Cranborne Audio Carnaby HE2

“We had always planned for Carnaby HE2 to be more than just two Carnaby 500’s in a box,” say Cranborne. But how much more?

Back in 2018, Cranborne Audio impressed us hugely with their debut product, the Camden 500. A 500‑series module, it was a very original design that combined a wonderfully clean and quiet mic/line/instrument preamplifier with one of the most versatile and easy‑to‑tune dedicated distortion/saturation circuits we’d ever seen built into a preamp. Though we didn’t know it at the time, the Camden 500 also signposted where Cranborne as a company saw themselves heading. It demonstrated a desire to strike a balance between modern, low‑noise, low‑distortion analogue electronics and vintage colour — or ‘mojo’ to borrow the Camden’s term — that’s both practical and musically pleasing, as well as a deep passion for originality and innovation. It’s probably also worth pointing out that despite what must have been a huge amount of research and development, it was very keenly priced.

Origin Story

Cranborne have delivered several products since the Camden 500 and I’ve enjoyed them all immensely, not least their excellent eight‑channel 500‑series interface and ADAT expander, the 500ADAT. They’ve all followed the path pioneered by the Camden 500, but arguably their most novel offering before now has been the Carnaby 500. Billed and trademarked as a HarmonicEQ, this unique, all‑analogue 500‑series module is a sort of hybrid technology: part EQ and part saturator.

Rather than take the obvious route of treating these two processes as separate stages in the signal path, Cranborne developed a completely new circuit that adds saturation separately in every band, such that when you boost, you’re adding harmonics, and the nature of the saturation is different in each band: for the low band, for example, it’s hard clipping, while the high band uses a more rounded saturation to smooth the high end. As Hugh Robjohns observed in his SOS May 2023 review, this processor genuinely brought us “a brand‑new way of adding tonal colour and aural interest”. Crucially, though, the Carnaby 500’s EQ‑style controls mean that all that clever stuff happens behind the scenes: to the user, turning its controls is just like turning the knobs of an EQ, so even if the audible effect can sound rather different from EQ, there’s pretty much no learning curve.

On the subject of curves, Cranborne sometimes describe the EQ at the heart of this processor as being ‘parametric’ but the Q/bandwidth is fixed, and it’s all about performing broad and overlapping boosts and cuts, shaping the overall tonal colour with broad brush strokes. (That’s an appropriate analogy for a module that’s really all about vibrancy and colour!) You might describe the saturated boosts as sounding ‘warm’, ‘thick’ or perhaps ‘vintage’, for instance, and the overlaps mean the bands’ curves interact somewhat. I’ve also been very struck by just how forgiving this processor can seem: applying what I’d typically consider to be over‑generous boosts might or might not result in the sound you want to use, but it never really seems to end up sounding bad in the way that radical EQ often can. This makes the Carnaby super‑easy to use.

It’s rare to see this sort innovation in the world of analogue audio processing, and rarer still for it to yield such wonderful and practically useful results, but the innovation didn’t end with the processing. Cranborne also included a clever optical stereo control‑linking facility (‘optosync’) that, when engaged, meant that if you turned the knobs of one Carnaby module, an adjacent unit (in a standard vertical‑mounting 500‑series chassis) would act in concert with it. You could actually cascade‑link several modules in this way to form a ‘Carnabetian army’, if you like (groan!). Another signpost? It didn’t take a genius to work out that Cranborne’s designers had been thinking very hard about how they might implement stereo or multi‑channel versions of the Carnaby.

Well, now we have the stereo version, in the form of the Carnaby HE2, and Cranborne being Cranborne, they’ve done a hell of a lot more to nudge their HarmonicEQ concept forward than put a pair of Carnaby 500s in a new chassis.

While the processing is entirely analogue, the controls are proudly digital. Don’t worry: you can turn the light show’s brightness down if you feel the need!

A Dedicated Follower...

At the heart of the Carnaby HE2 are two channels of the three‑band HarmonicEQ processor that make the Carnaby 500 so special. Broadly speaking, these are high and low shelves and a fixed‑bandwidth peaking mid that ranges from 200Hz to 6.2kHz. In a welcome case of ‘if it ain’t broke, don’t fix it’, this circuitry remains pretty much unchanged, but Cranborne have added many new features, and when you add up all the different elements that go into the whole, I reckon the result is a far more enticing prospect for the modern hybrid studio owner.

The big headline is probably the provision of plug‑in remote control, of which more later, but there are plenty of new features in the signal path too. Each channel has variable high‑ and low‑pass filters (18‑180 Hz and 8‑40 kHz, respectively) which can be used to tame the side‑effects of hefty low‑ or high‑end boosts, but are also a handy tool to have around in the analogue domain generally, even when you’re not using the HarmonicEQ facilities. There are three channel‑linking modes: stereo, dual mono, and Mid‑Sides. What’s more, the Mid‑Sides encoder/decoder circuit includes an insert point that’s switchable from the front panel — a thoughtful feature that can help you do more with your existing kit. The larger chassis means there’s plenty of space on the front panel for metering, too. In addition to the single LED for each band that lights to indicate when harmonics are being added, we’re treated to a very clear 2x12‑segment LED output level meter in the centre, along with the buttons to select stereo, M‑S or dual‑mono operation.

