Cranborne Audio 500R8 Channel Strip bundle (1x Camden 500, 1x Carnaby 500)

Sale price$ 2,199.00 Regular price$ 2,699.00
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SKU: 500R8CSB

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Cranborne Audio 500R8 Channel Strip bundle (1x Camden 500, 1x Carnaby 500)

Model

Cranborne Audio 500R8 Channel Strip bundle (1x Camden 500, 1x Carnaby 500)

Cranborne Audio 500R8 - USB Audio Interface & 8-Slot 500 Series Rack

Studio In A Box

500R8 is home to 8 of your favourite 500 series modules. It's also a 28in/30out USB audio interface, monitor controller, and discrete analogue summing mixer.

Analogue Character
Configure 500R8 to suit your desired analogue flavour. Fill it full of vintage-style 500 series preamps when you're recording drums, clean and pristine preamps when you're recording strings, or EQ/Compressor/saturation 500 series modules when it's time for mixing. 

...Meets Digital Precision
Connect 500R8 directly to your PC/Mac and capture every last nuance of your analogue sources with reference-class AD/DA conversion and superior internal clocking. Effortlessly pass audio between analogue and digital worlds without digital artefacts that colour and degrade your recordings. 

The Studio Essentials

500R8 has everything you need to build your dream analogue/digital hybrid studio. Each element has been carefully considered and designed to give you best of everything combined into a package that is intuitive (and fun) to use.

USB Audio Interface
Connect directly to your PC/mac via USB and utilise 500R8's built-in 28-in/30-out USB audio interface for recording and playback directly to/from your chosen DAW.

Monitor Controller
Switch between two sets of speakers, toggle Mono sum, Mute, Dim, and Talkback facilities whilst monitoring the peak level of your mix with 28-segments of LED detail by using the built-in, high-headroom monitor controller.

Zero Latency Artist Mixer
Monitor live sources in the analogue domain with zero latency by using dedicated mix level and pan controls per-channel combined with our seriously high-powered headphone amps.

Discrete Summing Mixer
Elevate your mix with analogue character and sum 8 USB sources through your 500 series modules and into the discrete analogue summing mixer to be summed and recorded back into your DAW as a stereo track.

World-Class Conversion & Clocking

To make your 500 series modules shine on your digital recordings, our conversion had to be best-in-class. We squeezed every possible .1dB of performance out of 500R8's converters to ensure that the only thing colouring your recordings are your mic placements, mixing decisions, and choice of 500 series modules.

Dynamic Range:
121dB A-weighted, AES17 method, 20Hz - 20kHz

Frequency Response:
-1dB, 2.2Hz to >80kHz

THD+N:
<0.00032% (-110dB) @ -4dBFS, 20Hz - 40kHz, 1kHz, A-weighted

Clock Jitter:
<0.5 Picoseconds

Deep 500 Series Integration

Configurable Front End
Mix and match your 500 series modules to find the best combinations during recording, and mixing to help create your own signature, analogue sound.

Source Select
Re-patch your 500R8 at a flick of a switch. Dedicated source select switches for each 500 series slot adjusts the signal routing to send Analogue, C.A.S.T. or USB sources through each your modules.

Enough I/O For Any Hardware
500R8 to integrates with all of your analogue/digital hardware. Patch in 500R8 with your own converter or integrate your 19" rack gear with dedicated TRS insert jacks per slot.

No Modules? No Problem
Bypass unused 500 series slots using 500R8's dedicated slot-bypass switch and you can use all of the available analogue paths for recording whilst you continue to build your 500 series collection.

Ready For More?

When you've run out of available recording channels on 500R8, our 500ADAT comes to the rescue. Connect 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 3rd party ADAT expander is also compatible.

More Recording Channels
Record up to 16 channels directly through independent 500 series modules and directly into your DAW for processing. 

More Summing Channels
Play back instrument groups/stems into all 16 available 500 series slots for summing using our C.A.S.T. link connector.

