Hi RJ,
Congrats on the new CLX. Its a fantastic speaker. I used to own the CLSz which were fantastic although much more difficult to set up and power the CLX and definitely not the same level of performance. I then had the Montis which were also great before moving to my current Sonus Fabers. I still miss the openness and clarity of the ML speakers. I powered the Montis with the LP125 and it was a match made in heaven. You lose the highest frequencies which I don't hear anymore anyway but other than that the LP125 had no problem driving them.
When I sell my Sonus Faber I am going back to ML most likely the CLX or the new Reference 15A.
Enjoy!
Ronen
The Martin Logan CLX's, a true work of Art!
Re: The Martin Logan CLX's, a true work of Art!
ronenash
----
Power:CJ ART150, Beard P100, McCormack DNA500, Krell FPB300
Pre:CJ ACT2.1, Pr14, Pr15
Analog:VPI Classic/Falcon/SoundSmith Denon 103R, Lenco L75 rebuild
Digital:J.River-->Chord 2Qude
Speakers:SF Amati Futura
----
Power:CJ ART150, Beard P100, McCormack DNA500, Krell FPB300
Pre:CJ ACT2.1, Pr14, Pr15
Analog:VPI Classic/Falcon/SoundSmith Denon 103R, Lenco L75 rebuild
Digital:J.River-->Chord 2Qude
Speakers:SF Amati Futura
-
Big Dog RJ
- Ultimate
- Posts: 2361
- Joined: Sun Sep 07, 2014 6:30 am
- Location: Melbourne, Australia
Re: The Martin Logan CLX's, a true work of Art!
Hey Ron, nice one mate!
Yes, I can understand your point in terms of openness and the most transparent natural tones you would receive from Martin Logan's. To add to that, partner these beauties with CJ amplification and it's just magical indeed!
If you're planning on getting back to ML stats, especially after owning the Montis (another superb hybrid) I strongly recommend the Ren15A. This was actually my first choice, along with the CLX's as a reference point. Then it was the Maggie MG3.7i, which is another ribbon speaker at its best, outstanding value for money. And third was the Avant Garde Duo XD, which was the most expensive of the lot.
My plan was quite simple but with options:
1. If I can afford it, and if the dealer offered a good trade-in price for my Ethos, then it would be the CLX's.
2. If the trade in deal was way off, then I was planning to sell the Ethos on my own, transfer funds and settle for the Ren15A.
3. If I can't afford either of these, then I was going to finalize on the Maggie's, knowing these were unbeatable on price, and fantastic performance.
4. The AG horns were out of my financial level at the moment, due to house coming up, hence I was actually willing to put down a deposit and pay off in installments since I know the importer quite well but I really didn't want to do this since it seemed like taking advantage, although he didn't really mind. Seems like he would have liked to obtain a sale since these AG's hardly sell. The stating price was over 40 grand! (Aussie $$)
So as it turned out, option 1 worked! But if I had waited until 2019, this would have been a completely different story.
I've listened to the Ren15A extensively and it is one formidable hybrid stat! It can very easily compete with any dynamic driver type and even its own Neoliths, which is a monster! However, visually imposing, plus they require a massive room to work its full potential, other than that it won't do justice to such a hybrid design.
I've heard the Ren15A driven with both the Classic 120SE and the ART150. The chap who owns these over here, has now placed an order for the ART300's, claims that the ART150 was wonderful but the Ren15A could deliver more, hence the justification for the 300's.
I sincerely think this is overkill but I guess if you can afford it and demand absolute SOTA then so be it!
You won't be disappointed with either the CLX's or Ren15A, it all depends on room size, listening levels and whether you really require that absolute force in bass that the Ren15A delivers, and oh boy does it provide a Canon type of bass!
My personal preference and truth in the Absolute Sound has always been a full range stat or ribbon panel for that matter. Once I acquired the monoblocks, I knew straight away what the next step was, it was a matter of time and patience to close the deal just before another price hike for 2019.
On the other hand, you can always match one of ML subs with the CLX's to your liking if you felt that the CLX's bass was inadequate for your tastes but this will not be "full range" electrostatic awesomeness in its true form!
Cheers mate, and all the best, just wanted to share my thoughts on both these types of marvelous speakers from ML, they are after all, a masterpiece and a work of art!
RJ
Yes, I can understand your point in terms of openness and the most transparent natural tones you would receive from Martin Logan's. To add to that, partner these beauties with CJ amplification and it's just magical indeed!
If you're planning on getting back to ML stats, especially after owning the Montis (another superb hybrid) I strongly recommend the Ren15A. This was actually my first choice, along with the CLX's as a reference point. Then it was the Maggie MG3.7i, which is another ribbon speaker at its best, outstanding value for money. And third was the Avant Garde Duo XD, which was the most expensive of the lot.
My plan was quite simple but with options:
1. If I can afford it, and if the dealer offered a good trade-in price for my Ethos, then it would be the CLX's.
2. If the trade in deal was way off, then I was planning to sell the Ethos on my own, transfer funds and settle for the Ren15A.
3. If I can't afford either of these, then I was going to finalize on the Maggie's, knowing these were unbeatable on price, and fantastic performance.
4. The AG horns were out of my financial level at the moment, due to house coming up, hence I was actually willing to put down a deposit and pay off in installments since I know the importer quite well but I really didn't want to do this since it seemed like taking advantage, although he didn't really mind. Seems like he would have liked to obtain a sale since these AG's hardly sell. The stating price was over 40 grand! (Aussie $$)
So as it turned out, option 1 worked! But if I had waited until 2019, this would have been a completely different story.
I've listened to the Ren15A extensively and it is one formidable hybrid stat! It can very easily compete with any dynamic driver type and even its own Neoliths, which is a monster! However, visually imposing, plus they require a massive room to work its full potential, other than that it won't do justice to such a hybrid design.
I've heard the Ren15A driven with both the Classic 120SE and the ART150. The chap who owns these over here, has now placed an order for the ART300's, claims that the ART150 was wonderful but the Ren15A could deliver more, hence the justification for the 300's.
I sincerely think this is overkill but I guess if you can afford it and demand absolute SOTA then so be it!
You won't be disappointed with either the CLX's or Ren15A, it all depends on room size, listening levels and whether you really require that absolute force in bass that the Ren15A delivers, and oh boy does it provide a Canon type of bass!
My personal preference and truth in the Absolute Sound has always been a full range stat or ribbon panel for that matter. Once I acquired the monoblocks, I knew straight away what the next step was, it was a matter of time and patience to close the deal just before another price hike for 2019.
On the other hand, you can always match one of ML subs with the CLX's to your liking if you felt that the CLX's bass was inadequate for your tastes but this will not be "full range" electrostatic awesomeness in its true form!
Cheers mate, and all the best, just wanted to share my thoughts on both these types of marvelous speakers from ML, they are after all, a masterpiece and a work of art!
RJ
Re: The Martin Logan CLX's, a true work of Art!
RJ,
Please tell us how your new CLXs are doing? Did you find the bass that you were seeking? How is the stage?