While the signal path remains entirely analogue, the Carnaby HE2’s controls are all proudly digital. Their status is indicated by a playful rainbow of LEDs, with buttons being backlit and endless rotary encoders surrounded by a circle of LEDs. For some knobs, the LEDs light to form an arc indicating the current setting as you turn from one extreme toward the other. For others, only one or two LEDs light to inform you of the control ‘position’ at any given time. It’s all very clear and works very well, the one exception being that the buttons only light to indicate when their parameter is active — when off, the LEDs are unlit, and with no panel markings around them, there’s no visible indication of the controls’ purpose. I can see why Cranborne chose this approach. It keeps the front panel clean and uncluttered, in a way that wouldn’t be possible with lots of silk‑screen labels, and it’s not really a problem in practice: all the buttons light when powering on, the purpose of most of them is pretty obvious, and you quickly become familiar with the rest. Still, some might prefer an option to dim the backlighting when off so that you can still see the function, rather switch it off altogether.

There’s no audible clicking when you turn the controls, which is a side‑effect I’ve encountered on some other digitally controlled analogue devices.

Inherently, digital controls aren’t continuous in the way that analogue pots are: they always switch from one state to another. That means defined steps but, happily, the steps for each and every one of the Carnaby HE2’s controls are very well judged, by which I mean that when you turn the encoders, everything that should feel continuous does so. Perhaps more importantly, there’s no audible clicking when you turn the controls, which is a side‑effect I’ve encountered on some other digitally controlled analogue devices. And since the Carnaby HE2 responds just like you’d expect an analogue device to when you turn its controls, you can do things like filter sweeps in real time without unwanted artefacts.

The I/O are paralleled on XLR and TRS jacks, and there are separate send and return jacks for the M‑S matrix insert point.

On the rear panel are four XLR sockets, providing the main balanced input and output for each channel. These are joined by eight quarter‑inch jack sockets: four of these duplicate the XLR I/O, while the others provide the separate insert sends and returns for the Mid‑Sides matrix. The internal power supply accepts mains power through a fused IEC inlet with integral on/off switch on the rear. Also on this panel are a USB‑C port and an RJ45 port for Ethernet connectivity, and those last two sockets bring me neatly on to that headline feature I mentioned above...

Plug‑in Paradise?

The use of digital control allows Cranborne to follow in the footsteps of companies like Bettermaker, Wes Audio and Tegeler Audio in making the Carnaby remotely controllable from a computer. This can be done directly over a USB‑C connection, or over a network via Ethernet and, in either case, it’s possible to control several Carnaby HE2s simultaneously. There’s both a standalone version of the software for Mac and Windows and a DAW plug‑in (usual formats for Mac and Windows hosts) and both communicate bi‑directionally with the hardware, such that turning the hardware’s controls updates the on‑screen parameters, and changing settings in the software updates the hardware’s control positions automatically (and pretty much instantly).

The plug‑in isn’t just useful for recall and preset management ‑ it supports full and mercifully click‑free automation too.

I found the standalone software helpful for this review, as I didn’t have to boot my DAW to run it. In practice, though, I doubt most people will use it, because the plug‑in is almost identical, yet its settings are saved and recalled automatically with DAW projects. You can save and load presets, too, of course, and if you cast your mind back to the ‘no audible clicking’ point I made earlier, you should realise that you’re able to use your DAW’s automation to tweak pretty much anything in real time. The hardware responds just as you’d hope, and in Reaper I was even able to automate preset changes to treat different parts or song sections without having to automate lots of parameters, and the changes to multiple settings seemed instant.

For the most part, the plug‑in’s GUI resembles the hardware control panel, making it intuitive to use, though there are a couple of differences. In L‑R stereo mode, the second channel’s controls are greyed out, which is fair enough. On the hardware, both channels’ controls still function while they’re linked, and that’s the right decision: depending where you place the unit, one physical control set might be more convenient to reach and tweak than the other. There’s no metering on the plug‑in, and the controls for the high‑ and low‑pass filter are beneath the HarmonicEQ controls for each channel. A very useful difference is that the current setting is indicated by text labels showing the actual frequency or amount of gain. I liked this: I could use the hardware, with its minimal markings, to encourage me to use my ears, or be more precise working from the plug‑in if I felt that was necessary. Finally, there are some useful global settings, including an auto‑connect feature that’s off by default (you normally have to select which attached Carnaby device the plug‑in instance controls) and control of the hardware’s LED brightness from 1‑100 percent (the picture above shows the LED brightness at 100, while the factory setting is 50).

