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Control 2802

Operating Manual

Version: 1.4

Warranty

All Focusrite products are built to the highest standards and should provide reliable performance for many years, subject to

reasonable care, use, transportation and storage.

In the event of a Manufacturing Defect becoming evident within 12 months from date of purchase Focusrite undertakes that the

product will be repaired or replaced free of charge if the product is returned to the authorised dealer from whom it was purchased.

In these circumstances, or if you need an out-of-warranty repair to your Focusrite product, please contact your local Focusrite

distributor in your country of residence or business. Find your local distributor and you will be advised of the correct return procedure.

Alternatively contact the Focusrite Reseller from which you purchased the product. If you purchase a Focusrite product outside

your country of residence or business you will not be entitled to ask your local Focusrite distributor to honour this Limited Warranty,

although you may request a chargeable repair.

Alternatively, the unit may be returned at your cost to the dealer you purchased the unit from so that they can organise a Warranty

repair with their Focusrite distributor. This Warranty does not include cost of shipping to and from the authorised dealer from whom it

was purchased. In every case it will be necessary to provide the original invoice or store receipt to accompany the defective product

to the supplying dealer.

This Limited Warranty is offered solely to the rst purchaser of the product from an Authorised Focusrite Reseller (dened as a

reseller which has purchased the Product directly from Focusrite Audio Engineering Limited in the UK or its Authorised Distributors

outside the U.K.) and is not transferable. This Warranty is in addition to your Statutory Rights in the country of purchase.

Please note: A Manufacturing Defect is dened as a defect in the performance of the product which may be expected from a

reasonable interpretation of the published description and performance specications as published by Focusrite Audio Engineering

Limited. This does not include damage caused by post-purchase transportation, storage or careless handling, nor damage caused by

misuse. A signicant proportion of products returned under Warranty (which are very few in number compared to numbers sold) are

found not to exhibit any fault at all. Please check that the mains voltage is correctly set for your local supply and that your connecting

cables are in good order and correctly connected. If in doubt about the product functions please read the appropriate section of the

user guide, and if necessary contact your dealer for advice before returning the product to the supplying dealer. You can also contact

the Focusrite Technical support team should you require further assistance.

Accuracy

Whilst every effort has been made to ensure the accuracy and completeness of the content of this manual, Focusrite Audio

Engineering Limited makes no representation or warranty as to the accuracy, completeness or reasonableness of the content and no

such representation or warranty is implied.

Trade Marks

Alps is a registered trade mark of Alps Electric Co. Ltd.

Apple, Logic and Mac are trade marks of Apple Inc. registered in the U.S. and other countries

Avid and Pro Tools are registered trade marks of Avid Technology Inc. or its subsidiaries in the U.S. and/or other countries

Mackie is a registered trade mark and HUI is trade mark of LOUD Technologies Inc.

Prism Sound is a registered trade mark of Prism Media Products Ltd.

Steinberg, Cubase and Nuendo are registered trade marks of Steinberg Media Technologies GmbH.

Tascam is a trade mark of TEAC Corporation, registered in the U.S. and other countries

Windows and Windows XP are trade marks of Microsoft Corporation registered in the U.S. and other countries

All other products, trade marks and trade names are the property of their respective owners.

manual, whether by photocopying or storing in any medium by electronic means or otherwise, without written permission of the owner,

is prohibited.

This manual and the information set out in this manual the exclusive property of Focusrite Audio Engineering Limited.

Welcome to Control 2802

Control 2802 Operating Manual 3

Welcome to Control 2802

Thank you for choosing this Focusrite product. Control 2802 is an analogue recording console and DAW (Digital Audio Workstation)

control surface in one.

To cover both parts of the system there are two separate manuals:

● Control 2802 Operating Manual - this manual introduces the system and covers the analogue console. Please read this rst.

● Control 2802 Automation & Control Surface Manual - covers the DAW control layer and analogue fader automation system.

You will nd separate documents for each of the major DAWs: ProTools, Logic Pro and Cubase.

All the documentation is included on the CD packed with the console, or may be downloaded from our website at: www.focusrite.com

Welcome & Contents

Contents

Welcome to Control 2802 3

Important Safety Instructions 4

Important Safety Precautions 5

Installation 6

Introduction 7

Rear Panel Connections 8

Channel Strip Overview 9

Master Section Overview 10

DAW Control / Fader Automation Overview 11

Monitoring Audio (Quick-start) 12

Signal Flow Overview 13

The Channel Strip 14

Dual-Layer Fader Strips 24

Main Mix Bus 26

Bus Compressor 27

Summing Input & FX Returns 32

Aux Masters 34

Cue Master 35

Monitor Section 36

Talkback 39

Solo Functionality 40

Technical Information 41

Example Systems 42

Connector Wiring & Specications 46

Patchbay Layout 51

Panels 53

4 Control 2802 Operating Manual

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.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as radiators,

heat registers, stoves, or other apparatus (including

ampliers) that produce heat.

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. If the provided

plug does not t into your outlet, consult an electrician for

replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched

particularly at plugs, convenience receptacles, and the

point where they exit from the apparatus.

11. Only use attachments/accessories specied by the

manufacturer.

12. Use only with the cart, stand, tripod, bracket, or table

specied by the manufacturer, or sold with the apparatus.

When a cart is used, use caution when moving the cart/

apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when

unused for long periods of time.

14. Refer all servicing to qualied service personnel. Servicing

is required when the apparatus has been damaged in any

way, such as power-supply cord or plug is damaged, liquid

has been spilled or objects have fallen into the apparatus,

the apparatus has been exposed to rain or moisture, does

not operate normally, or has been dropped.

WARNING: To reduce the risk of re or electric shock, do not

expose this apparatus to rain or moisture.

● Do not expose this apparatus to drips or splashes.

● Do not place any objects lled with liquids, such as vases,

on the apparatus.

● Do not install this apparatus in a conned space such as a

bookcase or similar unit.

● Slots and openings in the cabinet are provided for

ventilation and to ensure reliable operation of the product

and to protect it from overheating. Please ensure adequate

space around the apparatus for sufcient ventilation.

Ventilation should not be impeded by covering the

ventilation openings with items such as newspapers,

tablecloths curtains etc.

● The apparatus draws nominal non-operating power from

the AC outlet with its POWER switch in the off position.

● The apparatus should be located close enough to the AC

outlet so that you can easily grasp the power cord plug at

any time.

● An apparatus with Class 1 construction shall be connected

to an AC outlet with a protective grounding connection.

● The MAINS plug or the appliance coupler is used as the

disconnect device. Either device shall remain readily

operable when the apparatus is installed for use.

● No naked ames, such as lighted candles, should be

placed on the apparatus.

WARNING: excessive sound pressure levels from earphones

and headphones can cause hearing loss.

This equipment must be earthed by the power cord

FIN

Laite on liitettävä suojamaadoituskoskettimilla

varustettuun pistorasiaan

NOR

Apparatet må kun tilkoples jordet stikkontakt

Important Safety Precautions

Control 2802 Operating Manual 5

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT RE-

MOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning ash 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 sufcient magni-

tude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert

the user to the presence of important operating and maintenance (ser-

vicing) instructions in the literature accompanying the appliance.

RoHS Notice

Focusrite Audio Engineering Limited has conformed and

this product conforms, where applicable, to the European

Union’s Directive 2002/95/EC on Restrictions of Hazardous

Substances (RoHS) as well as the following sections

of California law which refer to RoHS, namely sections

25214.10, 25214.10.2, and 58012, Health and Safety Code;

Section 42475.2, Public Resources Code.

For USA to the User:

1. Do not modify this unit! This product, when installed as

indicated in the instructions contained in this manual,

meets FCC requirements. Modications not expressly

approved by Focusrite may void your authority, granted by

the FCC, to use this product.

2. Important: This product satises FCC regulations when

high quality shielded cables are used to connect with other

equipment. Failure to use high quality shielded cables or

to follow the installation instructions within this manual

may cause magnetic interference with appliances such as

radios and televisions and void your FCC authorization to

use this product in the USA.

3. This equipment has been tested and found to comply with

the limits for a Class A digital device, pursuant to the part

15 of the FCC Rules. These limits are designed to provide

reasonable protection against harmful interference when

the equipment is operated in a commercial environment.

This equipment generates, uses and can radiate radio

frequency energy and, if not installed and used in

accordance with the instruction manual, may cause harmful

interference to radio communications. Operation of this

equipment in a residential area is likely to cause harmful

interference in which the user will be required to correct the

interference at his own expense.

For Canada to the User:

This Class A digital apparatus complies with Canadian ICES-

003.

Cet appareil numérique de la classe A est comforme à la norme

NMB-003 du Canada.

Important Safety Precautions

WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO NOT EXPOSE THIS APPLICANCE

TO RAIN OR MOISTURE

Environmental Declaration

Compliance Information Statement: Declaration of Compliance procedure

Product Identication: Focusrite Control 2802

Responsible party: American Music and Sound

Address: 5304 Derry Avenue #C

Agoura Hills,

CA 91301

Telephone: 800-994-4984

This device complies with part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harm-

ful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

6 Control 2802 Operating Manual

Installation

Package Contents

Your packaging should contain the following:

● Control 2802 console

● IEC power cord

● CD containing the documentation and drivers.

Check for any signs of transit damage. If any signs of

mishandling are found please notify the carrier and inform your

dealer immediately.

Important Safety Instructions

Please read all of the safety instructions at the beginning of this

manual before connecting to the mains and powering up the

console. To prevent electrical shock and re hazard, follow all

warnings and instructions marked on the rear of the console.

This unit if connected via its IEC power cord to the mains

safety earth.

NEVER OPERATE THIS CONSOLE WITH THIS EARTH

CONNECTION REMOVED.

Internal Switch Mode Power Supply & Mains

Fuse

The console utilises an internal switch-mode power supply

that is very quiet and passively cooled with plenty of current

capability and headroom. This switch-mode design will accept

any A.C line voltage from 100-240v ±10%. Therefore, the

console will work anywhere in the world provided that your A.C

mains line voltage is within this specication.

Consult a qualied technician if you suspect difculties.

Do NOT attempt to tamper with the power supply or mains

voltages – HAZARDOUS TO HEALTH.