Happy listening!
Please tell us how your new CLXs are doing? Did you find the bass that you were seeking? How is the stage?
Happy listening!
ML CLX BF-210 Stage X Motion 4. CJ 120SE amp ET7V2 pre, Holo May Kte Dac. Mac Pro. Power Cond. BPT Signature+ 3.5, Gaia II Feet. USB Lush^V3. Nordost SPM IC and Spk. Shun Mook, BCanto CD2 CD3. Linn LP-12/Unitrack tonearm/Denon DL103R MC.
-
Big Dog RJ
- Ultimate
- Posts: 2361
- Joined: Sun Sep 07, 2014 6:30 am
- Location: Melbourne, Australia
Re: The Martin Logan CLX's, a true work of Art!
Hello to all,
This has truly been one of the most important as aspects of my audio journey, I simply cannot find all the words to describe how this experience has been but all I can say is that this is nothing short of marvelous, spectacular, outstanding, and just magical!
Hats off to ML and their design team, they have put so much effort and research into a full range stat of this nature, that its performance is beyond anything I've heard and owned to date, and driven with CJ amplification, oh my goodness gracious!
The CLX's arrived today in the evening, it took 3 of us to unload, unpack and carry into the house. Dam are they heavy! The top panel side is manageable but the end of the base, is actually heavier on one side and my arm was nearly giving way at one point... (it's certainly a good thing I still pump some iron!)
The packing is outstanding and the workmanship is absolutely top notch! Not only are they stunning but also the way they've been assembled and constructed is nothing short of SOTA! What a huge difference from other stats I've owned, nothing comes close.
This is real top level stuff, similar to other designs utilizing heavy bracing techniques, there's nothing short of mediocre or average build quality whatsoever. Everything from top to bottom including the input terminals tightening collars are superb!
I have positioned the CLX's at the exact same spot where I had the Maggie's previously and managed to get around 4&1/2 ft from front wall and around 2ft from the sides. Distance between each panel is about 6ft, and listening position is 8.5ft. This is the only aspect where I would have preferred the listening position to be further away but boy do these massive things just disappear into thin air! It simply leaves the entire soundstage and performers in full affect right there! You just want to get up and shake hands with each one of them, it is actually quite spooky!
I'll try to make this short as possible since I think I can go on for eternity...
1. Bass: I wanted to start with bass because I think this is actually one of its strongest points. It is tight, with superb control, start stop acceleration is nothing short of marvelous and most of all it is lightening fast! It is so fast that it comes and goes before you even think about the bass, superb, superb superb!
2. Mid-range: the depth and slam in the mid-range is like no other! It can play very loud and at the same time go so soft like a butterfly flapping its wings and suddenly rise again like a thunderstorm lightening bolt! The integration and openness of the mid-range is superb, nothing short of magical!
3. The highs: the top end is well extended such that it will reproduce whatever is on the recording, nothing else! It is so smooth and extended, it's highly accurate and provides every single minute microscopic detail of the recording. Therefore, if the recording has it then the top end extension delivers!
In summary:
The lifelike performance the CLX's deliver have to be obtained with the right amplification. And as we all are on the same level here, these things are just phenomenal with CJ amplifiers, the LP125m's are simply cruising...
My room is not large and does not do full justice to these huge stats. However, they are so well designed, with the right placement and a few adjustments, plus some critical tweaking, they can disappear even in small rooms. They are not overpowering in any way whatsoever, they don't boom, there's no overhang of bass or smudgging of the imaging at all. What you have here is a full range stat that delivers anything and everything on the recording as faithful as possible.
It is nothing short of "a true work of art!"
Bravo and we'll done to ML, they have hit a home run with this one and shattered all barriers of stat design, refined it to its finest and produced a true electrostat transducer like no other.
Cheers to all and thanks a million for all your support and great advice. It certainly was a pleasure!
Cheers to the CLX Art!
RJ
This has truly been one of the most important as aspects of my audio journey, I simply cannot find all the words to describe how this experience has been but all I can say is that this is nothing short of marvelous, spectacular, outstanding, and just magical!
Hats off to ML and their design team, they have put so much effort and research into a full range stat of this nature, that its performance is beyond anything I've heard and owned to date, and driven with CJ amplification, oh my goodness gracious!
The CLX's arrived today in the evening, it took 3 of us to unload, unpack and carry into the house. Dam are they heavy! The top panel side is manageable but the end of the base, is actually heavier on one side and my arm was nearly giving way at one point... (it's certainly a good thing I still pump some iron!)
The packing is outstanding and the workmanship is absolutely top notch! Not only are they stunning but also the way they've been assembled and constructed is nothing short of SOTA! What a huge difference from other stats I've owned, nothing comes close.
This is real top level stuff, similar to other designs utilizing heavy bracing techniques, there's nothing short of mediocre or average build quality whatsoever. Everything from top to bottom including the input terminals tightening collars are superb!
I have positioned the CLX's at the exact same spot where I had the Maggie's previously and managed to get around 4&1/2 ft from front wall and around 2ft from the sides. Distance between each panel is about 6ft, and listening position is 8.5ft. This is the only aspect where I would have preferred the listening position to be further away but boy do these massive things just disappear into thin air! It simply leaves the entire soundstage and performers in full affect right there! You just want to get up and shake hands with each one of them, it is actually quite spooky!
I'll try to make this short as possible since I think I can go on for eternity...
1. Bass: I wanted to start with bass because I think this is actually one of its strongest points. It is tight, with superb control, start stop acceleration is nothing short of marvelous and most of all it is lightening fast! It is so fast that it comes and goes before you even think about the bass, superb, superb superb!
2. Mid-range: the depth and slam in the mid-range is like no other! It can play very loud and at the same time go so soft like a butterfly flapping its wings and suddenly rise again like a thunderstorm lightening bolt! The integration and openness of the mid-range is superb, nothing short of magical!
3. The highs: the top end is well extended such that it will reproduce whatever is on the recording, nothing else! It is so smooth and extended, it's highly accurate and provides every single minute microscopic detail of the recording. Therefore, if the recording has it then the top end extension delivers!
In summary:
The lifelike performance the CLX's deliver have to be obtained with the right amplification. And as we all are on the same level here, these things are just phenomenal with CJ amplifiers, the LP125m's are simply cruising...
My room is not large and does not do full justice to these huge stats. However, they are so well designed, with the right placement and a few adjustments, plus some critical tweaking, they can disappear even in small rooms. They are not overpowering in any way whatsoever, they don't boom, there's no overhang of bass or smudgging of the imaging at all. What you have here is a full range stat that delivers anything and everything on the recording as faithful as possible.
It is nothing short of "a true work of art!"
Bravo and we'll done to ML, they have hit a home run with this one and shattered all barriers of stat design, refined it to its finest and produced a true electrostat transducer like no other.
Cheers to all and thanks a million for all your support and great advice. It certainly was a pleasure!
Cheers to the CLX Art!
