The stage monitor plays a key role in creating an onstage environment that connects performers to the audience. Martin Audio’s first LE monitor led the way to become the industry standard in the early 1970s, and LE monitors have continued to make their presence felt in the decades since.
Complementing Martin Audio’s state-of-the-art, high-performance XE Series monitors, the latest LE Series now brings engineering innovation to everyday stage monitoring — delivering exceptional performance and controlled coverage at a price point not previously possible for a truly professional monitor.
Both the LE100 and the LE200 are designed for a wide range of users and applications — from up-and-coming bands and regional rental houses, to corporate AV events, HoW and fixed installations.
With extremely compact enclosures and unique CDD™ Coaxial Differential Dispersion technology, the LE Series monitors deliver cut-through sound with a coverage pattern that allows performers greater freedom of movement compared to conventional monitors. Instead of the typical ‘hot-spot’, they produce a near-rectangular coverage pattern over a listening plane at head-height — with a wide horizontal coverage close to the monitor that reduces gradually as distance increases to maintain consistent SPL and tonal balance.
Professional and affordable, the latest LE Series puts great sound, optimised coverage and the very latest in innovative monitor technology literally at your feet.
LE Series monitors feature Martin Audio’s unique, patented Coaxial Differential Dispersion drivers to deliver perfect monitor sound over a controlled area.
Coaxial Differential Dispersion technology combines the ‘point-source’ benefits and compact format of coaxial designs with the consistent coverage of Differential Dispersion technology.
Non-coaxial two-way monitors can suffer from uneven frequency response as the artist moves off-axis because the outputs of the LF and HF sections interfere with each other, causing cancellations off-axis, depending on the listening position. This is most noticeable close to the monitor in the all-important crossover region — which lies right in the middle of the vocal band.
In contrast, coaxial monitors can achieve ‘point-source’ summation of the LF and HF sections at all positions off-axis, even close-up. And, in terms of important practicalities, coaxial designs remove the need for left and right-handed versions and are inherently very compact.
Up to now, a significant disadvantage of conventional coaxial devices has been high frequency beaming — where the high frequency dispersion reduces as the frequency increases. This is primarily because conventional coaxial devices channel high frequencies through a narrow tube in the pole-piece of the magnet system. LE Series coaxial drivers overcome this by incorporating an innovative static waveguide that merges seamlessly with the unique cone shape — maintaining the dispersion pattern out to very high frequencies.
A Differential Dispersion horn has a 3D trapezoid dispersion pattern which distributes sound over a plane at the artist’s head-height more evenly than a system with a conventional, fixed-dispersion X° x Y° type horn, which produces an imperfect coverage pattern which misses out some areas — particularly either side off-axis close to the monitor.
LE Series monitors produce a well-defined coverage pattern at head-height with wide horizontal coverage when standing very close to the monitor. Further back, the dispersion progressively narrows, increasing the SPL to compensate for the increased distance from the monitor. The frequency response is unchanged, so the artist hears essentially the same sound balance and level wherever they stand within the coverage area. This consistency in frequency response and SPL — both close to the monitor and further back — is exceptional.
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