Always replace the mains fuse with the correct value – T2A

slow blow.

Power Up

On power up, please check that the power rail indicators for

+48v d.c and +/-18v d.c light on the top right hand side of the

console:

Service and Repair

The console uses a complex internal PCB sandwich

arrangement making eld service only possible by a qualied

technician.

If any technical issues do arise with your console, please

contact your dealer as soon as possible to arrange for

technical support.

Do NOT attempt to x the console unless qualied to do so.

See the warranty information at the beginning of this manual

for details of your cover.

Dimensions (including rubber feet)

● Height Front: 60 mm

● Height Rear: 170 mm

● Width: 450 mm

● Depth: 550 mm

Ventilation

Care should be taken not to obstruct the series of ventilation

holes in the metalwork of the console. The unit is designed

to release heat and take adequate air ow via these holes to

ensure longevity of performance.

These can be found along the left hand bottom edge on

the side panel (below the cheek), the rear top wrap-around

ventilation panel and below the faders at the foot of the

console.

If mounting the console into some form of studio furniture or

desk, please ensure that there are sufcient air gaps at these

locations:

Lexan Overlay

The front panel at the top of the console (dark section only)

features a rugged under-surface printed polycarbonate overlay.

Exposure to direct sunlight for extended periods of time should

be avoided as this can have a detrimental effect on the overlay

panel and the control knobs.

Introduction

Control 2802 Operating Manual 7

Introduction

Control 2802 is both an analogue recording console and DAW control surface.

Analogue Console - 8 Channel Strips and Master Section:

With eight class-A hybrid discrete mic preamps, LED bargraph

metering, input signal conditioning, assignable direct outputs

and cue monitoring, Control 2802 is ideal as a location

recording or tracking console.

Control 2802 is equally comfortable as a hybrid mixing tool –

featuring a DAW control surface layer and up to 32 analogue

inputs on mixdown.

The high number of inputs is achieved via 16 inputs in the

channels (mic/line + alternative cue input), plus a further 16

inputs in the master section (8-channel Summing Input, two

stereo FX returns, stereo DAW Mix input & stereo mix insert

running in “parallel sum” mode).

Each mic/line channel has two aux sends, a stereo cue (or

alternate input), switchable insert and DAW return for in-line

recording. The stereo mix bus includes a master fader, insert

point and bus compressor, which may be removed from the

main mix and patched elsewhere using its own external IO.

The monitor section includes mono, dim, phase and talkback,

plus an i-Jack input for monitoring MP3 players. Outputs

connect to main and alternate speakers plus headphones.

DAW Controller - 8 dual-layer Fader Strips and Control Panel:

The 8 Fader Strips (faders, SEL, CUT & SOLO) ip between

controlling analogue channel levels and track faders within the

DAW. This dual-layer technology makes it easy to switch from

analogue to DAW control in an instant.

When working in the DAW layer, the console remotely

adjusts parameters within the DAW software via an Ethernet

connection (using the HUI

control surface protocol).

At any one time, 8 DAW tracks may be adjusted from the

console’s Fader Strips. These are the tracks “in focus” within

the DAW software (paged to the HUI

controller).

Each of the 8 channel faders is motorised, and both the

analogue and DAW layers can be fully automated.

To the right of the channel faders is the master fader (not

automated or dual-layer), which controls the main mix bus.

The Fader Strip layer switching, and other DAW parameters,

such as auxes, plug-ins, transport and automation, are

controlled from Control Surface Centre Section - this includes

a jog/shuttle wheel, transport buttons, 4 rotary encoders and

OLED channel displays.

8 Control 2802 Operating Manual

Rear Panel Connections

The following table summarises the connections. Please also refer to the example systems on page 42 and page 46 for wiring

and pin-out information. For information on cabling the console, DAW and outboard devices into a patchbay system, see page 51.

Connector Name Type Typical Application

Channel MIC XLR Female Channel microphone inputs.

Channel LINE 1/4” TRS Jack Channel line level inputs - for line inputs such as synths,

samplers or external mic preamps.

Channel SND 1/4” TRS Jack Channel insert sends - to outboard processing.

Channel RET 1/4” TRS Jack Channel insert returns - from outboard processing.

DIRECT OUTPUTs DB25 Female Channel direct out - this is the main record path from the

channel; connect to your DAW tracks.

DAW INPUTS DB25 Female Channel DAW input - for playback post-recording through the

channel; connect from your DAW tracks.

SUMMING INPUT DB25 Female 8 Summing Inputs - for additional mix inputs such as submixes

from your DAW or extra effects.

NETWORK RJ45 Ethernet connection to/from your DAW.

MAIN SPKR L&R XLR Male Main speaker outputs - to main control room loudspeakers.

DAW MIX L&R XLR Female DAW Mix input - connect from your DAW’s internal mix bus; this

input may feed the console’s mix bus, cue and monitor section.

DAW FB L&R XLR Female DAW Foldback input - connect from headphone mixes

generated within your DAW; this input may feed the cue and

monitor sections.

EXT I/P L&R XLR Female External Input - this input may feed the monitor section;

connect your stereo recorder to check printed mixes.

ALT SPKR L&R XLR Male Alt speaker outputs - to a second set of control room speakers.

AUX O/P 1&2 XLR Male Aux outputs - send to effects such as reverb & delay.

CUE O/P L&R XLR Male Cue output - send to your artists headphones or a stereo effect.

MIX O/P L&R XLR Male Main Mix output - to a master recorder, or DAW, to print mixes.

FX RETURN 1 and 2 L&R 1/4” TRS Jack FX Return inputs - for extra mix inputs such as reverb returns.

COMPRESSOR IN and OUT L&R 1/4” TRS Jack External Compressor IO - patches the bus compressor.

MIX INSERT SND and RET L&R 1/4” TRS Jack Main Mix insert - send/return main mix outboard processing.

TALKBACK XLR Female External Talkback mic - connect an alternate mic for talback.

Phones Headphone socket For control room headphones.

Channel Strip Overview

Control 2802 Operating Manual 9

Channel Strip Overview

10 Control 2802 Operating Manual

Master Section Overview

DAW Control / Fader Automation Overview

Control 2802 Operating Manual 11

DAW Control / Fader Automation Overview

The lower part of the control surface can remotely adjust parameters within the DAW software, and respond to HUI

/ MIDI

automation allowing you to automate both the DAW and analogue fader layers. To use these features you must connect Control 2802

to your DAW computer via Ethernet, and congure the DAW software to support Control 2802 as a HUI

control surface.

You can nd full details on the setup and operation in the “Automation & Control Surface Manual” which can be downloaded from our

website at at www.focusrite.com. Here you will nd separate documents for each of the major DAWs: ProTools, Logic Pro and Cubase.

Dual Layer Fader Strips

The 8 Fader Strips (faders, SEL, CUT & SOLO) ip between

controlling analogue levels and track faders within the DAW.

Select the DAW switch, on the Control Surface Panel, to ip all

8 Fader Strips to the DAW layer:

Deselect DAW (not illuminated) to control the analogue layer.

Control Surface Panel Overview

12 Control 2802 Operating Manual

Monitoring Audio (Quick-start)

Each channel has 3 inputs: MIC, LINE and DAW.

The default input is mic. To change input, select either

LINE (4) or DAW (8).

DAW overrides MIC/LINE as the DAW return is inserted at

a later point in the channel signal ow.

To get signal from the MIC input to the MAIN SPKR L/R

outputs (on the rear connector panel):

1. With the mic input selected, adjust the mic gain (3)

and 48V phantom power (2) - you should see input

level on the channel meter (1).

If not, check that CH METER SELECT in the centre of the

console is set to INPUT (in the UP position):

2. Select MIX bus assign (17) to route the channel to the

main mix bus, and open the channel fader (22).

The fader can ip between controlling the analogue

channel level or a DAW fader. So make sure that the DAW

switch, located on the Control Surface Panel, is NOT

illuminated so that you are controlling the analogue layer:

3. Then open the master fader - you should see level on

the LEFT & RIGHT MIX meters:

If not, check that the channel is not CUT (20) or that a

different channel is not in SOLO (21).

Also check that MIX is selected as the MONITOR

SOURCE in the Monitor Section (9).

4. Open the monitor VOLUME control (10) and you

should be hearing audio!

If not, check that:

● The MONITOR SOURCE is not switched to SRC (9).

● The monitor CUT and DIM (16 & 17) are not active.

● The individual L R monitor cuts are not active (14 & 15).

● The ALT SPKR switch (19) is not selected.

5. To listen on headphones, engage the headphones

ON switch (22), make sure that CUE/FB TO PHONES

(19) is off, and turn up the PHONES volume (20) -

the control room monitor output is now sent to the

headphone jack connector on the rear connector

panel.

Signal Flow Overview

Control 2802 Operating Manual 13

Signal Flow Overview

Channel Inputs

The console has eight channel strips, each with three main

inputs:

● Mic – XLR (female).

● Line – 1/4” TRS jack

● DAW – 25-pin D-sub (female)

Input Gain & Conditioning

The microphone preamplier provides 6 to 60 dB of gain,

delivered from our hybrid discrete class-A transistor and

integrated circuit design. 48V phantom power and an input

impedance of >2k5 Ohms ensure that you will get the most

from your microphones.

The 75Hz high pass lter (HPF) and polarity reverse (phase

invert) are available on either the microphone preamplier or

line input paths. The HPF enables you to remove any rumble

or subsonic noise and polarity invert provides alignment of

sources - for example snare top and snare bottom. These

features are tied to the mic/line path and are not available on

the DAW input.

Typical Recording Path

The mic/line path normally feeds the main channel, which in

turn feeds the direct output and the recorder. The direct output

can be taken from the channel input, pre-insert, pre-fader or

post-fader providing different workow options.

The return from the recorder feeds back into the console via

the DAW input. The main channel path can be ipped from mic/

line input to DAW return to monitor the recorded signal.

By combining the CHANNEL direct output routing

mode with the DAW input ip and alternative cue

input (ALT I /P), you can simultaneously:

● Record mic preamp or line inputs direct to disk (clean).

● Generate a cue send directly from mic/line inputs for your

artist’s headphones (with zero latency).