RJ
-
Big Dog RJ
- Ultimate
- Posts: 2361
- Joined: Sun Sep 07, 2014 6:30 am
- Location: Melbourne, Australia
Re: The Martin Logan CLX's, a true work of Art!
- CLX Art in the shoebox!
- IMG20180910005513.jpg (3.37 MiB) Viewed 3500 times
- IMG20180910005321.jpg (3.32 MiB) Viewed 3500 times
Re: The Martin Logan CLX's, a true work of Art!
Hola RJ, I wish I could express myself as you do. I can't agreed more with you. They are fantastic speakers. Every time that I take a listen of the music with them, I find myself with a big smile and enjoying the fantastic musician(s) playing for me or us (if I am sharing with someone). Also, they are not difficult to service. They are thought for easy user service. Peek inside the electronics. There re two switches inside. The are for increase +2dB at the mid range. In the manual, there is no explanation about it, but I have this for you:
CLX_DB_Switch_rev062708.pdf
Open with Google Docs
Displaying CLX_DB_Switch_rev062708.pdf.
If you can not open it, please PM with your email address and I will remit it to you.
Peeking inside the electronics, you can also confirm the quality parts that these babies are built. Just high end, high class and very expensive are there. Same things we find in Conrad Johnson gear. They really do an incredible match.
Have fun RJ, and keep us posted with your findings.
Regards from Costa Rica,
Roberto.
CLX_DB_Switch_rev062708.pdf
Open with Google Docs
Displaying CLX_DB_Switch_rev062708.pdf.
If you can not open it, please PM with your email address and I will remit it to you.
Peeking inside the electronics, you can also confirm the quality parts that these babies are built. Just high end, high class and very expensive are there. Same things we find in Conrad Johnson gear. They really do an incredible match.
Have fun RJ, and keep us posted with your findings.
Regards from Costa Rica,
Roberto.
ML CLX BF-210 Stage X Motion 4. CJ 120SE amp ET7V2 pre, Holo May Kte Dac. Mac Pro. Power Cond. BPT Signature+ 3.5, Gaia II Feet. USB Lush^V3. Nordost SPM IC and Spk. Shun Mook, BCanto CD2 CD3. Linn LP-12/Unitrack tonearm/Denon DL103R MC.
Re: The Martin Logan CLX's, a true work of Art!
Love the pictures RJ. You have that great big smile on your face like kids do on Christmas morning. Congrats and enjoy.
-admin
Home Theater in Member Gallery
Main stereo: ART Amplifier and ET7s2. 2nd stereo: PV-14L and MV-55. Previously Owned: PF2 preamp, Evolution 2000 Amp, PV-12AL preamp, D/A-2b Vacuum-Tube Digital Processor.
Home Theater in Member Gallery
Main stereo: ART Amplifier and ET7s2. 2nd stereo: PV-14L and MV-55. Previously Owned: PF2 preamp, Evolution 2000 Amp, PV-12AL preamp, D/A-2b Vacuum-Tube Digital Processor.
Re: The Martin Logan CLX's, a true work of Art!
Yes, I am with ADMIN too, that's the same smile that I get, every time that I am listening to the music. Just relax and enjoy RJ!
ML CLX BF-210 Stage X Motion 4. CJ 120SE amp ET7V2 pre, Holo May Kte Dac. Mac Pro. Power Cond. BPT Signature+ 3.5, Gaia II Feet. USB Lush^V3. Nordost SPM IC and Spk. Shun Mook, BCanto CD2 CD3. Linn LP-12/Unitrack tonearm/Denon DL103R MC.
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Big Dog RJ
- Ultimate
- Posts: 2361
- Joined: Sun Sep 07, 2014 6:30 am
- Location: Melbourne, Australia
Re: The Martin Logan CLX's, a true work of Art!
Yes agreed gentlemen. However, most of my listening sessions don't end with a smile, rather an astonished look 
and then followed by 
love that sound look...
The music reproduced on the CLX's actually surprises me each time because these were tracks that I was quite used to but oh my gosh! When reproduced through these magnificent stats, it's just mind boggling, leaves me in awe...
On Monday night I was listening to a very old LP from George Benson & Earl Klugh called Collaboration. Recorded some 30 years ago in the 70's, wow what an awesome soundstage and presentation. It was as if the two guitarists were right there sitting side by side and strumming away in full glory, and the rest of the group backing them up. Detail after detail and the transparency and speed is wonderful! Marvelous strings and superb bass along with that very fine essence of musicality from CJ, delivers one hell of combination like no other!
Roberto: I heard about the internal adjustments you can do, and have come across a very few who have done this but with no real benefit other than perfect balance in the default settings. Therefore, I won't experiment with these switches, plus I don't have a gentle touch with this kind of stuff... The last time someone told me how to adjust the tracking force on the TT, I nearly broke the arm!
I very much prefer and appreciate the way the CLX's are sounding now, therefore I will leave it this way because they are perfect! I sincerely think Martin Logan did not mention this in the owner's manual for good reason, hence there would be far too much tinkering...
The CLX's are still settling in, although my dealer has put some hours on them, they are starting to feel comfortable in this small to average room. I definitely know for a fact that when these are placed in a much larger space, they'll simply fly! Looking forward to that experience as well.
Cheers for now, and enjoy the music
RJ
and then followed by 
love that sound look... The music reproduced on the CLX's actually surprises me each time because these were tracks that I was quite used to but oh my gosh! When reproduced through these magnificent stats, it's just mind boggling, leaves me in awe...
On Monday night I was listening to a very old LP from George Benson & Earl Klugh called Collaboration. Recorded some 30 years ago in the 70's, wow what an awesome soundstage and presentation. It was as if the two guitarists were right there sitting side by side and strumming away in full glory, and the rest of the group backing them up. Detail after detail and the transparency and speed is wonderful! Marvelous strings and superb bass along with that very fine essence of musicality from CJ, delivers one hell of combination like no other!
Roberto: I heard about the internal adjustments you can do, and have come across a very few who have done this but with no real benefit other than perfect balance in the default settings. Therefore, I won't experiment with these switches, plus I don't have a gentle touch with this kind of stuff... The last time someone told me how to adjust the tracking force on the TT, I nearly broke the arm!
I very much prefer and appreciate the way the CLX's are sounding now, therefore I will leave it this way because they are perfect! I sincerely think Martin Logan did not mention this in the owner's manual for good reason, hence there would be far too much tinkering...
The CLX's are still settling in, although my dealer has put some hours on them, they are starting to feel comfortable in this small to average room. I definitely know for a fact that when these are placed in a much larger space, they'll simply fly! Looking forward to that experience as well.
Cheers for now, and enjoy the music
RJ
Re: The Martin Logan CLX's, a true work of Art!
Hola RJ,
"...Roberto: I heard about the internal adjustments you can do, and have come across a very few who have done this but with no real benefit other than perfect balance in the default settings. Therefore, I won't experiment with these switches, plus I don't have a gentle touch with this kind of stuff... The last time someone told me how to adjust the tracking force on the TT, I nearly broke the arm!..."
