MIT MasterClass cables

Master-Class Audiophile cables with exclusive "Poles of Articulation"
More than "just cables": What's the difference with MIT Cables ? It's the difference between an audio cable and an audio interface.

MIT Cables' core audio cable technology is our exclusive Poles of Articulation, named after the fact that every audio cable has a single point where it is most efficient at storing and transporting energy. At this point in the audio frequency spectrum, the cable will articulate best, and represents the cables' particular Articulation Pole. Utilising our Poles of Articulation, we can provide levels of performance for each listener’s needs, from our latest and most advanced ACC 268 (Articulation Control Console) providing the most ethereal level of sonic experience - "Stratospheric" as penned by Robert Harley of The Absolute Sound, the heralded Oracle Series of interfaces for ultimate experience for 17 years, the SL-Matrix series of audio interfaces offering our legendary High End performance distilled down to more reasonable price points, the StyleLine series of interfaces for the budget-minded audiophile, and now the Heritage Series comprised of two categories - 2C3D Level 1,2, and 3 and the EVO One, Two, and Three. 

What are the differences between MIT’s MA (Maximum Articulation) cables, sold through our  "brick & mortar dealer network, and our 2C3D (2 Channel 3 Dimensional) cables, are available as limited production products. We offer the following to lend clarification: 

2C3D Series
2C3D is a technology pioneered by Bruce Brisson of MIT Cables. As the name suggests, 2C3D was engineered to create a believable three dimensional soundstage from a two channel system. The 2C3D technology offers the optimal balance between detail, imaging and soundstage. 2C3D makes it easy to identify each of the individual instruments and voices within a well defined soundstage, at any volume level. The 2C3D product line includes all series one, series two (Oracle V1.2, for example) and Generation 3 (Shotgun S1.3, for example), series 5 (Shotgun S3.5 for example), speaker cables and interconnects. 

MA, HD, and SHD Series
MA, HD, and SHD technology takes the 2C3D technology to a different performance level. While the MA, HD, and SHD offers a similar balance between detail, imaging and sound staging, it is designed to focus more on timbre and texture. Timbre simply describes the quality of a sound as defined by its harmonics, inharmonics and overtones. Also, timbre is sometimes defined as tone color, but tone is better defined as pitch. Texture would describe the layering of sounds on top of each other. More harmonics would mean that more layers (texture) can be recognized. The Maximum Articulation networks create a sense of being in the same “air space” as the live performance, as compared to being able to “see” the images in a high definition format. MIT accomplishes this by placing articulation along the audio bandwidth for the purpose of controlling and preserving more of the harmonic structure. 

Comparison
2C3D: Imagine yourself in the back row of an auditorium listening to your favorite piece of live music. 2C3D technology effectively picks you up and places you right in the exact sweet spot of the auditorium. You are then able to perfectly experience the directionality and dimensionality of the performance. This is the 2C3D experience. 

Maximum Articulation: imagine standing up and walking directly onto the front of the stage, with the band. Along with a three dimensional soundstage that is in front of you, the soundstage now feels much closer to you because every instrument and every voice has full timbre and texture . This is the MA experience. 

Which is better? Like most things, the answer to that question is entirely subjective. Some audiophiles report that they enjoy the 2C3D image because it more closely resembles listening to music at a live venue. Others, however, report that the MA image is so liquid and enveloping, that they feel more like part of the performance. So, you can be in the audience watching and listening, or part of the performance as it is unfolding!

"Let us help you make the most of your Audio comonents!" ........Bruce Brisson,  Founder & CEO of MIT

A History of MIT Cables
The Oracle MA line: the pinnacle of MIT Multipole Technology

Bruce Brisson began designing audio cables in the 1970’s after “hearing” the sonic problems inherent in typical audio cables of the day. In 1981 he licensed the first of many of his designs and patents to Monster Cable. Many of Monster’s products are still using his designs today (“Bandwidth Balanced”, “Phase Correct” windings, “Time Coherent windings, for example), and have become some of Monster’s most enduring and successful products. In 1984, he founded Music Interface Technologies (MIT), which as been a leading force in the research design, and manufacturing of high performance audio, video and AC cables ever since. Using his patented Varilay designs, Brisson designed MI-330 interconnect, Music Hose Speaker cable (MH-750), and the now legendary 330-Shotgun and 750-Shotgun cables. With these designs, Brisson had taken wire to a new level, but he wanted even greater performance to complement the emerging sophistication of other audio components. In 1989, he created the low-pass filter network concept, designing the patented CVT® and Terminator™ technologies that are contained in the distinctive modules for which all MIT products are known.

