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
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