Expandable Via C.A.S.T. 

Fitted with our C.A.S.T. system, 500R8 is compatible with our N22 and N22H C.A.S.T. breakout boxes that cast-away excess cabling spaghetti and offers a cost-effective, low-maintenance, plug-and-play solution to rewire your studio. C.A.S.T. transports 4 channels of balanced, analogue audio over shielded Cat 5e, Cat 6, and Cat 7 cable directly to the location where it is needed in your studio. Create vocal booths, isolation booth, or run our a microphone to the hallway for ambience, C.A.S.T. is the best way to expand your 500R8 and get the most out of your studio space.

Send/Receive Audio From C.A.S.T.
Simply connect N22 or N22H to 500R8 using shielded Cat 5e, Cat 6, or Cat 7 cable and mics/sources connected to the breakout are patched directly to the slot inputs of 500R8. At the same time, the monitor mix created on 500R8 (including talkback) is sent through the same cable, directly to the outputs of the connected breakout.

CAST_Diagram_R8+N22H

Fully Compatible With Microphones and 48v
If you have preamps installed into 500R8, C.A.S.T. can transport their 48v phantom through the C.A.S.T. connection via Cat 5e, Cat 6, and Cat 7 and directly to condenser/active microphones connected at the end. C.A.S.T. is completely plug-and-play and works at distances up to 100m for maximum flexibility and convenience.

500R8_48v_Interface

Home Grown

Housed in a 4U, 19" rack mountable steel frame, 500R8 lends it self perfectly to mobile recording setups. We tried to think of everything, even the rack ears support three unique mounting methods. You can recess 500R8 into the rack to protect the front panel controls during travel; you can also take those same rack ears and re-orientate them to become a carry handle.

Home Grown
500R8 is designed and engineered in the UK and every unit that leaves the factory is thoroughly tested to provide years of trouble-free and dependable service.

Built And Designed With Passion
We don’t take shortcuts. We don’t compromise. We don’t accept “good enough.” We’re just like you. We’re musicians. We’re audio engineers. 500R8 is a product we're very proud of, and we hope you will be too.

Key Features

  • 28-in/30-out USB 2.0 audio interface
    • Low-latency USB 2.0 interface with high-stability and compatibility with a wide range of PC/macOS devices.
    • ADAT I/O (16/16 channels @ 44.1/48kHz, 8/8 channels @ 88.2/96kHz)
    • S/PDIF I/O
    • 5-pin MIDI I/O
  • High-performance A/D-D/A conversion
    • Dynamic Range: 121dB A-weighted, AES17 method, 20Hz - 20kHz
    • Frequency Response: -1dB, 2.2Hz to >80kHz
    • THD+N: <0.00032% (-110dB) @ -4dBFS, 20Hz - 40kHz, 1kHz, A-weighted
    • Max I/O Level: +24dBu
  • Master reference-quality internal clock
    • Capable of 44.1, 48, 88.2, 96, 176.4, and 192kHz operation
    • <0.5ps of jitter
    • Dedicated Word Clock Input and Output via BNC
    • External sync options using Word Clock BNC, S/PDIF, or ADAT
  • Monitor controller with talkback
    • Speaker A/B switching, Mono check, Dim, Mute, and 28-segment peak meter
    • Dedicated talkback input with phantom power, push-to-talk activation, and automatic routing to all headphones and C.A.S.T. facilities
    • Easy-access illuminated front panel controls for all monitor controller functions.
  • Analogue summing mixer
    • 8-into-2 analogue summing mixer with +26.5dBu of headroom, dedicated ADC, and balanced 1/4" jack outputs
    • C.A.S.T. link port for increasing summing mixer to 16-into-2 using Cranborne Audio 500ADAT
  • Zero-latency artist mixer 
    • Zero-latency analogue artist mixer with physical level/pan controls per channel and DAW return blend controls
    • 2 high-power headphone outputs with independent blend and level controls
  • Reference-Quality Headphone Outputs
    • THD+N: <0.0006% (-104.4dB) @ 20dBu, 1kHz, A-weighted, 300ohm load
    • Output Wattage (1kHz): 250mW x 2 @ 600 ohms, 650mW x 2 @ 220 ohms, 1.21W x 2 @ 100 ohms, 500mW x 2 @ 32 ohms
    • Frequency Response: 1dB, <1Hz to >70kHz
  • High-current 8-slot 500 series rack
    • 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 Analogue, USB or external C.A.S.T. signals through your favourite 500 series modules
    • Module bypass switches per-slot allowing 500R8 to be used without 500 series modules inserted. 
  • C.A.S.T. Compatible
    • C.A.S.T. ports per channel for relocating analogue I/O around studio using passive or active C.A.S.T. breakout boxes via standard shielded Cat 5
  • 24v, 5a external locking power supply
    • External power supply for improved analogue audio performance and heat dissipation.
  • Designed and Engineered in the UK
    • Each and every 500R8 is extensively tested by a team of dedicated engineers to ensure reliability and consistency.

