My heart is not broken. It is collapsed like the sun into the frozen Meadowlands. Sometimes, alone in bed at night, I get this awful, screaming pain in the side of my bony chest, in that empty space where I imagine you to be. It's not often that I do this, sit here. Listen to the same sad songs over and over again, sing along, cry, think of how these words were written for us. It's probably not a good habit to be getting into, but it seems I just can't stop. It's been more than two weeks now, and it isn't wearing off. Twelve songs, 40 minutes, over and over again. I can't stop. Remember when you said that no one else could ever love me like you loved me? I don't know if that was a gift or a curse, but I believe it is true.

In the last year I've written about several components of a truly engaging system: the VPI TNT Mk.IV turntable and JMW Memorial 12" tonearm (February '99), Grado Reference cartridge; the <A HREF="http://www.stereophile.com/cdplayers/156">Wadia 830</A> CD player (October 1999); and <A HREF="http://www.stereophile.com/floorloudspeakers/216">Thiel's CS7.2</A> loudspeakers (February 2000). I've recounted the evolution of my listening-room setup as well, and described its optimization using <A HREF="http://www.stereophile.com/roomtreatments/215">ASC Tube Traps</A> and Art Noxon's MATT test in the February issue. The final piece of the puzzle, and the one I'll tackle here, was the cable package from MIT: the MI-330 Shotgun Proline interconnects and the MH-750 shotgun speaker cables.

In the last year I've written about several components of a truly engaging system: the VPI TNT Mk.IV turntable and JMW Memorial 12" tonearm (February '99), Grado Reference cartridge; the <A HREF="http://www.stereophile.com/cdplayers/156">Wadia 830</A> CD player (October 1999); and <A HREF="http://www.stereophile.com/floorloudspeakers/216">Thiel's CS7.2</A> loudspeakers (February 2000). I've recounted the evolution of my listening-room setup as well, and described its optimization using <A HREF="http://www.stereophile.com/roomtreatments/215">ASC Tube Traps</A> and Art Noxon's MATT test in the February issue. The final piece of the puzzle, and the one I'll tackle here, was the cable package from MIT: the MI-330 Shotgun Proline interconnects and the MH-750 shotgun speaker cables.

In the last year I've written about several components of a truly engaging system: the VPI TNT Mk.IV turntable and JMW Memorial 12" tonearm (February '99), Grado Reference cartridge; the <A HREF="http://www.stereophile.com/cdplayers/156">Wadia 830</A> CD player (October 1999); and <A HREF="http://www.stereophile.com/floorloudspeakers/216">Thiel's CS7.2</A> loudspeakers (February 2000). I've recounted the evolution of my listening-room setup as well, and described its optimization using <A HREF="http://www.stereophile.com/roomtreatments/215">ASC Tube Traps</A> and Art Noxon's MATT test in the February issue. The final piece of the puzzle, and the one I'll tackle here, was the cable package from MIT: the MI-330 Shotgun Proline interconnects and the MH-750 shotgun speaker cables.

In the last year I've written about several components of a truly engaging system: the VPI TNT Mk.IV turntable and JMW Memorial 12" tonearm (February '99), Grado Reference cartridge; the <A HREF="http://www.stereophile.com/cdplayers/156">Wadia 830</A> CD player (October 1999); and <A HREF="http://www.stereophile.com/floorloudspeakers/216">Thiel's CS7.2</A> loudspeakers (February 2000). I've recounted the evolution of my listening-room setup as well, and described its optimization using <A HREF="http://www.stereophile.com/roomtreatments/215">ASC Tube Traps</A> and Art Noxon's MATT test in the February issue. The final piece of the puzzle, and the one I'll tackle here, was the cable package from MIT: the MI-330 Shotgun Proline interconnects and the MH-750 shotgun speaker cables.

As the person who "<A HREF="http://www.stereophile.com/asweseeit/1085awsi">invented</A>&quot; subjective testing, I have followed with great interest the many articles in the mainstream audio press which purport to prove that none of us can really hear all the differences we claim to hear, particularly those between amplifiers. My reaction has usually been: "Why didn't they invite me to participate? <I>I</I> would have heard the differences under their double-blind listening conditions." I could make that assertion with supreme confidence because I had never been involved in any such test.