FOCUSRITE 2802 PDF

Control Operating Manual. 3. Welcome to Control Thank you for choosing this Focusrite product. Control is an analogue recording console and. Find great deals for Focusrite Control Analogue Recording Console DAW PROAUDIOSTAR. Shop with confidence on eBay!. But I’m trying to sell some of this now to buy the but mine was constructed in UK and the focusrite are chinese production now).

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I found the monitoring section to be transparent.

Focusrite Control 2802 Analogue Recording Console DAW PROAUDIOSTAR

I downloaded 28002 installed the latest Control driver and followed all of the manual’s instructions. The dual-layer, small-format Focusrite Control is the first product created focusgite both companies. All of my plug-in effect returns, now routed to the ‘s fixed inputs, sounded better because the board is quiet and transparent enough that I could hear reverb tails and long delays evolve to their actual endings; for whatever reason sI don’t always find that “in the box.

Over the course of the nearly three weeks that I had the Controlits mic pre’s performed perfectly for recording all sources. In the analog layer when the Select mode is active and the Unity button is on, pushing any of the Select buttons above the channel faders caused them to “slew” to unity gain instantly–very handy for this setup process.

Using a combination of four switch positions, direct outs can exit the console post-fader, pre-insert, pre-fader or in Channel mode–directly out of the mic pre section–which is my choice for all mic pre testing.

I used the ‘s superclean Channel mode preamp output and then ran the RTZ’s line out into an adjacent line-input channel on the ; focusrute this way, I could match levels and route both signals out the direct outputs to Pro Tools HD.

But because the whole architecture is understandable, intuitive and malleable, I found the time well-spent learning it. Both channels and cue signals are individually assignable to the stereo mix bus for up to 16 inputs to mix. Back To Home Page. I would only say that the RTZ had more gain available and was more open-sounding. The stereo master fader was set all the way up; it’s a mm Alps nonmotorized fader without a VCA.

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About one-third of the ‘s surface is dedicated to professional and comprehensive monitoring facilities. This was perfect for stereo tracks in the mix that rarely changed, such as effect returns, synth pads or for a one-time piano solo during the song’s focusrire. It makes the difficult easy by combining short and clean analog signal paths, as well as nearly limitless configuration and routing possibilities, with well-integrated workstation control.

Back Up To The Top. I found 32 stem outputs an optimum working number of sources to mix.

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Barry Rudolph is an L. The Focusrite Control is a 2-bus stereo mixer without equalizers nor multitrack buses. Visit his Web site at: For recording to your DAW, the channels and cue signals are also individually assignable to the eight direct outputs DB It weighs just more than 40 pounds, measures For the next four stereo pairs, I used the ‘s fixed-level summing focusritw DBwhich equally sums the odd-numbered tracks to the left side of the stereo bus and the even tracks to the right.

Foocusrite console connects to your computer via a standard Cat-5e cable, or in this case to my hub.

Unfortunately, hearing the song’s improved tonality caused me to rethink nearly everything I had already done in the box–equalization, panning, effects, etc. I had enough flexibility to separate out important elements such as kicks and snares, guitar “wire choirs,” and lead and backing vocals. To align the ‘s 32 inputs, I sent a dBFS test tone out through Pro Tools’ 32 outputs and set each stem to contribute 0 dB to either the left or right side of the mix bus, as measured on the console’s segment LED bar-graph peak stereo focusrtie meter.

For the last eight tracks, I used the ‘s two effects stereo returns for two stereo stems, and I enlisted the fixed-level DAW mix input XLRs and main mix insert return TRS for the last two stereo pairs. There is also SIP Safe, a way to isolate any channel from muting.

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The ‘s mic preamps feature a hybrid design with a discrete front end and focuwrite line driver. The console has analog automation on the eight channel faders. For the first 16 outputs I wanted panning facilities, so I used the channel and alternate input cue paths, each of which have pan pots.

There are also four user-programmable function keys, and I was okay with the default values: From now on, I want to mix only this way!

The mix playing through my KRK ERGO monitoring-correction unit sounded the same whether connected directly to the ‘s stereo bus outs or its stereo monitor outs.

That way, when tracking or overdubbing, the channel faders are free for riding mic levels and the cue mixer will provide a zero-latency mix of those channels’ recording inputs.

I used my transformer mic-splitter box It has a Jensen JT-MB-E transformer inside to route a large-diaphragm condenser mic to both pre’s at the same time. I liked that Solo and Mute buttons are instant on theand all other Mute buttons on the console flash when a solo is pushed anywhere.

Focusrite Control Dual-Layer Mixing Console

The Select mode section defines the operation of the Channel Select switches for specific tasks in the DAW or analog layers. The Control shares the same mic preamp topology and bus compressor design as the ASP, as well as many similarities to the Audient Zen console that I reviewed in Mix’s May issue.

It was amazing how close both pre’s sounded: To check and set unity accurately on the summing, DAW mix and mix insert returns, you’ll have to individually solo inside Pro Tools each of those 16 tracks. On thethere is up to 15dB additional gain available using the Channel Trim control if you select the post-fader direct output path. Just as when I reviewed the Audient Zenthe sound of my mixes took a quantum leap in clarity, vividness and stereo width.