Focusrite 2802 User manual
Control 2802
Operating Manual
Version: 1.4
Warranty
All Focusrite products are built to the highest standards and should provide reliable performance for many years, subject to
reasonable care, use, transportation and storage.
In the event of a Manufacturing Defect becoming evident within 12 months from date of purchase Focusrite undertakes that the
product will be repaired or replaced free of charge if the product is returned to the authorised dealer from whom it was purchased.
In these circumstances, or if you need an out-of-warranty repair to your Focusrite product, please contact your local Focusrite
distributor in your country of residence or business. Find your local distributor and you will be advised of the correct return procedure.
Alternatively contact the Focusrite Reseller from which you purchased the product. If you purchase a Focusrite product outside
your country of residence or business you will not be entitled to ask your local Focusrite distributor to honour this Limited Warranty,
although you may request a chargeable repair.
Alternatively, the unit may be returned at your cost to the dealer you purchased the unit from so that they can organise a Warranty
repair with their Focusrite distributor. This Warranty does not include cost of shipping to and from the authorised dealer from whom it
was purchased. In every case it will be necessary to provide the original invoice or store receipt to accompany the defective product
to the supplying dealer.
This Limited Warranty is offered solely to the rst purchaser of the product from an Authorised Focusrite Reseller (dened as a
reseller which has purchased the Product directly from Focusrite Audio Engineering Limited in the UK or its Authorised Distributors
outside the U.K.) and is not transferable. This Warranty is in addition to your Statutory Rights in the country of purchase.
Please note: A Manufacturing Defect is dened as a defect in the performance of the product which may be expected from a
reasonable interpretation of the published description and performance specications as published by Focusrite Audio Engineering
Limited. This does not include damage caused by post-purchase transportation, storage or careless handling, nor damage caused by
misuse. A signicant proportion of products returned under Warranty (which are very few in number compared to numbers sold) are
found not to exhibit any fault at all. Please check that the mains voltage is correctly set for your local supply and that your connecting
cables are in good order and correctly connected. If in doubt about the product functions please read the appropriate section of the
user guide, and if necessary contact your dealer for advice before returning the product to the supplying dealer. You can also contact
the Focusrite Technical support team should you require further assistance.
Accuracy
Whilst every effort has been made to ensure the accuracy and completeness of the content of this manual, Focusrite Audio
Engineering Limited makes no representation or warranty as to the accuracy, completeness or reasonableness of the content and no
such representation or warranty is implied.
Trade Marks
Alps is a registered trade mark of Alps Electric Co. Ltd.
Apple, Logic and Mac are trade marks of Apple Inc. registered in the U.S. and other countries
Avid and Pro Tools are registered trade marks of Avid Technology Inc. or its subsidiaries in the U.S. and/or other countries
Mackie is a registered trade mark and HUI is trade mark of LOUD Technologies Inc.
Prism Sound is a registered trade mark of Prism Media Products Ltd.
Steinberg, Cubase and Nuendo are registered trade marks of Steinberg Media Technologies GmbH.
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All other products, trade marks and trade names are the property of their respective owners.
Copyright
Copyright © 2012 Focusrite Audio Engineering Limited. All rights reserved. Any reproduction or transmission of all or part of this
manual, whether by photocopying or storing in any medium by electronic means or otherwise, without written permission of the owner,
is prohibited.
This manual and the information set out in this manual the exclusive property of Focusrite Audio Engineering Limited.
Welcome to Control 2802
Welcome & Contents
Welcome to Control 2802
Thank you for choosing this Focusrite product. Control 2802 is an analogue recording console and DAW (Digital Audio Workstation)
control surface in one.
To cover both parts of the system there are two separate manuals:
● Control 2802 Operating Manual - this manual introduces the system and covers the analogue console. Please read this rst.
● Control 2802 Automation & Control Surface Manual - covers the DAW control layer and analogue fader automation system.
You will nd separate documents for each of the major DAWs: ProTools, Logic Pro and Cubase.
