Control 2802 Operating Manual Version: 1.
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.
Welcome Welcome to Control & Contents 2802 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 first.
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. ●● Do not expose this apparatus to drips or splashes. ●● Do not install this apparatus in a confined space such as a bookcase or similar unit. ●● ●● 7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8.
Important Safety Precautions Important Safety Precautions CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The lightning flash 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 sufficient magnitude to constitute a risk of electric shock to persons.
Installation Installation Package Contents Dimensions (including rubber feet) ●● Control 2802 console ●● Height Rear: 170 mm ●● CD containing the documentation and drivers. ●● Depth: 550 mm Your packaging should contain the following: ●● IEC power cord ●● Height Front: 60 mm ●● Width: 450 mm Check for any signs of transit damage. If any signs of mishandling are found please notify the carrier and inform your dealer immediately.
Introduction 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: 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.
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 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 configure the DAW software to support Control 2802 as a HUITM control surface.
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 flow. To get signal from the MIC input to the MAIN SPKR L/R outputs (on the rear connector panel): 1.
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 preamplifier 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 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 find it useful to print this page so that you can refer to the control numbering while reading about each channel strip section.
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. CH METER SELECT 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.
The Channel Strip 48v Phantom Power Polarity (Phase) Invert Engaging this switch provides 48 volt D.C phantom power to the microphone input. A 180o polarity invert function is available for the microphone preamplifier or line input – useful for checking phase when tracking with multiple microphones, or flipping an existing track during mixdown. The function is achieved with a unity gain inverting amplifier.
The Channel Strip Direct Out: POST Direct Out: PRE FADER This mode requires both switches to be in the UP position. This mode requires the second switch to be in the DOWN 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). The direct output is taken POST INSERT but PRE FADER. This mode is ideal for: ●● “Printing back” stem mixes to the recorder with fader automation.
The Channel Strip DAW - Mic/Line Input Flip On its own, the DAW switch flips the main channel path from mic/line input to DAW input for fast playback or mixdown of your recordings. Combine the DAW switch (8) with the ALT I/P (14) to utilise both the main channel and cue paths: This function flips the sources to both the main channel path and alternative cue input. When the switch is in the UP position, the mic/line input feeds the main channel path, while the DAW input feeds the alternative cue input.
The Channel Strip Recording (with an In-Line Architecture) Monitoring the Send and Return Using this workflow, you can simultaneously: Then use the DAW input flip (8) to switch the main channel between: The direct output CHANNEL routing mode (7) can be combined with the DAW input flip (8) to create a “pseudo inline” architecture. ●● Record mic preamp or line inputs direct to disk (clean). ●● Generate a cue mix directly from the mic/line input for your artist’s headphones (with zero latency).
The Channel Strip Channel Input TRIM Insert Active This potentiometer provides a trim range of +/-15dB. In the DOWN position, this switch engages the channel insert send and return loop - used to insert outboard processors into the main channel path. It can be used to boost the recording level providing that your direct output (7) is taken post channel trim (PRE INS, PRE FDR or POST). This is useful for low output microphones such as ribbon transducer designs.
The Channel Strip Cue Send Each channel features a stereo cue send with independent source selection, level and pan control. When the ALT I/P switch (14) is not engaged (UP position), the cue send is taken from the main channel path - either pre or post-fader according to the cue POST switch (12). Remember that the main channel may be fed from mic, line or DAW inputs according to the status of the LINE input select (4) and DAW input flip (8).
The Channel Strip Cue Alternative Input Select This switch activates the alternative cue input. When active, the cue source is determined by the DAW input flip (8) as shown in the diagram below. ●● ALT I/P DOWN + DAW UP - the mic/line input feeds the main channel while the DAW return feeds the cue section. By adding the stereo cue bus to the main mix in the master section (ASSIGN TO MIX - CUE), the DAW return can be used as an extra mix input.
The Channel Strip Aux Sends Each channel features two mono auxiliary sends - ideal for sending to outboard effects devices, such as reverb, or for creating additional cue mixes. Use either the stereo FX Returns or the Summing Input to return effects devices to the mix. The two mono auxes are ideal for mono in/stereo out devices. If you require a stereo send, either use the stereo cue bus, or feed aux 1 to the left and aux 2 to the right input to the device.
Dual-Layer Fader Strips Dual-Layer Fader Strips Analogue Level Control Layer Switching The 8 channel faders, CUTs & SOLOs can control either the: ●● Analogue level, of the main channel paths. The diagram below illustrates what occurs when the fader strips are switched to the analogue channel layer: ●● 8 DAW fader tracks, within the DAW software. The layer switching is handled from the Control Surface Panel: Select DAW (it turns red) to flip all 8 Fader Strips to the DAW layer.
