Can someone give me some insight.

I do not see a mention of speaker wire. I would make sure to use a quality speaker wire (not zip cord) and then see where you are regarding sound.

Also, fwiw, I would be tempted to replace everything with Bluejean wire. They have been mentioned in these pages many times as consitently good wire products.

You can try different cable til you are blue in the face. You will get different results with all and after a few weeks will see the weaknesses in eveyone. You have to settle on something and if you want to save money just a well made wire will suffice.

my 2 cents...

Larryi hit the nail on the head. Although I agree somewhat with the other posters about burn-in and settling in - I believe you should be hearing most of what a cable will make your system sound like right away. Sure, your will hear subtle changes as it settles in and perhaps significant changes if you have a trained ear. It also depends on your definition of significant. But in general, there will be no monumental swing that all the sudden you go "wow there it is!" At least that has been my experience with a variety of IC's and speaker cables. YMMV

Ok I have had 2 days now with the MIT Shotgun S3 and now am in nirvana heaven.When I first got them I gave them a small listen and discounted them as a contender.That has all changed as I put them back in last night and left the stereo on all night and all day today while at work as I had the cdp in loop.When I came in tonight I could here the music and thought wow that sounds pretty good.So I put in one of my go to cd's for auditioning and was totally blown away.I have listened to cd after cd since getting home and am truly amazed.They are so smooth with female voices and the bass is not in the least lacking in any respect or is it bloated.Voices and lead giutars are no longer in the background but they are not too forward as the Monsters where.They are upfront and where they should be.There is a smoothness and clarity that is just what I was looking for.There is punch when called for with a drum kick and symbals are right on the money and not overly exagerated.
When I first got these I thought what the heck is audio coming to.I get some synergistic research ic's and have to plug them in the wall.I get some Nordost and they are flat ribbons.I get some MIT and they have boxes on them.Had to call NIT to ask what that was about and what setting to use which I had wrong.I thought...don't they just make regualar ic's anymore with out all this fancy doodad stuf.But if it works it works and now can send all the other cables back.Thanks for all the suggestions and help.

The rest of that group likely need the same attendance or time at the helm as did the MIT’s, to really show what they are made of too.

It’s why I and other’s said try one or two pr at a time when renting/borrowing cables.

The MITs? BTW… they've not stopped changing in just two days.... their extension will increase some more.

Playing with the imp switch on those boxes, keeping both at the same position as you do, naturally, will either recess or encroach the midrange…. And why I mentioned it early on as selecting the proper notch for the downstream gear.

Move it about and see for yourself… it won’t hurt anything, and the selections are for approximate ranges and not cast into stone.

it tickles me to hear people say this instrument, or that one, was not in the right place (s).

Yeah? According to what? Oh, you mean where they were when you sat in on the original recording and maybe then too the mixsing? I think one would needs be in that venue or has heard the same recording on a vast amount of gear combinations that some better perspective might be attained as to orig placements of musicians… but it’s still a guess unless you were there, just more educated a one I suppose..

Wires can and do, change things more than just the harmonics. Another thing is those recordings aren’t always uniformly set about a stage. Sometimes it just be’s that way, especially with live recordings. Even then the mix may not completely follow the antics or movements of the players in fact. Like if there is no use of stationary or ambient mikes, and only those for the players who are restricted in their abilities to move about … singers, brass & reed sections, drummers, etc. Mixing recordings can place instruements just about where ever it is desired for them to be put.

I've yet to see a piano or vibraphone big enough to span the width of most stages, but I've sure heard them sound that large.

Think the ic world was nifty… now try some power cords.

Good luck

Blindjim,
Thanks for the information.I do have a few questions as I see you did or may still use the MIT cables.
When I called MIT and asked about the impedance switch setting they told me that my amp input sensitivity was 33k ohm.He said to set the impudence switch to medium.I had it set at high.But the manual says for 33k ohm should be set at low.So I decided to try low.With the low setting things are a little more detailed and a lot more brighter.With the medium setting it is just smooth as butter and if there is a loss of detail it is very negligible.Also the bass is extended compared to the low setting.You said that the switch limits or decreases the mid range.I take it that the lower the setting the more mid range or do I have this wrong.Not sure why the tech at MIT told me to use the medium setting but will call them back on Monday.I know you said the setting was not set in stone and can be played with.With your MIT cables did you keep the recommended setting.Thanks.