User Manual
19
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. Here the Aux 1 and Aux 2 buses can be
selected and combined as control room sources, allowing
auditioning of headphone mixes direct in the control room.
However, to monitor the cue bus, it must be summed into
the main mix bus via the assign control located above the
master fader.
For more information about how to achieve this please read the
aux and cue masters section of this manual.
Mix Bus Assign
In order to feed any of the eight main channels (output of
the VCA fader and pan pot) into the main stereo mix bus, it is
necessary to engage the mix assign switch located next to
the pan pot.
Channel Pan
The pan control provides a smooth taper with an approximate
pan law of -4dB, providing a decent compromise between
constant power and constant voltage pan law design ideals.
Both the cue and channel pan controls are centre detented for
easy mono positioning.
Channel Fader & Control
Each of the eight main channels on Control 2802 uses a high-
qualityALPS100mmlinearfaderwhichservestwopurposes.
This fader is not in the audio path of the console but rather acts
as a control fader, sending D.C. control voltage changes that are
translated and utilised by the analogue layer fader system which
provides attenuation, mute and +10dB of gain “in-hand” above
unity for the analogue audio path.
The fader can also be used to provide D.C. control voltages
which are processed by the on-board microprocessors providing
DAW HUI
TM
control surface functionality and fader automation.
The level control devices used in Control 2802
provide a clean, accurate and repeatable
automationplatformwithveryneresolution
and are also used to provide a click-free mute
system for each channel.
The level control system used can vary
theamountofamplicationorattenuation
it provides by responding to a modulating
control signal. Linear changes in D.C. control
voltage – which in this case are delivered by
a microprocessor / DAC working in tandem –
correspond to logarithmic changes in level (dB)
at the fader system output.
Channel Fader Modes
The microprocesser responds to mute / solo-
in-place commands, fader position and MIDI
automation control data.
There are also several other useful functions
associated with the control of the fader that are
providedtomakesuretheuserndsthispart
of the console as friendly and transparent as
possible (see page 38).
Fader Scales - DAW Specic
Please bear in mind that the scale provided next to the
fader is for analogue level indication only and the actual fader
scale when in DAW control surface mode is dictated by the
host workstation.
For example Logic is +6dBFS above unity, yet Pro Tools is
+12dBFS – therefore the resultant scale and in particular the
range of motion at the top of the fader will differ depending
upon which host platform is in use. This is a limitation of the
HUI
TM
protocol.
Formoreinformationpleaseseetheplatformspeciccontrol
surface manuals, found online at www.focusrite.com.