These technologies have excellent measured performance because they control the efficiency of the network throughout the entire audio range, allowing the the entire music signal to pass throughout the system with minimal distortion.

Since forming MIT, Brisson has also designed or manufactured technologies for many other well know audio companies, such as Spectral Audio, Inc., Jeff Rowland Design Group, Wilson Audio Specialties, Martin Logan Electrostatic Loudspeakers and Goldmund Audio. MIT products are used in many recording studios and have become crucial components in many Hollywood production facilities (see MIT “At the Movies” about our association with Skywalker Sound). If you have listened to a hit record or attended a hit movie within the last decade, you have undoubtedly heard many of our products.

Quantifying the Performance— Hearing the Technology

A key element that was always missing when discussing the performance of audio and video cable was the ability to quantify performance through test results. In 1992, after years of R&D, MIT announced the development of the Efficiency Scale, a test and measurement program that correlates sonic qualities of cable with test-bench performance. Using proprietary software designed by MIT in conjunction with Hewlett-Packard, MIT was now able to measure a network's complex impedance, including its phase, and calculate its in-phase power and losses. These are the very factors that show how efficiently a given audio network or cable will pass the music signal from input to output. MIT was able to combine these results into a single graph to characterize and correlate a network's sonic performance to what the ear hears, something no other cable company has the ability to do.

Articulation and Multipole™ Technology

Multipole networks are wired in parallel, passively correcting the problems that are inherent with ordinary cable designs.

All cables have one ideal area where the capacitance, inductance and resistance are balanced for proper articulation. This describes a single-pole of articulation. With Multipole networks, MIT can create additional poles (within the cable) for ideal behavior over a broader range than “just cable.” With the advent of new micro-componentry, MIT can now provide improved performance without increasing package size for ease of installation. Think of it as getting the best part of multiple cables, all in one sleek package.

Multipole Technology

Every audio cable, no matter the manufacturer, has a point along the audio bandwidth where the relationship of capacitance and inductance is most efficient at storing energy. We refer to this point of efficiency as an Articulation Pole. Electrically, articulation is a measure of the efficiency of a cable or network to store energy and transport power. This transportable power is used to move the speaker and produce sound. The more efficiently the energy is stored and then transported, the more natural the sound will be. 

A cable that has its Articulation Pole tuned to a high frequency is described by audiophiles as “bright” or “fast.” Conversely, a cable that has its Articulation Pole tuned to a lower frequency would be described by audiophiles as “muddy” or “veiled.” MIT Cables’ interfaces are engineered to have multiple Articulation Poles. 

Theoretically, if you could use three different cables at the same time, each with a different Articulation Pole, to interconnect two audio components together, you would have an interface with three Articulation Poles; one for the highs, one for the mids, and one for the lows. Together, they would work to transport the audio signal from component to component more efficiently, and with more articulation. This is what MIT Cables accomplishes with its patented technology, to a much greater extent, within each engineered interface. We call this Multipole Technology. The benefit is more lifelike vocals and instruments, mid and high frequencies become less bright or tiring, voices are clear and understandable, and bass frequencies become tight and deep. 

2C3D Hologram

2C3D, which is an acronym for "Two-Channel, Three-Dimension," is a technology pioneered by Bruce Brisson, founder of MIT Cables. 2C3D technology was engineered to create a believable three-dimensional soundstage from a two channel system. This technology offers the optimal balance between detail, imaging and a lifelike soundstage that has a true sense of "depth." 2C3D makes it easy to identify each of the individual instruments and voices within a soundstage that retains height, width and depth, at any volume level.

