Control 2802 Operating Manual Version: 1.
Contents Welcome to Control 2802 Page 3 Installation Page 3 Unpacking, Safety & Mains (Fuse Information) Service, Repair & Ventilation Rack Space Optional Rack Ear Kit Dimensions & Specification Introduction Feature Set Operational Surface Overview Rear Panel Connections Channel Strip Input Conditioning Direct Output Routing Psuedo In-Line Functionality Insert Parallel Tip Page Page Page Page Page 3 3 6 6 6 Page 7 Page 7 Page 8 Page 9 Page 9 Page Page Page Page 9 12 15 16 Summing & FX Return
Welcome to Control 2802 Thank you for selecting this Focusrite product. We hope that your new Control 2802 console will provide an intuitive, ergonomic and flexible analogue recording and mixing platform in a powerful yet small package. headroom. This switch-mode design will accept any A.C line voltage from 100-240v ±10%. Therefore 2802 will work happily anywhere in the world but please ensure your A.C mains line voltage is within this specification.
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. • • • 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.
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.
Rack Mounted Ventilation Optional Rack Ear Kit - Installation The console can also be rack mounted with the rack ear kit and will occupy 13RU plus connector space (suggest 15RU total) – please ensure that these ventilation holes are not restricted. A vented 19” blanking plate is recommended to cover the connector space, providing adequate air flow to the top ventilation plate.
Control 2802 Specifications Some general performance figures from the console – taken with Prism DScope test equipment. Frequency Response THD + Noise Noise Bus Noise Mic CMRR +/- 0.3dB 20Hz to 20kHz <0.015% @ 1kHz Mic EIN (20Hz to 20kHz, 150Ohm source < -127.5dBu All inputs routed < -80dBu 70dB (min. gain) Introduction Control 2802 has many features including eight channels of Class-A hybrid discrete microphone preamplifier, guaranteeing outstanding sonic transparency and detail.
bargraph channel metering which can follow either • LED channel input, channel output or DAW channels as provided channel summing input (4 stereo pairs) with mono mode, • Eight balance and level controls plus routing to either cue or mix bus 1-8 ‘unity’ function for quick set up if mixing ‘in the • Channel box’ but summing via Control 2802 reverse, cut left, cut right, dim, volume and speaker selection from the control surface cue with alternative input functionality to expand • Stereo number of channe
Rear Panel Connections Overview CHANNEL STRIP OVERVIEW Channel Strip Control 2802 features eight high quality, flexible channel strips with a multitude of routing options. The channel strips are located on the left side of the console and the ergonomic, inclined profile (approx. 12o) of Control 2802 ensures all controls are clearly visible and within arms reach.
The mic/line path normally feeds the main channel path, this path features the configurable direct output and as such is the default recording path. to as tape) via the DAW input when assigned to the alternative cue input, providing a psuedo in-line short and long fader style of operation for those familiar with traditional in-line consoles.
Peak Reading Bargraph Meter A 10-segment LED bargraph meter with peak detection and a separate overload indication LED, suitable for use in today’s modern digital recording environment. 6dB per segment in the lower region of the meter (-36 to -18dB) and 4dB per segment in the middle region (-18 to -6dB) with 2dB per segment in the top region of the meter for greater resolution.
48V Phantom Power Engaging this switch provides 48V dc phantom power to the microphone input. Polarity Invert A 180o polarity invert function available for the microphone preamplifier or line input – useful for checking phase when tracking with multiple microphones or flipping an existing track during mixdown if fed to the line input. This is achieved with a unity gain inverting amplifier. With individual phantom power switches on each channel you have total control over which microphones receive power.
This configures the direct output as follows: Post fader is the most appropriate mode to use for the following tasks: levels to “tape” or “disk” when tracking (especially • Riding when microphone levels are hot) line level signals via the insert and “printing back” • Processing the effected sound to “tape” or “disk” with final level control This mode also provides extra gain during tracking via the channel trim control – a convenient place to ride levels and arguably a cleaner way of gain staging as oppo
The fourth mode – CHANNEL requires both switches in the direct output routing section to be in the DOWN position. This is quite possibly the most useful mode for tracking if you are used to working with an in-line console architecture. In normal use, CHANNEL mode allows the direct output to be taken direct from the microphone preamplifier, HPF and polarity inverter stage with no added gain stages such as channel trim. This provides the cleanest signal path for recording.
It is possible to feed your microphone preamplifier signal direct to tape or disk from the channel input. Meanwhile, use the cue alternative input to feed a balance of the undelayed signal to your artist’s headphone cue mix – whilst at the same time monitoring the main fader path fed from tape or disk so you can hear the colouration provided by your recording medium (see diagram at the bottom of the page).
When the switch is in the UP position, the mic / line input feeds the main channel path, while the DAW line input feeds the cue section alternative input (which can optionally be selected in the cue section to turn the cue into an extra input with level, pan and global bus routing). When the switch is engaged into the DOWN position – the sources to each section flip over – therefore the mic / line input will feed the cue section alternative input and the DAW input will feed the main channel path.
