Peter Hylenski's sound design focuses on creating a warm vintage sound that reflects the show's 1960s roots, as Peter explains: "I wanted to make the music and the sound fit the piece, achieving a warm analogue sound as opposed to thinking digital. By selecting appropriate microphones, pre-amps etc I was able to build this vintage feel throughout the system. When I heard about Cadac's M16 remote mic amps, I was really excited. The pre-amp in the A-Type, E-Type and J-Type consoles that I have regularly worked with is fantastic, and with the M16, I had the prospect of being able to get that sound direct without 300 foot of copper between the mic and console. In the event, my expectations of the M16 have not been disappointed in any way - the clarity is superb. The M16 really opens the sound up and unmasks it, enabling a much more precise top-end and tighter low-end. The 16-channel M16 delivers an unbelievable sound in a small, remotely controllable box. I am looking forward to using the M16 with other consoles in the future - it will be exciting to see what it can do!"
Designed to address live, broadcast and recording market requirements, the M16 integrates directly with Cadac's new D16 Digital Matrix, and up to 16 M16 units can be controlled within a single system. A remote control option is available, via the Cadac RM16 Remote Control Unit, or via Cadac's industry-leading SAM software. The M16 demonstrates high headroom throughout the whole system, as well as an extended response frequency. Each amplifier provides three active and balanced output splits, which negates the need and expense of additional equipment and real estate, also each amplifier is provided with an in-built switchable High Pass filter. All input stages are hand-tuned by Cadac's skilled engineers, providing optimal Common Mode Rejection, while output drivers are tuned to provide optimum balanced performance and the ability to drive over long cable runs in excess of 100m.
(Lee Baldock)