Imagine yourself in the back row of an auditorium listening to your favorite piece of live music. 2C3D technology effectively picks you up and places you right in the exact sweet spot of the auditorium. You are then able to perfectly experience the directionality and dimensionality of the performance. This is the 2C3D experience.

SIT - Stable Image Technology

Stable Image Technology means that the image will; both stay focused and stay in place within the soundstage, as well as not grow or shrink relative to other images, at any frequency or any power level. 

Stable Image Technology provides a focused image in size and location across the entire dynamic range. From the softest whisper to the most demanding crescendo.

JFA - Jitter Free Analog

Music signals continually move from positive voltage to negative voltage, over a given period of time. The point, at which they make that transition, is what is called the Zero Baseline.

Jitter Free Analog means; any jitter that is generated at the zero base line, as is found with ‘Just Cable’, is eliminated with JFA technology.

The big benefit is; JFA reduces all forms of extraneous noise produced by ‘Just Cable’ as the music signal periodically crosses the zero crossing point.

In other words, reducing jitter helps to reduce noise artifacts generated by a simple cable.

The results are; a blacker background is generated on which to paint the sonic picture. Proper timber is maintained, including all of the harmonic structure held within the complex tones envelope.

Also, reducing the extraneous noise, allows for a higher contrast between the various layers of textures, which now become much more etched or defined.

JFA II - Jitter Free Analog Second Generation

JFA II is an update designed to control a commonly misunderstood effect occurring in most audio systems. This effect is the result of an electrical event that causes the fundamental, or its harmonics, to quickly jitter or “shuttle” slightly within the sonic envelope. It’s perceived by the mind’s eye as a blur, or halo effect emanating from the sonic image. This phenomenon is damaging to articulation, timbre and the complex textures of music. With JFA II, low level detail is enhanced and spatial cues are believable. 

With the exquisite capabilities of the newest generation of dynamic transducers and newly emerging tweeter technologies, the positive effect of JFA II is particularly relevant. Above all, JFAII preserves an accurate, stable music signal. This technology benefits the system not only in the tonal realm, but also by allowing the system to create a stable image within and beyond the edges of the speakers and room.

JFA II circuitry is partially engaged without the 2C3D knob turned on. When you engage the 2C3D Knob, you fully engage JFA II. When you turn the 2C3D Knob to on; it engages new circuitry that we call JFA II. This circuitry works from approximately 80 Hz. to 800 Hz.

HD - High Definition

While MIT's "standard definition" is based on the patented "Multipole Technology" offering greatly improved transport of the audible music signals far better "than Just Cable", MIT developed a "High Definition" option attained by engaging F.A.T - Fractional Articulation Technology. F.A.T. retrieves information existing within the octaves of the musical signal.

SHD - Super High Definition

As presented above, activating "High Definition" by engaging F.A.T., switching to "Super High Definition" allows for retrieval of even more information within the octave, and also engages circuity for additional poles of articulation.

F.A.T. - Fractional Articulation Technology and SD, HD, and SHD Switching

Depending on the series of speaker interfaces, with the simple flip of a switch, you can move from "standard definition" to "high definition" to "super high definition" mode by activating Fractional Articulation Technology (F.A.T.). 

First introduced in our Maximum Articulation products in 2010,F.A.T. enables the interfaces to retrieve additional information that resides within each octave of the musical signal, forming individual images with crisp detail and without artificial hardness. Smooth and liquid from top to bottom, F.A.T. precisely extracts information lost by JUST cables, rendering incredible detail and solid image placement with more lifelike transients than ever thought possible. The result: improved timbre, texture and unparalleled detail, while preserving all of the delicate spatial information associated with 2C3D playback.

F.A.T. and the value of "2 Cents"

The philosopher Pythagoras is credited with discovering that musical harmony, or consonance comes when the ratio of musical frequencies consist of simple numbers. The story tells of the philosopher talking as he passed a blacksmith shop. While hearing the familiar sounds of ringing hammers he discovered that it was the weights of the hammers themselves that were responsible for the relative tones he heard. He was able to determine that a hammer weighing half as much as another sounded twice as high. This is an octave (2:1). A pair with a weight ratio of 3:2 (a fifth apart) sounded beautiful as well. He discovered that simple ratios made the most pleasing (consonant) sounds. 

