Cranborne Audio Camden 500 (Pair)

Cranborne Audio Cranborne Audio

CAMDENP

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Cranborne Audio Camden 500 - 500 Series Preamp and Signal Processor an astoundingly transparent and detailed 500 series mic, line, and hi-z preamp with mojo - two analogue saturation styles that emulate vintage valve and transformer effects at a reduced price. Order 2 modules and save 50.00 €

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In stock & ready to ship.

648,00 €

tax incl.

698,00 € tax incl.

540,00 €   tax excl.

-50,00 €

Paiement 100% sécurisé - 100% Secured payment
Paiement 100% sécurisé - 100% Secured payment

Put simply, Camden 500 is the most astoundingly clean, linear, and transparent preamp you’ve ever heard.

Camden 500 was designed from the ground-up to be the ultimate front-end for the modern studio and engineer and to withstand the rigours of modern workflow and production techniques. It features a completely original, custom-designed ‘Camden’ preamp topology that achieves stunning low-noise and low-distortion performance as well as frequency and phase linearity at all gain settings. The sum result is -129.8dB EIN (150ohm, unweighted), THD+N as low as 0.0002%, frequency response of ±0.7dB from 5Hz to 200kHz at max gain and <2° phase shift @ 20Hz – 20kHz.

For moments when that extra bit of ‘British’ character is required, rather than use a transformer and learn to live with its drawbacks, Cranborne Audio developed Mojo - two discrete analogue saturation styles that transform Camden 500 into the fattest, warmest, and most characterful preamp in your arsenal - all at the turn of a dial. Perhaps best of all, unlike transformer and other legacy designs, Mojo can be subtle, it can also be exaggerated, but it can also be bypassed.

Clean, Precise, and Natural - at all gain positions
Whilst preamp specifications often quote fantastic figures at specific gain values, when the gain is increased, those figures often change radically. Camden 500 was designed to retain all of its impressive performance specifications at all gain positions from 8dB to 68dB. This means that even when the preamp is running at maximum gain, the Phase and Frequency response remains linear and THD always remains inaudible - enabling all gain positions to be usable for any source and mic combination.

Vintage, Warm, and Coloured - thanks to Mojo
Camden 500 features mojo - a new type of saturation circuit that consists of an array of filters and discrete second/third order harmonic generators that allow precise emulation of the saturation and low-end reinforcement behaviours of vintage transformer and valve-based equipment. The key to Mojo is that it can be dialled in to taste; use subtle amounts for gentle saturation, or dial it in to well beyond the point that destructive clipping would usually occur with transformer-based. Perhaps the very best part of Mojo is that it can be bypassed to reveal the pristine base sound of the Camden 500.

Thump
Thump is a style that works best on - but is not limited to - low-frequency based instruments. Thump excites low-end content by boosting harmonics in the range of ~100Hz to 20Hz and below without increasing the fundamental frequencies - resulting in fuller low-end on all reproduction mediums. As Thump is not EQ-based, the additional harmonic content is shaped by the source and it’s existing low-end frequency content resulting in a natural addition of extra “Thump”. Similar-sounding EQ moves will result in extreme wooliness as all sonic energy is boosted - even unwanted audio in-between the hits.

Cream
Cream introduces a vintage smoothness that enables tracks to sit deep within a complex mix in a way that cannot be replicated with EQ. The Cream setting drastically increases THD whilst smoothing-out the low-mids. As with Thump, Cream is not EQ based and is purely achieved by blending 2 saturation stages with the dry signal and additional harmonics. Cream varies entirely on the harmonic signature of the incoming source. It will increase high-end forwardness and create unique harmonic-based tonal shaping effects on mid-range instruments, but it will also add low-end on full range sources as well as unique “compression-style” effect on transients.

Features
• Fully-discrete, transformerless design featuring our custom ‘Camden’ preamp topology designed by our Director of Engineering - Edward Holmes.
• Optimised for and fully-compliant with the 500-series format.
• Camden 500 is not a 19” unit shoe-horned into a 500-series module, it has been designed from the ground-up to perform under the low-voltage power rails and supply current limitations of the 500-series format whilst delivering groundbreaking performance.

Performs at the near-theoretical limits of noise, distortion, and phase/frequency linearity at all gain settings
• EIN: <-129.5dBu, 150 ohm source, unweighted, <-135.5dBu, Inputs common, unweighted
• THD+N: <0.0004%, 1kHz, 35dB gain, 24dBu out
• Intermodulation Distortion: <0.0008%, 50Hz and 7kHz, 35dB gain, 20dBu out
• Phase Shift: <2.25°, 40dB gain, 20Hz to 20kHz, <4°, Max gain, 20Hz to 20kHz
• Freq. Response: <±1dB, <5 Hz to >200 kHz, all gain settings
• CMRR: >70dB, typ >85dB, 35dB Gain, 10-20kHz, 100mV Common mode

Optimised input Impedance and input headroom for Mic, Line, and Hi-z sources
• Mic Preamp, Instrument Di, and - thanks to Mojo - line-level analogue saturator.
• Reamp tracks from your DAW through Mojo to apply analogue saturation to your stems, VST, and stereo mixes.