What the switches do is +1dB or +2dB at the lower midrange from 100Hz to 1000Hz (peak at 250Hz). I do not know what ears have done this, but mines can listen for good the difference. The benefits are more vocals presentation, also the clarinet, or the oboe, or the guitar, or the piano, or the hammond organ, or the violin, or the viola, or the cello, or the bass, or the...you name it. But, I understand your position.
Happy listening!
"...Roberto: I heard about the internal adjustments you can do, and have come across a very few who have done this but with no real benefit other than perfect balance in the default settings. Therefore, I won't experiment with these switches, plus I don't have a gentle touch with this kind of stuff... The last time someone told me how to adjust the tracking force on the TT, I nearly broke the arm!..."
What the switches do is +1dB or +2dB at the lower midrange from 100Hz to 1000Hz (peak at 250Hz). I do not know what ears have done this, but mines can listen for good the difference. The benefits are more vocals presentation, also the clarinet, or the oboe, or the guitar, or the piano, or the hammond organ, or the violin, or the viola, or the cello, or the bass, or the...you name it. But, I understand your position.
Happy listening!
ML CLX BF-210 Stage X Motion 4. CJ 120SE amp ET7V2 pre, Holo May Kte Dac. Mac Pro. Power Cond. BPT Signature+ 3.5, Gaia II Feet. USB Lush^V3. Nordost SPM IC and Spk. Shun Mook, BCanto CD2 CD3. Linn LP-12/Unitrack tonearm/Denon DL103R MC.
-
Big Dog RJ
- Ultimate
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- Joined: Sun Sep 07, 2014 6:30 am
- Location: Melbourne, Australia
Re: The Martin Logan CLX's, a true work of Art!
There's another person here who tried the switches, in fact it was one of the dealers. Did not prefer it at all but went further to comment, it seems to depend on the type of amplifier driving the CLX's. He feels that some amps are more focused on the highs and bass and maybe lacking a bit in mid-range warmth, hence the mid bass switches can be used to benefit if this type of issue exists in freq resp from the amp driving it. Mostly to do with SS designs, definitely no problem with tubes.
One of the biggest attributes of CJ's tube amps is the well known mid-range that's become legendary! Along with those extended airy highs, just beautiful nothing comes close.
I was sort of tempted to experiment but I rather not, since to me, so far on the monoblocks, it seems to be a perfect match with the KT120's cruising along, also with the control of the pv15, why change anything...
I'm most content with the system now and what it has to offer, might as well sit back and enjoy the music!
The wifey thinks I've lost the plot with these massive panels, I think it's high time I got moving on with the other things in life and family commitments, rather than focus too much on audio systems. I really don't know how on earth she's tolerated my nonsense all these years. That's why I call her the "good wife!"
Cheers to our better havles! Got to love em
RJ
One of the biggest attributes of CJ's tube amps is the well known mid-range that's become legendary! Along with those extended airy highs, just beautiful nothing comes close.
I was sort of tempted to experiment but I rather not, since to me, so far on the monoblocks, it seems to be a perfect match with the KT120's cruising along, also with the control of the pv15, why change anything...
I'm most content with the system now and what it has to offer, might as well sit back and enjoy the music!
The wifey thinks I've lost the plot with these massive panels, I think it's high time I got moving on with the other things in life and family commitments, rather than focus too much on audio systems. I really don't know how on earth she's tolerated my nonsense all these years. That's why I call her the "good wife!"
Cheers to our better havles! Got to love em
RJ
Re: The Martin Logan CLX's, a true work of Art!
This is a strange justification for the ART150 as most of the power is needed in the bass range and the Ren15A is self powered on the bass. On the higher frequencies the output transformers will roll off the highest frequencies anyway so doubling the power will not do much good there either.Big Dog RJ wrote: ↑Fri Sep 07, 2018 1:36 pm
I've heard the Ren15A driven with both the Classic 120SE and the ART150. The chap who owns these over here, has now placed an order for the ART300's, claims that the ART150 was wonderful but the Ren15A could deliver more, hence the justification for the 300's.
Anyway a p air of ART300 is still cool.
ronenash
----
Power:CJ ART150, Beard P100, McCormack DNA500, Krell FPB300
Pre:CJ ACT2.1, Pr14, Pr15
Analog:VPI Classic/Falcon/SoundSmith Denon 103R, Lenco L75 rebuild
Digital:J.River-->Chord 2Qude
Speakers:SF Amati Futura
----
Power:CJ ART150, Beard P100, McCormack DNA500, Krell FPB300
Pre:CJ ACT2.1, Pr14, Pr15
Analog:VPI Classic/Falcon/SoundSmith Denon 103R, Lenco L75 rebuild
Digital:J.River-->Chord 2Qude
Speakers:SF Amati Futura
-
Big Dog RJ
- Ultimate
- Posts: 2361
- Joined: Sun Sep 07, 2014 6:30 am
- Location: Melbourne, Australia
Re: The Martin Logan CLX's, a true work of Art!
Hey Ron,
You can say that again mate, I totally agree!
In fact there's another chap on WBF who also has the Ren15A's, he tried several Pass Labs amps with them. Starting with the xa30.8 (which can drive the CLX's effortlessly!) he said it wasn't adequate. Then tried a 160 monoblock version of the xa series, again said OK but needs more... Then went onto the 200 & 250w monoblocks, still claimed nothing doing... Finally ended up with the massive xs300 monoblocks, talk about overkill!
You see, along the way in my experience with amplification, I have realized that wattage / output power means nothing. It is good to have the largest amplifier affordable to drive your speakers, as there would be plenty of headroom and smooth drive but the most significant difference is in the following:
1. Solid power supplies
2. The current capabilities of the amplifier
3. The ability to handle & control impedence swings, especially with ESL's and planar ribbons.
If any amount of power output cannot do the above 3 points right, then I'm affraid it's not a good design regardless of brand.
Another thing I've learned is the type of person that uses such high power, claiming that their speakers require more and more... The fact is they don't have a clue about real acoustic music in its most natural state and form. Hence, they will come up with reasons why the extra power is required, and the dealers are licking their chops plus blinking their eyes as they see thousands of more $$$ pouring in...
The Ren15A can be driven with a 50w tube amp- period!
I've heard this system now, just last week about the same time I got my CLX's and that visit was quite brief as I wanted to spend more time with the CLX's than anything else. I must say, his ART150 with the Ren15A's was absolutely superb! Personally I wouldn't change a thing... Unless of course you wanted to go full range stat, in which case the CLX's are the ultimate.
There is also another mind set out there, such that they must have the absolute "best & top of the line" otherwise they simply cannot progress in life...
What the heck, I'm using a pretty simple pv15 as the preamp for crying out loud. Should I get a GAT or place an order for the Gat2, what on earth for may I ask?
I have tailor made my system by employing the LP125m's as the back end to drive the CLX's full range, and wow do they do a stunning job! Then I've partnered that with a pv15 that uses the M8080 tubes, which is very similar to the Classic preamp that has a "classic CJ sound". This combination driving the CLX's full range is all I would ever need, in terms of musicality as well as the most natural sound and life like stage I've ever experienced.
