500R8 features the studio essentials that you need to build your dream studio such as an 8-into-2 high-headroom analogue summing mixer, comprehensive monitor controller with talkback facilities, 16-in/16-out ADAT interface, as well as a zero-latency analogue artist mixer with reference-quality, high-powered headphone outputs.
The Best Of Analogue
By capitalising on the vast and ever growing 500 series market, you can configure your 500R8 to suit your tastes of analogue flavour. By installing your favourite 500 series modules into the 8 available 500 series slots, you can create your ultimate analogue front-end/preamp stage that can be multi-track recorded directly into your DAW.
Fill 500R8 full of vintage preamps for recording drums. Fill 500R8 full of clean and pristine preamps for recording strings. Fill 500R8 full of Preamp, EQ, and Compressor modules to create your own custom, analogue channel strips. The possibilities are endless and every 500R8 is unique to your sound.
Integrating 500 series modules into your workflow doesn't stop after the recording. Dedicated module source switches for each 500 series slot allow you to send USB channels from your DAW, into 500R8, through the 8 installed 500 series modules, and back into your DAW for recording (with that analogue ‘mojo’ applied). Think of 500R8 as a bank of 8 external Analogue Plug-ins.
For a more hands-on, all-analogue approach to mixing, 500R8 also features an 8-into-2 high-headroom analogue summing mixer with dedicated level and pan controls that you can use to create your own high-headroom analogue mix before recording it back into your DAW using dedicated USB inputs 9/10.
The Best Of Digital
In order to capture every subtle nuance of your analogue signal, 500R8 features reference-class A/D-D/A conversion with 121dB (A-wtd) dynamic range and THD+N of
The combination of highly-accurate, low-jitter clocking and high-performance digital conversion ensures that every ounce of analogue character is captured with the utmost detail - free of unwanted digital artefacts from the conversion process and with a wide dynamic range thanks to 500R8's high-headroom analogue design and low noise floor.
USB Audio Interface
Cranborne Audio's USB 2.0 audio interface provides high channel-count and low-latency performance whilst being accepted by all PC/macOS devices with unparalleled stability and longevity. 500R8 is core audio compliant for macOS or features a lightweight control panel for Windows machines that absorbs as little CPU resources as possible to leave you with more power for plug-ins within your DAW session.
Plug 500R8 into your PC/macOS device and your DAW will see a full 28-in/30-out USB audio interface. 500R8 also includes a full complement of 5-pin MIDI I/O, ADAT I/O, Word Clock I/O via BNC, and S/PDIF I/O to ensure that all of your digital studio connectivity is covered.
500R8 features a comprehensive monitor controller with connectivity for two sets of studio monitors. As well as seamless speaker switching between both sets of studio monitors, there’s a Mono button that sums L-R channels to check for mono compatibility, a DIM switch that drops the speaker volume by 12dB for relaxed discussions during recordings, and a speaker mute switch for when you are tracking with headphones.
500R8 also features a comprehensive Talkback section with XLR input, 48v phantom power, push-to-talk operation, and automatic signal routing to all C.A.S.T. and headphones outputs connected to the system.
Analogue summing can give your mix the final bit of analogue character required to achieve professional and polished sonic results. What makes 500R8's 8-into-2 channel summing mixer so special is that it is positioned after the 8 500 series slots - allowing you to insert saturation or subtle 'bus-compression' modules and create a stereo mix using 500R8’s dedicated analogue level and pan controls beneath each module. 500R8's summing mixer also has a dedicated converter which can be used to record your stereo mix into your DAW on USB inputs 9/10 with a massive +24dBu of headroom.
Zero-Latency Artist Mixer
500R8 moves away from clunky "virtual" software mixers and gets your hands back onto the mix. By using 500R8’s high-headroom analogue summing mixer, you can create zero-latency, all-analogue mixes of live sources that can be blended with discrete USB playback paths and sent directly to the recording musicians via C.A.S.T. or the local headphone outputs.
C.A.S.T. stands for Cat 5 Analogue Snake Transport and enables cost effective and organised cable management around your studio. C.A.S.T. repurposes off-the-shelf, shielded Cat 5e, Cat 6, and Cat 7 networking cables to transport 4 channels of balanced analogue audio over a single cable.
500R8 has 4 C.A.S.T. IN ports that allow you to connect C.A.S.T. enabled devices (such as the Cranborne Audio N22 and N22H) and relocate I/O wherever it is needed around the studio.
Connect mic/line sources into the C.A.S.T. breakout box and that signal travels through the Cat 5 cable and directly into the modules installed into 500R8. At the same time, the analogue mix created on 500R8 is sent through the same cable and into the connected breakout box. This allows for seamless analogue audio connectivity between the control room, live room, vocal booth, or the bedroom next door!
