Now that's a good question Rob D, makes sense when you think about it. It would seem that the triple stators & double Mylar layout in the bass panels would be sturdier... i.e. having more steel as reinforced structural bracing... but I couldn't tell because the curved panels are so well made. Flawless design in the whole CLX's structure. They've thought of everything possible and it's very tricky to get all the elements right and in sync! From micro-perf stators, clear spars, triple stators, double diaphragms, carbon alloy frames, stainless steel locking collars, high quality parts, toroidal trannys for the mids&highs section, plus EI-Core trannys for the bass panels, plus beautiful real woods (not veneers!) Like I said, a true work of Art!
Anyhow... this is how it all started for me that is: Norman Brown. Going way back in Chicago, Naperville Sound Lab, called me up for their first audition on the SL3 's driven with a full line of Krell gear. I brought along this CD and everyone just sat there fully mesmerised for the whole session, some leaving way late as the store was closing. One couple bought the demo pair, and just plonking them into the boot of their car, drove off whiles it was snowing! Of course the SL3's were covered but a certain portion was actually sticking out...
I was still a Uni student back then completing my under-grad but I worked very hard (4 jobs) and graduated with a 3.7 GPA, and finally bought that very system! This was in 95/96 and worked my way from CLS-IIz, Ethos, Montis, ESL13A and finally the CLX Art. In between of course there have been many others, from Maggie's to Wilson's and Infinity's... but finally acquiring the CLX's in 2018, and that's it for me!
There's no other speaker I would rather own.
Cheers to ML and the work of Art they create!
WOOF!!! RJ