Certainly I could go further and engage in top line gear, such as the GAT, the ART 300's and so on.. But where does it end? To me it's totally unnecessary based on what my current system is capable of, adding the top line is only a small margin of performance improvement. I definitely cannot justify that kind of expenditure and I'm not kidding, the ART300's in Aus are 50 grand a pair!
The CLX's with the LP125m's are in a totally different class altogether!
Just thought I'd share this info, as now I'm beginning to learn more about these superb amplifiers from CJ and what the top line has to offer. In all honesty, I can confidently say that the ART150 would be an amplifier for a life time! Anything further than that is an unnecessary expense, unless you really need to spend that much on hi-fi...
Cheers, RJ
You can say that again mate, I totally agree!
In fact there's another chap on WBF who also has the Ren15A's, he tried several Pass Labs amps with them. Starting with the xa30.8 (which can drive the CLX's effortlessly!) he said it wasn't adequate. Then tried a 160 monoblock version of the xa series, again said OK but needs more... Then went onto the 200 & 250w monoblocks, still claimed nothing doing... Finally ended up with the massive xs300 monoblocks, talk about overkill!
You see, along the way in my experience with amplification, I have realized that wattage / output power means nothing. It is good to have the largest amplifier affordable to drive your speakers, as there would be plenty of headroom and smooth drive but the most significant difference is in the following:
1. Solid power supplies
2. The current capabilities of the amplifier
3. The ability to handle & control impedence swings, especially with ESL's and planar ribbons.
If any amount of power output cannot do the above 3 points right, then I'm affraid it's not a good design regardless of brand.
Another thing I've learned is the type of person that uses such high power, claiming that their speakers require more and more... The fact is they don't have a clue about real acoustic music in its most natural state and form. Hence, they will come up with reasons why the extra power is required, and the dealers are licking their chops plus blinking their eyes as they see thousands of more $$$ pouring in...
The Ren15A can be driven with a 50w tube amp- period!
I've heard this system now, just last week about the same time I got my CLX's and that visit was quite brief as I wanted to spend more time with the CLX's than anything else. I must say, his ART150 with the Ren15A's was absolutely superb! Personally I wouldn't change a thing... Unless of course you wanted to go full range stat, in which case the CLX's are the ultimate.
There is also another mind set out there, such that they must have the absolute "best & top of the line" otherwise they simply cannot progress in life...
What the heck, I'm using a pretty simple pv15 as the preamp for crying out loud. Should I get a GAT or place an order for the Gat2, what on earth for may I ask?
I have tailor made my system by employing the LP125m's as the back end to drive the CLX's full range, and wow do they do a stunning job! Then I've partnered that with a pv15 that uses the M8080 tubes, which is very similar to the Classic preamp that has a "classic CJ sound". This combination driving the CLX's full range is all I would ever need, in terms of musicality as well as the most natural sound and life like stage I've ever experienced.
Certainly I could go further and engage in top line gear, such as the GAT, the ART 300's and so on.. But where does it end? To me it's totally unnecessary based on what my current system is capable of, adding the top line is only a small margin of performance improvement. I definitely cannot justify that kind of expenditure and I'm not kidding, the ART300's in Aus are 50 grand a pair!
The CLX's with the LP125m's are in a totally different class altogether!
Just thought I'd share this info, as now I'm beginning to learn more about these superb amplifiers from CJ and what the top line has to offer. In all honesty, I can confidently say that the ART150 would be an amplifier for a life time! Anything further than that is an unnecessary expense, unless you really need to spend that much on hi-fi...
Cheers, RJ
Re: The Martin Logan CLX's, a true work of Art!
Hola RJ and Ron,
I do believe that you must take also in consideration the speaker SPL sensitive. If you have a high sensitive speaker like the CLXs, you do not need high power amps to drive them. I have a friend who is using the Viva Aurora power amps and they only deliver about 35Watts. Their sound is very good, and believe, your ears can't believe the low power that they are! He drives his CLXs with outstanding clarity and tons of dynamics. I am toward the CJ sound. But I have to admit that I can enjoy his sound very much. This brand is made in Italy and has many audiophiles.
Yes, I am with you guys, the power wattage does not means anything. Its the quality of the circuit design, built and components what really matters. On the other hand, what I do like, not necessary must be your liking. The good thing here, is that we consider that C-J is one the best audio gears in the industry and market today. We do like the C-J quality sound.
Happy listening to all!
I do believe that you must take also in consideration the speaker SPL sensitive. If you have a high sensitive speaker like the CLXs, you do not need high power amps to drive them. I have a friend who is using the Viva Aurora power amps and they only deliver about 35Watts. Their sound is very good, and believe, your ears can't believe the low power that they are! He drives his CLXs with outstanding clarity and tons of dynamics. I am toward the CJ sound. But I have to admit that I can enjoy his sound very much. This brand is made in Italy and has many audiophiles.
Yes, I am with you guys, the power wattage does not means anything. Its the quality of the circuit design, built and components what really matters. On the other hand, what I do like, not necessary must be your liking. The good thing here, is that we consider that C-J is one the best audio gears in the industry and market today. We do like the C-J quality sound.
Happy listening to all!
ML CLX BF-210 Stage X Motion 4. CJ 120SE amp ET7V2 pre, Holo May Kte Dac. Mac Pro. Power Cond. BPT Signature+ 3.5, Gaia II Feet. USB Lush^V3. Nordost SPM IC and Spk. Shun Mook, BCanto CD2 CD3. Linn LP-12/Unitrack tonearm/Denon DL103R MC.
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Big Dog RJ
- Ultimate
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- Joined: Sun Sep 07, 2014 6:30 am
- Location: Melbourne, Australia
Re: The Martin Logan CLX's, a true work of Art!
G'day Roberto,
I was just talking to my ML dealer mate today regarding the mid-range / mid bass switches on the CLX's, this was actually after we made the changes, and here are my findings:
1. The difference in value is between 1&2dB on the switches.
2. By adjusting these switches, we are now adding gain in the mid-band, as well as altering the natural response of the CLX's mid-range curve.
3. By doing this, the entire CLX transducer becomes "non-linear"
It is similar to adjusting EQ levels on an external equalizer... This is definitely not something to consider when you have the CLX's that are the most transparent and detailed stat panel type of all time, plus the total linearity and virtually zero distortion of the entire panel operates like no other, and you would obviously know this.
However, as I had previously discussed with this chap including one of ML's engineering team representatives from the importers in Aus, these switches are mainly to compensate for amplifiers that have a dry or very low/flat response in the mid-range, hence sound dull but more focused in the bass & highs. Therefore, adding some small amount of gain into the equation certainly helps to boost up the mid-range. This is also similar to adding tone controls.
Since we are using well designed amplification such as CJ, VTL, Manley or ARC for that matter, and then SS designs, such as Pass Labs, and similar top end amplifiers, these switches will do very little benefit.