All the documentation is included on the CD packed with the console, or may be downloaded from our website at: www.focusrite.com
Contents
Welcome to Control 2802 3
Important Safety Instructions 4
Important Safety Precautions 5
Installation 6
Introduction 7
Rear Panel Connections 8
Channel Strip Overview 9
Master Section Overview 10
DAW Control / Fader Automation Overview 11
Monitoring Audio (Quick-start) 12
Signal Flow Overview 13
The Channel Strip 14
Dual-Layer Fader Strips 24
Main Mix Bus 26
Bus Compressor 27
Summing Input & FX Returns 32
Aux Masters 34
Cue Master 35
Monitor Section 36
Talkback 39
Solo Functionality 40
Technical Information 41
Example Systems 42
Connector Wiring & Specications 46
Patchbay Layout 51
Panels 53
Control 2802 Operating Manual 3
Important Safety Instructions
Important Safety Instructions
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8. Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
ampliers) that produce heat.
9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided
plug does not t into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11. Only use attachments/accessories specied by the
manufacturer.
12. Use only with the cart, stand, tripod, bracket, or table
specied by the manufacturer, or sold with the apparatus.
When a cart is used, use caution when moving the cart/
apparatus combination to avoid injury from tip-over.
● Do not expose this apparatus to drips or splashes.
● Do not place any objects lled with liquids, such as vases,
on the apparatus.
● Do not install this apparatus in a conned space such as a
bookcase or similar unit.
● Slots and openings in the cabinet are provided for
ventilation and to ensure reliable operation of the product
and to protect it from overheating. Please ensure adequate
space around the apparatus for sufcient ventilation.
Ventilation should not be impeded by covering the
ventilation openings with items such as newspapers,
tablecloths curtains etc.
● The apparatus draws nominal non-operating power from
the AC outlet with its POWER switch in the off position.
● The apparatus should be located close enough to the AC
outlet so that you can easily grasp the power cord plug at
any time.
● An apparatus with Class 1 construction shall be connected
to an AC outlet with a protective grounding connection.
● The MAINS plug or the appliance coupler is used as the
disconnect device. Either device shall remain readily
operable when the apparatus is installed for use.
● No naked ames, such as lighted candles, should be
placed on the apparatus.
WARNING: excessive sound pressure levels from earphones
and headphones can cause hearing loss.
GB
This equipment must be earthed by the power cord
FIN
Laite on liitettävä suojamaadoituskoskettimilla
varustettuun pistorasiaan
NOR
Apparatet må kun tilkoples jordet stikkontakt
13. Unplug this apparatus during lightning storms or when
unused for long periods of time.
14. Refer all servicing to qualied service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
WARNING: To reduce the risk of re or electric shock, do not
expose this apparatus to rain or moisture.
4 Control 2802 Operating Manual
Important Safety Precautions
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT RE-
MOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE.
The lightning ash with arrowhead symbol, within equilateral triangle,
is intended to alert the user to the presence of uninsulated “dangerous
voltage” within the product’s enclosure that may be of sufcient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert
the user to the presence of important operating and maintenance (ser-
vicing) instructions in the literature accompanying the appliance.
WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO NOT EXPOSE THIS APPLICANCE
TO RAIN OR MOISTURE
Environmental Declaration
Important Safety Precautions
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
Compliance Information Statement: Declaration of Compliance procedure
Product Identication: Focusrite Control 2802
Responsible party: American Music and Sound
Address: 5304 Derry Avenue #C
Agoura Hills,
CA 91301
Telephone: 800-994-4984
This device complies with part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harm-
ful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
For USA to the User:
1. Do not modify this unit! This product, when installed as
indicated in the instructions contained in this manual,
meets FCC requirements. Modications not expressly
approved by Focusrite may void your authority, granted by
the FCC, to use this product.
2. Important: This product satises FCC regulations when
high quality shielded cables are used to connect with other
equipment. Failure to use high quality shielded cables or
to follow the installation instructions within this manual
may cause magnetic interference with appliances such as
radios and televisions and void your FCC authorization to
use this product in the USA.
