Operation Manual

The Channel Strip
Control 2802 Operating Manual 21
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 ip (8).
If the ALT I/ P switch (14) is engaged (DOWN position), then
the stereo cue bus is fed from the alternative cue input. This
can be used to return different inputs to the main channel and
alternative cue paths, see page 22.
Cue Pan
This control pans the source onto the stereo cue bus.
The control provides a smooth taper with an approximate pan
law of -4dB. This provides a generally-accepted compromise
between “constant power” and “constant voltage” pan law
designs.
The control has a centre detent for easy mono positioning.
If the alternative cue input is used to add extra inputs to the
mix, then this control acts as the “channel pan” for the input.
Cue Post Fader Assign
In the DOWN position, the cue bus is fed with a post-fader signal
from the main channel path - ideal if the cue bus is used as an
effects send, as you will want changes in your fader level to affect
the send.
In the UP position, the cue bus is fed pre-fader - great for
generating a foldback send for artists headphones. In this case,
you do not want your control room fader positions to affect what
the artists hear.
Note that this switch has NO effect if the cue ALT I / P (14) is
engaged, as the alternative cue input overrides the cue send.
Cue Level
This control sets the level of the source feeding the cue bus.
If the alternative cue input is used to add extra inputs to the
main mix, then this control acts as the “channel fader” for the
input.
Cue Send Applications
The cue section has three main applications:
Foldback - when recording, the cue bus usually feeds the
artists headphones.
A stereo cue mix is created from the 8 main channel paths,
with sends usually taken pre-fader (or from the alternative cue
input) so that your control room balance does not affect what
the artists hear.
What feeds the cue output is then determined by the Cue/FB
controls in the master section. This can combine the cue bus
with other inputs such as the stereo DAW input, auxes, etc. You
can also talk to the cue output using the TALKBACK controls.
See page 35 for details.
Effects Send - the stereo cue bus can be used as an extra
effects send, to complement aux 1 & aux 2. This is ideal if you
are feeding a stereo in/stereo out FX device.
Extra Mix Inputs - by activating the alternative cue inputs
(14), and combining the cue bus with the main mix, you can
mix an extra 8 inputs with individual level and pan control. This
turns the Control 2802 into a 16-input mixer: 8 main channel
plus 8 alternative cue input paths.
Monitoring the Cue Bus
You can monitor the cue bus on your control room headphones
by selecting CUE BUS as the CUE/FB source and routing this
to your headphones (CUE/FB TO PHONES). See page 35 for
details.
Building Headphone Mixes in your DAW
If you use your DAW software to build headphone mixes, then
you will be able to apply effects, and save and recall settings
with your session. Although this may introduce latency, newer
computers and low latency DSP devices make this feasible for
certain circumstances.
The stereo DAW FB input on the rear connector panel is
intended for returning headphone mixes from the DAW. This
input can be easily monitored, or added to the cue output using
the CUE/FB panel. See page 35 for details.
Use the HUI
TM
Control Surface Functionality of the
Control 2802 to ip the Fader the Fader Strips to
the DAW layer to setup headphone mixes in superfast time.