● Monitor the DAW returns (post record) through the main

channel path so that you can hear any colouration provided

by your workstation.

Mixdown Summing Options

For mixdown, there are two possible summing options:

● Mix in the analogue domain (inside Control 2802) - for

fast access to your recorded tracks, switch the DAW input

to the main channel path. You are now playing back from

the DAW through the analogue console, and summing

through the Control 2802’s analogue mix bus.

Using this option you can sum up to 8 DAW returns through

the main channels. (Combine these with the console’s other

inputs to mix up to 32 analogue inputs as described below).

Use the analogue fader automation to apply fader

and cut automation to the 8 main channel paths.

● Mix “in the box” (inside the DAW) - using the DAW

software, route your tracks onto the internal summing bus.

Tracks are now summed inside the DAW and fed back to

the console either via a pair of DAW inputs or the stereo

DAW MIX input connector.

Using this option you can sum any number of DAW tracks

“in the box”, and combine these with the console’s other

inputs.

Flip the Fader Strips to the DAW layer to remotely

control faders and cuts on any 8 DAW tracks.

Up to 32 Mix Inputs

In addition to the eight main channels, the cue send may be

used as an alternative input path. With the ALT I / P switch active,

the stereo cue bus is fed from either the mic/line or DAW input

(depending on the status of the DAW input ip). Input level and

pan are controlled from the cue “send” controls, and the cue bus

is added to the main mix in the master section.

In addition to these 16 individual channel inputs, a further 16

inputs are available from the master section:

● Summing Inputs 1-8 - treated as four stereo input pairs, or 8

mono inputs, with a single level and balance/pan control.

● Stereo FX Returns 1 & 2 - with level and balance/pan

controls for each return.

● Stereo DAW Mix input - with routing control. (To control the

level or pan this input, adjust the output from the DAW).

● Stereo Mix Insert Return - working in “parallel sum” mode.

Channel Input Signal Flow:

14 Control 2802 Operating Manual

The Channel Strip

This section deals with the analogue channel strip operation. For details on using the faders to control parameters within the DAW

software, please see the “Automation & Control Surface Manual”.

You may nd it useful to print this page so that you can refer to the control numbering while reading about each channel

strip section.

The Channel Strip

Control 2802 Operating Manual 15

Channel LED Bargraph Meter

The meter provides a 10-segment LED bargraph meter with

peak detection, plus a separate overload indication LED.

The 10 LEDs are utilised as follows:

● 6dB per segment in the lower region (-36 to -18dB)

● 4dB per segment in the middle region (-18 to -6dB)

● 2dB per segment in the top region for greater resolution.

0 VU is the centre of the meter scale and calibrated to a

nominal operating level of +4dBu.

Relative to a typical EBU AD/DA converter calibration of

+18dBu = 0dBFS, this means that +4dBu = 0 VU = -14dBFS:

As a result, a nominal operating level of 0 VU provides 14dB

of headroom in your digital recording platform. This is ideal for

most music sources which have crest factors of around 12 to

20dB.

[The crest factor is the difference between average (RMS) and peak level.]

CH METER SELECT

This switch selects the meter source globally across all 8

channels:

● INPUT - in the UP position, the channel input feeds the meter.

Signal is taken before the channel trim control (9) but after the

mic/line and DAW input selections (4 & 8).

● DIR OUT - in the DOWN position, the meter takes its feed

from the direct output. Thus, its exact location is determined by

the direct output routing (7) – see page 16.

This selection is overridden when displaying DAW

channel metering. (See the DAW Meters function

in the “Automation & Control Surface Manual”).

Bargraph Meter Signal Flow Options:

16 Control 2802 Operating Manual

The Channel Strip

48v Phantom Power

Engaging this switch provides 48 volt D.C phantom power to

the microphone input.

Individual phantom power switches on each channel provide

control over which microphones receive power.

Phantom power wiring

Microphone Preamplier Gain

Mic gain may be adjusted from 6 to 60dB.

The gain on offer is clean amplication and features a low-

noise, differential discrete transistor input stage.

Line Input Select

Engaging this switch overrides the microphone preamplifer, as

the channel source, and replaces it with the line input.

The mic/line path may also be replaced by the DAW input (8).

Polarity (Phase) Invert

A 180

polarity invert function is available for the microphone

preamplier or line input – useful for checking phase when

tracking with multiple microphones, or ipping an existing track

during mixdown. The function is achieved with a unity gain

inverting amplier.

This function is only available for the mic or line input, and not

for the DAW input - to invert the phase of a DAW input, use the

phase invert within your workstation software.)

High Pass Filter

A 75Hz high pass lter (HPF), with 12dB per octave roll-off, can

be engaged on the mic/line input path – useful for removing

unwanted low frequency content.

Many listeners use playback systems that can barely

reproduce 60-70Hz. Therefore, a well placed HPF on certain

sources can clean up unwanted mix elements, such as

microphone stand rumble and trafc noise.

This function is only available for the mic or line input, and not

for the DAW input - to lter a DAW input, use the equalisation

within your workstation software.

Direct Output Routing

The direct out is normally used as the record send to the DAW

The feed is taken from one of four different points in the

channel path, as illustrated on the next page:

● POST - post-fader

● PRE INS - pre-insert

● PRE FDR - pre-fader

● CH - from the channel input (mic/line path)

The Channel Strip

Control 2802 Operating Manual 17

Direct Out: POST

This mode requires both switches to be in the UP position.

The direct output is taken POST FADER and POST MUTE.

This mode is ideal for:

● Using the faders to ride record levels (especially if

microphone levels are hot).

● “Printing back” stem mixes to the recorder with fader

automation.

Direct Out: PRE INSERT

This mode requires the rst switch to be in the DOWN position.

The direct output is taken PRE INSERT and PRE FADER. This

mode is ideal for:

● Taking a “clean feed” to the recorder while monitoring post-

insert, fader and pan. This mode is often used when you

need a processed headphone mix (via the cue or aux), but

wish to record a “clean” unprocessed signal.

The feed is taken after the DAW input ip (8) and channel input

trim (9). This allows you to use the channel input trim as an

additional gain control – arguably, a cleaner way of adjusting

gain during a take (as opposed to varying the microphone

preamplier gain).

Direct Out: PRE FADER

This mode requires the second switch to be in the DOWN

position.

The direct output is taken POST INSERT but PRE FADER.

This mode is ideal for:

● Using the faders to set a monitor balance without affecting

the record level, while recording a processed signal. For

example, to apply outboard dynamics to the record signal

via the channel insert (10).

Direct Out: CHANNEL

This mode requires both switches to be in the DOWN position.

The direct output is taken directly from the mic/line input, after

the HPF and polarity inverter stage. This mode is ideal for:

● Taking a “clean feed” to the recorder, as an alternative to

PRE INSERT. The feed is taken from the input stage, with

no channel input trim (9), providing the cleanest signal path

for recording.

● Recording with an “in-line” console architecture - where

the main channel path can be used to monitor the send

or return without affecting the recorded signal. This is

explained in more detail on page 19.

PRE INS

PRE FDR POST

Direct Out Signal Flow Options -

one of the four options is active:

18 Control 2802 Operating Manual

The Channel Strip

DAW - Mic/Line Input Flip

This function ips the sources to both the main channel path

and alternative cue input.

When the switch is in the UP position, the mic/line input

feeds the main channel path, while the DAW input feeds the

alternative cue input.

When the switch is in the DOWN position, the sources ip over.

Therefore the DAW input feeds the main channel path, while

the mic/line input feeds the alternative cue input.

In both cases, for the alternative cue input to be active, you

must engage the ALT I /P switch (14).

On its own, the DAW switch ips the main channel path from

mic/line input to DAW input for fast playback or mixdown of

your recordings.

Combine the DAW switch (8) with the ALT I / P (14) to utilise

both the main channel and cue paths:

● ALT I / P DOWN + DAW UP - the mic/line input feeds the

main channel while the DAW return feeds the cue section.

By adding the stereo cue bus to the main mix in the master

section (ASSIGN TO MIX - CUE), the DAW return can be

used as an extra mix input. The DAW input level and pan are

controlled from the cue “send” (11 & 13). See page 21 for

details.

● ALT I / P DOWN + DAW DOWN - the mic/line input feeds

the cue bus while the DAW return feeds the main channel.

This can be used in the same manner as above (with the

inputs reversed). Or, it can be used to generate a zero

latency cue send for your artist’s headphones. See page

19 for details.

The Channel Strip

Control 2802 Operating Manual 19

Recording (with an In-Line Architecture)

The direct output CHANNEL routing mode (7) can be

combined with the DAW input ip (8) to create a “pseudo in-

line” architecture.

Using this workow, you can simultaneously:

● Record mic preamp or line inputs direct to disk (clean).

● Generate a cue mix directly from the mic/line input for your

artist’s headphones (with zero latency).

● Monitor the DAW returns (post record) through the main

channel path so that you can hear any colouration provided

by your workstation.

Recorder Send

Select the CHANNEL direct output routing mode (7) so that

either the microphone preamplier or line input is fed straight to

the direct output and recording device as showb below.

Use the LINE input switch (4) to choose mic or line:

● For mic inputs, adjust the record level using the mic preamp

gain control (3).

● For line inputs, adjust the record level on the outboard

device. (If using external mic preamps, connect them here

and adjust their mic gain.)

Recorder Return

The return from the recorder feeds back into the console via

the DAW INPUTS 25-pin D-Sub connector on the rear panel.

Monitoring the Send and Return

Assign the main channel path onto the main mix bus, using the

MIX bus assign switch (17).

Then use the DAW input ip (8) to switch the main channel

between:

● Mic/line input (recorder send) - DAW in UP position

● DAW input (recorder return) - DAW in DOWN position

This makes simple record and playback monitoring very quick

and efcient, and allows you to start setting fader levels, cuts

and panning without affecting the record path.

Generating a Zero Latency Cue Send

If the cue send for an artist’s headphone mix is taken directly

from the mic/line input, then any delays introduced by your

recorder or AD/DA converters can be avoided (“zero latency”).

This is of huge benet when dealing with digital systems.

On the artist’s input channel, select both the DAW input ip (8)

and cue ALT I /P (14). This feeds the DAW return to the main

channel and the mic/line input to the cue send as shown below.