3. This equipment has been tested and found to comply with
the limits for a Class A digital device, pursuant to the part
15 of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference when
the equipment is operated in a commercial environment.
This equipment generates, uses and can radiate radio
frequency energy and, if not installed and used in
accordance with the instruction manual, may cause harmful
interference to radio communications. Operation of this
equipment in a residential area is likely to cause harmful
interference in which the user will be required to correct the
interference at his own expense.
For Canada to the User:
This Class A digital apparatus complies with Canadian ICES-
003.
Cet appareil numérique de la classe A est comforme à la norme
NMB-003 du Canada.
RoHS Notice
Focusrite Audio Engineering Limited has conformed and
this product conforms, where applicable, to the European
Union’s Directive 2002/95/EC on Restrictions of Hazardous
Substances (RoHS) as well as the following sections
of California law which refer to RoHS, namely sections
25214.10, 25214.10.2, and 58012, Health and Safety Code;
Section 42475.2, Public Resources Code.
Control 2802 Operating Manual 5
Installation
Installation
Package Contents
Your packaging should contain the following:
● Control 2802 console
● IEC power cord
● CD containing the documentation and drivers.
Check for any signs of transit damage. If any signs of
mishandling are found please notify the carrier and inform your
dealer immediately.
Important Safety Instructions
Please read all of the safety instructions at the beginning of this
manual before connecting to the mains and powering up the
console. To prevent electrical shock and re hazard, follow all
warnings and instructions marked on the rear of the console.
This unit if connected via its IEC power cord to the mains
safety earth.
NEVER OPERATE THIS CONSOLE WITH THIS EARTH
CONNECTION REMOVED.
Internal Switch Mode Power Supply & Mains
Fuse
The console utilises an internal switch-mode power supply
that is very quiet and passively cooled with plenty of current
capability and headroom. This switch-mode design will accept
any A.C line voltage from 100-240v ±10%. Therefore, the
console will work anywhere in the world provided that your A.C
mains line voltage is within this specication.
Consult a qualied technician if you suspect difculties.
Do NOT attempt to tamper with the power supply or mains
voltages – HAZARDOUS TO HEALTH.
Always replace the mains fuse with the correct value – T2A
slow blow.
Dimensions (including rubber feet)
● Height Front: 60 mm
● Height Rear: 170 mm
● Width: 450 mm
● Depth: 550 mm
Ventilation
Care should be taken not to obstruct the series of ventilation
holes in the metalwork of the console. The unit is designed
to release heat and take adequate air ow via these holes to
ensure longevity of performance.
These can be found along the left hand bottom edge on
the side panel (below the cheek), the rear top wrap-around
ventilation panel and below the faders at the foot of the
console.
If mounting the console into some form of studio furniture or
desk, please ensure that there are sufcient air gaps at these
locations:
Power Up
On power up, please check that the power rail indicators for
+48v d.c and +/-18v d.c light on the top right hand side of the
console:
Service and Repair
The console uses a complex internal PCB sandwich
arrangement making eld service only possible by a qualied
technician.
If any technical issues do arise with your console, please
contact your dealer as soon as possible to arrange for
technical support.
Do NOT attempt to x the console unless qualied to do so.
See the warranty information at the beginning of this manual
for details of your cover.
Lexan Overlay
The front panel at the top of the console (dark section only)
features a rugged under-surface printed polycarbonate overlay.
Exposure to direct sunlight for extended periods of time should
be avoided as this can have a detrimental effect on the overlay
panel and the control knobs.
6 Control 2802 Operating Manual
Introduction
Control 2802 is both an analogue recording console and DAW control surface.
Analogue Console - 8 Channel Strips and Master Section:
DAW Controller - 8 dual-layer Fader Strips and Control Panel:
Introduction
With eight class-A hybrid discrete mic preamps, LED bargraph
metering, input signal conditioning, assignable direct outputs
and cue monitoring, Control 2802 is ideal as a location
recording or tracking console.
