CINEMA u s e r ’ s c l i TM m a n u a l s e l e c t r o MA R T I N LOGA N ® s t a t i c
CONTENTS & INTRODUCTION Contents Contents & Introduction . . . . . . . . . . . . . . . . . . . . . . . . .2 Contents Introduction Installation in Brief . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Low-Voltage Power Connection Signal Connection Using Only One Power Supply . . . . . . . . . . . . . . . . . . .5 Break-In Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
INSTALLATION IN BRIEF Installation in Brief We know you are eager to hear your new Cinema i center channel, so this section is provided to allow fast and easy set up. Once you have it operational, please take the time to read, in depth, the rest of the information in this manual. It will give you perspective on how to attain the greatest possible performance from this most exacting transducer.
OPERATION Low-Voltage Power Connection Your Cinema i speaker uses an external low-voltage power supply to energize its electrostatic panel. For this reason the proper low-voltage power supply is provided. The power supply should be firmly inserted into the ‘Power In’ receptacle on the rear connection panel of the speaker, then to any convenient AC wall outlet (see figure 1).
Using Only One Power Supply We also recommend, if possible, that short runs of speaker cable connect the power amplifier and speaker and that high quality long interconnect cables be used to connect the preamplifier and power amplifier. This results in the power amplifiers being close to the speakers, which may be practically or cosmetically difficult, but if the length of the speaker cables can be reduced to a few meters, sonic advantages may be obtained.
INSTALLATION Using the Adjustable Stand For optimum performance the Cinema i must be tilted on its stand towards the main listening position and directed towards the audience’s ears (see figure 4). After you have placed your Cinema i in its final location, support the speaker with one hand and slightly loosen the large knobs with the other hand. Tilt the Cinema i to the desired angle and securely tighten each knob.
Removing the Stand NOTE: The Cinema i is intended for use with its stand attached in almost all installation options. Stand removal instructions are provided in case you are using a custom installation that does not require the use of the stand.
Mounting the Cinema i On A Wall 1 Prepare a flat surface with padding and sheets to protect the Cinema i as you work on it. Disconnect any wires and carefully place the Cinema i upside down on the work surface, using books or pieces of cardboard to keep the speaker from rocking. 2 Line up the 6 holes on the metal brackets (3 per side) with the threaded inserts on the bottom of the Cinema i (figure 6, step A).
3 Using a 5/ 32” Allen tool remove the 6 allen bolts that attach the stand, 3 each side (figure 7, step B). 4 Remove the stand (figure 7, step C). 5 Unscrew the two large knobs and remove the center part of the stand. Set the 2 bolts, 2 rubber washers, 2 plastic washers and the large knobs nearby (figure 8, step D). 6 Locate and mark the center point where you would like the top of the Cinema i. Measure 17 inches horizontally in each direction from the center point.
Remove the Cinema i stand from the wall and prepare the wall at each of the 5 marks using the procedure described in step 7 (figure 12, step I). 11 With the help of an assistant, place the center part of the stand against the wall and attach it using the (6) 1“ Phillips head screws. Tighten the screws but be very careful not to over tighten them and strip out the wall or wall anchors (figure 13, step J).
DISPERSION INTERACTIONS Controlled Horizontal Dispersion The concave electrostatic panel launches a 30 degree dispersion pattern when viewed from above. The sound waves focus in front of the speaker and diverge much like a lens would cause light to focus and diverge. This horizontal dispersion field operates in the same manner as our traditional curvilinear line source (CLS) technology, giving you a choice of good seats for the performance while minimizing interaction with side walls (see figure 16).
Three Major Types of Dispersion In the field of loudspeaker design, it is a known fact that as the sound wave becomes progressively smaller than the transducer producing it, the dispersion of that wave becomes more and more narrow, or directional. This fact occurs as long as the transducer is a flat surface. Large flat panel speakers exhibit venetian blind effects due to this phenomenon. This is why most manufacturers opt for small drivers (i.e.
HOME THEATER Home Theater It had long been the practice of stereo buffs to connect their television to a stereo system. The advantage was the use of the larger speakers and more powerful amplifier of the stereo system. Even though the sound was greatly improved, it was still mono and limited by the broadcast signal. In the late 1970’s and early 1980’s two new home movie formats became widely available to the public: VCR and laser disc.
