half of what I paid for the Quads! now that's going to bite big time.

I will be partnering the Theos with the CJ cav45 and will later migrate towards the Pass XA30.8 and a CJ preamp, probably the ET3SE. then I am done with the system for now until I venture towards the CLX.

I found the combination of cj tube front end with ss in Class A to be an extraordinary match up, and driving ML stats does deliver exactly what I'm after.

I have not closed the deal as yet, only a deposit has been made so far as this is the only ML stat that I can afford at the moment. I've also been given the green light from the CEO- the good wife.

just thought I'd also check here with the experts on your thoughts and suggestions.
1. Should I actually hold onto my Quads and wait for the final move on the CLX'S down the line?
2. would this be a fair move to first experience this new stat and live with it for a while before deciding on the CLX?
3. call the whole thing off and just enjoy the Quads with the new cav45 when it arrives in 2 weeks?

I am open for any honest good advice as these new ML stats have had a profound affect on me. most of all I strongly believe they are far more reliable than the current production of Quads coming out of China and most of them actually cost less other than only two top line models, which are the CLX'S and Summits.

I just cannot justify continuously repairing panels after what I have paid. it is almost like a painful divorce (not that I would know anything about how this actually feels...) but I believe the time has come to make a switch after 25years of Quads.

any suggestions gentlemen / ladies?
RJ

Hi Big Dog, Theos is the only one in that line that has a passive woofer. Suggest you listen to the Ethos, slightly more expensive but better IMO. Also the Montis. I used to own the Summits, bigger than the Montis, but from the generation before.

IMO, buy restored apogees instead.
 

bonzo75

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There is also a full range stat called Audio Exklusiv p3.1 which you will get for an used price of 3 - 4k Eur that is high value for money.
 

microstrip

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(...) I just cannot justify continuously repairing panels after what I have paid. (...)

I am astonished how you are spending so much repairing QUAD ESL panels using a medium power tube amplifier - the good think about them is that service by local repairmen usually is not expensive and once the critical problems are solved - mainly failure of the adhesive bonding the stator or the mylar - at the first repair, we have a speaker for many years of trouble free operation.
 

ack

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Hi Big Dog, Theos is the only one in that line that has a passive woofer. Suggest you listen to the Ethos, slightly more expensive but better IMO. Also the Montis. I used to own the Summits, bigger than the Montis, but from the generation before.

IMO, buy restored apogees instead.

+1. I was effectively writing the same thing, plus that a used CLX will probably never drop to the price of a new Theos, so what exactly is the long-term budget and vision here; and why is #3 even an option, if he likes the Theos more than his Quads
 

analog brother

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i love the new ml stat panels.
the only downside is that the active cone woofers aren't fast enough for the stat panel.
close, but not quite, no matter what anybody tries to tell you. the integration is not entirely seamless.
i have heard the vantages, montis and summit x. they are all great speakers for sure, but just lacking that vital cohesiveness between mid/high and bottom.
have never heard the clx, but from what you describe, the stat bass is the only way to go.
 

Big Dog RJ

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Thanks for your quick response Bonzo. Yes, I certainly understand this concept about the Theos. I was very keen on this because it is almost a direct swap with my Quads. Unless I was to sell individually and I don't think anyone would purchase a used pair of 2905's for 10 grand.

I cannot go for the higher versions of ML's due to other priorities at this point, plus the good wife will turn into a vampire...

It certainly makes sense for restored Apogee's but my budget is very limited (6-6.5K) and restored Apo's cost far more than 6 grand in Aus. The other huge factor with Apo's is they require big amplification and my cav45 will not do well. The Pass XA30.8 will definitely suit better, as it handled the CLX's effortlessly but for me to get the Pass amps is far cry. I looking at probably 2-3 years from now.

The other brand you mentioned (Audio Exklusiv), never heard of, and I highly doubt there would be any here in Aus. Remember it is not the final price we pay for over here compared to Europe or the US. We are located "down under", the cost of shipping/insurance/duty is a massive mark up arriving at nearly twice the price! Hence, it is not a wise move to import anything to Australia, plus a brand like that no one would be able to service when required. Therefore, that is the worst option.

I have to go for what is available here, and I totally agree restored Apo's would be the ultimate. However, Graz man's prices start from 16 grand upwards for his entry level pair and again these require much larger amplification.

Thanks for your input though, I will certainly give it some thought perhaps later down the line when considering the CLX purchase, which won't happen till another 3-4 years anyway.
Therefore, my rational was to live with a stat that is well established, well engineered and well supported here in Aus. Something that is able to deliver that pure stat sound with equally fast clean bass and one that is easy on the pocket and DOES NOT fall apart each year... I think I have finally found it!
Cheers mate, RJ
 

Big Dog RJ

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I am astonished how you are spending so much repairing QUAD ESL panels using a medium power tube amplifier - the good think about them is that service by local repairmen usually is not expensive and once the critical problems are solved - mainly failure of the adhesive bonding the stator or the mylar - at the first repair, we have a speaker for many years of trouble free operation.

Yes, that is also what I initially thought. These have been my repairs just for your info (might as well make this public):
1. Quad ESL 2905 purchased brand new in 2011 - first panel went bust in 2013.
2. Mains transformer went bust in 2015 Dec (took nearly half a year to replace the dam transformer, was finally replaced in June) terrible service by Quad distributors (AVR).
3. Two more panels failed immediately after arriving back with the transformer replaced in July, didn't even last 1 month!
4. Finally got Mr. John Hall to repair two panels as I was totally fed up with Quads repair prices (highway robbery!) and located a person who actually knows how to repair stat panels. John Hall has been doing so for the last 40 years as the head of service for a reputed high-end store that closed up few years ago.