Control 2802 is equally comfortable as a hybrid mixing tool –
featuring a DAW control surface layer and up to 32 analogue
inputs on mixdown.
The high number of inputs is achieved via 16 inputs in the
channels (mic/line + alternative cue input), plus a further 16
inputs in the master section (8-channel Summing Input, two
stereo FX returns, stereo DAW Mix input & stereo mix insert
running in “parallel sum” mode).
Each mic/line channel has two aux sends, a stereo cue (or
alternate input), switchable insert and DAW return for in-line
recording. The stereo mix bus includes a master fader, insert
point and bus compressor, which may be removed from the
main mix and patched elsewhere using its own external IO.
The monitor section includes mono, dim, phase and talkback,
plus an i-Jack input for monitoring MP3 players. Outputs
connect to main and alternate speakers plus headphones.
The 8 Fader Strips (faders, SEL, CUT & SOLO) ip between
controlling analogue channel levels and track faders within the
DAW. This dual-layer technology makes it easy to switch from
analogue to DAW control in an instant.
When working in the DAW layer, the console remotely
adjusts parameters within the DAW software via an Ethernet
connection (using the HUITM control surface protocol).
At any one time, 8 DAW tracks may be adjusted from the
console’s Fader Strips. These are the tracks “in focus” within
the DAW software (paged to the HUITM controller).
Each of the 8 channel faders is motorised, and both the
analogue and DAW layers can be fully automated.
To the right of the channel faders is the master fader (not
automated or dual-layer), which controls the main mix bus.
The Fader Strip layer switching, and other DAW parameters,
such as auxes, plug-ins, transport and automation, are
controlled from Control Surface Centre Section - this includes
a jog/shuttle wheel, transport buttons, 4 rotary encoders and
OLED channel displays.
Control 2802 Operating Manual 7
Rear Panel Connections
Rear Panel Connections
The following table summarises the connections. Please also refer to the example systems on page 42 and page 46 for wiring
and pin-out information. For information on cabling the console, DAW and outboard devices into a patchbay system, see page 51.
Connector Name Type Typical Application
Channel MIC XLR Female Channel microphone inputs.
Channel LINE 1/4” TRS Jack Channel line level inputs - for line inputs such as synths,
samplers or external mic preamps.
Channel SND 1/4” TRS Jack Channel insert sends - to outboard processing.
Channel RET 1/4” TRS Jack Channel insert returns - from outboard processing.
DIRECT OUTPUTs DB25 Female Channel direct out - this is the main record path from the
channel; connect to your DAW tracks.
DAW INPUTS DB25 Female Channel DAW input - for playback post-recording through the
channel; connect from your DAW tracks.
SUMMING INPUT DB25 Female 8 Summing Inputs - for additional mix inputs such as submixes
from your DAW or extra effects.
NETWORK RJ45 Ethernet connection to/from your DAW.
MAIN SPKR L&R XLR Male Main speaker outputs - to main control room loudspeakers.
DAW MIX L&R XLR Female DAW Mix input - connect from your DAW’s internal mix bus; this
input may feed the console’s mix bus, cue and monitor section.
DAW FB L&R XLR Female DAW Foldback input - connect from headphone mixes
generated within your DAW; this input may feed the cue and
monitor sections.
EXT I/P L&R XLR Female External Input - this input may feed the monitor section;
connect your stereo recorder to check printed mixes.
ALT SPKR L&R XLR Male Alt speaker outputs - to a second set of control room speakers.
AUX O/P 1&2 XLR Male Aux outputs - send to effects such as reverb & delay.
CUE O/P L&R XLR Male Cue output - send to your artists headphones or a stereo effect.
MIX O/P L&R XLR Male Main Mix output - to a master recorder, or DAW, to print mixes.
FX RETURN 1 and 2 L&R 1/4” TRS Jack FX Return inputs - for extra mix inputs such as reverb returns.
COMPRESSOR IN and OUT L&R 1/4” TRS Jack External Compressor IO - patches the bus compressor.