Dual-Layer Fader Strips SELect Switch & SELECT MODES Analogue Layer SELECT MODEs The following SELECT MODEs are available when controlling the analogue layer: The SEL switch selects the fader strip. It is used in conjunction with the SELECT MODEs on the Control Surface Panel to perform a number of functions. SIP Safe (Solo-In-Place Safe) – used in the analogue layer to isolate channels that you do not want CUT when a SOLO on another channel is active - very useful for reverb returns.
Main Mix Bus Main Mix Bus The main stereo mix bus, and all signal combining stages on Control 2802, are optimised for clean summing with high headroom. Signal Flow - up to 32 Mix Inputs! The mix bus summing and its output signal flow are illustrated in the diagram at the bottom of this page. Signal leaves the console via the balanced male XLR outputs (MIX O/P L/R) on the rear panel. The following inputs may be assigned to the main mix: ●● Main channel paths 1 to 8 (via channel strip MIX switches).
Bus Compressor Bus Compressor The master section of Control 2802 features an integrated stereo mix bus compressor. The compressor uses a soft-knee VCA design that is optimised for mix bus use. By default, the compressor sits within the main mix output path, after the mix bus insert and before the master fader. However, this can be rearranged, or the compressor can be removed from the main mix and patched elsewhere using its own external IO.
Bus Compressor Compressor IN EXT (External) Input This illuminated push switch engages the compressor and also the GAIN REDUCTION meter (3). Press this switch to remove the bus compressor from the main mix, so that it can be patched elsewhere.
Bus Compressor GAIN REDUCTION Meter This is a 10-segment LED bargraph meter, indicating the amount of gain reduction applied when compression is active. The scale shows 2dB to 20dB of compression. To keep the amount of bus compression at “musical” levels, only the first few LEDS should be flickering. Compression THRESHOLD This control sets the threshold level, and is variable from -20 to +20dB. The threshold level is the point at which compression begins.
Bus Compressor RELEASE Time (Continued) Use faster release times if you want to get the compressor out of the way quickly, and produce very obvious compression which can lead to “pumping”. For your drum bus, try starting at 0.1 sec and then work backwards until you get a suitable balanced effect. Longer release times and Auto Release are good for a vocal bus, piano or the main mix where you want a more subtle effect. Auto release alters the release time in a program-dependent manner.
Bus Compressor Bus Compressor Settings Below are some useful suggested settings.
Summing Input & FX Returns Summing Input & FX Returns The Control 2802 master section provides two ways of returning processing devices, such as reverbs and delays: ●● An eight-channel Summing Input ●● Two Stereo FX Returns This provides a total of 12 additional inputs from this section of the console. Summing Input The Summing Input is fed from a DB25 connector on the rear panel, providing easy connection to a D-Sub patchbay system or any DB25 capable device (including many D/A converters).
Summing Input & FX Returns Summing Input (Continued) The SUMMING INPUT master section provides: ●● LEVEL - overall level control for the combined eight channels. ●● PAN - stereo balance or pan (if MNO is active). ●● MNO - sums the Summing Input pairs to mono. ●● MIX - routes the Summing Input to the stereo main mix bus (as four stereo pairs, or 8 summed mono inputs). ●● CUE - routes the Summing Input to the stereo cue bus (as four stereo pairs, or 8 summed mono inputs).
Aux Masters Aux Masters Control 2802 has two mono aux buses with a simple set of master controls: Monitoring the Aux Buses Each of the aux busses may be selected as a control room or Cue/FB monitor source. This makes it easy to listen in the control room while building an aux mix, and/or to use auxes to feed artists heaphones (via the cue output). To monitor an aux bus in the control room: ●● LEVEL - master level of the aux output. Select AUX 1 or AUX 2 from the MONITOR SOURCE section.
Cue Master Cue Master Control 2802 features a very flexible cue output. The main application is to send foldback to artists headphones; or the cue output may be used as a stereo effects send. CUE/FB Output CUE/FB Sources (Continued) ●● CUE BUS - the stereo cue bus. Select CUE BUS to send the stereo cue mix to the CUE F/B output. Make sure that this is the only source selected, if you want to use the cue bus in isolation.
Monitor Section Monitor Section The monitor section of Control 2802 provides comprehensive control room monitoring. Outputs are provided for main and alternate speakers plus headphones. See page 8 for more details on the rear panel connections. The circuitry is mostly passive, with only one buffer stage before the balanced loudspeaker outputs. Thus the console provides a tonally neutral and accurate monitor path.
Monitor Section MONITOR SOURCE Selection – MIX / SRC Monitor Select Six sources are available for the control room monitor output (DAW MIX, DAW FB, AUX 1 and AUX 2 are identical to the options on the CUE/FB panel). This switch determines whether you are monitoring the main mix or the output of the MONITOR SOURCE selector. One of the options must be active: Please note that monitor sources sum if you make more than one selection.
