FOCUSRITE 2802 PDF

FOCUSRITE 2802 PDF

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February 16, 2021

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 downloaded and installed the latest Control driver and followed all of the manual’s instructions.

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

While recording male vocals, I compared one of the ‘s eight mic pre’s with my RTZ Professional Audio dual-combo mic pre. 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.

There is also SIP Safe, a way to isolate any channel from muting. 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 focusrife them to “slew” to unity gain instantly–very handy for this setup process.

Over the course of the nearly three weeks that I had the Controlits focusrits pre’s performed perfectly for recording all sources. About one-third of the ‘s surface is dedicated to professional and comprehensive monitoring facilities. I found 32 stem outputs an optimum working number of sources to mix. For the next four stereo pairs, I used the ‘s fixed-level summing input DBwhich equally sums the odd-numbered tracks to the left side of the stereo bus and the even tracks to the right.

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.

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For recording to your DAW, the channels and cue signals are also individually assignable to the eight direct outputs DB But because the whole architecture is understandable, intuitive and malleable, I found the time well-spent learning it.

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.

From now on, I want to mix only this way! Just focusriye when I reviewed the Audient Zenthe sound of my mixes took a quantum leap in clarity, vividness and stereo width.

The Select mode section defines the operation of the Channel Select switches for specific tasks in the DAW or analog layers. 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.

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.

Back Up To The Top. 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. All of my plug-in effect returns, now routed to the ‘s fixed inputs, sounded better because the board is quiet and focusrits 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. Back To Home Page.

Visit his Web site fousrite The stereo master fader was set all the way up; it’s a mm Alps nonmotorized fader without a VCA. Both channels and cue signals are individually assignable to the stereo mix bus for up to 16 inputs to mix.

Focusrite Control Dual-Layer Mixing Console

Barry Rudolph is an L. There are also four user-programmable function keys, and I was okay with the default values: 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.

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 bus meter. The Focusrite Control ‘s diminutive size might fool the casual observer, but I found it to be everything I could want and more. I found the monitoring section to be transparent. Unfortunately, hearing the song’s improved tonality caused me to rethink nearly everything I had already done in the box–equalization, panning, effects, etc.

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The Focusrite Control is a 2-bus stereo mixer without equalizers nor multitrack buses. The dual-layer, small-format Focusrite Control is the first product created by both companies. It weighs just more than 40 pounds, measures I would only say that the RTZ had more gain available and was more open-sounding. 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 ; in this way, I could match levels and route both signals out the direct outputs to Pro Tools HD.

The console has analog automation on the eight channel faders. I had enough flexibility to separate out important elements such as kicks and snares, guitar “wire choirs,” and lead and backing vocals.

Focusrite Control 2802 Analogue Recording Console DAW PROAUDIOSTAR

After a restart, the console interfaced my rig the first time. 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 bridge.

It was amazing how close both pre’s sounded: Furthermore, the Channel Trim knobs all aligned perfectly on their detents, indicating good design, manufacturing quality and tight circuit focusriet tolerances. 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. 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.