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SL-MatrixTM 70s&36i

Audio Interfaces

The relative strength of harmonics relative to a note’s fundamental frequency is what gives each instrument its characteristic tonal color. SL-Matrix 70 speaker interface and SL-Matrix 36 audio interfaces feature Poles of Articulation optimized through all ten audible octaves, centered about the central frequency of all Western music (A4 = 440 Hz). The SL-Matrix 70 speaker interface and SL-Matrix 36 audio interfaces then add numerous harmonics to each octave in proper proportion according to the physics of music. When multiple instru- ments are played together, accurate timbre for each is what develops

musical density and texture, easily heard in live performances but very difficult to recreate with a music system. By reproducing at least seven harmonics in accurate balance, the timbre of each instrument can be completely realistically portrayed. When the highest frequencies are aligned in correct amplitude and time, the imaging and soundstage cues snap into focus and the recording setup and environment are clearly delineated in space.

The SL-Matrix 70/36 Series were designed together to be a synergistic pairing to bring you much more of the music present in your recordings. Compared to ‘just cable’, you’ll hear a richer, more dense texture in musi- cal pieces, revealing a properly layered presentation.

Close-up of the SL-Matrix 36 audio interconnect with adjustable impedance switching

36X Like 36x the Performance of Just Cable!

SL-Matrix 36 audio interconnect

70X Like 70x the Performance of Just Cable!

Proudly

Engineered

and

Made in the USA

Protected by U.S. Patent Nos. 5,956,410; 6,658,119; 7,242,780

SL-Matrix 70 Speaker Interface

MIT

Proudly Engineered and Made in the USA

Proudly Engineered in the USA

Proudly Engineered in
the USA

® MIT

products are manufactured and sold exclusively by CVTL, Inc.

®

Music Interface TechnologiesTM

Pro Engi

a

Ma the

n d

MIT MultipoleTM Technology Explained

MIT Cables founder Bruce Brisson began purposefully designing audio cables in the 1970’s after encountering the sonic problems inherent in cables typical of the day. He later founded Music Interface Technologies in 1984 after patenting and licensing his early designs to other manufacturers, producing some of the audio industry’s most ground-breaking and seminal products.

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

MultipoleTM at storing and transporting energy. At this point in the tECHNOLOGY audio frequency spectrum, the cable will articulate best,

and represents the cables’ particular Articulation Pole.

Graph A: Represents the bandwidth of the audible range of the human ear. We will use this graph to describe how well a cable articulates across the audible bandwidth. The 50% line serves as our baseline for articulation response.

Graph B: This articulation plot describes an example cable that has its Articulation Pole tuned to a high frequency, described by audio- philes 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 optimized for the lows, mids, and highs.

Our Poles of Articulation synergistically work together to transport the audio signal with a more even response than just a single cable, as if multiple cables are being used together.

Graph C: The plot to the right is a conceptual illustration showing how Multipole technology works synergistically throughout the audio spectrum. Poles A & B provide an area of better bass, Poles C & D provide an area of better midrange, and Poles E & F provide an area of better highs. Together, they provide controlled bass, and smoother, more extended highs along with a lower noise floor –“like multiple cables in one!”

When choosing an interface, look for the Multipole Technology logo with the performance rating indicating the number of Poles of Articu- lation in each product. This simple feature will help you select the correct performance level for any system, with complete confidence and accuracy.

MultipoleTM technology. It’s like having multiple cables in one!TMTM

MIT

Music Interface TechnologiesTM

A

60

50 40 30 20 10

0 -10

20 Hz Audible Range of the Human Ear

20 kHz

Over-Articulating

IDEAL

EAL

Ideal Articu

Under-Artic

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Area of

ulating

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Area of Better Midrange

Frequency (Hz)

Area

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50 ID

BASS

MIDRANGE

TREBLE

B

60

50 40 30 20 10

0 -10

20 Hz Audible Range of the Human Ear

20 kHz

Over-Articulating

IDEAL

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Ideal Articul

Under-Artic

ation

Area of

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Better Bass

Area of Better Midrange

Frequency (Hz)

1x

Area

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50 ID

BASS

MIDRANGE

TREBLE

C

60

50

40 30 20 10

0 -10

20 Hz Audible Range of the Human Ear

20 kHz

Over-Articulating

IDEAL

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Ideal Articu

Under-Artic

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Area of

ulating

A

Better Bass

B

Area of Better Midrange

Frequency (Hz)

D

Area

F

of Better

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50 ID

BASS

MIDRANGE

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