*Total cost on repairs to date = $2,000 after having purchased the Quads originally at 15 grand!*

Only an idiot like me would keep such a thing, as I always try to remain positive, this failure has happened to only one speaker, whereas the other has never had a problem.
Goodness knows when that would pack up... Now you would probably understand my frustration and the utter uselessness in service.

The only reason I kept repairing my Quads is that apart from remaining positive (which I now believe is the silliest thing to do...) was nothing came close to its seductive midrange, until I experienced the CLX's & the newer ML stats, plus their build quality is impeccable and still made in the US.

For that matter, I don't want to have anything to do with the Quad service department. I have found local chaps here who are capable of repairing these but they really don't last. I am not the only one in Aus who has had disastrous experiences with Quads, as all the current production line coming out of China regardless of 2912/2905/2805/2812's are completely and utterly unreliable. And to top that up, the people backing Quad AVR in Aus are an absolute joke!

Due to this very massive problem, AVR doesn't seem to give a dam, hence many are dumping their Quads and changing over to ML. I know plenty of people who have had similar issues, it cannot be denied. For some reason, some panels have failed upon arrival! Some within months of being unpacked, and some others after around the warranty period.
The service chap is totally inundated with repairs with so many panel failures, even the Quad rep is having a nervous break down as we speak...
Hence, I am totally fed up and I believe it is high time to make the switch.
 

microstrip

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Yes, that is also what I initially thought. These have been my repairs just for your info (might as well make this public):
(...)

Thanks for sharing - I also would never own Quads if I had to rely on their current service departments. Long time has passed from the days when I met and had a nice talk with Peter Walker in person buying inexpensive ELS57 panels directly at the Huntingdon factory ... The main complain nowadays is that they charge for one panel the same other electrostatic manufacturers charge, but in other speakers you replace one panel, in the Quads you have to replace four or six!

As the parts for rebuilding them are easily sourced, there are a lot of experienced people servicing them at low cost. Sometimes I get parts from ERAudio, 2000 miles from you.

IMHO, unless one wants to listen loud, the Quads are not easily replaced. If I managed to solve the problem of integrating a subwoofer with them I would happily take mine out of rest immediately.

BTW, Martin Logan replacement panels used to be very low cost - I remember sometimes DIY people got them to built speakers. As far as I have been told they increased considerably their prices a few years ago.

The prices you quote are really very high - I got my current ELS63 from the UK in mint condition and boxed around GBP 1500!
 

Big Dog RJ

Well-Known Member
Feb 2, 2012
1,242
463
1,155
Melbourne
i love the new ml stat panels.
the only downside is that the active cone woofers aren't fast enough for the stat panel.
close, but not quite, no matter what anybody tries to tell you. the integration is not entirely seamless.
i have heard the vantages, montis and summit x. they are all great speakers for sure, but just lacking that vital cohesiveness between mid/high and bottom.
have never heard the clx, but from what you describe, the stat bass is the only way to go.

Yes, that's a definite. I did notice that as well in the Theos, hence was pretty much the same with all ML hybrids for that matter, even the Neolith. But they have come fairly close by a great margin of correctness compared to the good old days of misintegration, hence why the CLS II Z's were preferred at one point.

The CLX's bass is phenomenal, I keep saying this word because it is simply phenomenal. I never knew or have heard the various "extensive layers" in bass response. I have only heard very good "quality bass" clean - tight + deep when I used to own big dynamic drivers such as the Infinities and of course the Apo Diva's back then.

The CLX's bass is so revealing, not only can you "feel" it but you can sort of "look into" the numerous shades of bass and experience its various forms/shapes/and speed of each bass line in "direct" relation to the type of music and track being played. Every bass line/note and timbre is different on the music- according to the track played, and this is exactly the absolute sound- I feel it to be superbly accurate and totally defined 200%.

For example, Kenny Burrell on Blue Note- I have all three formats (LP, SACD and CD); I have NEVER heard the sort of bass available on this particular album on LP- it is outstanding! The speed, articulation and "bass resolution" that is propelled into the listening area is again "phenomenal", and all this is reproduced with just 30 WATTS of PURE CLASS A gentlemen! and ladies...

I highly recommend anyone to experience this with any high quality tube front end and Pure Class A ss amplification of some very well known brand that can deliver the required "stable current" to fully control a stat panel with an iron grip! Valve power amplifiers just don't do this, they are not meant to do this. I believe tubes are meant to help you to relax and totally enjoy your music, regardless of whether it is being fully controlled, accurate, correct scale resolution or not.

I will always love tubes, and will always use tubes somewhere in the chain due to their warmth and seductive affect. But I hadn't experienced what or how a tube front end would sound with a superb back end and that being of ss Class A topology. I have owned the other way round (tube power amps with ss pre), great sound but ss Class A with tube front end to me is the ultimate so far. Perhaps it may be system dependent, I'm not sure.

I can now begin to understand why some of you also have ss power amps and tube preamps, regardless of whether these are Class A or not. There is definitely something special about ss Class A, and when partnered correctly (which can be a never ending process), it is truly spectacular!
 

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