Try taking a feed from the insert send jack and returning a processed version of the signal (such as a distorted or heavily compressed version) into another channel line input, or for simplicity the alternative input on each channel (depending upon DAW channel flip status this could either be the line input or DAW input. The diagram above illustrates how to connect such a path – in this example the main channel path input is taken from the DAW input (typical mixing scenario) by depressing the DAW switch.
Cue Level The cue level control can be used as the send level to the cue bus – or can be used as a “second” line input channel fader when the alternative input function (14) is used. Aux Level Controls Aux 1 and Aux 2 level potentiometers are used to control the individual send level to each mono auxiliary bus.
Monitoring of Aux and Cue Buses – A Helpful Note When tracking it is often faster and more useful to build a monitor mix for musician foldback on your control room monitors. For this reason it is useful to be able to solo or listen exclusively to the balance being created and fed into any of these buses. In order to provide such functionality on Control 2802, the aux buses feed not only their own hardware outputs but also the monitor section.
Select Switch & Select Modes Above each fader are three illuminated push switches. Unity – used in the analogue layer to provide a quick and easy way to position the channel fader at the unity gain (0dB) position. This is very useful if you are setting up a stem session for analogue summing etc.
If you wish to isolate the channel cuts so that specific channels do not mute when another is soloed use the solo safe feature in the select mode panel. The summing input conforms to the Tascam DA-88 wiring specification for eight-channel balanced analogue 25-pin D-Sub connectivity. Channel Solo This eight channel balanced input is configured as four stereo pairs feeding a stereo mix bus. Therefore channels are paired such as: Sum1L – Sum2R, Sum3L – Sum4R etc.
Stereo FX Returns Alongside the summing input, there are a further two stereo fx returns, providing a total of 12 inputs in this section of the console. These are fed from rear panel 1/4” TRS balanced jack connections and are most likely to be used when feeding mono in / stereo out reverb units from aux sends 1 and 2 and returning them here.
AUX & CUE MASTERS Aux Masters Control 2802 has two aux buses and a simple set of controls are provided for the master output of these buses. The two aux masters feature a level control – useful for that final trim of output level, especially if reducing overload in some vintage digital reverb processors that may be connected here. in the monitor source panel.
This is useful as headphone mixes are entirely possible at low latency with newer computers and low latency DSP devices. As such your headphone mixes can be saved within your session and even include effects for monitoring purposes. Control 2802 provides the perfect hybrid platform as the control surface layer can be used to balance these mixes in superfast time and the Dual Layer Technology allows you to seamlessly flip between your DAW submixes and the analogue layer of Control 2802.
Monitor Section 25
The monitor section of Control 2802 provides comprehensive control room monitoring options. The circuitry is mostly passive with only one buffer stage before the balanced loudspeaker outputs - thus providing you with a tonally neutral and accurate monitor path. Monitor Mix / SRC Select The monitor source switch configures the monitor path to listen to either the output of the main mix bus or whatever is selected in the monitor source panel (1-6).
Polarity Invert Engaging the polarity invert function inverts the polarity of the left channel of the mix, allowing you to check for stereo “difference” content when summed to mono, essentially creating a L-R instead of a L+R sum. The switch is momentary to ensure it is not left on by accident! Mono Sum Engaging this function sums the left and right signals in the monitor section to produce a mono output. Alt.
Talkback An integrated talkback microphone can be found in the master section above the power indicators and to the right of the main mix bus metering. This built-in electret microphone, when activated feeds, the cue section of the console and thus the hardware cue outputs. Solo Functionality Control 2802 has four modes of solo which can be globally set from the master section of the console. When a channel is placed into solo, the SOLO indicator will light in the master section.
SIF – Solo In Front VCA BUS COMPRESSOR Bus Compressor Control 2802 features an integrated high class, patchable VCA bus compressor. It is located in the master section of the console on the right hand side underneath the monitor section and is a soft-knee VCA design optimised for mix bus use. This mode is very useful as it allows you to listen in isolation or with some of the main mix blended in. This ensures that you keep a reference point in ear shot at all times.
Control 2802 I 30
Gain Reduction Meter This is a 10-segment LED bargraph meter indicating the amount of gain reduction. Due to the scale of the meter, sometimes you will only want the first few LEDs flickering to keep compression to musical levels on the mix bus. The scale on the gain reduction meter ranges from 2dB to 20dB of compression.
On vocal bus or piano, longer release times and auto release are very useful. However if you want colourful compression on your drum bus, faster release times are worth trying. Start at 0.1 sec and work backwards until you get a suitably balanced effect. Auto release utilises an adapative circuit that alters its release time in a program dependent manner. It is fantastically smooth and well suited to mix bus duty and also excels on vocal duties.
External Connections The compressor can be fed from mono sources if so desired, just connect into the left input and output.