Monitor Section Left Channel Polarity Invert Press and hold this switch to invert the polarity (phase) of the left monitor channel. The switch is momentary to ensure that it is not left on by accident! It can be used together with the MONO switch (13) to check for out of phase stereo content (see below). Monitor MONO Sum Alt. Speaker Select & Output Trim – A second set of loudspeakers may be connected to the alternate outputs (ALT SPKR L/R). Applications include nearfield or mini “grot-box” monitors.
Talkback Talkback The master section of Control 2802 provides communication functions for use during tracking and overdub sessions. You may use either the integrated talkback microphone, or an external microphone, to talk to the cue section. When active, talkback feeds the balanced male XLR outputs (CUE O/P L/R) on the rear panel. Talkback Source The internal mic is used as the default talkback source.
Solo Functionality Solo Functionality SOLO LEVEL Trim Control 2802 has three solo modes, plus “solo-in-front” capability, controlled globally from the master section: In either AFL or PFL mode, use this control to trim the level of the solo bus. Level may be trimmed by +/-10dB. This enables you to control any level jumps that may occur when changing between the full mix and solo’d channels. Note that when a channel is placed into solo, the master section SOLO indicator lights.
Technical Information Technical Information Control 2802 Specifications The following are general performance figures taken with Prism DScope test equipment: Frequency Response +/- 0.3dB 20Hz to 20kHz THD + Noise <0.015% @ 1kHz Noise Mic EIN (20Hz to 20kHz, 150Ohm source < -127.5dBu Bus Noise All inputs routed < -80dBu Mic CMRR 70dB (min.
Example Systems Example Systems Example System 1: 8-Channel DAW System This example illustrates a basic system with a typical 8-in and 8-out soundcard or AD/DA interface. There are eight microphone channels, some basic outboard processing, one set of monitors and a single reverb unit hooked up to the aux sends. To print back your final mix, a stand-alone CD recorder is used, however this could be a tape machine or as simple as feeding back the mix outputs to your soundcard / interface inputs upon mixdown.
Example Systems Example System 2: Hybrid Production Platform As example 1, except a standalone sampler / synth is fed into the channel line inputs to enable monitoring and recording of its outputs. Also the cue outputs now feed a headphone distribution system, useful for feeding multiple performers a mix.
Example Systems Example System 3: 16 Channel Tracking Platform In this example a second pair of monitors are added to provide a useful reference for judging midrange and balances. In order to provide 16 microphone inputs for tracking, an extra ISA 828 preamplifier is used. This is routed to a 16 channel capable soundcard / interface. These eight feeds are sent back to the eight-channel summing input on Control 2802, allowing monitoring of these channels and access to the cue section.
Example Systems Example System 4: 24 Channel Mixing Platform The final example illustrates a heavily connected Control 2802 ready for medium to large scale mixdown purposes. There are 24 outputs from the DAW interfaces which are used for mixing / line-level summing with a few useful tricks. The first eight channels feed the standard DAW Inputs and can be used to access the main automation channels on Control 2802 when selecting DAW input mode.
Connector Wiring & Specifications Connector Wiring & Specifications For an overview of the rear panel connections, please see page 8. This section provides technical data including wiring and pin-out diagrams. XLR Connections All XLR balanced input and outputs are wired as: Channel Strip Inputs and Outputs Each of the 8 channel strips provide: MICROPHONE INPUT (balanced, female XLR): ●● Input impedance is >2.5k Ohms. ●● Pin 1 shield (chassis/shield ground) ●● Maximum input level is approx.
Connector Wiring & Specifications Channel Connections Control 2802 Operating Manual 47
Connector Wiring & Specifications Master Section Connections 48 Control 2802 Operating Manual
Connector Wiring & Specifications Master Section Connections Working from top left to right: Control 2802 connects to your DAW via IP-based networking protocols, using the standard RJ-45 CAT-5e Ethernet port. This provides bi-directional high speed communication to your DAW, and carries MIDI automation data as well as control surface protocols. There are two LEDs that indicate network connection and activity.
Connector Wiring & Specifications Total Number of Connections To provide a starting point for patchbay integration and cable purchasing, you may find the following table helpful. Connection Quantity Microphone Input Line Input Channel Insert Send Channel Insert Return Direct Output DAW Input Summing Input FX Returns Ext.
Patchbay Layout Patchbay Layout Possible Patchbay Layout (Bantam) Control 2802 Operating Manual 51
Patchbay Layout Patchbay Wiring In the example provided on the previous page, two 96-point bantam patchbays are used, with plenty of spare points left over. It also features a 16 channel DAW interface that provides 16 outputs for mixdown using the summing input and eight main channels. Obviously you can juggle this around and adapt the ideas for your optimal workflow and exact I/O count.
Panels Panels Control 2802 Operating Manual 53
Panels 54 Control 2802 Operating Manual
Panels Control 2802 Operating Manual 55
