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planar speakers use different methodologies to achieve their results.
For example in my home speakers, ML CLS IIs, there are no crossovers because there is only one membrane. All of this is visible, as is the fact that when force air hits a certain part of the membrane, certain tones are given off, sort of like the well known effect of "playing glasses or bottles" that produce different tones because of their different volumes. In this regard, electrostatics in particular are often held up as being superior at the microdynamics end of the continuum.
I presume that the very low mass of these speakers also has something to do with this, just as it effects the perceived transient response of instruments such plucked guitar strings, drums, and in gerneral the sound reeproduced by most percussive instruments, including the piano, of course.
That said, I know from both visual inspection and reading some of the company's literature that the energized membrane is actually divided into 12 sections (10 along the main vertical array and 2 full length sections running the total 48" length of the panels) which are designed to handle different portions of the frequency spectrum, and what the company refers to as some.
I don't profess to be an expert on how speakers technically replicate fortissimos or pianissimos, which are often associated with different instruments (e.g. I don't think that anybody would claim that a piccolo can play as loudly as a piano), but obviously most speaker evaluations that I have read to consider the ability of the speaker to handle what are often called microdynamics (small level signals) as well as macrodynamics (largre level signals) as part of their overall evaluation.type of "damping material" is used between them.

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some advices on stage sound:
using isolating Sennheiser HD-280 headphones because the stage volume can get out of control

This is a problem and it's one that sould be solved. When the stage volume gets out of control, the house sound suffers both acoustically and because the musicians get distracted and aren't playing as well as they could. Headphones aren't the solution, unless everyone is wearing them (which puts the stage volume well under control).

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The engineer should be mixing the house so that it sounds right no matter what the band is doing (within reason, of course). He should also understand what changes need to be made in the monitor mix when, for instance, the acoustic guitar player who's just played finger style picks up his bagpipes and puts them in front of his guitar mic. This is why you have (in order of effectiveness) rehearsals with a sound system and engineer, a sound check before the show, a set list with cues where changes to the mix will be required, and an engineer who's paying attention. When something is blasting out in the mix, the engineer shouldn't need to be told by a musician on stage to turn it down.

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