MIX INSERT SND and RET L&R 1/4” TRS Jack Main Mix insert - send/return main mix outboard processing.
TALKBACK XLR Female External Talkback mic - connect an alternate mic for talback.
Phones Headphone socket For control room headphones.
8 Control 2802 Operating Manual
Channel Strip Overview
Channel Strip Overview
Control 2802 Operating Manual 9
Master Section Overview
Master Section Overview
10 Control 2802 Operating Manual
DAW Control / Fader Automation Overview
DAW Control / Fader Automation Overview
The lower part of the control surface can remotely adjust parameters within the DAW software, and respond to HUITM / MIDI
automation allowing you to automate both the DAW and analogue fader layers. To use these features you must connect Control 2802
to your DAW computer via Ethernet, and congure the DAW software to support Control 2802 as a HUITM control surface.
You can nd full details on the setup and operation in the “Automation & Control Surface Manual” which can be downloaded from our
website at at www.focusrite.com. Here you will nd separate documents for each of the major DAWs: ProTools, Logic Pro and Cubase.
Dual Layer Fader Strips
The 8 Fader Strips (faders, SEL, CUT & SOLO) ip between
controlling analogue levels and track faders within the DAW.
Select the DAW switch, on the Control Surface Panel, to ip all
8 Fader Strips to the DAW layer:
Deselect DAW (not illuminated) to control the analogue layer.
Control Surface Panel Overview
Control 2802 Operating Manual 11
Monitoring Audio (Quick-start)
Monitoring Audio (Quick-start)
Each channel has 3 inputs: MIC, LINE and DAW.
The default input is mic. To change input, select either
LINE (4) or DAW (8).
DAW overrides MIC/LINE as the DAW return is inserted at
a later point in the channel signal ow.
To get signal from the MIC input to the MAIN SPKR L/R
outputs (on the rear connector panel):
1. With the mic input selected, adjust the mic gain (3)
and 48V phantom power (2) - you should see input
level on the channel meter (1).
If not, check that CH METER SELECT in the centre of the
console is set to INPUT (in the UP position):
2. Select MIX bus assign (17) to route the channel to the
main mix bus, and open the channel fader (22).
The fader can ip between controlling the analogue
channel level or a DAW fader. So make sure that the DAW
switch, located on the Control Surface Panel, is NOT
illuminated so that you are controlling the analogue layer:
3. Then open the master fader - you should see level on
the LEFT & RIGHT MIX meters:
If not, check that the channel is not CUT (20) or that a
different channel is not in SOLO (21).
Also check that MIX is selected as the MONITOR
SOURCE in the Monitor Section (9).
4. Open the monitor VOLUME control (10) and you
should be hearing audio!
If not, check that:
● The MONITOR SOURCE is not switched to SRC (9).
● The monitor CUT and DIM (16 & 17) are not active.
● The individual L R monitor cuts are not active (14 & 15).
● The ALT SPKR switch (19) is not selected.
5. To listen on headphones, engage the headphones
ON switch (22), make sure that CUE/FB TO PHONES
(19) is off, and turn up the PHONES volume (20) -
the control room monitor output is now sent to the
headphone jack connector on the rear connector
panel.
12 Control 2802 Operating Manual
Signal Flow Overview
Signal Flow Overview
Channel Inputs
The console has eight channel strips, each with three main
inputs:
● Mic – XLR (female).
● Line – 1/4” TRS jack
● DAW – 25-pin D-sub (female)
Input Gain & Conditioning
The microphone preamplier provides 6 to 60 dB of gain,
delivered from our hybrid discrete class-A transistor and
integrated circuit design. 48V phantom power and an input
impedance of >2k5 Ohms ensure that you will get the most
from your microphones.
The 75Hz high pass lter (HPF) and polarity reverse (phase
invert) are available on either the microphone preamplier or
line input paths. The HPF enables you to remove any rumble
or subsonic noise and polarity invert provides alignment of
sources - for example snare top and snare bottom. These
features are tied to the mic/line path and are not available on
the DAW input.