Use the cue level and pan controls (11 & 13) to control the mix.

You can add playback channels by turning off the cue ALT I/ P

(14) and selecting either a pre or post-fader send (12).

You can monitor the cue mix by sending it to your heaphones

(CUE/FB TO PHONES). Or, add it back to the main mix from

the master section (ASSIGN TO MIX - CUE).

20 Control 2802 Operating Manual

The Channel Strip

Channel Input TRIM

This potentiometer provides a trim range of +/-15dB.

It can be used to boost the recording level providing that your

direct output (7) is taken post channel trim (PRE INS, PRE

FDR or POST). This is useful for low output microphones such

as ribbon transducer designs.

It is also very useful for setting correct gain staging at the input

of the console.

Insert Active

In the DOWN position, this switch engages the channel insert

send and return loop - used to insert outboard processors into

the main channel path.

The insert send and return are available as balanced 1/4” TRS

jack connectors for each channel. If nothing is connected, then

the TRS jacks are normalled. This prevents signal loss if INS

IN is accidentally turned on.

Active Insert Send & Parallel Processing Techniques

Please bear in mind that the insert send is always active – the

switch only engages the return path. Thus it is possible to

split or “mult” signals from the insert send to set up parallel

compression or feed external destinations (such as a back-up

recording system).

Try taking a feed from the insert send and then

returning a processed version (distorted or heavily

compressed) into another input. Mix together the “clean” and

“processed” versions to create an effect.

The diagram below illustrates this example using the main

channel and alternative cue inputs of the same channel.

The main channel is fed from the DAW input - depress the

DAW input ip (8). This leaves the line input free to feed the

alternative cue input - depress ALT I / P (14) - and return the

processed signal, via the cue bus, onto the main mix.

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

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.

22 Control 2802 Operating Manual

The Channel Strip

Cue Alternative Input Select

This switch activates the alternative cue input. When active, the

cue source is determined by the DAW input ip (8) as shown in

the diagram below.

● ALT I / P DOWN + DAW UP - the mic/line input feeds the

main channel while the DAW return feeds the cue section.

By adding the stereo cue bus to the main mix in the master

section (ASSIGN TO MIX - CUE), the DAW return can be

used as an extra mix input. The DAW input level and pan are

controlled from the cue “send” (11 & 13).

● ALT I / P DOWN + DAW DOWN - the mic/line input feeds

the cue bus while the DAW return feeds the main channel.

This can be used in the same manner as above (with the

inputs reversed). Or, it can be used to generate a zero

latency cue send for your artist’s headphones. See page

19 for details.

The ALT I/ P can be selected on a channel-by-channel basis,

producing some very exible routing combinations.

ASSIGN TO MIX

The ASSIGN TO MIX - CUE switch, in the master section,

routes the cue bus onto the main mix. Note that ALL cue sends

feed the main mix when this switch is active.

The Channel Strip

Control 2802 Operating Manual 23

Aux Sends

Each channel features two mono auxiliary sends - ideal for

sending to outboard effects devices, such as reverb, or for

creating additional cue mixes.

Use either the stereo FX Returns or the Summing

Input to return effects devices to the mix.

The two mono auxes are ideal for mono in/stereo out devices.

If you require a stereo send, either use the stereo cue bus, or

feed aux 1 to the left and aux 2 to the right input to the device.

By default, the aux sends are taken from the main channel

path, post-fader. Use the AUX 1 PRE (or AUX 2 PRE) switch,

in the master section, to switch to pre-fader - note that sends

for ALL 8 channels are affected:

Aux Level Controls

This control sets the level feeding the AUX

1 (or AUX 2) bus. Send levels can be

adjusted individually, channel-by-channel.

Please note that if you change from pre to

post-fader, or vice versa, the same level is

applied.

MIX Bus Assign

This switch routes the main channel path (post fader and pan)

onto the main stereo mix bus.

Channel Pan

This control pans the main channel path onto the stereo main

mix 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.

Monitoring the Aux Busses

Each of the aux busses may be selected as a control room

or Cue/FB monitor source. This makes it easy to listen

while building an aux mix, and to use auxes to feed artists

heaphones. See page 34 for aux masters, page 35 for the

cue output, and page 37 for monitoring.

Aux 1 Signal Flow (Aux 2 is identical):

24 Control 2802 Operating Manual

Dual-Layer Fader Strips

Layer Switching

The 8 channel faders, CUTs & SOLOs can control either the:

● Analogue level, of the main channel paths.

● 8 DAW fader tracks, within the DAW software.

The layer switching is handled from the Control Surface Panel:

Select DAW (it turns red) to ip all

8 Fader Strips to the DAW layer.

Deselect DAW (not illuminated) to

control the analogue layer.

When you change layer, all 8

channel faders (plus SEL, CUT &

SOLO switches) update to their

corresponding positions.

Both layers are ALWAYS active, even if the DAW is

not connected. This means that if you set an

analogue fader level, and then switch to DAW, you will still hear

the analogue channels (providing audio is present).

Therefore, take care NOT to change layer by accident - if

nothing is happening to your analogue channel level when you

move a fader, check that you are controlling the correct layer!

Channel Fader

The channel fader is a high-quality ALPS 100mm linear fader

that can control either the analogue main channel level or a

DAW fader. The fader is motorised and can automate both the

analogue level and DAW fader layers.

Fader Scale & Resolution

Please bear in mind that the scale beside the channel fader is

for analogue level indication only.

When controlling the DAW layer, the fader scale is dictated

by your software. For example, in Logic, faders can operate

to +6dBFS above unity, yet in Pro Tools it is +12dBFS. This

means that the resultant fader scale, and the resolution at the

top of the fader differs depending on the DAW.

This is a limitation of the HUI

protocol.

Channel SOLO & CUT

The CUT switch mutes either the analogue

main channel or a DAW fader. It can be

automated on both analogue and DAW layers.

The CUT switch is also activated when using

solo-in-place (see below).

The SOLO switch places the channel into one

of three solo modes: AFL (after-fade listen),

PFL (pre-fade listen) or SIP (solo-in-place).

The mode is selected globally from the master

section, see page 40

You can select multiple SOLOs in all modes.

When using solo-in-place, all channels not in solo are CUT.

You can isolate a channel, so that it does not CUT in response

to other SOLOs, using the SIP SAFE function, see page 25.

When using either AFL or PFL, some of the main mix can be

“blended in” behind the solo’d channels using the SOLO IN

FRONT master control. See page 40 for details.

Analogue Level Control

The diagram below illustrates what occurs when the fader

strips are switched to the analogue channel layer:

The fader (and CUT) are not in the audio path but act as

control signals, sending D.C. control voltage changes to the

analogue “Level Control”. This applies attentuation, mute and

up to +10dB of gain to the analogue main channel path.

In addition to responding to physical fader (and CUT) moves,

the analogue level control is adjusted by:

● HUI

/ MIDI automation - this allows you to automate the

faders and CUTs of the 8 analogue main channel paths.

● Global commands - for example, press UNITY (on the

Control Surface Panel) and then press a fader strip SEL

switch - the analogue level (and fader) are set to 0dB.

The components used in Control 2802 ensure a clean,

accurate and repeatable automation platform - control

resolution is very ne, and when channels are CUT, click-free

silent muting is applied.

For more on analogue fader automation, please see the

“Automation & Control Surface Manual”. For more on UNITY,

see page 25.

DAW Fader Control

When fader strips are switched to the DAW layer, their D.C.

control voltages are processed by on-board microprocessors

to output HUI

control surface functionality and automation.

The microprocessors also respond to incoming mute, solo-in-

place commands, fader positions and MIDI automation.

This enables you to control DAW parameters, and write and

replay automation.

The setup and operation of the DAW layer is covered fully

in the “Automation & Control Surface Manual” which can be

downloaded from our website at at www.focusrite.com.

Dual-Layer Fader Strips

Control 2802 Operating Manual 25

SELect Switch & SELECT MODES

The SEL switch selects the fader strip. It is used in conjunction

with the SELECT MODEs on the Control Surface Panel to

perform a number of functions.

For all analogue layer functions, the operation is as follows:

Press the SELECT MODE - e.g. UNITY - and then press the

SEL switches (19) on each and every channel you wish to

affect - in our example, press SEL on fader strips 1 and 2 to

position faders 1 and 2 at unity gain.

● The status of channel selections is stored for all SELECT

MODEs. This means that when you re-select a function, the

SEL switches are how you last left them.

● This applies even after a power down. Therefore, you

should clear or reset channel SEL switches if the next

session requires a different set-up.

● One of the SELECT MODE switches is always active, so it

is a good idea to return to a benign mode, such as channel

SELECT, once you have nished making changes.

Analogue Layer SELECT MODEs

The following SELECT MODEs are available when controlling

the analogue layer:

SIP Safe (Solo-In-Place Safe) – used in the

analogue layer to isolate channels that you do not

want CUT when a SOLO on another channel is

active - very useful for reverb returns.

Automation Safe – used in the analogue layer to

isolate channels from automation. This prevents

HUI

controller / MIDI automation from adjusting

the analogue channel level. Please see the

“Automation & Control Surface Manual”.

Unity – used in the analogue layer to provide a quick

way to position the channel fader at unity gain (0dB).

The channel remains locked at 0dB until you deselect

it. This function is ideal for returning stem mixes, or

any application where you want the faders at 0dB.

Channel Select – this mode is intended for use in

the DAW layer to select the channel. The switch

can be selected in the analogue layer, but it has no

function.

DAW Layer SELECT MODEs

The following modes are available only when controlling the

DAW layer:

● GRP – used to group tracks.

● REC EN – used to record enable tracks.

● AUTO MODE – used to select host-specifc automation

modes such as read, touch and latch.

Please see the “Automation & Control Surface Manual” for full

details on these modes.

26 Control 2802 Operating Manual

Main Mix Bus

The main stereo mix bus, and all signal combining stages on Control 2802, are optimised for clean summing with high headroom.

Signal Flow - up to 32 Mix Inputs!

The mix bus summing and its output signal ow are illustrated

in the diagram at the bottom of this page.

Signal leaves the console via the balanced male XLR outputs

(MIX O/P L/R) on the rear panel.

