FOCUSRITE 2802 PDF

Control Operating Manual. 3. Welcome to Control Thank you for choosing this Focusrite product. Control is an analogue recording console and. Find great deals for Focusrite Control Analogue Recording Console DAW PROAUDIOSTAR. Shop with confidence on eBay!. But I’m trying to sell some of this now to buy the but mine was constructed in UK and the focusrite are chinese production now).

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Focusrite Control 2802 Analogue Recording Console DAW PROAUDIOSTAR

For recording to your DAW, the channels and cue signals are also individually assignable to the eight direct outputs DB Barry Rudolph is an L. I would only say that the RTZ 28022 more gain available and was more open-sounding.

To check and set unity accurately on the summing, DAW mix and mix insert returns, you’ll have to individually solo inside Pro Tools each of those 16 tracks. The dual-layer, small-format Focusrite Control is the first product created by both companies.

The ‘s mic preamps feature a hybrid design with a discrete front end and chip line driver. Using a combination of four switch positions, direct outs can exit the console post-fader, pre-insert, pre-fader or in Channel mode–directly out of the mic pre section–which is my choice for all mic pre testing. Visit his Web site at: The stereo master fader was set all the way up; it’s a mm Alps nonmotorized fader without a VCA.

From now on, I want to mix only this way! There are also four user-programmable function keys, and I was okay with the default values: It makes the difficult easy by combining short and clean analog signal paths, as well focuseite nearly limitless configuration and routing possibilities, with well-integrated workstation control.

While recording male vocals, I compared one of the ‘s eight mic pre’s with my RTZ Professional Audio dual-combo mic pre. In the analog layer when the Select mode focisrite active and the Unity button is on, pushing any of the Select buttons above the channel faders caused them to “slew” to unity gain instantly–very handy for this setup process.

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About one-third of the ‘s surface is dedicated to professional and comprehensive monitoring facilities. The Focusrite Control is a foucsrite stereo mixer without equalizers nor multitrack buses. Furthermore, the Channel Trim knobs all aligned perfectly on their detents, focusdite good design, manufacturing quality and tight circuit component tolerances.

The Control shares the same mic preamp topology focusrte bus compressor design as the ASP, as well as many similarities to the Audient Zen console that I reviewed in Mix’s May issue. It weighs just more than 40 pounds, measures This was perfect for stereo tracks in the mix that rarely changed, such as effect returns, synth pads or for a one-time piano solo during the song’s bridge. The Focusrite Control ‘s diminutive size might fool the casual observer, but I found it to be everything I could want and more.

I used my transformer mic-splitter box It has a Jensen JT-MB-E transformer inside to route a large-diaphragm ofcusrite mic to both pre’s at the same time. All of my plug-in effect returns, now routed to the ‘s fixed inputs, sounded better because the board is quiet and transparent enough that I could hear reverb tails and long delays evolve to their actual endings; for whatever reason sI don’t always find that “in the box.

The console connects to your computer via a standard Cat-5e cable, or in this case to my hub.

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There is also SIP Safe, a way to isolate any channel from muting. Just as when I reviewed the Audient Zenthe sound of my mixes took a quantum leap in clarity, vividness and stereo width.

For the last eight tracks, I used the ‘s two effects stereo returns for two stereo stems, and I enlisted the fixed-level DAW mix input XLRs and main mix insert return TRS for the last two stereo pairs. After a restart, the console interfaced my rig the first time. I liked that Solo and Mute buttons are instant on theand all other Mute buttons on the console flash when a solo is pushed anywhere. Unfortunately, hearing the song’s improved tonality caused me to rethink nearly everything I had already done in the box–equalization, panning, effects, etc.

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For the next four stereo pairs, I used the ‘s fixed-level summing input DBwhich equally sums the odd-numbered tracks to the left side of the stereo bus and the even tracks to the right. I had enough flexibility to separate out important elements such as kicks and snares, guitar “wire choirs,” and lead and backing vocals. Both channels and cue signals are individually assignable to the stereo mix bus for up to 16 inputs to mix.

Focusrite Control Analogue Recording Console DAW PROAUDIOSTAR | eBay

It was amazing how close both pre’s sounded: I found the monitoring section to be transparent. Over the course of the nearly three weeks that I had the Controlits mic pre’s performed focuseite for recording all sources. The console has analog automation on the eight channel faders.

On thethere is up to 15dB additional gain available using the Channel Trim control if you select the post-fader direct output path. Back Up To Focustite Top. The mix playing through my KRK ERGO monitoring-correction unit sounded the same whether connected directly to the ‘s stereo bus outs or its stereo monitor outs.