In summary: if you've tried changing these switches and you do prefer the overall sound, so be it. However, you have added a new parameter into the gain structure of the CLX's and have altered the sound in the mid-band, which is non linear.
If you listen carefully to natural music and the ways in which natural tones are produced, the CLX's can reproduce exactly the same tone, in the most natural way and most of all everything found on the recording! This is termed as extremely linear and capturing the full scale, regardless of listening levels. When the CLX's are played loud they can hold together without flinching one bit!
This is another reason why ML engineers decided to incorporate these switches internally so that they have provided a full range stat to reproduce music in the most natural form possible. If these parameters were adjustable, then these gain switches would have been located externally for the user to adjust freely whenever required, such as the controls on their hybrids.
The CLX's do not require this added control in tonality, they are simply perfect just the way they are. I sincerely encourage you to listen to your CLX's without these adjustments and in default setting.
BTW, removing the top cover was such a tricky thing, if not for the help I would have actually damaged the entire cover. The good thing, it was not my pair!
Have a good one mate, and enjoy the CLXArt!
Cheers, RJ
I was just talking to my ML dealer mate today regarding the mid-range / mid bass switches on the CLX's, this was actually after we made the changes, and here are my findings:
1. The difference in value is between 1&2dB on the switches.
2. By adjusting these switches, we are now adding gain in the mid-band, as well as altering the natural response of the CLX's mid-range curve.
3. By doing this, the entire CLX transducer becomes "non-linear"
It is similar to adjusting EQ levels on an external equalizer... This is definitely not something to consider when you have the CLX's that are the most transparent and detailed stat panel type of all time, plus the total linearity and virtually zero distortion of the entire panel operates like no other, and you would obviously know this.
However, as I had previously discussed with this chap including one of ML's engineering team representatives from the importers in Aus, these switches are mainly to compensate for amplifiers that have a dry or very low/flat response in the mid-range, hence sound dull but more focused in the bass & highs. Therefore, adding some small amount of gain into the equation certainly helps to boost up the mid-range. This is also similar to adding tone controls.
Since we are using well designed amplification such as CJ, VTL, Manley or ARC for that matter, and then SS designs, such as Pass Labs, and similar top end amplifiers, these switches will do very little benefit.
In summary: if you've tried changing these switches and you do prefer the overall sound, so be it. However, you have added a new parameter into the gain structure of the CLX's and have altered the sound in the mid-band, which is non linear.
If you listen carefully to natural music and the ways in which natural tones are produced, the CLX's can reproduce exactly the same tone, in the most natural way and most of all everything found on the recording! This is termed as extremely linear and capturing the full scale, regardless of listening levels. When the CLX's are played loud they can hold together without flinching one bit!
This is another reason why ML engineers decided to incorporate these switches internally so that they have provided a full range stat to reproduce music in the most natural form possible. If these parameters were adjustable, then these gain switches would have been located externally for the user to adjust freely whenever required, such as the controls on their hybrids.
The CLX's do not require this added control in tonality, they are simply perfect just the way they are. I sincerely encourage you to listen to your CLX's without these adjustments and in default setting.
BTW, removing the top cover was such a tricky thing, if not for the help I would have actually damaged the entire cover. The good thing, it was not my pair!
Have a good one mate, and enjoy the CLXArt!
Cheers, RJ
Re: The Martin Logan CLX's, a true work of Art!
Hola RJ,
I had played a lot with these switches. The circuit ( Remember I am an electronic engineer ) is for the lower mid range. Do you believe that the signal is not touched? There is a crossover around 360Hz. Having a crossover at this frequency, the phase is not a big deal as when you have a tweeter circa 3000Hz. But believe me, I do understand your point. Moving the switches, you still are between the +-3dB overall frequency response. The just made a very little bump having a peak at 250Hz. But the touch is almost nothing. Its for 3D sense.
In my room, I can listen where the left hand of the piano player is and where the right hand begins. The touch is just a little bit, most people can't hear it. What I gives is a little bit more presence, and the main instrument or vocals are a little bit more forward. This is for stage 3D adjustment. If you do not want to use it, its OK too. I am sure and know what the engineers did there. Do you believe that the CLXs are really flat? the specs are +-3dB starting from 56Hz, but this does not meant that you still do not have 40Hz of info there.
I do not want to impose my findings, or what you do not like. Also, I told you that I have lif them from the floor 15cms. Some users will like this height, other might like to stay as they are. I did use a lot of different heights and where they start to sing effortless and giving love, is at this height. If you do not like it, its OK too. But I think it is a good idea to experiment for tuning them their best.
I do know of what you are talking about. Every day that I listen to the music, my ears are wide open! (My eyes too) I listen so many good things than the bad ones. The bad ones are just minor flaws if you do a comparison with other brands being twice or more the value of them...they are a truly winners.
As you are, I am in love with my CLXs. Cupid did hit the love arrow right in the center of my heart with my very first time that I listened to them!
I wish that I could speak more fluent English to express my findings, but having the language barrier, is difficult.
Rj, please excuse my dare to try to express my love and enthusiasm about this fabulous product. I am with you. Enjoy every musical note!
Happy listening!
I had played a lot with these switches. The circuit ( Remember I am an electronic engineer ) is for the lower mid range. Do you believe that the signal is not touched? There is a crossover around 360Hz. Having a crossover at this frequency, the phase is not a big deal as when you have a tweeter circa 3000Hz. But believe me, I do understand your point. Moving the switches, you still are between the +-3dB overall frequency response. The just made a very little bump having a peak at 250Hz. But the touch is almost nothing. Its for 3D sense.
In my room, I can listen where the left hand of the piano player is and where the right hand begins. The touch is just a little bit, most people can't hear it. What I gives is a little bit more presence, and the main instrument or vocals are a little bit more forward. This is for stage 3D adjustment. If you do not want to use it, its OK too. I am sure and know what the engineers did there. Do you believe that the CLXs are really flat? the specs are +-3dB starting from 56Hz, but this does not meant that you still do not have 40Hz of info there.
I do not want to impose my findings, or what you do not like. Also, I told you that I have lif them from the floor 15cms. Some users will like this height, other might like to stay as they are. I did use a lot of different heights and where they start to sing effortless and giving love, is at this height. If you do not like it, its OK too. But I think it is a good idea to experiment for tuning them their best.
I do know of what you are talking about. Every day that I listen to the music, my ears are wide open! (My eyes too) I listen so many good things than the bad ones. The bad ones are just minor flaws if you do a comparison with other brands being twice or more the value of them...they are a truly winners.
As you are, I am in love with my CLXs. Cupid did hit the love arrow right in the center of my heart with my very first time that I listened to them!
I wish that I could speak more fluent English to express my findings, but having the language barrier, is difficult.
Rj, please excuse my dare to try to express my love and enthusiasm about this fabulous product. I am with you. Enjoy every musical note!
Happy listening!
ML CLX BF-210 Stage X Motion 4. CJ 120SE amp ET7V2 pre, Holo May Kte Dac. Mac Pro. Power Cond. BPT Signature+ 3.5, Gaia II Feet. USB Lush^V3. Nordost SPM IC and Spk. Shun Mook, BCanto CD2 CD3. Linn LP-12/Unitrack tonearm/Denon DL103R MC.
