Operation Manual
Signal Flow Overview
Control 2802 Operating Manual 13
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.
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 ALT 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.
Channel Input Signal Flow: