- Transform your ADAT-equipped audio interface into an analog powerhouse by adding 8 channels of expansion at up to 96 kHz or 4 channels of expansion at 192 kHz.
- The 500ADAT combines a high-current 8-slot 500 series chassis with digital conversion and ADAT, a powerful and accessible way to get your favorite 500 series modules into your tracking and mixing digital workflow.
- The unit features essential functions that unite digital and analog production workflows, such as an 8-into-2 analog summing mixer, zero-latency artist mixer with 2 reference-quality headphone outputs, and true ADAT & SMUXII/IV transmission.
- When you want more 500 series connectivity, you can use up to two 500ADATs with some interfaces or pair the 500ADAT with the 500R8 (available separately). Connect the 500R8 and 500ADAT together via ADAT, and now you have 16 channels of 500 series modules to work with during recording and mixing. Whilst 500ADAT offers the same performance as 500R8, any third-party ADAT expander is also compatible.
- Play back instrument groups/stems into all 16 available 500 series slots for summing using the C.A.S.T. link connector.
- 8-in/8-out at 44.1 to 48 kHz
- 8-in/8-out at 88.2 to 96 kHz
- 4-in/4-out at 176.4 to 192 kHz
- Dynamic range: 121 dB A-weighted, AES17 method, 20 Hz to 20 kHz
- Frequency response: -1 dB, 2.2 Hz to >80 kHz
- THD+N: <0.00032% (-110 dB) at -4 dBFS, 20 Hz to 40 kHz, 1 kHz, A-weighted
- Max I/O level: +24 dBu
- <0.5ps of jitter
- Dedicated word clock input and output via BNC
- External sync options using word clock BNC or ADAT
- 8-into-2 analog summing mixer with +26.5 dBu of headroom and balanced 1/4" jack outputs
- C.A.S.T. link port for increasing summing mixer to 16-into-2 using Cranborne Audio 500ADAT
- 250mA current per-slot with 2A total for all slots
- XLR inputs, XLR line outputs, and TRS inserts (pre-ADC) per 500 series slot
- Module source switching options to send analog, USB, or external C.A.S.T. signals through your favorite 500 series modules
- Module bypass switches per-slot allowing 500ADAT to be used without 500 series modules inserted.
Record a variety of sources with the Cranborne Audio Camden 500, a 500-series microphone preamp with some serious Mojo, thanks to the two innovative color circuits that inject warmth, character, and that gooey, vintage vibe into any signal. Designed to be the cleanest and most transparent preamplifier available, the Camden 500 exhibits the theoretical limits of EIN, THD, phase shift, and frequency roll-off performance, resulting in audio playback that's open, natural, and intimate. Instruments sound like they're in the room next to you and drums sound tight and punchy.
The Mojo circuit features two settings, Thump and Cream. Thump adds harmonics to the signal in the 20 to 100 Hz range resulting in a fuller low-end on smaller speakers. Cream behaves similarly to how valves and tubes impact the sound. It drastically increases harmonics and dynamically smooths-out the low mids for increased HF emphasis. Both circuits are controlled by the Mojo knob, allowing you to dial in the perfect amount of color for just-a-touch or full-on saturation.
- Fully discrete, transformerless design, featuring custom ‘Camden’ preamp topology
- Optimized 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
- Optimized input impedance and input headroom for Mic, Line, and Hi-Z sources
- Mic preamp, instrument DI, and—thanks to Mojo—line-level analog saturator
- Custom ‘Mojo’ analog saturation circuit with variable control, true bypass, and 2 discrete styles—Thump and Cream
- Reamp tracks from your DAW through Mojo to apply analog saturation to your stems, VST, and stereo mixes
- Thump excites low-end content by boosting lower odd/even harmonics from a range of 160 to 20 Hz 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 increased conductivity and durability
- Designed and engineered in the United Kingdom
- Stepped gain control
- Camden 500 features a premium, 12-way switch gain control that applies up to 68.5 dB of clean, transparent preamp gain in 5.5 dB steps. This makes it easy to recall gain settings and easy to match the gain of two Camden 500's for stereo applications.
- Stereo matched
- With carefully selected modern components, any two Camden preamps are completely stereo matched to within 0.1 dB. Every Camden preamp also passes through a rigorous frequency response test at the factory that ensures it performs the same as the last.
- Progressive-slope high-pass filter
- Camden's high-pass filter features a progressive slope where low end is rolled off initially at around 6 dB/octave and then increases to 12 dB for the lowest octave, preserving the low end you want and cutting what you don't.
- 3-way input type switch
- Tailored input impedance and headroom for Mic, Line, and Hi-Z sources means punchy and full-range line recording with +26.5 dBu of input headroom as well as alive and natural sounding DI'd instruments with its unique BJT design and 1.5-megohm input impedance.
Thump
- Excites low-end content by adding harmonics to the signal in the 20 to 100 Hz range, resulting in fuller low-end on smaller speakers. As Thump is not EQ-based, the additional harmonic content is shaped by the source and its existing low-end frequency content, resulting in a natural addition of extra “Thump”.
Cream
- Introduces a vintage smoothness and edge that is similar to how valves and tubes impact the sound of a preamp. Cream drastically increases harmonics and dynamically smooths-out the low mids for increased HF emphasis. Like Thump, Cream is completely dynamic and will vary its effect, based on the input level and source material.
Variable
- Unlike transformer or valve preamps, Mojo is variable and can be dialed in to taste. Transformers and valves are integral parts of certain preamp designs and so cannot be removed from the signal path or altered for different effects. Mojo on the other hand can be dialed in to taste or crucially bypassed when you need a clean and pristine recording.
Vintage vibe without compromise
- Transformers and valves sound great, but they have a flavor that can't be removed. The phase shift, noise, and THD added by these designs give them their sound, but that sound sometimes isn't always suited to a particular source. Camden gives you 3 discrete tonal flavors that allow it to excel on any source or instrument.