Cranborne Audio Camden 500

The Very Best Of Both Worlds

Camden 500 is the most astoundingly clean, linear, transparent preamp you’ve ever heard. But it also has “Mojo” - 2 discrete custom analogue saturation circuits that can be applied, exaggerated, and perhaps best of all - bypassed.

Clean, Precise, and Natural
Camden 500 provides the utmost clarity and detail when it is most required. Its custom 'Camden' topology achieves stunning low-noise and low-distortion performance: -129.8dB EIN (150ohm, unweighted) and THD+N as low as 0.0002%.  It also sets a new standard for frequency and phase linearity: ±0.7dB frequency response from 5Hz to 200kHz at max gain and <2° phase shift @ 50Hz – 20kHz. The sum result is the most natural sounding preamp you've ever heard.

Vintage, Warm, and Coloured
Camden 500 features "Mojo" - a custom analogue saturation circuit that transforms Camden 500 into the fattest, warmest, most colourful mic preamp in your arsenal. Designed to introduce harmonics and saturation effects that our favourite vintage gear produces, Mojo can be subtle, it can be exaggerated, but best of all it can be bypassed...

Impeccable Modern Clean Performance

Designed from the ground up by our director of engineering, Edward Holmes, Camden 500 was created to be the ultimate recording front-end for the modern studios and withstand the rigours of modern workflow and production techniques. Designed to excel with any input source, Camden 500 features a completely original, custom-designed preamp topology that achieves stunning low-noise and low-distortion performance and frequency/phase linearity at any gain setting from unity to 68.5dB.

Stepped Gain Control
Camden 500 features a premium, 12-way switch gain control that applies up to 68.5dB of clean, transparent preamp gain in 5.5dB 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 0.1dB. 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 6dB/octave and then increases to 12dB 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 +26.5dBu of input headroom as well as alive and natural sounding DI'd instruments with it's unique BJT design and 1.5M Ohm input impedance.

Vintage 'Mojo' On Tap

For moments when you want that gooey, vintage vibe on your recordings, we developed Mojo - our own custom analogue saturation circuit that adds the familiar tone of transformers, valves, and vintage equipment onto your Camden's preamps for recording or mixing. Record through Mojo to add that vibe on the way into your DAW, or add the Mojo during the mix phase - Mojo adds tons of analogue saturation to all audio signals.

Thump

Thump excites low-end content by adding harmonics to the signal in the 20Hz - 100Hz 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 it’s existing low-end frequency content resulting in a natural addition of extra “Thump”.

Thump

Cream

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 inputs level and source material.

Cream

Variable

Unlike transformer or valve preamps, Mojo is variable and can be dialled in to taste. Transformer 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 flavour 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 flavours that allow it to excel on any source or instrument.

Technical Specifications 

Put simply, our Camden preamp is one of the cleanest, most linear, and transparent preamps on the market. Our custom preamp topology allows us to push the boundaries of Frequency response, phase shift, noise, and THD performance at all gain settings - and we have all the specifications to back that up.