The following inputs may be assigned to the main mix:

● Main channel paths 1 to 8 (via channel strip MIX switches).

● Stereo cue bus (via ASSIGN TO MIX - CUE). Use this

option to add the 8 alternative cue input paths to the mix.

● Stereo DAW MIX input (via ASSIGN TO MIX - DAW). This

input is usually fed from the main mix of your DAW, but

could come from any stereo input. There is no input level

control so adjust the output from the connecting device.

● 8-channel SUMMING INPUT (via SUMMING INPUT - MIX).

This can return four stereo, or 8 mono inputs. There is a

single level and balance/pan control for all inputs.

● 2 x stereo FX Returns (via FX RETURN 1 & 2 - MIX).

These can return two stereo inputs. There are level and

balance/pan controls for each stereo input.

● Stereo Mix Insert Return (switched to “parallel sum” mode

as described opposite). There is no input level control so

adjust the output from the connecting device.

Use all these options to mix up to 32 inputs simultaneously!

Mix INSERT

The mix output features a switchable

insert point before the master fader. The

insert send is always active. Thus it is

possible to take a pre-master fader feed

from the insert send.

Engage the IN switch - DOWN - to activate the insert return.

You can now insert outboard devices to apply processing.

The insert send and return are available as balanced 1/4” TRS

jack connectors on the rear panel. If nothing is connected,

then the TRS jacks are normalled. This prevents signal loss if

INSERT IN is accidentally turned on.

Mix INSERT - Parallel Sum Mode

By default, the insert return interrupts the main mix path.

However, if you enable the parallel sum mode, then the insert

return and main mix are combined.

Engage both the IN and SUM switches - DOWN position - the

insert return is now summed with the original mix.

This can be used to subtly enhance or colour the mix via an

outboard EQ or compressor in the insert loop - a technique

known as parallel processing.

Alternatively, the mode can return an extra stereo input to the

mix - connect an input to the mix insert return, and it will be

summed with the main mix bus. (Control the input level by

varying the output from the connecting device).

MIX Output Metering

The LEFT and RIGHT MIX meters are

actually fed from the monitor output (after

the MONITOR SOURCE selector but before

VOLUME, etc). This is often known as

“follow monitor” metering, which allows you

to meter any source, not just the main mix.

As a result, the meters are switched by the

MONITOR SOURCE selector. To meter

the main mix, make sure that the MIX/SRC

switch is assigned to the MIX position:

To guage your headroom, these are peak bargraph meters with

20 large LED segments. They are calibrated to 0VU = +4dBu =

-14dBFS, with 36dB of range. The recessed meter trims can be

used to calibrate the 0VU point.

Master Fader

The master fader controls the level of the stereo

mix output. It is a non-automated, fully passive,

high quality ALPS 100mm stereo linear fader.

There is no gain “in hand”, making it ideal for

fading in and out when laying back the nal mix.

Bus Compressor

Control 2802 Operating Manual 27

Bus Compressor

The master section of Control 2802 features an integrated

stereo mix bus compressor.

The compressor uses a soft-knee VCA design that is optimised

for mix bus use.

By default, the compressor sits within the main mix output

path, after the mix bus insert and before the master fader.

However, this can be rearranged, or the compressor can be

removed from the main mix and patched elsewhere using its

own external IO.

You may nd it useful to print this page so that you can refer to the control numbering while reading this section.

Control 2802

Tips and Suggestions

The bus compressor is a VCA (Voltage Controlled Amplier)

gain cell design. It is a exible tool suitable for a variety of

sources - for example, to gently “glue” together your main mix,

or add impact and energy to drums.

Perhaps you dislike mix bus compression or have your own

favourite outboard mix compressor...

... then use the EXT switch (2) and COMPRESSOR IN/OUT

connections (on the rear panel) to patch the compressor to

another path - for example, to the insert send and return of a

pair of Control 2802 channels. You may then apply the bus

compressor to any signal feeding the channels - individual

instruments, subgroups, or nal mixes.

Use the DRY-WET control (9) to “crossfade” between the

uncompressed and compressed signal - a technique known as

parallel compression. Try this on your drum bus. It is fantastic

at preserving transient information, while adding body and

punch.

When using the DRY-WET control (9), there is a slight amount

of gain in the sweep of the pot. Therefore, you may not need as

much GAIN make-up (8). This is a great way to increase level

post compression, and achieve a nice sense of punch!

Try starting the DRY-WET control (9) somewhere between 1

and 4 o’clock, and adjust the GAIN make-up (8) to taste.

Please see “Bus Compressor Settings” on page 31 for some

example settings.

28 Control 2802 Operating Manual

Bus Compressor

Compressor IN

This illuminated push switch engages the compressor and also

the GAIN REDUCTION meter (3).

Signal Flow

By default, the compressor sits within the main mix output path,

after the mix bus insert and before the master fader:

Note that for the compressor to be active, the IN switch must

be depressed.

You can remove the bus compressor from the main mix and

patch it elsewhere, by activating the EXT switch (2):

Mix Output (with EXT active):

Bus Compressor (with EXT active):

EXT (External) Input

Press this switch to remove the bus compressor from the main

mix, so that it can be patched elsewhere.

Connections

The compressor inputs and outputs appear on balanced 1/4”

TRS jack connectors on the rear panel:

To use the compressor on a mono source, connect only the left

IN and OUT.

The ability to patch the compressor opens up many

possibilities:

Example 1

To use the bus compressor on a pair of channels:

● On the rear panel, patch the channel’s insert SND to the

compressor IN, and the compressor OUT to the channel’s

insert RET for left and right channels.

● Now engage the EXT switch and the channel strip INS IN

switches.

● By selecting the channel’s DAW input ip, you can now

feed any signal to the main channels from your DAW. This

could be individual tracks, subgroups or nal mixes.

● Print back the processed signal via the channel’s direct out.

Example 2

To change the order of processing within the main mix path -

for example, to apply EQ after the bus compressor:

● Engage the EXT switch and the main MIX INSERT IN.

● On the rear panel, patch the MIX INSERT SND to the

COMPRESSOR IN.

● Patch the COMPRESSOR OUT to the outboard EQ IN.

● Patch the outboard EQ OUT to the MIX INSERT RET.

Bus Compressor

Control 2802 Operating Manual 29

GAIN REDUCTION Meter

This is a 10-segment LED bargraph meter, indicating the

amount of gain reduction applied when compression is active.

The scale shows 2dB to 20dB of compression.

To keep the amount of bus compression at

“musical” levels, only the rst few LEDS should be

ickering.

Compression RATIO

This control sets the amount of compression. The options are:

● 1.2 : 1 (very gentle)

● 1.5 : 1

● 2 : 1

● 4 : 1

● 10 : 1

● 20 : 1 (close to limiting)

The ratio is the amount of compression applied once input

signal exceeds the threshold level. The options are specied

as a ratio of input vs output - for example, 2:1 indicates

that once the input signal crosses the threshold by 2dB, an

increase of only 1dB is presented at the output (i.e. gain

reduction of 1dB is applied).

Generally, low ratios such as 1.5:1 or 2:1 are good

for the main mix bus.

As the ratio increases, the compressor acts more

like a limiter (10:1 or 20:1). This can be very

powerful on dynamic sources such as drums or vocals.

The compressor uses a soft knee design to produce smooth

results. The compressor begins to act slightly below the

threshold, and this point is similar for each ratio. This makes it

possible to set the threshold, and then audition ratios without

re-adjusting the threshold control.

Compression THRESHOLD

This control sets the threshold level, and is variable from -20 to

+20dB.

The threshold level is the point at which compression begins.

ATTACK Time

This control sets the attack time in milliseconds (ms). The

options are:

● 0.3ms

● 1ms

● 3ms

● 10ms

● 30ms

The attack is the time taken for the compressor to react to

the input signal, once it reaches the threshold level, and start

compressing (apply gain reduction).

Slower attack times (10 or 30ms) are often

preferred for mix bus or program material, as they

will not affect transients or distort low frequency content as

much as a faster attack time.

RELEASE Time

This control sets the release time in seconds (sec). The options

are:

● 0.1 sec (100ms)

● 0.3 sec (300ms)

● 0.6 sec (600ms)

● 1.2 sec

● 2.4 sec

● Auto Release

The release is the time taken for the compressor to react to the

input signal, once it passes below the threshold level, and stop

compressing (release the gain reduction).

30 Control 2802 Operating Manual

Bus Compressor

RELEASE Time (Continued)

Use faster release times if you want to get the

compressor out of the way quickly, and produce

very obvious compression which can lead to “pumping”. For

your drum bus, try starting at 0.1 sec and then work backwards

until you get a suitable balanced effect.

Longer release times and Auto Release are good

for a vocal bus, piano or the main mix where you

want a more subtle effect.

Auto release alters the release time in a program-dependent

manner. It produces a smooth result, ideal for the main mix bus

or vocal subgroup.

Waveshaping with Fast Attack/Release

If the attack, or release time, is faster than one cycle of the

lowest frequency to be reproduced, then distortion will occur.

This is because the compressor alters the waveshape. You can

calculate this as follows:

One cycle, T (sec) = 1/f (Hz).

So, at 60Hz, one cycle takes approximately 17ms.

The following diagram illustrates typical waveshaping at 60Hz

when a relatively fast attack time is applied (10ms attack; 0.1s

release; ratio of 4:1):

Note that aside from some attack waveshaping, the bus

compressor is very clean!

GAIN Make-Up

This control adjusts the gain after compression, and is variable

from 0 to 20dB. It is very useful for restoring the output level,

which will have been reduced by active compression.

When using the bus compressor on the main mix,

set the GAIN make-up so that there is no change

in level when you press the compressor IN switch (1). You can

now easily compare the compressed and uncompressed mix.

DRY-WET Parallel Compression

This control “crossfades” between the uncompressed

and compressed signal, a technique known as parallel

compression:

● fully anticlockwise = 100% DRY (only uncompressed).

● fully clockwise = 100% WET (only compressed).

● 12 o’clock = 50% DRY + 50% WET (equally balanced).

This popular mix technique allegedly started in New York, and

is fantastic at preserving transient information while adding

body and punch.

Use parallel compression to add energy to your

mix!