ELECTROSTATIC ADVANTAGES Electrostatic Advantages How can sound be reproduced by something that you are able to see through? Electrostatic energy makes this possible. Where the world of traditional loudspeaker technology deals with cones, domes, diaphragms and ribbons that are moved with magnetism, the world of electrostatic loudspeakers deals with charged electrons attracting and repelling each other. To fully understand the electrostatic concept, some background information will be helpful.
MARTINLOGAN EXCLUSIVES Curvilinear Line Source (CLSTM) Since the beginning of audio, achieving smooth dispersion has been a problem for all loudspeaker designers. Large panel transducers present even more of a challenge because the larger the panel, the more directional the dispersion pattern becomes. Full range electrostats have long been one of the most problematic transducers because they attain their full range capabilities via a large surface area.
ELECTROSTATIC LOUDSPEAKER HISTORY ESL History In the late 1800s, any loudspeaker was considered exotic. Today, most of us take the wonders of sound reproduction for granted. It was 1880 before Thomas Edison had invented the first phonograph. This was a horn-loaded diaphragm that was excited by a playback stylus. In 1898, Sir Oliver Lodge invented a cone loudspeaker, which he referred to as a “bellowing telephone”, that was very similar to the conventional cone loudspeaker drivers that we know today.
developing a better instrument for testing microphone arrays. The test instrument needed an extremely accurate speaker, but Janszen found that the cone speakers of the period were too nonlinear in phase and amplitude response to meet his criteria. Janszen believed that electrostats were inherently more linear than cones, so he built a model using a thin plastic diaphragm treated with a conductive coating. This model confirmed Janszen’s beliefs, for it exhibited remarkable phase and amplitude linearity.
FREQUENTLY ASKED QUESTIONS Frequently Asked Questions How do I clean my speakers? Just use a dust free cloth or a soft brush to remove the dust from your speakers. We recommend a specialty cloth (available at the Xtatic shop at www.martinlogan.com) that cleans your speakers better than anything else we have tried. Do not spray any kind of cleaning agent on or in close proximity to the electrostatic element.
Will excessive smoke or dust cause any problems with my electrostatic speakers? Exposure to excessive contaminants such as smoke or dust may potentially affect the performance of the electrostatic membrane, and may cause discoloration of the diaphragm membrane. When not in use for extended periods, you should unplug the speakers and cover them with the plastic bags in which the speakers were originally packed. It is a good idea to vacuum the electrostatic portion of each speaker once or twice a year.
TROUBLESHOOTING Troubleshooting No Output • Check that all your system components are turned on. • Check your speaker wires and connections. • Check all interconnecting cables. Weak Output from Electrostatic Panel, Loss of Highs • Check the power cord. Is it properly connected to the speaker and to the wall? • Is the power cord connected to a switched outlet? • Dirt and dust may need to be vacuumed off. Please see the FAQ regarding vacuuming.
GENERAL INFORMATION Specifications The Cinema i hybrid speaker system consists of a broadrange single element electrostatic transducer integrated with a quick-response woofer. This approach takes advantage of the benefits that both technologies have to offer. Dispersion is a controlled 30 degrees. This was achieved by curving the electrostatic transducer element itself, an elegantly simple solution. System Frequency Response 80–20,000 Hz ± 3 dB Sensitivity 89 dB/2.83 volts/meter Impedance 6 ohms, 3.
GLOSSARY OF AUDIO TERMS Glossary of Audio Terms AC. Abbreviation for alternating current. DC. Abbreviation for direct current. Active crossover. Uses active devices (transistors, ICs, tubes) and some form of power supply to operate. Diffraction. The breaking up of a sound wave caused by some type of mechanical interference such as a cabinet edge, grill frame or other similar object. Amplitude. The extreme range of a signal. Usually measured from the average to the extreme. Arc.
Inductance. The property of an electrical circuit by which a varying current in it produces a varying magnetic field that introduces voltages in the same circuit or in a nearby circuit. It is measured in henrys. Inductor. A device designed primarily to introduce inductance into an electrical circuit. Sometimes called a choke or coil. Linearity. The extent to which any signal handling process is accomplished without amplitude distortion. Midrange. The middle frequencies where the ear is the most sensitive.
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