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Big Dog RJ
- Ultimate
- Posts: 2361
- Joined: Sun Sep 07, 2014 6:30 am
- Location: Melbourne, Australia
Re: The Martin Logan CLX's, a true work of Art!
Hey Roberto, no worries at all mate.
It's certainly nice to talk about a stat system such as the CLX's and compare notes, no doubt!
You are correct about the minor adjustments, and as you mentioned it is actually a bump in this frequency response we're adjusting. Very similar to EQ & tone controls...
Yes agreed on the 3D sense but that's one of the superb attributes of the CLX's anyway. Therefore, this full 3D effect comes so naturally, adjustments are not really required other than of course room and placement parameters.
The interesting thing about the changes we found is that on the majority of top end amplifiers we tried it wasn't a significant difference but there was definitely a more forward sound to it, as you pointed out.
The switching helped in most SS designs and one we tried which was a Jeff Rowland amp, 150w/ch Class A, these switches helped to further launch the mid-band but was basically like a boost switch with a subtle touch.
The CLX's are definitely not flat, hell no! What I meant by linear is that they can reproduce any note flawlessly and so accurately even at very high levels without flinching one bit. There simply is no distortion whatsoever and they are limited only by the partnering electronics driving them.
In summary, I would point out:
1. The highs can extend way beyond the norm and will extend even further as long as the recording captures it!
2. The mid-range can be so subtle and suddenly dramatic in lightning speed, that it can bring out the best of the recording or the worst of that recording. Therefore, simply put, better have good recordings!
3. The bass plays way below the rated 56hz of what ML states in their specs. That is basically just a guideline frequency response and definitely not an accurate claim on specs. Frankly speaking, I don't know why the heck ML rates the bass only around the 50hz mark, when the bass clearly can dip extremely low, and suddenly propel into the room like Canon fire in a blink of an eye! This is actually where many so called high powered amps fail, simply because that impedence swing puts a lot of strain on power amp output supplies & current, the amp just runs out of juice...
I also refer to this bass as being linear. It is not thick, it does not boom, no overhang, no lingering bass notes continuous (a common trait in box designs), again zero distortion and most of all very very agile and articulate. Speed of the bass is lightning fast as well and the start/stop acceleration and decay is feather weight! This is what I mean by linear, perhaps that is not a good word to use... But I can't think of any other words...
Since there's no box or any enclosure obstructing in any way, the tonality of the full frequency spectrum is not altered in any way or form either. What is on the recording will be delivered with utmost clarity and precision plus finesse through these ultra-fine transducers, and that is basically what they are, SOTA transducers!
I am sure you're enjoying your music very much either way, switches on or in default setting, as for me and the current amplifiers I'm using, this is more than perfect!
And BTW your English and expressions are fine mate! I've told you this before, so not to worry, after all you're another CLX connoisseur!
Cheers mate, and have a superb one!
RJ
It's certainly nice to talk about a stat system such as the CLX's and compare notes, no doubt!
You are correct about the minor adjustments, and as you mentioned it is actually a bump in this frequency response we're adjusting. Very similar to EQ & tone controls...
Yes agreed on the 3D sense but that's one of the superb attributes of the CLX's anyway. Therefore, this full 3D effect comes so naturally, adjustments are not really required other than of course room and placement parameters.
The interesting thing about the changes we found is that on the majority of top end amplifiers we tried it wasn't a significant difference but there was definitely a more forward sound to it, as you pointed out.
The switching helped in most SS designs and one we tried which was a Jeff Rowland amp, 150w/ch Class A, these switches helped to further launch the mid-band but was basically like a boost switch with a subtle touch.
The CLX's are definitely not flat, hell no! What I meant by linear is that they can reproduce any note flawlessly and so accurately even at very high levels without flinching one bit. There simply is no distortion whatsoever and they are limited only by the partnering electronics driving them.
In summary, I would point out:
1. The highs can extend way beyond the norm and will extend even further as long as the recording captures it!
2. The mid-range can be so subtle and suddenly dramatic in lightning speed, that it can bring out the best of the recording or the worst of that recording. Therefore, simply put, better have good recordings!
3. The bass plays way below the rated 56hz of what ML states in their specs. That is basically just a guideline frequency response and definitely not an accurate claim on specs. Frankly speaking, I don't know why the heck ML rates the bass only around the 50hz mark, when the bass clearly can dip extremely low, and suddenly propel into the room like Canon fire in a blink of an eye! This is actually where many so called high powered amps fail, simply because that impedence swing puts a lot of strain on power amp output supplies & current, the amp just runs out of juice...
I also refer to this bass as being linear. It is not thick, it does not boom, no overhang, no lingering bass notes continuous (a common trait in box designs), again zero distortion and most of all very very agile and articulate. Speed of the bass is lightning fast as well and the start/stop acceleration and decay is feather weight! This is what I mean by linear, perhaps that is not a good word to use... But I can't think of any other words...
Since there's no box or any enclosure obstructing in any way, the tonality of the full frequency spectrum is not altered in any way or form either. What is on the recording will be delivered with utmost clarity and precision plus finesse through these ultra-fine transducers, and that is basically what they are, SOTA transducers!
I am sure you're enjoying your music very much either way, switches on or in default setting, as for me and the current amplifiers I'm using, this is more than perfect!
And BTW your English and expressions are fine mate! I've told you this before, so not to worry, after all you're another CLX connoisseur!
Cheers mate, and have a superb one!
RJ
Re: The Martin Logan CLX's, a true work of Art!
RJ,
Do your best to get this recording: Steve Davis, Quality of Silence (DMP Recording). Play track No. 2 and this track is for test the timbre and stage. Listen the cymbals and the air, and the sound floats at the right size where the cymbal is, and the kind of tip that this fantastic drummer is using. Sometimes, you can hear his bared hand playing the side drum. Also he hits the edge of the cymbal with the back part of the drum stick. Also the tip is nylon for crispy sound.
For piano test, a reference recording by Keith Johnson, the pianist Mr. Mike Garson is a good way to understand both hands and what they are doing. You understand the harmony perfectly with the left hand and the melody with the right hand. Or Valentina Lisitsa playing at the Royal albert Hall in London. Here, she is playing a magic sound big Bosendorfer Great Grand Piano. This recording is breath taking.
For wind test, try The Brandenburg Concertos directed by Claudio Abbado using original instruments. Also a good test for strings.
For violin, try the Paganini Concertos by Salvatore Accardo. This recording is very good for strings a bass test.
The truth is, that many good recordings shine with these marvellous speakers. But they have to be driven by the quality sound of Conrad Johnson. Here they really outperforms their best.
There are some good recordings for voice like Jacintah and Lyn Stanley. You might like to try these ones too.
The results are a inner detail that I have listen through any other speakers, the capable to play to a live level, and giving so much detail and stage, that you feel that you are there...yes, they truly are a fantastic speakers.