You can use this technique with an outboard mix

compressor, by using the MIX INSERT parallel

SUM mode, as described on “Main Mix Bus” on page 26.

Parallel Compression Techniques

There are two useful approaches to parallel compression:

One is to set some gentle compression (low ratio), and turn

up the control to 100% WET. Then edge back to add a small

amount of DRY signal. This will add back some punch.

The other involves setting up a more aggressive compressor

(high ratio, faster attack), and then adjusting the control close

to 100% DRY. Then add a small amount of the WET signal to

add energy and dynamic colour to the mix:

Bus Compressor

Control 2802 Operating Manual 31

Bus Compressor Settings

Below are some useful suggested settings. Please bear in mind that these are only examples and will require adjustment for the best

results - remember, your ears are the best monitors!

32 Control 2802 Operating Manual

Summing Input & FX Returns

The Control 2802 master section provides two ways of returning processing devices, such as reverbs and delays:

● An eight-channel Summing Input

● Two Stereo FX Returns

This provides a total of 12 additional inputs from this section of the console.

Summing Input

The Summing Input is fed from a DB25 connector on the rear

panel, providing easy connection to a D-Sub patchbay system

or any DB25 capable device (including many D/A converters).

The input conforms to the Tascam DA-88 wiring specication

for an eight-channel balanced analogue 25-pin D-Sub. See

page 46 for pin-outs and wiring information.

The eight channel input is congured as four stereo pairs -

Sum 1 L/R, Sum 2 L/R, Sum 3 L/R and Sum 4 L/R - which may

be routed to the stereo main mix or stereo cue bus.

Use the MNO switch to mono the Summing Input mix bus - it

can then be treated as 8 summed mono inputs (1 to 8).

Summing Input & FX Returns

Control 2802 Operating Manual 33

Summing Input (Continued)

The SUMMING INPUT master section provides:

● LEVEL - overall level control for the combined eight

channels.

● PAN - stereo balance or pan (if MNO is active).

● MNO - sums the Summing Input pairs to mono.

● MIX - routes the Summing Input to the stereo main mix bus

(as four stereo pairs, or 8 summed mono inputs).

● CUE - routes the Summing Input to the stereo cue bus (as

four stereo pairs, or 8 summed mono inputs).

Summing Input Applications

The Summing Input is ideal for returning sources to the main

mix or stereo cue bus. Typical applications include:

● Bringing in stereo submixes from your DAW.

Flip the Fader Strips to the DAW layer in order to

setup the submix in superfast time. Then record

each submix while applying the fader automation.

● Bringing in stereo inputs from external synthesisers and

samplers. For example, to feed the cue bus for artists

foldback during practice sessions.

● Returning stereo or dual mono FX processors - use the

output controls on each outboard device to balance their

levels.

Stereo FX Returns

FX Return 1 and 2 are fed from 1/4” TRS balanced jack

connectors on the rear panel.

Each stereo FX RETURN section provides:

● LEVEL - overall level control for the stereo input.

● PAN - stereo balance or pan (if MNO is active).

● MNO - sums the stereo FX Return to mono.

● MIX - routes the FX Return to the stereo main mix bus.

● CUE - routes the FX Return to the stereo cue bus.

FX Return Applications

The FX Returns are ideal for:

● Returning stereo FX processors to the main mix - for

example, those fed from the mono aux sends (aux 1 and 2).

● Adding effect to an artists headphone mix - by routing onto

the cue bus. This ensures that the artist feels comfortable

during their performance.

● Bringing in stereo submixes from your DAW or any other

external stereo input.

34 Control 2802 Operating Manual

Aux Masters

Control 2802 has two mono aux buses with a simple set of

master controls:

● LEVEL - master level of the aux output.

● PRE - switches channel aux sends from post-fader to

pre-fader. Note that the sends from ALL 8 channels are

affected.

Signal leaves the console via the balanced male XLR outputs

(AUX O/P 1 & 2) on the rear panel.

Monitoring the Aux Buses

Each of the aux busses may be selected as a control room

or Cue/FB monitor source. This makes it easy to listen in the

control room while building an aux mix, and/or to use auxes to

feed artists heaphones (via the cue output).

To monitor an aux bus in the control room:

Select AUX 1 or AUX 2 from the MONITOR SOURCE section.

Then press MIX/SRC so that SRC is selected:

Please note that monitor sources sum if you make more than

one selection. So, make sure that you deselect the other

options if you wish to monitor an aux bus in isolation.

Aux 1 Signal Flow (Aux 2 is identical):

Cue Master

Control 2802 Operating Manual 35

Cue Master

Control 2802 features a very exible cue output. The main

application is to send foldback to artists headphones; or the

cue output may be used as a stereo effects send.

CUE/FB Output

The CUE/FB panel selects which sources feed the cue output

- signal leaves the console via the balanced male XLR outputs

(CUE O/P L/R) on the rear panel.

Use the CUE/FB level control to adjust the master output level.

Sources include the stereo cue bus, but also other inputs such

as auxes, a stereo DAW input, and so on. Please note that

sources sum if you make more than one selection. This allows

you to combine the different options.

Six sources are available for the cue output:

● DAW MIX - a stereo line level input fed from the balanced

female XLR connectors (DAW MIX L/R) on the rear panel.

The DAW MIX input is usually fed from the main mix of your

DAW. Select this option if you want the artist to hear what is

being summed “in the box”.

● DAW FB - a stereo line level input fed from the balanced

female XLR connectors (DAW FB L/R) on the rear panel.

The DAW FB input is intended for returning foldback mixes

from your DAW. Select this option if you want the artist to hear

a headphone mix generated within your DAW.

You can use either of stereo line level inputs - DAW

MIX or DAW FB - to feed an external two-track

device to the cue output.

● C/RM - the control room monitor output (after the

MONITOR SOURCE selector but before VOLUME, etc.)

Select C/RM if you want the artist to hear the control room

balance. This is a great way of instantly getting a mix to the cue

output, especially if you are using the alternative cue path for

extra mix inputs.

The monitor output is picked up after the

MONITOR SOURCE selector. Therefore, if

you change the control room monitor source,

this will also affect the cue output. If you want

the artist to receive the main mix, make sure

that the MONITOR SOURCE MIX/SRC switch

is assigned to the MIX position.

● AUX 1 or AUX 2 - the mono aux 1 or aux 2 outputs.

Select either of these options to send an aux bus to the cue

output - for example, if you are using the alternative cue input

for extra mix inputs, then you may wish to generate a cue mix

from an aux.

Combine C/RM with either AUX 1 or AUX 2 to

send the artist the control room balance plus more

of “themself”. Turn up the aux send on the artist’s channel, and

switch the aux to pre-fader - this ensures that the artist hears

themself regardless of the control room balance.

CUE/FB Sources (Continued)

● CUE BUS - the stereo cue bus.

Select CUE BUS to send the stereo cue mix to the CUE F/B

output.

Make sure that this is the only source selected, if you want

to use the cue bus in isolation. Or, combine this with say the

DAW MIX to send the artist both a cue mix from the recording

channels plus pre-mixed tracks from “in the box”.

You would select this option to use the cue output

as a stereo effects send. Make sure that only the

CUE BUS is selected as the CUE/FB source. Then set up the

channel sends, and adjust the master CUE/FB level control.

Monitoring the Cue Output

The best way to monitor the cue output is on your control room

headphones. This will allow you to make judgements while

listening in an identical manner to the artist, and therefore

produce a more comfortable foldback mix.

Monitoring on headphones is also useful if you are the artist!

Or, if you wish to record say a singer or guitar player in the

control room, away from the studio and the rest of the band.

To monitor the cue output on the control room heaphones:

Turn on the CUE/FB TO PHONES

switch in the monitor section - this

routes the cue output to the

heaphone connector on the rear

panel.

Make sure that the headphones are

ON and adjust the PHONES level.

Alternatively, you can monitor the cue bus on the control room

speakers as follows:

Route the cue bus to the main mix via

the ASSIGN TO MIX - CUE switch.

Then deassign the channels from the

main mix to avoid summing the same

signal twice - turn off the MIX bus assign

switch on each of the 8 channel strips.

Then make sure that the MONITOR SOURCE MIX/SRC switch

is assigned to the MIX position to monitor the main mix.

Note that this routes the cue bus, rather than the cue output, to

the control room monitors.

Talking to the Cue Output

The TALKBACK controls in the master section can be used to

talk to the cue output. See “Talkback” on page 39.

36 Control 2802 Operating Manual

Monitor Section

The monitor section of Control 2802 provides comprehensive control room monitoring. Outputs are provided for main and alternate

speakers plus headphones. See page 8 for more details on the rear panel connections.

The circuitry is mostly passive, with only one buffer stage before the balanced loudspeaker outputs. Thus the console provides a

tonally neutral and accurate monitor path.

You may nd it useful to print this page so that you can refer to the control numbering while reading this section.

Select SRC (9) + DAW MIX (1) to quickly audition the mix from

your DAW - great when summing “in the box”.

Select SRC (9) + DAW FB (2) to monitor headphone mixes

generated by your DAW. Using this workow, you can save and

recall cue mixes from the DAW session and apply DAW effects.

Beware of latency though.

Select SRC (9) + EXT (3) to monitor a two-track device such as

a mastering tape machine, CD player, DAT, etc.

Use the handy mini jack socket (8) to connect a portable music

player (or similar). Then select SRC (9) + I-JACK (6) and adjust

the level (7) - this is very useful for checking rough mixes, MP3

mix translations or reference material (we recommend high

resolution, lossless audio for use as reference material).

Use the polarity invert (12) to check for phase issues, and

MONO sum (13) to check mono compatibility. Select both

switches (12 & 13) to create “sum & difference” monitoring -

great for checking stereo content.

Use CUT L (14), or CUT R (15), to monitor mono sources

correctly on a single speaker. Mono is more accurate from a

single source as it minimises phase cancellation in the listening

environment.

Select ALT SPKR (19) and adjust the level trim (18) to check

mixes on a second playback system, connected to the

balanced male XLR outputs (ALT SPKR L/R).

Select CUE/FB TO PHONES (21) and adjust the PHONES

volume to audition an artist’s cue output on your control room

headphones (connection on the rear panel).

