Crane Song HEDD-192 AD/DA Convertor
The Crane Song HEDD-192 AD/DA Convertor is a premium quality 2-Channel converter with the unique ability to add Crane Song's signature color to the signal. The HEDD-192 is an excellent choice for the discriminating engineer who is looking for that extra, glorious something to glue a mix together and to tickle ears in all the right ways.
The Crane Song HEDD-192 AD/DA Convertor, short for Harmonically Enhanced Digital Device, is a technological breakthrough in signal processing. It is engineered to provide musically pleasing sound with the capability of generating tube/analog sounds in the digital domain. The Crane Song HEDD-192 AD/DA Convertor gives any user who works with digital the ability to sound less digital and more analog.
The front panel controls allow the user to select input source, sample rate, and continuously variable triode and pentode sounds. The Crane Song HEDD-192 can operate as an effects device or as separate A/D and D/A convertor with the harmonic generation process applied to either the A/D or D/A convertor. The signal processor performs 24 Bit Processing on a digital or analog source. The Crane Song HEDD-192 AD/DA Convertor has transformerless balanced analog inputs and outputs, transformer isolated digital inputs and outputs, and uses separate power transformers and supplies for the analog and digital sections. The Crane Song HEDD-192 will operate at sample rates from 44.1K to 192K.
Crane Song HEDD-192 AD/DA Convertor Applications
- CD preparation
- Work station input and output
- DAT machine A/D and D/A convertor replacement and effects generation (warming or changing sounds in the digital domain)
- Tracking, mixing, and mastering
Crane Song HEDD-192 AD/DA Convertor Features
- High-quality 24-bit A/D and D/A Convertors
- 24-bit Processing
- Adjustable Triode, Pentode and Tape sounds
- Digital I/O, AES and S/PDIF
- External WC Sync Input and Output
- 22 Element VU Metering
- Analog Tape Compression
Crane Song HEDD-192 AD/DA Convertor Specifications
- Analog Output: Transformer-less balanced floating stereo output with XLR connectors. Digital zero is +16dBm. This allows 12 db of headroom above a +4dBm 0 VU. Gain adjust trims are on the back panel
- Analog Input: Transformer-less balanced floating stereo with XLR connectors. Digital zero is +16dBm. This allows 12 db of headroom above a +4dBm 0 VU. Gain adjust trims are on the back panel
- Word Clock Input: BNC connector takes a TTL level signal at the sample rate to sync the A\D to the external sample rate. HEDD will sync from 20 kHz to 192K kHz. The input impedance is 75 ohms.
- Word Clock Output: BNC connector this is a TTL level square wave that can be used to provide sync to other equipment. The WC output will be the selected sample rate or the rate of the WC input.
- Internal Sample Rate: 44.1kHz TO 96kHz determined by front panel switch.
- S/PDIF Input: Unbalanced digital input 75 ohms RCA connector
- S/PDIF Output: Unbalanced digital output 75 ohms RCA connector
- AES Input: Balanced digital input 110 ohms XLR connector
- AES Output: Balanced digital output 110 ohms XLR connector
- Power: 25 watts at 115 or 230 volts, 50 or 60 Hz. Fuse size is MDL .3A for 115 volts; MDL .25A for 230 volts
- Pilot Lamp: # 7335
- Shipping Weight: 15 lbs (6.7kg)
- Depth Behind Panel: 10 inches (25.4cm) plus user input/output connectors
- The Convertors: HEDD-192 uses high Quality 24 Bit A/D and D/A Convertors made by CRYSTAL semiconductor, with an upgrade path to 192K sample rate convertors
Crane Song HEDD-192 AD/DA Convertor Includes
- Crane Song HEDD-192 AD/DA Convertor
Crane Song HEDD-192 AD/DA Convertor Downloads
What We Think
"The more I use the Crane Song HEDD-192, the more I love it. Usually, familiarity breeds contempt, but Dave Hill and the folks at Crane Song really made a piece of gear that has a special place in the 'gear hall of fame' (whenever someone gets around to building that institution). HEDD's ability to add that all important overall glue and character across the stereo mix while also having the ability to provide amongst the most pure conversion possible, makes it one of the most flexible stereo A/D D/A converters anywhere. I'll say this for it - it sure doesn't sound digital. The only thing to watch out for, and I had the same experience with the Color knob on the Egret, is that once you get a taste of what the Triode, Pentode, and Tape modes can do, you want to step on the gas and go and never look back. Since the gain range is fairly wide and high for these modes, which can provide a full thickening as well as certain 2nd and 3rd order harmonics, it is possible for a good thing can be overdone. So, it's good to keep a little bit of a governor on your desire to flat out crank the knob. Little adjustments can make very subtle changes. It's something for the engineer who wants to really dial it in, but do so quickly. There are a couple of really fantastic 2-channel mastering quality converters available out there. And if you're on the hunt for one to put in your studio, the Crane Song HEDD-192 should definitely be on the short-short list."
- Front End Audio
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I'd hate to be without the services of my HEDD. As an AD or DA converter it is the real deal. Whether I go into it digitally using the tape emulation or run my summing amp into it for A/D conversion the HEDD is always my best 2 bus option. It's some of the best gear money that I've ever spent. Crane Song builds absolutely the best gear that money can buy period. I've had mine for many years and it sounds incredible and always works flawlessly.
I have used this box to turn mono (horn, drum, or vocal) tracks into stereo by using the original track as one channel and the "HEDD track" as the other channel. I also use it regularly to impart "softening" to a track. Without sounding too enthusiastic, it is also a regular part of my mastering chain when coupled with the TC Electronic M6000 MK2 (sometimes coupled with other boxes). Listen to Jimmy Gaudreau's "Pieces and Bits" album and you'll hear how I used it to dovetail 18 separate recording sessions from different studios into a cohesive acoustic sound. I've also used it for nu-metal vox, acoustic jazz drum sub, Americana rock vox, Toussaint drums, horn sub, etc.