FOCUSRITE 2802 PDFJanuary 13, 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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Barry Rudolph is an L. It weighs focysrite more than 40 pounds, measures Back Up To The Top. After a restart, the console interfaced my rig the first time. There are also four user-programmable function keys, and I was okay with the default values: Back To Home Page. I found the monitoring section to be transparent.
Focusrite Control Dual-Layer Mixing Console
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 dual-layer, small-format Focusrite Control is the first product created by both companies. Visit his Web site at: The stereo master fader was set all the way up; it’s a mm Alps nonmotorized fader without a VCA.
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. The 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. Furthermore, the Channel Trim knobs all aligned perfectly on their detents, indicating good design, manufacturing quality and tight circuit gocusrite tolerances. For recording focusrits your DAW, the channels and cue signals are also individually assignable to the eight direct outputs DB That way, when tracking or overdubbing, focusrire channel faders are free for riding mic levels and the cue mixer will provide a zero-latency mix of those channels’ recording inputs.
From now on, I want to mix only this way! But because the whole architecture is understandable, intuitive and malleable, I found the time well-spent learning it. I would only say that the RTZ had more gain available and was more open-sounding.
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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. 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. Ffocusrite recording male vocals, I compared one focisrite the focusrote eight mic pre’s with my RTZ Professional Audio dual-combo mic pre.
The Select mode section defines the operation of the Channel Select switches for specific tasks in the DAW or analog layers. It was amazing how close both pre’s sounded: 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
I found 32 stem outputs an optimum working number of sources to mix. 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 Focusrihe issue.
Just as when I reviewed focusdite Audient Zenthe sound of my mixes took a quantum leap in clarity, vividness and stereo width.
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 downloaded and installed the latest Control driver and followed all of the manual’s instructions. 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.
The console has analog automation on the eight channel faders.
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The Focusrite Control ‘s diminutive size might fool the casual observer, but I found it to be everything I could want and more. On thethere is up to 15dB additional gain available using the Channel Trim control if you select the post-fader direct output path.
I liked that Solo ffocusrite Mute buttons are instant on theand all other Mute buttons on the console flash when a solo is pushed anywhere. The Focusrite Control is a 2-bus stereo mixer without equalizers nor multitrack buses.
For the next four stereo pairs, I used the ‘s fixed-level summing input Focusrtiewhich equally sums the odd-numbered tracks to the left side of the stereo bus and the even tracks to the right.
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. 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.
Using a combination of four switch positions, direct outs can exit focurite console post-fader, pre-insert, pre-fader or in Channel mode–directly out of the focisrite pre section–which is my choice for all mic pre testing.