C.A.S.T. is 100% analogue and requires no setup in order to operate. It can easily work at distances up to 100m when Cat 6 or Cat 7 cable is used and the complete studio cabling infrastructure costs a fraction of what an analogue multi core would cost. No setup. No latency. No fuss. And it sounds great.
500R8 and 500ADAT are two revolutionary 500 series racks featuring elite-quality AD/DA conversion, ultra low-jitter clocking, summing mixers, and reference headphone amplifiers built-in to their 4U frames. Both are designed to integrate all the benefits of 500 Series modules into brilliant hybrid studio workflows not previously possible. But whilst on the outside their differences look minimal, these two racks are designed for completely different users - integrating into your studio in completely different ways.
Deep dive into the physical and applicational differences between the two units to help you decide which one would work best in your studio in this dedicated blog
"The 500R8 could easily be the centrepiece of any serious recording/mixing setup: it's a top-notch audio interface, a capable 500-series host chassis, an expandable analogue summing mixer, and more besides." - Read the full review from Sound on Sound here
The 500 series format is the most cost-effective, and flexible way to add a variety of analogue gear into your studio, but it’s never been the easiest system to integrate into your studio setup. Until now.
1. Goodbye To Cable Spaghetti
500ADAT seamlessly integrates the 500 series format into your studio without running multiple analogue cables to and from your audio interface’s I/O. D-subs, XLRs, and TRS jacks cost money, take up space, and look unsightly. 500ADAT exchanges all of that copper for 2 optical cables. With 500ADAT, there are less physical electrical contacts to go wrong and less margin for error during patching. Spend more time making music and less time patching.
2. Get More Recording And Playback Channels From Your Audio Interface
Moving 500 series connectivity away from analogue lines to ADAT means that all of your interface’s analogue I/O is freed up and available for use elsewhere. ADAT is often left unused on audio interfaces whilst precious analogue I/O is permanently plumbed into your 500 series rack or patch bay. Move your 500 series modules to those dusty ADAT ports, free up those Line Ins and outs, and utilise more of your audio interface’s available I/O.
3. Upgrade Your Conversion
With converters and digital clocking built-in that exceeds the technical performance of the best audio interfaces on the market, 500ADAT not only gives you more channels during recording and mix down, but also elevates your sonic capture capabilities to the next level with huge dynamic range, inaudible THD+N, and less than 0.5 picoseconds of clock jitter.
4. Simplify Your Hybrid Studio Workflow
Remove the complexities of analogue I/O levels, re-patching, and patch bays by moving towards a simpler, yet more advanced integration of 500 series and other analogue equipment. 500ADAT’s module source switches allow for Analogue XLR or ADAT sources to be routed through the 500 series modules at a flick of a switch. 500ADAT is a completely optimised and fool proof way of using 500 series during recording and mixing.
5. 500 Series Made Easy, and Made Better
Not only does 500ADAT sit in the same place as your current 500 seres rack and analogue cabling, but it also brings much, much more to your studio capabilities. It also features a reference-class headphone amplifier and a high-headroom analogue summing mixer in one integrated, high-performance, and streamlined package.
Read more here
|Test Signal Path||XLR Input - 500 Series A/D Converter - APx555 (ASIO)|
|Frequency Response||-1dB, 2.2Hz to >80kHz--0.05dB, 20Hz to 20kHz|
|THD+N||<0.00032% (-110dB) @ -4dBFS, 20Hz - 40kHz, 1kHz, A-weighted-<0.00065% (-104dB) @ -1dBFS, 20Hz - 40kHz, 1kHz, A-weighted|