Tips and Suggestions

Monitor Section

Control 2802 Operating Manual 37

MONITOR SOURCE Selection

–

Six sources are available for the control room monitor output

(DAW MIX, DAW FB, AUX 1 and AUX 2 are identical to the

options on the CUE/FB panel).

Please note that monitor sources sum if you make more than

one selection. Therefore, be sure to deselect all other options if

you wish to monitor one source in isolation.

Also note that the MIX/SRC switch (9) must be assigned to the

SRC position in order to monitor the output of the selector.

The six source options are:

● DAW MIX (1) - a stereo line level input fed from the

balanced female XLR connectors (DAW MIX L/R) on the

rear panel.

The DAW MIX input is usually fed from the main mix of your

DAW. Select this option to quickly audition what is being

summed “in the box”.

● DAW FB (2) - a stereo line level input fed from the balanced

female XLR connectors (DAW FB L/R) on the rear panel.

The DAW FB input is intended for returning foldback mixes

from your DAW. Select this option to audition headphone mixes

generated within your DAW.

● EXT (3) - a stereo line level input fed from the balanced

female XLR connectors (EXT IP L/R) on the rear panel.

The EXT input is intended for two-track mastering devices

such as a half-inch or quarter-inch tape machine, CD player,

DAT or digital recorder. Select this option to monitor the

playback.

● AUX 1 or AUX 2 (4 & 5) - the mono aux 1 or 2 outputs.

Select either of these options to monitor the aux output.

● I-JACK (6) - a stereo unbalanced mini jack connector

located on the front panel (see below).

I-JACK Level Control & Input

–

This stereo mini jack input (8) is designed for connecting

portable music players. This is a stereo unbalanced input with

approximately 10k Ohms input impedance.

Select I-JACK (6) as your MONITOR SOURCE and adjust the

level control (7) to monitor playback.

MIX / SRC Monitor Select

This switch determines whether you are monitoring the main

mix or the output of the MONITOR SOURCE selector. One of

the options must be active:

● MIX - the main mix bus output.

● SRC - the output of the MONITOR SOURCE selector (1-6).

Monitor VOLUME

Use this level control to set the main listening level.

Monitor Calibration

You should calibrate your listening level if possible.

By calibrating your monitor ampliers to produce approximately

83 to 85dBSPL (for a known and typical source level), it is

possible to achieve a listening level that ensures the ears

operate at their attest frequency response (according to aural

perception and equal loudness contours).

We recommend that you use the DAW MIX input and feed a

-20dBFS pink noise signal (or other suitable noise source) from

your DAW. Set the input level such that it sits at 0VU.

Use a calibrated SPL meter, set to read with a slow response

time, RMS detection and C-weighted lter.

C-weighting is the most wideband weighting lter and most similar to the human ear at

85dBSPL.

Place the microphone from the SPL meter in the listening

position, and set the monitor VOLUME control to a memorable

position (this will become your normal listening level).

Then adjust your monitor ampliers until you read 85dBSPL

from each loudspeaker.

By using this VOLUME control position, when listening to

program material, you should have a good chance of obtaining

a constant and accurate reference level.

Monitor DIM LEVEL

This control sets the amount of “dim” which will be applied

when the DIM switch (17) is active.

The dim level can be set anywhere from 0 to -20dB.

38 Control 2802 Operating Manual

Monitor Section

Left Channel Polarity Invert

Press and hold this switch to invert the polarity (phase) of the

left monitor channel. The switch is momentary to ensure that it

is not left on by accident!

It can be used together with the MONO switch (13) to check for

out of phase stereo content (see below).

Monitor MONO Sum

This switch sums the left and right monitor channels to produce

a mono output.

This feature is very useful to check for out of phase stereo

content (especially at low frequencies) and ensure the mono

playback compatibility of your mix. Select MONO, and if your

mix sounds thin, or certain frequencies “disappear”, then press

and hold the polarity invert switch (12). This creates a L-R sum

instead of L+R. If the mix problems are corrected, then some of

your stereo sources, or the mix itself, may be out of phase.

The MONO switch is also useful when positioning stereo

microphones. With the two microphones connected and

panned L/R to the mix, select MONO. Now adjust the position

of each microphone to get the best tonal balance. This should

minimise phase cancellation once you switch back into stereo.

CUT L and CUT R

–

These switches mute the individual left

and right monitor channels - perfect for

checking a mono sum on a single

speaker.

This is often the most accurate method of checking a mono

source, as it minimises phase cancellation in the listening

environment.

Monitor DIM

Press this switch to dim the monitor output.

The amount of dim is set by the DIM LEVEL

control (11).

Note that DIM is engaged automatically by the

TALKBACK switch. This is to prevent “howl-round” when using

the talkback communication system, see page 39.

Monitor CUT

Press this switch to mute the monitor output.

This is a global cut that disconnects both the

main and alternate loudspeaker outputs.

Alt. Speaker Select & Output Trim

–

A second set of loudspeakers may be connected to the

alternate outputs (ALT SPKR L/R). Applications include

neareld or mini “grot-box” monitors.

Use the ALT SPKR switch (19) to mute the main speaker

outputs (MAIN SPKR L/R) and feed the monitor output to the

alternate outputs (ALT SPKR L/R).

Use the level control (18) to trim the alternate speaker level.

This can be used to match levels between the speaker sets.

Overall volume is still determined by the monitor VOLUME

control (10).

Headphone Output

–

A high quality stereo headphone output is available on the rear

connector panel:

On the front panel, use the ON switch (22) to activate the

headphone output.

Use the PHONES level control (20) to adjust the listening level.

You will nd plenty of level available, enough to drive most

studio headphones to a sufciently loud SPL level.

By default, the headphone output is fed from the monitor

section. Thus, the source is selected by the MIX/SRC switch

(9) and MONITOR SOURCE selector panel (1 to 6).

Alternatively, you can monitor the cue output, by engaging the

the CUE/FB TO PHONES switch (21) - great for auditioning

what the artist is hearing. Note that this selects the cue output

(after the CUE/FB source selector), and therefore may be the

sum of several cue sources. See page 35 for details.

Talkback

Control 2802 Operating Manual 39

Talkback

The master section of Control 2802 provides communication

functions for use during tracking and overdub sessions.

You may use either the integrated talkback microphone, or an

external microphone, to talk to the cue section. When active,

talkback feeds the balanced male XLR outputs (CUE O/P L/R)

on the rear panel.

Connections

Internal Talkback Mic

An integrated electret talkback microphone is located in the

master section above the power indicators:

External Talkback Mic

Alternatively, connect an external talkback microphone to the

female XLR input on the rear panel (TALKBACK MIC):

To engage 48V dc phantom power for the external microphone,

engage the small recessed switch found next to the XLR on the

rear panel:

Talkback Source

The internal mic is used as the default talkback source.

To override this and use the external mic, engage the small

recessed switch located above the TALKBACK LEVEL control

- you will need to use a long thin non-conductive object to

depress the switch:

Talkback Controls

Press the TALKBACK switch to talk to the artist. When active,

talkback feeds the cue output - the balanced male XLR outputs

(CUE O/P L/R) on the rear panel.

Use the LEVEL control to adjust the talkback microphone

preamplier. Gain may be adjusted from +20 to +55dB.

Note that the TALKBACK switch is momentary. This is to

avoid leaving it on by accident - for example, during delicate

performance-related discussions!

Also note that the TALKBACK switch automatically dims the

monitor output. This is to prevent “howl-round” loops between

the talkback mic and the loudspeakers.

40 Control 2802 Operating Manual

Solo Functionality

Control 2802 has three solo modes, plus “solo-in-front”

capability, controlled globally from the master section:

Note that when a channel is placed into solo, the master section

SOLO indicator lights.

AFL – After Fade Listen

This is the default solo mode - both the PFL and SIP switches

are in the UP position.

When a channel SOLO is active, signal is taken from the

main channel path (after the fader, cut and pan), and sent to

the stereo AFL solo bus. The monitor section automatically

switches to listen to this bus.

Use the SOLO LEVEL control to trim the level of the solo bus.

Use the SOLO IN FRONT control to “blend in” some of the

main mix (see opposite).

PFL – Pre Fader Listen

This mode requires the PFL switch to be in the DOWN position;

SIP remains in the UP position.

When a channel SOLO is active, signal is taken from the

main channel path (before the fader, cut and pan), and sent

to the mono PFL solo bus. The monitor section automatically

switches to listen to this bus.

Use the SOLO LEVEL control to trim the level of the solo bus.

Use the SOLO IN FRONT control to “blend in” some of the

main mix.

SIP – Solo In Place

This mode requires the SIP switch to be in the DOWN position;

SIP overrides both AFL and PFL and therefore the PFL switch

can be either UP or DOWN.

This mode does not use the solo bus. Instead when a channel

SOLO is active, all other channels are CUT from the main mix.

This mode is often known as “destructive” solo, as it interrupts

signals going to the main mix.

Solo-in-place is great for mixdown as it allows you to hear a

channel complete with all its effects, such as reverb or delay

processing connected to FX Returns 1 & 2.

You can also use the SIP Safe function to isolate channels that

you do not want CUT when a SOLO is active. This is very useful

if you are returning reverb, delay or other processing through the

main channel paths. See page 25 for more on SIP Safe.

SOLO LEVEL Trim

In either AFL or PFL mode, use this control to trim the level of

the solo bus. Level may be trimmed by +/-10dB.

This enables you to control any level jumps that may occur

when changing between the full mix and solo’d channels.

Please note that SOLO LEVEL does not work in SIP mode.

SIF – Solo In Front

In either AFL or PFL mode, the main mix can be “blended in”

behind the solo’d channels using solo-in-front. This is very

useful as it allows you to isolate a channel while listening in

context.

Use the SOLO IN FRONT control to adjust the level of the

main mix:

● fully anticlockwise = listen only to the solo bus.

● fully clockwise = listen to the main mix and solo bus at

equal levels.

The control is a continuously variable potentiometer. Position it

somewhere in the middle to isolate a channel while listening in

context:

Please note that SOLO IN FRONT does not work in SIP mode.

