Cranborne Audio Camden 500 Preamp
The Cranborne Audio Camden 500 Preamp 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. Now available in a stereo pair ideal for stereo recording applications.
The 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
The 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...
Mojo Analogue Saturation
To compliment the clean front-end of the Camden 500, Cranborne Audio built a brand-new type of saturation circuit consisting of an array of filters and discrete second and third order harmonic generators that allow precise emulation of the saturation and frequency reinforcement behaviours of vintage equipment. Mojo can be also exaggerated to far beyond the point where destructive clipping would occur with transformer-based designs for an even wider palette of saturation effects. By manipulating these filters and harmonic generators; you can create two discrete Mojo styles; Thump and Cream. Both styles transform Camden 500 into the fattest, warmest, and most characterful preamp in your arsenal - all at the turn of a dial.
- Thump - Thump is a style that works best on - but is not limited to - low-frequency based instru-ments. 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 sources and it’s existing low-end frequency con-tent resulting in a natural addition of extra “Thump”. Similar-sounding EQ moves will result in extreme wooliness as all sonic en-ergy 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 rep-licated with EQ. The Cream setting drasti-cally increases THD whilst smoothing out the low-mids. As with Thump, Cream is not EQ based and is purely achieved by blend-ing 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.
Featuring a custom *transformerless front-end topology with 68.5dB of gain, Camden 500 achieves groundbreaking performance in noise, distortion, frequency response, and phase shift throughout all 12 gain positions.
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 1.5M Ohm input impedance.
Manufactured In The UK
To ensure that every product lives up to the extraordinary performance, all Cranborne Audio products are carefully manufactured and tested in the UK at their company facilities.
Cranborne Audio Camden 500 Preamp Features
- Optimised for and fully-compliant with the 500-series format
- Performs at the near-theoretical limits of noise, distortion, and phase/frequency linearity at all gain settings.
- Optimised input Impedance and input headroom for Mic, Line, and Hi-z sources.
- Custom ‘Mojo’ analogue saturation circuit with variable control, true bypass, and 2 discrete styles - Thump and Cream.
- Gold Flashing on backplane contacts for increase conductivity and durability.
Cranborne Audio Camden 500 Preamp 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
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These pres have got to be the best deal in audio right now. I just used them on overheads with stellar results and i must say that its the best sounding bass DI sound that I have in the studio. TheThump feature is incredible on bass. Haven't had time to try it on kick and snare yet but I expect that it will sound very good. Great results on acoustic and electric guitars so far as well. I think that everyone should have a pair of these. They perform far past their price point.