|THD||<0.00014% (-117.5dB) @ -8dBFS, 20Hz - 40kHz, 1kHz, A-weighted-<0.00023% (-113dB) @ -4dBFS, 20Hz - 40kHz, 1kHz, A-weighted-<0.0006% (-105dB) @ -1dBFS, 20Hz - 40kHz, 1kHz, A-weighted|
|Dynamic Range||121dB A-weighted, AES17 method, 20Hz - 20kHz|
|Max Input Level||+24dBu|
|Test Signal Path||500 Series D/A Converter - Insert Send - APx555 (ASIO)|
|Frequency Response||-1dB, <1Hz to >61kHz--0.05dB, 20Hz to 20kHz|
|THD+N||<0.0003% (-110.5dB) @ -4dBFS, 20Hz - 40kHz, 1kHz, A-weighted-<0.0004% (-108dB) @ -1dBFS, 20Hz - 40kHz, 1kHz, A-weighted|
|THD||<0.00014% (-117.5dB) @ -8dBFS, 20Hz - 40kHz, 1kHz, A-weighted-<0.00018% (-115dB) @ -4dBFS, 20Hz - 40kHz, 1kHz, A-weighted-<0.00036% (-109dB) @ -1dBFS, 20Hz - 40kHz, 1kHz, A-weighted|
|Dynamic Range||121dB A-weighted, AES17 method, 20Hz - 20kHz|
|Max Output Level||+24dBu|
|Test Signal Path||DAW 2 D/A Converter - Line Outputs - APx555 (Line In)|
|Connection Type||1/4" Jack, Impedance Balanced|
|Output Impedance||150ohm balanced, 75ohm unbalanced|
|Max Output Level||<+22dBu|
|Freq Response||-1dB, 1.4Hz to >80kHz|
|THD+N||<0.003% @ +18dBu, 1kHz|
|Dynamic Range||105dB A-weighted, AES17 method, 20Hz - 20kHz|
|Noise Floor||<-93dBu A-weighted, 20Hz - 20kHz, (Unity Gain)|
|Speaker A Output|
|Test Signal Path||DAW 2 D/A Converter - Speaker A Line Output - APx555 (Line In)|
|Connection Type||XLR, Balanced, non-floating|
|Output Impedance||150ohm balanced, 75ohm unbalanced (pin 3 unconnected)|
|Max Output Level||<+26dBu|
|Freq Response||-1dB, <1Hz to 70kHz|
|THD+N||<0.0016% @ +24dBu, 1kHz|
|Dynamic Range||109dB A-weighted, AES17 method, 20Hz - 20kHz|
|Noise Floor||<-92.5dBu A-weighted, 20Hz - 20kHz, (Unity Gain)|
|Gain||30dB Fixed Gain Preamp, +20dB Analogue Trim|
|Phantom Power||Always On|
|Test Signal Path||XLR Input - Summing Mixer Bus (Unity) - A/D Converter 9/10 - APx555 (ASIO)|
|Freq Response||-1dB, 2.25Hz to >80kHz--3dB, 1.2Hz-0.5dB, 3Hz|
|THD+N||<0.0007% @ +23dBu (-1dBFS), 1kHz|
|THD||<0.0003% @ +14dBu (-10dBFS), 1kHz-<0.0004% @ +20dBu (-4dBFS), 1kHz-<0.00055% @ +23dBu (-1dBFS), 1kHz|
|Dynamic Range||108dB A-weighted, AES17 method, 20Hz - 20kHz|
|Noise Floor (A/D 9-10)||-108dBFS A-weighted, 20Hz - 20kHz|
|Max Contribution Level||+28dBu|
|Noise Floor (Mix Output)||-90dBu, A-weighted, No channels routed|
|Test Signal Path||DAW 2 D/A Converter - Headphone Output - APx555 (Line In)|
|Frequency Response||-1dB, <1Hz to >70kHz|
|THD||<0.0006% (-104.4dB) @ 20dBu, 1kHz, A-weighted, 300ohm load|
|THD+N||<0.00085% (-101.4dB) @ 20dBu, 1kHz, A-weighted, 300ohm load|
|Output Impedance||0.33 Ohms|
|Output Wattage||250mW x 2 @ 600 ohms, 1kHz-650mW x 2 @ 220 ohms, 1kHz-1.21W x 2 @ 100 ohms, 1kHz-500mW x 2 @ 32 ohms, 1kHz|
|Dynamic Range||114.5dB A-weighted, AES17 method, 20Hz - 20kHz, 300ohm load|
|Noise Floor||-93.5dBu A-weighted, 20Hz - 20kHz, 300ohm load|
|Analogue Path Phase Performance|
|Test Signal Path||XLR Input - Empty 500 Series Slot - Summing Mixer Bus (unity) - Monitor Bus - Speaker A Output - APx555 (Line In)|
|Phase||<3.6° @ 20Hz, <22° @ 20kHz|
|Test Signal Path||XLR Input - Empty 500 Series Slot - Summing Mixer Bus (unity) - Mix Output - APx555 (Line In)|
|Phase||<1.5° @ 20Hz, <11° @ 20kHz|
|Test Signal Path||XLR Input - Camden 500 Preamp (Mic Mode, 6dB Gain) - Summing Mixer Bus (unity) - Speaker A Output - APx555 (Line In)|
|Phase||<3° @ 20Hz, <13.5° @ 20kHz (Preamp mic mode, 6dB Gain)|
|Digital Round-trip Performance|
|Test Condition||500 Series D/A Converter - 500 Series A/D Converter - APx555 (ASIO)|
|Dynamic Range||118dB A-weighted, AES17 method, 20Hz - 20kHz|
|THD+N||<0.0004% (-108dB) @ -4dBFS, 20Hz - 40kHz, 1kHz, A-weighted|
|AC Requirements||100V – 240V AC, 50 – 60 Hz|
|Total Power Consumption||24v, 5A DC, 120w|
|500 Series Slot Current||250mA per rail|
|Total Available 500 Series Slot Current||2A|
|Operating Temperature||+1 to 30 degrees Celsius|
|Storage Conditions||-20 to 50 degrees Celsius|
500 Series Preamp and Signal Processor
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