The more simple the ratio between the harmonic and the fundamental, the more consonant the harmonic is. 

Music intervals and cents– 

A cent is a unit of measure used for musical intervals. In the western scale, an octave contains 1200 cents. Because each octave has twelve notes, the interval or space between each note is 100 cents*. Cents are often used to measure extremely fine intervals. It is commonly accepted that a person can detect a five to six cent interval. For example, if middle C on a piano lost its tuning to a degree of six cents, the human ear will detect that the key is out of tune, whether it is sharp (up) or flat (down). Most audiophiles are able to discern a two cent interval or less. This may be due to practice, hours spent listening to music, or it may be simply related to an individual’s "innate ability". This accounts for the ability of one person to detect the tiniest nuance in music while another person may not. Because of the audiophile’s acute ability to discern these minute differences between tones, extreme care must be given in the design and construction of an audio interface to ensure that the consonant intervals and all harmonics being optimized are done so within an exacting tolerance. This technology is only provided by MIT. 

MIT Z Filterpole Tchnology

The Z Series of power products from MIT uses patented parallel “AC Filterpoles”™; a tuned LCR technology. 

MIT Filterpole technology eliminates reflections by efficiently absorbing all forms of AC noise from the mains, and then converting it into harmless thermal heat. 

The result? Once the Z circuitry is working to clean, condition and protect your AV system, you will instantly enjoy “blacker” blacks, better color saturation, and increased shadow detail; movie sound tracks will deliver dialog, Foley sounds and background music with theater-like quality. Because your audio system now has a lowered noise floor, you will have pinpoint audio image placement within a lifelike soundstage, all with clear and authoritative bass. 

Power Factor Correction: Stops Energy Waste 

MIT's Z Stabilizer circuitry also provides "PFC" (Power Factor Correction), by controlling the phase angle of the inbound AC sine wave for maximum efficiency. 

With PFC you will: 
     use less energy for the same work
     prolong the life span of most electronic components 
     never limit your current flow

Clean power from MIT provides: 
     Greater Clarity
     Increased Contrast
     Enhanced Dynamics

What are MIT Filterpoles™? 

Poles of Attenuation (Referenced inThe Impedance Domain) A properly built AC filter will not only attenuate un-wanted noise on the AC power line, but it will also optimize the power factor. 

Power Factor is a (dimensionless) number between 0 and 1. When power factor is equal to 0, the energy flow is entirely reactive, and stored energy in the load returns to the source on each cycle. When the power factor is 1, all the energy supplied by the source is consumed by the load and nothing is reflected back to the source. MIT was awarded a patent on this technology regarding audio in July 13, 1993: number 5,227,962. 

The best way to attenuate unwanted noise is to create a very low impedance (a zero of impedance across the load which acts as an attenuation pole to the noise) surrounding the frequency (or frequencies) of the undesirable noise. In the case of audio, that would be at any frequency other than the power line frequency. This is best accomplished by placing a tuned circuit in parallel, around the load. MIT was awarded this patent on November 9, 1993: number 5,260,862. 

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Headphones & Headphone amps

MT 01 HA VERO50
NZ$ 5,250.00 ea (incl. GST)
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3 Watts of class AB power Silent Power™–Battery powered supply circuit for super low noise...
MT 03 HC VERO F
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MT 06 HC D600XLR
NZ$ 1,495.00 ea (incl. GST)

Interconnects

MT IC 2C3D L1 1R
NZ$ 12,995.00 pr (incl. GST)
Best of Class. Also based on original Oracle MA circuits and miniaturised by using “through hole” printed circuit boards with smaller parts. Features SHD, HD and 2C3D technology to match the Level 1...
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MT IC 2C3D L1 1X
NZ$ 12,995.00 pr (incl. GST)
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Speaker

MT SC 2C3D L1 2M
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MT SC 2C3D L1 3M
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MT SC 2C3D L1 4M
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