Typical Recording Path
The mic/line path normally feeds the main channel, which in
turn feeds the direct output and the recorder. The direct output
can be taken from the channel input, pre-insert, pre-fader or
post-fader providing different workow options.
The return from the recorder feeds back into the console via
the DAW input. The main channel path can be ipped from mic/
line input to DAW return to monitor the recorded signal.
By combining the CHANNEL direct output routing
mode with the DAW input ip and alternative cue
input (ALT I /P), you can simultaneously:
● Record mic preamp or line inputs direct to disk (clean).
● Generate a cue send directly from mic/line inputs for your
artist’s headphones (with zero latency).
● Monitor the DAW returns (post record) through the main
channel path so that you can hear any colouration provided
by your workstation.
Channel Input Signal Flow:
Mixdown Summing Options
For mixdown, there are two possible summing options:
● Mix in the analogue domain (inside Control 2802) - for
fast access to your recorded tracks, switch the DAW input
to the main channel path. You are now playing back from
the DAW through the analogue console, and summing
through the Control 2802’s analogue mix bus.
Using this option you can sum up to 8 DAW returns through
the main channels. (Combine these with the console’s other
inputs to mix up to 32 analogue inputs as described below).
Use the analogue fader automation to apply fader
and cut automation to the 8 main channel paths.
● Mix “in the box” (inside the DAW) - using the DAW
software, route your tracks onto the internal summing bus.
Tracks are now summed inside the DAW and fed back to
the console either via a pair of DAW inputs or the stereo
DAW MIX input connector.
Using this option you can sum any number of DAW tracks
“in the box”, and combine these with the console’s other
inputs.
Flip the Fader Strips to the DAW layer to remotely
control faders and cuts on any 8 DAW tracks.
Up to 32 Mix Inputs
In addition to the eight main channels, the cue send may be
used as an alternative input path. With the A LT I / P switch active,
the stereo cue bus is fed from either the mic/line or DAW input
(depending on the status of the DAW input ip). Input level and
pan are controlled from the cue “send” controls, and the cue bus
is added to the main mix in the master section.
In addition to these 16 individual channel inputs, a further 16
inputs are available from the master section:
● Summing Inputs 1-8 - treated as four stereo input pairs, or 8
mono inputs, with a single level and balance/pan control.
● Stereo FX Returns 1 & 2 - with level and balance/pan
controls for each return.
● Stereo DAW Mix input - with routing control. (To control the
level or pan this input, adjust the output from the DAW).
● Stereo Mix Insert Return - working in “parallel sum” mode.
Control 2802 Operating Manual 13
The Channel Strip
The Channel Strip
This section deals with the analogue channel strip operation. For details on using the faders to control parameters within the DAW
software, please see the “Automation & Control Surface Manual”.
You may nd it useful to print this page so that you can refer to the control numbering while reading about each channel
strip section.
14 Control 2802 Operating Manual
The Channel Strip
Channel LED Bargraph Meter
The meter provides a 10-segment LED bargraph meter with
peak detection, plus a separate overload indication LED.
The 10 LEDs are utilised as follows:
● 6dB per segment in the lower region (-36 to -18dB)
● 4dB per segment in the middle region (-18 to -6dB)
● 2dB per segment in the top region for greater resolution.
0 VU is the centre of the meter scale and calibrated to a
nominal operating level of +4dBu.
Relative to a typical EBU AD/DA converter calibration of
+18dBu = 0dBFS, this means that +4dBu = 0 VU = -14dBFS:
As a result, a nominal operating level of 0 VU provides 14dB
of headroom in your digital recording platform. This is ideal for
most music sources which have crest factors of around 12 to
20dB.
[The crest factor is t he differen ce between ave rage (RMS) and pea k level.]
CH METER SELECT
This switch selects the meter source globally across all 8
channels:
● INPUT - in the UP position, the channel input feeds the meter.
Signal is taken before the channel trim control (9) but after the
mic/line and DAW input selections (4 & 8).
