Maintaining the integrity of an audio signal - from recording through playback - necessitates examining what MIT refers to as the “chain of custody”. This includes preserving audible details resulting from factors such as the original master recording format, how the material was mixed and mastered, and in what format the end user is using for playback. The interconnect interface plays a critical role in the chain of custody, as it transports the musical signal from the earliest connecting point in the playback system. Proper design of interfaces used early in the signal chain is particularly challenging. Equipment manufacturers often employ input and output impedances unique to them, while components may be inserted in the signal chain without corresponding impedances being considered. Non-linearities caused by this “mixing-and-matching” process of system building can seduce audiophiles into “EQ-ing” their system by selecting components to compensate for perceived audible shortcomings in one component or another, and thereby compromising the entire system’s chain of custody. The engineers at MIT Cables understand that any piece of music is formed on a foundation built from the percussion and bass instruments. Our new SHD interconnect works to control and properly interface the lowest of the bass regions, right from the start at your source. The SHD interconnect allows your system to articulate down to 10hz, well below the lowest note of a typical recording. This lowest region of the audio spectrum is an area not previously addressed by any interconnects, from MIT or otherwise. The SHD interconnect excels at maintaining the timbre of the individual building blocks of the musical foundation of the recording - the percussion and bass instruments–allowing
your system to reveal the true textures of a musical piece from its foundation, on up. By controlling articulation from 10 Hz up through the critical middle C region and beyond, the natural harmonics of the percussion and bass instruments are maintained in their original and proper relation to their fundamental notes. This results in the timbre and textures of the rhythm section being faithfully presented as a whole. It is these critically essential textures that allow a system to recreate the layering of instruments within the soundstage–the ultimate end game in high-end audio, so sought after by audiophiles. When the foundation of the soundstage is properly formed through our SHD technology, higher frequency information can work to paint and suspend seemingly solid images within this space. With SHD , even the lowest notes become directional, presenting the performance in a lifelike and visceral fashion. With the additional control provided by 15 additional articulation poles, the SHD interconnect works from the bottom up to carry timbre accuracy upward into the region of middle C. Note-perfect and always in control, SHD technology flawlessly transports the most minute threads of information to recreate musical textures, revealing details one would expect to hear in a live performance. By preserving delicate ambient reflections from surrounding ceilings, walls, and stage floors in the recording venue, SHD technology can deliver the most natural, enthralling listening experience ever thought possible.

New and exclusive to the SHD interconnects are dual articulation controls. The conventional A.A.R.M. (Adjustable Articulation Control Module) allows the listener to adjust for challenging room conditions, equipment changes, and sometimes software choices. There are cases where a recording may have such wonderful content that the listener truly loves the performance, but the flaws in the recording are so great that the additional articulation works to exacerbate these flaws. In this instance, one would reasonably “dial down” the articulation knob.

The second control, illustrated in the plot above, is an “in or out” switch. When the “In” position is activated, 15 additional poles of articulation are engaged, extending bass articulation down to frequencies as low as 10hz, as illustrated by the “LF Articulation 'In'” (green) bars on the chart. When the switch is engaged, it is possible that too much energy could be present in this region for certain systems. In the event that this is the case in your room, simply disengage the switch (“Out” position). Remember, trust your ears!