Sounds & Strategies

I tested the Carnaby on a range of individual sources, stereo groups and the master bus on a few recording and mix projects. It’s useful enough as a broad‑strokes EQ, but the combined effect of EQ and saturation was massively impressive: the Carnaby HE2 really does do something that no other EQ or saturation processor I’ve used can do. With what I’d usually think of as scary amounts of boost and cut on an EQ, I could make competent but relatively boring drum loops sound full, rich and energetic, vocals more voluptuous, guitars more girthy, basses thicker and warmer, and so on. It’s a seductive effect and easy to overdo if you use it on the master bus or for mastering, but used much more subtly, it delivered wonderfully enriching enhancement in those roles — I’d even suggest that it’s capable of brilliance.

In Hugh’s review of the Carnaby 500, he made the analogy of a ‘vibrance’ control in photo‑editing software, and it’s a great one. In short, it’s a really quick and creative tool that can breathe new life into a flat sound, and turn up the colour on others. But the longer story is that if you want to learn to get the very best from it, you’ll need to develop your approach. Hugh suggested that, because of the subtlety of the saturation at lower gains, he almost always ended up using the band gain controls at their extreme cut or boost positions, and then dialling in the desired saturation by balancing the input and output levels. I can see where he was coming from and this can help you work very quickly, but I also found plenty of nuance in those ‘in between’ positions. Even when not saturating you are still EQ’ing, after all.

There’s no ‘right’ tactic here, but Cranborne “encourage you to explore its musicality with your ears, and not with any preconceptions of conventional EQs”. It’s good advice, and personally I look to the Carnaby to add something, not just to rebalance a sound — after all, I have plenty of EQs for that sort of thing already. I’ve tended to start by setting a chunky gain in one band (with the others switched off) and then sweeping the frequency to find where the Carnaby adds interesting character. It’s a well‑worn path for EQ: sweep to find ugly resonances, then dip them out. But here it’s about what to add, not what to cut. When I home in on something nice, I finesse the gain control before moving on to the next band. When I’ve done that, I’ll turn to the high‑ and low‑pass filters, to see what they can offer. Sometimes it’s just a case of taming low‑end bloat, but there’s plenty of range in their frequency controls, so they can also have a really interesting effect on the overall curve and colour.

There’s some interaction between bands due to their overlap, making this an iterative process, but I’ll then switch each band in and out and tweak the gains further, and keep going until I’m happy with the result. I soon felt I had enough control to be using this as a tracking effect, and enjoyed doing so. It was easy to get a rich, full sound down ‘on tape’, and that gave me plenty to play with using conventional EQ in a mix. It’s a little bit like using an Aural Exciter, I suppose, but it feels much less technical, smoother and more tuneful. More ‘vintage’ and ‘alive’, if you like.

I said earlier that this is a forgiving processor, and I meant it, but I should mention that after tweaking some more dynamic sources with playback looped over a section of the song, I found that occasional louder notes elsewhere could trigger too much saturation. Not the Carnaby’s fault, but mine: you really must listen carefully to the effect on the loudest parts of a track. In one case, I thought I’d dialled in the perfect ‘colour’ for a slow and dreamy female vocal, but later heard a few notes pop their distorted heads above the parapet. It was a sign that I needed to revisit my pre‑Carnaby compressor settings or clip gains, and when I did so I quickly got things back on track. Also, when putting the Carnaby through its paces on a drum bus (where it can do magical things, by the way!) I hit upon a lovely sound. But when the cymbals came in a bit harder in the next section, it was just too much. Backing off the gain changed the overall tonality of the drums, so I ended up doing what I tend to with drums when tape emulation plug‑ins unhelpfully colour the overheads — I automated pulling down the level of the overheads entering the Carnaby, and sent correspondingly more ‘clean’ overheads past it to the stereo bus. It worked a treat.

The Carnaby HE2 is different. Its HarmonicEQ process is best thought of as an enhancement process rather than an EQ, and it’s just so good at bringing out all the colours and rich textures in a sound — including some that didn’t seem to be there in the first place!

Carnaby’s Treat

There’s so much analogue outboard gear around today and, once you’re above a certain price point, most of it is pretty good quality. But lots of it does start to feel quite similar when you’ve been testing and reviewing things for as long as I have! The Carnaby HE2 is different. Its HarmonicEQ process is best thought of as an enhancement process rather than an EQ, and it’s just so good at bringing out all the colours and rich textures in a sound — including some that didn’t seem to be there in the first place! The Carnaby 500 does that too, but the addition of filters and the stereo modes here make a big difference. It’s easy to get going, but there are hidden depths to be explored over time. Then there’s the digital side of the equation: this is Cranborne’s first plug‑in‑controlled analogue device, and they’ve done a cracking job of it. It’s intuitive and reliable, and adds a new dimension to the analogue processing. Another of those signposts? It makes me wonder where next for Cranborne, and I can’t wait to find out!