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Standard MiG footers offer all the hallmarks of our highest performance MiG SX, including an increased sense of space in the sound field plus improvements in low-frequency control and extension with high-frequency air and detail. While the new MiG 3.0 delivers all this with greatly enhanced resolution that is never fatiguing, plus a wall-to-wall holographic soundstage, including a sense of the performance enveloping your listening position. Listening notes: comparing MiG’s to isolation footers based on dampening principles, you hear more extended dynamic range and spatial cues where dampened footers tend to have a flatter sound and lack dynamic extension. Isolation footers based primarily on draining mechanical vibration away from the component tend to sound bright with less sound stage layering and mid-range warmth when compared to MiG’s. Lastly, if you have a full suite of SR Tech, your best possible footers will likely be MiG’s, as they work on similar principles and have a similar house sound to SR cables, power products, and acoustic treatments.
The original MiG or Mechanical Interface Ground is a superb footer that excels with a warm natural balance that can be tuned through two placement options to best match your system. Placing just one or two sets of MiG’s under your components can deliver a significant increase in sound staging with a balanced to slightly warm tonal balance.
MiG 3.0 came about when our lead designer sought to incorporate new UEF technologies first developed during our SRX reference cable loom and Purple fuse design programs. He intended to bring MiG 3.0 closer to MiG SX’s increased resolution but with a richer and more dynamic harmonic structure with enhanced sound staging capabilities over MiG 2.0. To make this happen, we retuned the resonance characteristics of the MiG itself while incorporating the same UEF element found in SRX cables and Purple Fuses. The result is a MiG footer with a lower noise floor from which springs enhanced resolution with smoother highs and a larger sound field over the standard MiG and outgoing MiG 2.0.
MiG SX footers are an evolution of our original MiG footers developed in 2008. We start with a new specially tuned MiG resonator forged from high carbon steel and add a precision-machined Aircraft Aluminum and Carbon Fibre three-piece chassis engineered to distribute vibration through a special tuning disc and a UEF tuning element into Carbon Tungston ball bearings. For a bespoke match to your system, MiG SX has two placement options that re-tunes your component’s resonance; choose between Ambient and Pin-Point configurations and pick the option that best suits your system on a component by component basis. With MiG SX in your system, you experience a more massive and dense sound field, improved imaging, better layering of images, deeper and tighter bass, more extended high frequencies, and better mid-range clarity. In short, MiG SX improves nearly every aspect of system performance in a way that is anything but subtle.
When you place two MiG SX’s “Round Side Down” and one MiG SX “Round Side Up” under a component, as illustrated in the photo above, you hear a sharpening of soundstage focus with pinpoint image placement and tighter bass. This combination tends to work best when placing MiG SX under PowerCell line conditioners, hard drives, and digital servers or whenever you want a highly focused, less ambient sound. As a rule, most people will predominately prefer one balance over the other with at least one component sounding best in the opposite configuration, and this will give you the best of both options. For this reason, we HIGHLY recommend that you compare your two options on a component-by-component basis and listen for the arrangement that sounds best with each component in your system.
When you place two MiG SX’s “Round Side Up” and one MiG SX “Round Side Down” under a component, as illustrated in the photo above, you hear a more ambient layered sound, fuller bass, and images that are less sharp and more rounded. You may also prefer this placement if you like a liquid presentation, or if you want a vacuum tube-like sound expecially when used with solid-state phono pre-amps and D to A converters. As a rule, most people will predominately prefer one balance over the other with at least one component sounding best in the opposite configuration, and this will give you the best of both options. For this reason, we HIGHLY recommend that you compare your two options on a component-by-component basis and listen for the arrangement that sounds best with each component in your system.