Custom ‘Mojo’ analogue saturation circuit with variable control, true bypass, and 2 discrete styles - Thump and Cream
• Thump excites low-end content by boosting lower odd/even harmonics from a range of 160Hz to 20Hz and below.
• Cream boosts odd/even harmonics whilst also reducing the amplitude of the fundamental frequencies and applying typical transformer-style transient taming.
• Gold Flashing on backplane contacts for increase conductivity and durability.
• Designed, engineered and manufactured in the United Kingdom

Specifications
• Minimum Gain: Mic= 8dB, Line = 0dB, Hi-Z = 3dB
• Maximum Gain: Mic = 68dB, Line = 60dB, Hi-Z = 63dB
• Input Impedance: Mic= 8.9kOhms 48v Off, 5.4kOhms 48v ON, Line = 24.3kOhms, Hi-Z= 1.5MOhm unbalanced, 3MOhm balanced
• Max Input Level: Mic = 17.6dBu (<0.003% THD), Line = 26.5dBu (<0.02% THD), Hi-Z = 24dBu (<0.02% THD)
• Output Impedance: 150 Ohms
• Max Output Level: 27.5dBu (<0.002% THD, 30dB gain)
• Equivalent Input Noise (EIN): <-129.5dBu (150 ohm source, unweighted), <-131dBu (150 ohm source, A-weighted), <-135.5dBu (Inputs common, unweighted)
• Frequency Response: ±0.25dB (<5 Hz to >200 kHz, 35dB gain), <±1dB (<5 Hz to >200 kHz, max gain)
• Phase Shift: <2.25° (40dB gain, 20Hz to 20kHz), <4° (max gain, 20Hz to 20kHz)
• THD+N: <0.0004% (1kHz, 35dB gain, 24dBu out)
• Intermodulation Distortion: <0.0008% (50Hz and 7kHz, 35dB gain, 20dBu out), <0.0006% (50Hz and 7kHz, 35dB gain, 15dBu out)
• Hi-Pass Filter (HPF): 80Hz, -3dB, 12dB/Oct
• Current Draw: 120mA per rail - idle, 140mA per rail - typical use case
• CMRR: >70dB, typ >85dB, 35dB gain, 10-20kHz, 100mV Common mode
• Slew Rate: 20V/uS, 35dB gain, 25dBu out
• Dimensions: 31.8 x 133.35 x 170.11 mm (w/h/d)

Condition New
Type 500 Mic Pre
Application Tracking & Mixing
Channels Dual Mono
Format 500
Chassis 2 U
Quantity 1

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The 21st century studio can be anywhere - a bedroom, a basement, a warehouse, even a tour bus - thanks to DAWs and plugins that so many producers, engineers, and musicians use today. But whilst we can manipulate sound once it’s in the digital realm, sound capture and conversion occurs in the acoustic and analogue domain and still requires hardware. And unfortunately, this hardware often times limits the results one can achieve.

If money and physical space are of no concern, there are plenty of fantastic audio capture products (microphone preamps, DI boxes, A/D converters) that can deliver great results. But Cranborne Audio offers the modern producer, engineer, and musician with more limited price and space constraints to achieve great results as well, perhaps even better results…

All of our designs are highly-engineered and are tuned for high-performance analogue and digital applications. Our discrete analogue mic preamps and summing busses give your sound more dynamics, more headroom, and less noise. Our high-quality A/D-D/A conversion and digital clocking allows for better accuracy, more dynamics, and less jitter - the cause of the “gritiness” that so many budget USB audio interfaces are plagued with.

Cranborne Audio products are designed and engineered in the UK. But to achieve the quality and control of every design going out to the world - we also make all our products in the UK. This adds to the already curious question - “How did you do it for this price?” The answer is that all of our designs are highly cost-engineered and optimised. We have considered every component and function to find a better, and often cheaper, way of achieving a desired result. However, if something would sacrifice the performance we wanted to achieve, we would not compromise and only use the best components where needed.

Cranborne Audio, for us, means so much more than metal boxes with components in them. These are our labours of love that embody and demonstrate our demand for excellence. By distilling what matters and putting our soul into these tools, we hope to help other people make magic and express themselves, and in some way, become part of our Cranborne Audio family.

So join our family. We care for our family. And we care about making your tracks, albums, scores sound as good as they should.

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