Technical Information

Control 2802 Operating Manual 41

Technical Information

Control 2802 Specications

The following are general performance gures taken with Prism

DScope test equipment:

Frequency Response +/- 0.3dB 20Hz to 20kHz

THD + Noise <0.015% @ 1kHz

Noise Mic EIN (20Hz to 20kHz, 150Ohm

source < -127.5dBu

Bus Noise All inputs routed < -80dBu

Mic CMRR 70dB (min. gain)

Firmware Updates

When updates are released to improve control surface

workow, bug xes and add new features, you will need to

update the console rmware.

To do this please visit www.focusrite.com to obtain the latest

rmware from the Control 2802 webpage. Then follow the

simple instructions provided with the rmware download to

ash the upgrade to the console memory.

If you experience any issues please read the Control 2802

FAQ found online at www.focusrite.com.

42 Control 2802 Operating Manual

Example Systems

Example System 1: 8-Channel DAW System

This example illustrates a basic system with a typical 8-in and 8-out soundcard or AD/DA interface. There are eight microphone

channels, some basic outboard processing, one set of monitors and a single reverb unit hooked up to the aux sends.

To print back your nal mix, a stand-alone CD recorder is used, however this could be a tape machine or as simple as feeding back

the mix outputs to your soundcard / interface inputs upon mixdown.

Control 2802

Example Systems

Control 2802 Operating Manual 43

Example System 2: Hybrid Production Platform

As example 1, except a standalone sampler / synth is fed into the channel line inputs to enable monitoring and recording of its

outputs.

Also the cue outputs now feed a headphone distribution system, useful for feeding multiple performers a mix.

Control 2802

44 Control 2802 Operating Manual

Example Systems

Example System 3: 16 Channel Tracking Platform

In this example a second pair of monitors are added to provide a useful reference for judging midrange and balances.

In order to provide 16 microphone inputs for tracking, an extra ISA 828 preamplier is used. This is routed to a 16 channel capable

soundcard / interface.

These eight feeds are sent back to the eight-channel summing input on Control 2802, allowing monitoring of these channels and

access to the cue section.

In this example, the analogue line outputs of the pre-amplier are also routed to the Control 2802 line inputs, allowing optional

access to the direct output system here (note that they would override the console microphone inputs at that point).

If you wish to work it another way, an all analogue, zero-latency monitor mix could be formed by feeding the analogue output of the

preamplier into the DB25 DAW Input connection. Using the alternative cue input, you could balance these extra eight inputs using

the cue pan and level controls accessing both the cue output section and main mix bus for headphone and control room monitoring.

Control 2802

Example Systems

Control 2802 Operating Manual 45

Example System 4: 24 Channel Mixing Platform

The nal example illustrates a heavily connected Control 2802 ready for medium to large scale mixdown purposes.

There are 24 outputs from the DAW interfaces which are used for mixing / line-level summing with a few useful tricks.

The rst eight channels feed the standard DAW Inputs and can be used to access the main automation channels on Control 2802

when selecting DAW input mode. These eight channels can also access the outboard selection via the switched insert points.

The following eight outputs (9–16) feed the Control 2802 line inputs and will feed the alternative cue input.

Here these do not go directly to the main mix bus via the cue assign control, instead they are fed into a subgroup compressor via the

main cue outputs (channels 9–16), which is then returned into the DAW Mix Input to re-join the main mix bus.

Here you could compress your drum mix for example. The remaining channels (17–24) feed the summing input which routes directly

into the main mix bus.

Control 2802

46 Control 2802 Operating Manual

Connector Wiring & Specications

For an overview of the rear panel connections, please see

page 8. This section provides technical data including

wiring and pin-out diagrams.

XLR Connections

All XLR balanced input and outputs are wired as:

● Pin 1 shield (chassis/shield ground)

● Pin 2 hot (+ve)

● Pin 3 cold (-ve)

TRS Jack Connections

All 1/4” TRS jacks are wired as:

● Tip (+ve)

● Ring (-ve)

● Sleeve (shield)

Channel Strip Inputs and Outputs

Each of the 8 channel strips provide:

MICROPHONE INPUT (balanced, female XLR):

● Input impedance is >2.5k Ohms.

● Maximum input level is approx. +16dBu

(where 0dBu is referenced to 0.775Vrms).

LINE INPUT (balanced, 1/4” TRS jack):

● Input impedance is >10k Ohms.

● Maximum operating level is +27dBu.

INSERT SEND (balanced, 1/4” TRS jack):

● Output impedance is 150 Ohms.

● Drive capability is +21dBu.

INSERT RETURN (balanced, 1/4” TRS jack):

● Input impedance is >10k Ohms.

● Maximum input level is +21dBu.

25-pin D-Sub Connections

The remaining channel strip connections and Summing Input

are found on three 8-way female DB25 connectors at the

bottom of the rear panel:

DB25 Tascam DA-88 Wiring Specication

Each conforms to the Tascam DA-88 wiring specication for an

eight-channel balanced analogue 25-pin D-Sub as follows:

DAW INPUTS 1-8 (balanced, 8-way female DB25)

● Input impedance is >10k Ohms.

● Maximum input level is +27dBu.

DIRECT OUTPUTS 1-8 (balanced, 8-way female DB25)

● Output impedance is <75 Ohms.

● Maximum output level is +27dBu.

SUMMING INPUT 1-8 (balanced, 8-way female DB25)

● Input impedance is >10k Ohms.

● Maximum input level is +27dBu.

Connector Wiring & Specications

Control 2802 Operating Manual 47

Channel Connections

48 Control 2802 Operating Manual

Connector Wiring & Specications

Master Section Connections

Connector Wiring & Specications

Control 2802 Operating Manual 49

Master Section Connections

Working from top left to right:

Control 2802 connects to your DAW via IP-based networking

protocols, using the standard RJ-45 CAT-5e Ethernet port.

This 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.

The Main Speaker, Alt Speaker, Aux 1 & 2, Cue and Main

Mix outputs are on balanced male XLR connectors with <75

Ohms output impedance and a maximum output level of

+27dBu.

The DAW Mix, DAW F/B and External Stereo inputs are

on balanced female XLR connectors with >10k Ohms input

impedance and a maximum input level of +27dBu.

Two stereo FX Returns and the External Compressor

inputs are provided on balanced 1/4” TRS jack, with an input

impedance of >10k Ohms and a maximum input level of

+27dBu.

The External Compressor outputs are provided on balanced

1/4” TRS jack and have an output impedance of <75 Ohms with

a maximum output level of +27dBu.

The Main Mix Inserts are also on balanced 1/4” TRS jack with

the send jacks providing an output impedance of <75 Ohms and

a maximum drive capability of +21dBu, while the return jacks

offer >10k Ohms input impedance with +21dBu of maximum

input level.

The Mains Power input is a stand 3-pin IEC connector with

integrated fuse, it will accept line voltages from 100-240V

±10%. The fuse is a T2A slow-blow.

The Headphone output is an unbalanced, stereo TRS 1/4” jack

connection with enough current drive to cause hearing damage

if driven hard – BE CAREFUL, protect your ears!

The External Talkback microphone input is a balanced

female XLR connector with >5k Ohms input impedance and

a maximum input level of +7dBu. Please note 48V phantom

power can be provided to this input.

Unbalancing Control 2802

To unbalance a Control 2802 line level input, link pin 3 to pin

1 at the source. Please note that this must be achieved at the

source end. Therefore, the Control 2802 line input must be

left wired as balanced to preserve some of the common-mode

rejection performance (CMRR) of the input stage. Please refer

to the rst diagram at the bottom of the page.

To unbalance an output from Control 2802, link pin 3 to pin 1

at the output of the console.

Please note that this can also be achieved in a 1/4” TRS Jack

connector by connecting the ring to the sleeve within the jack

housing. To achieve an unbalanced output from the DB25

channel direct outputs, you will have to do it at the terminating

end, assuming that the cable breaks out into tails. Please refer

to the second diagram at the bottom of the page.

Please note that you should not leave as much exposed bare

shield as can be seen in these diagrams. They have been

exaggerated for clarity.

50 Control 2802 Operating Manual

Connector Wiring & Specications

Total Number of Connections

To provide a starting point for patchbay integration and cable purchasing, you may nd the following table helpful.

Connection Quantity Type

Microphone Input 8 XLR Female

Line Input 8 1/4” TRS Jack

Channel Insert Send 8 1/4” TRS Jack

Channel Insert Return 8 1/4” TRS Jack

Direct Output 8 DB25 Female x 1

DAW Input 8 DB25 Female x 1

Summing Input 8 DB25 Female x 1

FX Returns 4 1/4” TRS Jack

Ext. & DAW Monitor Inputs 6 XLR Female

Aux & Cue Outputs 4 XLR Male

Main Mix Outputs 2 XLR Male

Main Mix Insert Send 2 1/4” TRS Jack

Main Mix Insert Return 2 1/4” TRS Jack

Loudspeaker Outputs 4 XLR Male

Bus Compressor Input 2 1/4” TRS Jack

Bus Compressor Output 2 1/4” TRS Jack

External Talkback Input 1 XLR Female

Headphones Output 1 1/4” TRS Stereo Jack

Mains Power 1 IEC Socket

Control Surface / Ethernet 1 RJ-45 Ethernet Socket

i-Jack Front Panel Input 1 3.5mm Stereo Mini-Jack

Total 89

Patchbay Layout

Control 2802 Operating Manual 51

Patchbay Layout

Possible Patchbay Layout (Bantam)

52 Control 2802 Operating Manual

Patchbay Layout

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 workow and exact I/O count.

Although two bantam bays may look excessive, with a

few quality pieces of outboard gear and a set of hardware

synthesisers and samplers this bay will ll very quickly.

You may notice that the loudspeaker outputs are not on the

bay. This is quite common as they would typically be hardwired

to your monitors, however adding them to the patchbay may

add exibility for anyone who likes to switch playback systems

around, or travel with a pair of their favourite monitors.

If you need to squeeze a layout onto a single 96-way bay,

it will t if you hardwire your microphone tie lines to the

Control 2802 microphone preampliers and also hardwire

your computer interface or recording platform input and output

to the DAW or Line inputs and the direct outputs.

Installing your console with a good patchbay system will

increase your workow and provide ultimate exibility.

Panels

Control 2802 Operating Manual 53

Panels

54 Control 2802 Operating Manual

Panels

Control 2802 Operating Manual 55

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