EIN: <-129.5dBu, 150 ohm source, unweighted
<-135.5dBu, Inputs common, unweighted

THD+N: <0.0004%, 1kHz, 35dB gain, 24dBu 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

Key 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
  • Custom ‘Mojo’ analogue saturation circuit with variable control, true bypass, and 2 discrete styles - Thump and Cream
    • Reamp tracks from your DAW through Mojo to apply analogue saturation to your stems, VST, and stereo mixes
    • 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 increased conductivity and durability
  • Designed & Engineered in the United Kingdom

Cranborne Audio Carnaby 500

A World First

Carnaby 500 is a 3-band parametric EQ for the 500 series format with a unique and revolutionary EQ concept conceived and created by Cranborne Audio. Carnaby 500 is the world’s first Harmonic EQ™ - an analogue EQ that uses harmonic saturation to boost and cut frequency content. It enhances your sources, stems and mixes with genuine analogue harmonic saturation with the feel, familiarity, and control of an equaliser.

3-Band Parametric EQ With More

Carnaby 500 features 3 interactive bands of Harmonic EQ™ with each band having 10dB of boost/cut and its own sweepable and overlapping frequency controls. Each band of Carnaby 500 has a unique blend of harmonic content suited to its frequency band to achieve maximum musicality.

HI Band
The HI band has a frequency range from 5kHz all the way to 25kHz and uses smooth saturation to naturally extend high frequencies beyond the audio band for ultimate air and breath on vocals and acoustic instruments.

MID Band
The MID band is a peaking filter with a fixed Q and a wide sweepable frequency range from 200Hz up to 6.2kHz. It uses saturation to add harmonic emphasis to the source anywhere in the frequency range.

LO Band
The LO band has a frequency range of 420Hz down to 20Hz and uses hard-clipping saturation to extend sub-harmonic frequencies into the audible low-end - perfect for subtle low-end warming or extreme sub-harmonic saturation.

Dynamic Response
Unlike other EQs, Carnaby 500 has a dynamic response and increases in total boost/cut and harmonics as the circuits are driven harder. An Input and Output level control on each band allows for ±20dB of level adjustment, enabling you to drive Carnaby 500 harder with the input control for more saturation and distortion effects, or back it off for a cleaner EQ when needed.

Stereo-Link via OPTOSYNC

Carnaby 500 not only features a world-first EQ circuit, but it also has an innovative stereo-linking feature called OPTOSYNC which enables two Carnaby 500 units to work as a perfect stereo pair for mixes and stereo sources. 

Using OPTOSYNC, all controls are synchronized from the left unit to the right without cables or internal fixings. Switch OPTOSYNC for all slave units to ON and their control’s all synchronize to the master unit wirelessly using LED and optical communication. You can also use OPTOSYNC to link together multiple units for applying the same sonic footprint across entire summing mixers or multi-channel surround mixes.

Key Features

  • 3-band parametric 500 Series analogue EQ with unique Harmonic EQ™ circuit for harmonically-enriched EQ effects.
  • 3-band, 500 Series Harmonic EQTM meticulously developed by the Cranborne Audio team in the UK.
  • Parametric LO and HI shelving bands with ±10dB of cut/boost and harmonic saturation.
  • Parametric peaking MID band with ±10dB of cut/boost, fixed Q and harmonic saturation.
  • LO, MID, and HI LED indicators to display saturation level.
  • ±20dB Input and Output Level for dense harmonic saturation or clean EQ effects.
  • OptoSync wireless communication between modules for linked controls during stereo operation.
  • ⅛” TRS socket for linking non-adjacent modules.
  • Circuit auto-calibration for perfect stereo matching between all modules.
  • True-bypass IN/OUT switching with complete or post input trim modes available on DIP switch.
  • Stepped, front-panel controls for quick recall and precise feel.

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