Recording - September 2016 - 46

B Y PA U L V N U K J R .

Crane Song 500 Series Tube Modules:
Syren Microphone Preamp, Insigna EQ, and Falcon Compressor
The high-end audio shop goes small with these exceptional modules
It's not often that we think of high-end audio
gear and Northern Wisconsin in the same sentence, but Superior-based Crane Song is one such
company, possibly the only boutique audio company here in my home state. This makes it a bit
ironic that this review is the first time I have actually had Crane Song gear here in my studio...
shame on me!
Dave Hill is the designer behind Crane Song;
he has been crafting some of the most respected
digital converters, EQs, compressors, mic preamps, summing boxes, and mastering tools for
years. Dave was also the principal designer
behind the classic Summit Audio processor line.
One of Crane Song's best known units is the
Avocet Monitor Controller and D/A converter;
reviewer Martin Nessi took a look at its latest
incarnation, the Avocet II, back in our March
2015 issue on monitors and monitoring.
This month we are looking at three Crane Song
devices that represent a few firsts for the company. While the firm is best known for ultra clean
and pristine devices with gentle (if any) coloration, each of these units is a tube device full of
flavor and vibe. Also, each one is a module
designed for use on in API 500 Series enclosure.
This new 500 Series lineup includes the Syren
Microphone Preamp/DI, the Insigna 3-Band EQ
and the Falcon Optical-Style Compressor.
Topology and design
All three modules share similar looks and styling,
with Crane Song's thick matte-finish brushed silver
faceplates, etched lettering, and signature green
knobs. All stepped switches on the three units are
Grayhill series 56 switches, and each unit uses
super smooth Bourns pots for continuous controls. Each unit's
toggle switches are also firm and of great quality.
Each unit is a fully-encased 500 Series design and takes up
only a single slot. Not only are tube-based units relatively rare
among the plethora of 500 Series modules on the market, but
most tube-based models are dual-space offerings. As a side
note, each unit does generate a lot of heat, so rack airspace is
a good idea.
Internally the three modules all share a similar topology, centered around the same 12AX7B tube in a dual-triode design.
All three units have a beefy Lundahl LL1585 output transformer, and the Syren also makes use of a Lundahl LL1576
input transformer.
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RECORDING SEPTEMBER 2016

Syren
The Syren microphone preamp features standard mic pre fare, along with a few extra controls to help you color outside the lines if you
wish. There is a 3-position pad (Off/15/25 dB),
phase reverse, phantom power, a mic/DI switch,
a 24 dB/octave 90 Hz highpass filter, a Color
switch, and a pair of continuously variable pots
for input and output gain.
To give visual indication of signal drive, there
are a pair of red LED lights-one at the start of
the input stage and one at the start of the output
stage. These light up when the level hits -6 dB,
which is where soft clipping starts. Note this is a
tube preamp, so clipping is not always a bad
thing to be avoided. In fact, have fun and clip
away!
Internally, signal flows from the input transformer to one half/triode of a 12AX7B tube on
input, and output flows to the second half/triode
of the tube followed by the output transformer. As
with a classic tube preamp, you can drive the
input gain into the output gain for varied levels of
saturation, color, overdrive, and full-on distortion.
Further tonal variation comes from the Color
switch, marked Open and Color. This switches
the output tube stage from negative (Open) feedback to positive (Color) feedback.
Simply put, the Syren is versatile and offers a
broad range of tonal possibilities, possibly more
so than any other tube preamp I have ever used.
With input signals low, the output control high,
and the Color switch at Open, the unit is clean
and very hi-fi. As you push a hotter signal into the
unit and/or push the input level into the output,
the Syren goes quickly and easily from a thick
gentle growl to full-on drive. Flipping the Color switch down to
the Color setting adds a subtle upper bite and a gentle aggression that is nicely forward; I found it most beautiful on electric
guitars and snare drum. On already aggressive sources, like
cymbals and tambourines, the Open setting is nicer and seats
said instruments better in the mix.
One thing I forgot to mention is the front-located 1/4" DI
input. At moderate levels it is nice for direct bass signals, but it
does get aggressive quickly-especially on strong picks,
plucks and slaps. I found it a bit much for bass guitar with
aggressive players.
However, on DI electric guitar, this is one of the nicest units I
have used for old-school distorted input-channel drive. When

Table of Contents for the Digital Edition of Recording - September 2016