I went back with the switches to the original position, and of course the sound is great! I think that this little bump at this lower midrange is for just forward a little bit the main artist...it is a matter of liking too. Will not harm is you use it or not.
Happy listening!
Do your best to get this recording: Steve Davis, Quality of Silence (DMP Recording). Play track No. 2 and this track is for test the timbre and stage. Listen the cymbals and the air, and the sound floats at the right size where the cymbal is, and the kind of tip that this fantastic drummer is using. Sometimes, you can hear his bared hand playing the side drum. Also he hits the edge of the cymbal with the back part of the drum stick. Also the tip is nylon for crispy sound.
For piano test, a reference recording by Keith Johnson, the pianist Mr. Mike Garson is a good way to understand both hands and what they are doing. You understand the harmony perfectly with the left hand and the melody with the right hand. Or Valentina Lisitsa playing at the Royal albert Hall in London. Here, she is playing a magic sound big Bosendorfer Great Grand Piano. This recording is breath taking.
For wind test, try The Brandenburg Concertos directed by Claudio Abbado using original instruments. Also a good test for strings.
For violin, try the Paganini Concertos by Salvatore Accardo. This recording is very good for strings a bass test.
The truth is, that many good recordings shine with these marvellous speakers. But they have to be driven by the quality sound of Conrad Johnson. Here they really outperforms their best.
There are some good recordings for voice like Jacintah and Lyn Stanley. You might like to try these ones too.
The results are a inner detail that I have listen through any other speakers, the capable to play to a live level, and giving so much detail and stage, that you feel that you are there...yes, they truly are a fantastic speakers.
I went back with the switches to the original position, and of course the sound is great! I think that this little bump at this lower midrange is for just forward a little bit the main artist...it is a matter of liking too. Will not harm is you use it or not.
Happy listening!
ML CLX BF-210 Stage X Motion 4. CJ 120SE amp ET7V2 pre, Holo May Kte Dac. Mac Pro. Power Cond. BPT Signature+ 3.5, Gaia II Feet. USB Lush^V3. Nordost SPM IC and Spk. Shun Mook, BCanto CD2 CD3. Linn LP-12/Unitrack tonearm/Denon DL103R MC.
Re: The Martin Logan CLX's, a true work of Art!
I agree that large monoblocks are unneeded. I first heard the Ren15A in 2015 at an audio show driven by those huge McIntosh 2000 watt monoblocks and in retrospect, the speakers actually sounded terrible. 2016, this same dealer brought the Neoliths to the show--same amps, same terrible sound, and they also felt the need to turn those way up to a deafening level, as if to prove stats could get louder. I rarely ever complain, yet this time I let them know how disappointing their sound and volume was as I walked out. What gets me, too, is how ML's own reps were in that same room! Do they not hear how bad those monoblocks and electronics sounded through that system?
Down the hall, a different dealer came with the Ren15A and Constellation electronics. Not sure what the power was, but it didn't matter--it sounded like music. I was seriously thinking ML had lost their way! Nobody at the show has done a demo with a tube amp, though, and C-J only had representation in one room out of hundreds.
This year I didn't even visit that first dealer's room, yet I revisited the Constellation system and sat for a while just soaking up the tunes.
Congrats on those CLXes! Wow...you lucky (Big) Dog!
C-J PV-14L/C-J Premier 11/Martin Logan Spires/PS Audio DirectStream Jr./PS Audio AirLens
Technics SL-1210G/Nagaoka MP500/Dynavector XX2 Mk. II/SweetVinyl SugarCube/C-J EV-1
Technics SL-1210G/Nagaoka MP500/Dynavector XX2 Mk. II/SweetVinyl SugarCube/C-J EV-1
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Big Dog RJ
- Ultimate
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- Joined: Sun Sep 07, 2014 6:30 am
- Location: Melbourne, Australia
Re: The Martin Logan CLX's, a true work of Art!
G'day Wildcat,
Yes, I can see where the problem/s arise when wonderful speaker systems are driven with the wrong type of gear, and would sound just awful... The fact of the matter is, most of this has now gone seriously commercial with a lot of payouts plus politics linked down the chain... Hence, sometimes the actual manufacturers don't really have a choice as the end of the day.
McIntosh is now quite a large outfit, employing a big staff, which was not the case few decades ago or compared to the majority of high end audio companies still in existence. This is another reason why those who are very passionate about what they design and create, are not given a free hand to run things the way they would prefer, hence they pack up and leave! And start up their own thing.
This is another huge reason why I didn't settle for that mighty MC452 SS power beast! Although it did have its own merits and quite a smooth sound to it, which seemed rather effortless when driving my previous Quads, it is simply no where close to the CJ monoblocks whatsoever or may I add, not close anywhere to CJ amplification -period!
I'm very glad I didn't go there, if I had what a disappointment that would have been.
The system is settling in very nicely now, especially the CLX's driven by the LP125m's, and the most significant improvement overall, has been the replacement tubes on the 6922 driver/ phase inverter tubes, which I changed over to the Genalex Gold Lion's, they're superb!
Thanks and cheers for the message. I worked really hard to get those CLX's and at one point I thought it was going to never happen as I had a glimpse of the price hike leading up to 2019... But then opportunity struck, and I was very lucky enough to close a great trade-in deal for my previous Ethos speakers, and so I just had to close.
The new owner of my Ethos is driving them with a Premier 11A, and absolutely loves them! I can certainly understand why.
Cheers mate and have a good one, RJ
Yes, I can see where the problem/s arise when wonderful speaker systems are driven with the wrong type of gear, and would sound just awful... The fact of the matter is, most of this has now gone seriously commercial with a lot of payouts plus politics linked down the chain... Hence, sometimes the actual manufacturers don't really have a choice as the end of the day.
McIntosh is now quite a large outfit, employing a big staff, which was not the case few decades ago or compared to the majority of high end audio companies still in existence. This is another reason why those who are very passionate about what they design and create, are not given a free hand to run things the way they would prefer, hence they pack up and leave! And start up their own thing.
This is another huge reason why I didn't settle for that mighty MC452 SS power beast! Although it did have its own merits and quite a smooth sound to it, which seemed rather effortless when driving my previous Quads, it is simply no where close to the CJ monoblocks whatsoever or may I add, not close anywhere to CJ amplification -period!
I'm very glad I didn't go there, if I had what a disappointment that would have been.
The system is settling in very nicely now, especially the CLX's driven by the LP125m's, and the most significant improvement overall, has been the replacement tubes on the 6922 driver/ phase inverter tubes, which I changed over to the Genalex Gold Lion's, they're superb!
Thanks and cheers for the message. I worked really hard to get those CLX's and at one point I thought it was going to never happen as I had a glimpse of the price hike leading up to 2019... But then opportunity struck, and I was very lucky enough to close a great trade-in deal for my previous Ethos speakers, and so I just had to close.
The new owner of my Ethos is driving them with a Premier 11A, and absolutely loves them! I can certainly understand why.
Cheers mate and have a good one, RJ