Main Mix Overview Main Mix Bus The main mix bus and all signal combining stages on Control 2802 are optimised for clean summing with high headroom. Mix Bus Metering To gauge this headroom, large 20-segment LED peak meters calibrated to 0VU = +4dBu = -14dBFS are provided on the main mix path output. These meters provide 36dB of range.
CONNECTIONS OVERVIEW Connections Control 2802 features a plethora of connections on the rear panel – as highlighted during the introduction of this manual. All XLR balanced input and outputs are wired as Pin 1 (shield – chassis / shield ground), Pin 2 (hot +ve) and Pin 3 (cold -ve). Channel Strip Inputs and Outputs The first input, from top to bottom is the MICROPHONE XLR INPUT (female). The input impedance of the microphone input is greater than 2.
The wiring pinout specification for these connections is as follows: 36
Master Section Connections 37
Master Section Connections (top left to right) Control 2802 connects to your DAW via IP based networking protocols, and as such the first connector of interest in the master section is a standard RJ-45 CAT-5e Ethernet port, which 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.
Total Number of Connections To provide a starting point for patchbay integration and cable purchasing, you may find the following table of information helpful. Connection Quantity Type Microphone Input Line Input Channel Insert Send Channel Insert Return Direct Output DAW Input Summing Input FX Returns Ext.
Patchbay Layout Possible Patchbay Layout (Bantam) 40
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.
DAW ETHERNET CONNECTION (MAC) You can use standard Cat-5e Ethernet cable to connect Control 2802 to your studio DAW computer. The interface in Control 2802 is compatible whether you use a straight through or cross-over cable. On Apple computers please do the following: System Preferences > Network > Ethernet Tab > Locations > Edit Locations > Add New Location (+ Button) > Name Control 2802 > Select this Location > Set Configure to Manually > Set IP Address to 192.168.0.1 > Set Subnet Mask to 255.255.255.
Subnet Mask set to 255.255.255.0: Port set to 1212: Press the setup key to exit setup and your setting will be saved. Now power down the console and restart your Apple computer. Once booted, ensure that the Focusrite Control 2802 application is running and open on your DAW machine. Finally power up the console. After the console boots, it should be picked up by Focusrite Control 2802 software (you may have to repeat the power down / restart process if you are experiencing difficulties).
DAW Ethernet Connection (PC) Drag and drop this shortcut into the following location: You can use standard Cat-5e Ethernet cable to connect Control 2802 to your studio DAW computer. The interface in Control 2802 is compatible whether you use a straight through or cross-over cable. C:\ Documents and Settings \ All Users \ Start Menu \ Please ensure that you have downloaded and installed the latest version of our Control 2802.msi application from www.focusrite.com. Programs \ Startup Networking (PC) On
Right click on the Local Area Connection icon and select Properties. In the Local Area Connections properties dialogue window scroll down and select Internet Protocol TCP/IP and then open the properties dialogue box with the button to the right. Here select the ‘use the following IP address’ radio button. Set the IP address of your PC to 192.168.0.1 Set the subnet mask to 255.255.255.0 Leave the default gateway blank and click OK. Your PC may take some time to apply the settings so please be patient.
Power the console on and once booted, check that a connection has been opened in the Network Connections window via the Control Panel. Moving across to the Control 2802, press the SETUP button. The OLED displays will show the first page of console setup. Use the first rotary encoder to select the required DAW application. Note that once a change has been made, the setup switch LED will flash to indicate that a setting has changed. First set the application you are using with Control 2802.
Port set to 1212: Press the setup key to exit setup and your setting will be saved. Now power down the console and restart your PC. Once booted, ensure that the Focusrite Control 2802 application is running and open on your DAW machine. Finally power up the console. After the console boots, it should be picked up by the Control 2802 software (you may have to restart your computer if experiencing difficulties and repeat).
Firmware Updates When updates are released for your console to improve control surface workflow, bug fixes and add new features, you will need to update the console firmware. To do this please visit www.focusrite.com to obtain the latest firmware from the Control 2802 webpage and follow the simple instructions provided along with the firmware download to flash the new upgrade to the console memory. If you experience any issues please read the Control 2802 FAQ found online at www.focusrite.com.
A Note on Automation Safe Automation safe should be used when you want to isolate a particular channel from automation – for example – to audition rides without “fighting” existing automation data or without “printing” the rides if channels are still in write enabled. Please note that when the console boots, automation safe is engaged by default.
Control Surface Operation Please refer to the separate DAW specific control surface manuals found online at www.focusrite.com to guide you through the finer points of operation within each DAW platform. Example Systems Example System 1 – Eight Channel DAW Platform The first example system shown on the next page illustrates a basic system with a typical 8-in and 8-out soundcard / interface as commonly available.
Control 2802 Example System 1 51
Control 2802 Channel Strip Example System 2 52
Control 2802 REDNET 2 8-CHANNEL MIC-PRE Example System 3 53
Control 2802 54 REDNET 2 REDNET 1 Channel Strip Example System 4
Panels 55