● DIR OUT - in the DOWN position, the meter takes its feed
from the direct output. Thus, its exact location is determined by
the direct output routing (7) – see page 16.
This selection is overridden when displaying DAW
channel metering. (See the DAW Meters function
in the “Automation & Control Surface Manual”).
Bargraph Meter Signal Flow Options:
Control 2802 Operating Manual 15
The Channel Strip
48v Phantom Power
Engaging this switch provides 48 volt D.C phantom power to
the microphone input.
Individual phantom power switches on each channel provide
control over which microphones receive power.
Phantom power wiring
Microphone Preamplier Gain
Polarity (Phase) Invert
A 180o polarity invert function is available for the microphone
preamplier or line input – useful for checking phase when
tracking with multiple microphones, or ipping an existing track
during mixdown. The function is achieved with a unity gain
inverting amplier.
This function is only available for the mic or line input, and not
for the DAW input - to invert the phase of a DAW input, use the
phase invert within your workstation software.)
High Pass Filter
A 75Hz high pass lter (HPF), with 12dB per octave roll-off, can
be engaged on the mic/line input path – useful for removing
unwanted low frequency content.
Many listeners use playback systems that can barely
reproduce 60-70Hz. Therefore, a well placed HPF on certain
sources can clean up unwanted mix elements, such as
microphone stand rumble and trafc noise.
This function is only available for the mic or line input, and not
for the DAW input - to lter a DAW input, use the equalisation
within your workstation software.
Mic gain may be adjusted from 6 to 60dB.
The gain on offer is clean amplication and features a low-
noise, differential discrete transistor input stage.
Line Input Select
Engaging this switch overrides the microphone preamplifer, as
the channel source, and replaces it with the line input.
The mic/line path may also be replaced by the DAW input (8).
Direct Output Routing
The direct out is normally used as the record send to the DAW
The feed is taken from one of four different points in the
channel path, as illustrated on the next page:
● POST - post-fader
● PRE INS - pre-insert
● PRE FDR - pre-fader
● CH - from the channel input (mic/line path)
16 Control 2802 Operating Manual
The Channel Strip
Direct Out: POST
This mode requires both switches to be in the UP position.
The direct output is taken POST FADER and POST MUTE.
This mode is ideal for:
● Using the faders to ride record levels (especially if
microphone levels are hot).
● “Printing back” stem mixes to the recorder with fader
automation.
Direct Out: PRE INSERT
This mode requires the rst switch to be in the DOWN position.
The direct output is taken PRE INSERT and PRE FADER. This
mode is ideal for:
● Taking a “clean feed” to the recorder while monitoring post-
insert, fader and pan. This mode is often used when you
need a processed headphone mix (via the cue or aux), but
wish to record a “clean” unprocessed signal.
The feed is taken after the DAW input ip (8) and channel input
trim (9). This allows you to use the channel input trim as an
additional gain control – arguably, a cleaner way of adjusting
gain during a take (as opposed to varying the microphone
preamplier gain).
Direct Out: PRE FADER
This mode requires the second switch to be in the DOWN
position.
The direct output is taken POST INSERT but PRE FADER.
This mode is ideal for:
● Using the faders to set a monitor balance without affecting
the record level, while recording a processed signal. For
example, to apply outboard dynamics to the record signal
via the channel insert (10).
Direct Out: CHANNEL
This mode requires both switches to be in the DOWN position.
The direct output is taken directly from the mic/line input, after
the HPF and polarity inverter stage. This mode is ideal for:
● Taking a “clean feed” to the recorder, as an alternative to
PRE INSERT. The feed is taken from the input stage, with
no channel input trim (9), providing the cleanest signal path
for recording.
● Recording with an “in-line” console architecture - where
the main channel path can be used to monitor the send
or return without affecting the recorded signal. This is
explained in more detail on page 19.
Direct Out Signal Flow Options one of the four options is active:
CH
PRE INS
PRE FDR POST
Control 2802 Operating Manual 17
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