MiT CvT Terminator interconnects
The quest for the perfect connections may well end here for some.
THIS journey started more than a year ago when I had put together a system that embodied many elements I deem mandatory for my musical enjoyment.
Once the components were in place, I began fine-tuning various parameters; this included finding cables and interconnects that would stay out of the way sonically.
Not being a great believer in dropping a king’s ransom on wires, I mixed and matched a variety of modestly-priced cables and interconnects. Some did less sonic damage to my set-up than others and along the way, I also sampled some exotic bling that made little economic sense. Then, I got hold of some wires from Music Interface Technologies, better known as MIT.
The veteran American company makes no bones about this – metal wires have fundamental flaws and won’t effect the perfect signal transfer. The trick, in the world according to MIT, is to passively “fool” wires into becoming better conductors, and this is done in parallel mode without impinging on a cable’s electrical properties.
Thus, those “network” boxes you see dangling off the ends of most MIT cables and interconnects. What finally went into this review were the CVT Terminator 1 and CVT Terminator 2.
These wires feature trickle-down technology from MIT’s reference range. The term “hybrid technology” is used to describe the science behind them. Basically, there are different elements at work here – one, the modules at the output end of the terminals; two, the network boxes designed to integrate with the modules to widen the articulation bandwidth of the earlier Terminator designs; and three, the CVT coupler modules at the input end of the wires that control energy reflecting back at the source.
MIT uses what it calls “articulation poles/ points” to control energy reflection at the input stage while increasing the bandwidth of articulation at the output – the costlier the model, the more articulation devices in the network. Cynics may want to refer to a past issue of
The Absolute Sound, when MIT’s flagship Oracle wires were dissected to reveal the complex innards of the network box.
One would assume that well-constructed wire is used, differing only in gauge through the range. MIT doesn’t make any effort to “sell” you the cable or interconnect; the addon stuff is what the salesman will pitch to any potential customer.
The Terminator 1 interconnects, being the costlier ones, have 12 articulation poles, while the Terminator 2 has eight and uses smaller gauge wire. I was able to procure only a single-wire pair of the Terminator 2 speaker cables, which has 15 such points.
The loom effect?
When I started on this quest, I was using a McIntosh C220 preamp with an MC-402 power amp, Bluenote Stibbert CD player (all three balanced), a mix of cables and interconnects, and Magnepan MG1.6 speakers.
The first step was a pair of Terminator 2 XLR interconnects between the source and preamp, when I heard some interesting results – the sound seemed a degree more spacious without losing urgency and with improved clarity.
Over days (MIT insists you will notice the most dramatic improvements after 48 hours, but settling in takes a couple of hundred), these enhancements became more obvious, and then, I placed another pair of Terminator 2 XLRs between preamp and power amp. This time, there was again marked improvement in the areas described above, and I felt I was finally getting somewhere.
The most significant step up came when I procured the Terminator 2 cables to hook the power amp to the speakers – now, everything in the chain seemed to breathe more naturally and easily, and additionally, the bass had significantly greater impact and depth, with no tradeoff in dynamics or speed.
This, perhaps, was the “cable loom” effect showing up, when all connecting wires in a system are cut from the same cloth.
Then, earlier this year, some necessary system changes were effected, and I moved from a balanced to single-ended system. The XLRs went back, and this time, I procured the Terminator 2 and Terminator 1 interconnects (the “2” cables remained), to link the resident Ayon CD-07 CD player to Odyssey Tempest 2/ Khartago Extreme SE pre-power amps and the Maggies.
Again, after making comparisons with other wires I had around, I found the MITs delivering similar results – the “1”, naturally, showed slightly better resolving capabilities and drive than the “2”.
Currently, I’m using the “2” speaker cables, along with the “1” for pre-power and sourcepre linkage, along with a “2” for my turntable. It appears that, unlike some brands I’ve tried, a loom of MIT wires in your system can only be a good thing – instruments took on more natural and neutral textures, vocals had more presence and definition, and the attack of percussive instruments oozed with a sense of realism I’ve seldom heard even in costlier cables. They may be smoother or richer in texture, yes, but the MITs showed more bite and boldness, along with the ability to articulate subtler nuances more realistically.
The bolder and more articulate sound overall, along with the level of resolution and transparency when all these MIT wires were used together, sealed the deal for me.
My recommendation is to use a whole set of MIT wires if you intend going this way; then, the full potential of your system will be unlocked.
Start with the “2” cables for the most dramatic step up; after these, the interconnects can only heighten the sense of musicality and realism.
I’m not saying there aren’t better wires in the market ... but I’ve found mine.
Honest hybrid: MIT’s CVT Terminator 1 and 2 interconnects, sporting ‘hybrid’ technology.
Bold sound: The MIT CVT Terminator 2 speaker cables let nothing stand in their way.