The Cranborne Audio Camden 500 was designed from the ground up to be the ultimate mic preamp for the modern studio and engineer, and to withstand the rigors of modern production and workflow techniques. It features a completely original topology that achieves amazing low noise and low distortion performance, as well as frequency and phase linearity at all gain settings. The Camden 500 has been 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 operating at maximum gain, the phase and frequency response remains linear and the THD always remains inaudible - allowing all gain positions to be usable for any source and mic combination.
Preamps that have the Mojo! To get more character into your mic preamplifier, Cranborne Audio has developed Mojo: two analog overdrive styles that bring the Camden even more breadth, warmth and sonic originality, all in a jiffy. And unlike using Transformers and other legacy designs, Mojo can be subtle. It can also be overkill, but it can also be bypassed when full transparency is required for the session.
Vintage, warm and colorful - thanks to Mojo Mojo is a new type of saturation circuit that consists of a set of filters and discrete second / third order harmonic generators. It allows precise emulation of the low frequency saturation and reinforcement behaviors specific to period transformers and lamp-based equipment.
Thump Thump is a style that works best on instruments based on low frequencies, but not limited to it. Thump excites the bass content by increasing harmonics in the range of 100 to 20 Hz and below, without increasing the fundamental frequencies, resulting in more complete bass on all reproduction media. Since Thump is not an equalizer, the additional harmonic content is shaped by the source and its existing bass content, resulting in a natural addition.
Cream Cream introduces a vintage smoothness that allows tracks to sit deep into a complex mix, in a way that cannot be reproduced with an EQ. The Cream setting dramatically increases the amount of distortion while smoothing out the lower mids. As with Thump, Cream is not based on an equalizer and is purely achieved by mixing 2 stages of saturation with the dry signal and additional harmonics. The Cream function varies entirely depending on the harmonic signature of the incoming source. It will add quality and create unique tonal shaping effects based on the mid harmonics of the instruments, but it will also add bass on full band sources as well as a unique "squeeze style" effect on transients. "
Features: - Linear and transparent microphone preamplifier - 2 discrete analog saturation circuits for sound coloring - THD + N: 0.0002% - Frequency and phase linearity - Frequency response (± 0.7 dB): 5 Hz to 200 kHz maximum - Gain and phase shift <2 ° between 50 Hz and 20 kHz - Input topology with a gain of 68.5 dB on the 12 gain levels - 3-position input selector (Mic, Line and Instrument) - Line level recording with a dynamic range of +26.5 dBu - DI input in BJT design and input impedance of 1.5 MOhm - Requires 500 module slot - API 500 module format
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