2 x 3,2 metra biwire, ogólnie jakośc dzwięku doskonała , czystość, tempo, scena wszystko , więcej można poczytać na stereophile (recenzja razem z intrekonektem MIT 330) kabel specjalnie zaterminowany do końcówek mocy i wzmacniaczy z pojedynczym terminalem dla właścicieli kolumn z podwójnym jedyne rozwiązanie na znaczną poprawę dźwięku przy pomocy kabla, różnica wyraźnie słyszalna , poprawia sie • rozdzielczość , • lokalizacja źródeł i • scena dźwiękowa , • jakby się wydało dodatkowe kilkadziesiąt tysięcy na sprzęt ja używałem do krella i audio resercha , połaczenie z Proackiem 3,8 i piega P10 rewelacyjne , raczej do dużych wzmacniaczy i kolumn (z małymi nie słuchałem) rekomendowany sprzęt przez sterephile, cena w USA (biwire) za wersję krótszą 1500 USD, w Europie było drożej sprzedaję bo zmieniłem mieszkanie i trochę nie mam jak ich schować, no i kolumny musiałem zmienić na mniejsze za stereophile:"But can good sound be "engineered in" with respect to cables? First off, the MIT wires were a key, constant component of the Thiel/Wadia/Levinson system, and all of the superlatives I've lavished on the system and other components apply equally to the cables. The system's spectacular strengths—tonal purity, precision, a huge soundstage, holographic detail and ambience recovery, and dense, dimensional images—were all shared and enhanced by the MITs. Whenever I would swap in another cable, I would immediately notice a loss in the system's temporal and spatial precision. The edges of images would be slightly blurred, as would the detail and textures within the image itself. Microdynamic transients would fade away into a slightly grainy background, and larger transients—a sharp rim shot or explosive acoustic guitar chop, for example—sounded slightly ragged. Reinstalling the MITs instantly cleaned up the transients, erased the grainy background texture, and sharpened the detail. The MIT cables also excelled at image and soundstage reproduction. They filled in images beautifully, making them more solid and tangible, and both dimensionality and edge definition were excellent. The sides of images seemed more real, and to stretch farther back than with other cables. Other cables had dimensionality and depth, but with the MITs, it really seemed as if I could have reached out and grabbed a singer's head, or got up and walked around between the orchestra's sections. The MITs also seemed to open up the spaces between images more than other cables, and to move the boundaries of the soundstage a bit farther outward. I didn't specifically notice a lowering of the noise floor with the MITs, but low-level details—subtle ambient information and minute spatial cues that located and described the hall boundaries—were more apparent. Although the background noise didn't noticeably rise with other cables, the subtleties were gone, as was a bit of depth, width, and air. "