User Manual
24
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
ipbetweenyourDAWsubmixesandtheanaloguelayerof
Control 2802.
Along with the two external DAW inputs (both of which are also
suitable for use as two-track returns) – the cue master section
offers the ability to send the output of the AUX 1 and AUX 2
master summing stages to the cue outputs.
This is useful if you are using the last option – C/RM (control
room) – as your main cue mix, a scenario that may often be
encounteredwhenyourequirethatlastabsolutelyessential
vocaloverdubduringthenalstagesofmixing.
If you are using all input channels including the alternative cue
input for mixdown, you may decide to send the artist your control
room balance. This can be achieved by engaging the C/RM
switch. In this case you may use an aux send on a channel to
send the artist more of themself without affecting your control
room balance.
Todothis,justengageboththeC/RM and whichever aux bus
you are using (AUX1 or AUX2).
Monitoring the Cue Bus
The rear panel XLR male balanced cue outputs of the console are
fed from whichever sources are selected in the cue panel. In order
for the cue sends of each channel to reach the cue outputs, and
therefore your performers headphone distribution system, you
must select the cue bus as a source in the cue panel.
However, in order to monitor the cue bus in the control room to
create headphone mixes by ear you must feed the cue bus into
the main mix bus so that you can hear any changes being made
to the cue balance.
You will also likely need to de-assign the eight Control 2802
main channels from the mix bus so that you do not sum the
same signal twice into the mix bus.
The CUE/FB sources can also be monitored directly via the built
in headphone output located on the rear panel of Control 2802.
This headphone output can be used by the engineer to
audition cue mixes on headphones (the most likely playback
medium for the performer), therefore allowing cue mix balance
judgementstobemadeinthecondencethattheywilltranslate
to headphones. (After all, a great cue mix ensures comfort in the
studio, which directly translates into a better performance).
The ability to assign the CUE/FB output to the headphones also
benetsasingleoperator/performerprojectstudioenvironment,
where the artist and engineer are the same person.
Also, if tracking in a space that lacks a lot of iso-booths, placing
a singer or guitar player in the control room often allows you to
lay guide tracks along with drums etc while maintaining some
degree of isolation.