Control Operating Manual. 3. Welcome to Control Thank you for choosing this Focusrite product. Control is an analogue recording console and. Find great deals for Focusrite Control Analogue Recording Console DAW PROAUDIOSTAR. Shop with confidence on eBay!. But I’m trying to sell some of this now to buy the but mine was constructed in UK and the focusrite are chinese production now).
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For ficusrite last eight tracks, I used the ‘s two effects stereo returns for two stereo stems, and I enlisted the fixed-level DAW mix input XLRs and main mix insert return TRS for the last two stereo pairs.
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To align the ‘s 32 inputs, I sent a dBFS test tone out through Pro Tools’ 32 outputs and set each stem to contribute 0 dB to either the left or right side of the mix bus, as measured on the console’s segment LED bar-graph peak stereo bus meter. I liked that Solo and Mute buttons are instant on theand all other Mute buttons on the console flash when a solo is pushed anywhere.
Barry Rudolph is an L.
While recording male vocals, I compared one of the ‘s eight mic pre’s with my RTZ Professional Audio dual-combo mic pre. Just as fousrite I reviewed the Audient Zenthe sound of my mixes took a quantum leap in clarity, vividness and stereo width.
I had enough flexibility to separate out important elements such as kicks and snares, guitar “wire choirs,” and lead and backing vocals.
To check and set unity accurately on the summing, DAW mix and mix insert returns, you’ll have to individually solo inside Pro Tools each of those 16 focusrit.
I found the monitoring section to be transparent. The ‘s mic preamps feature a hybrid design with a discrete front end and chip line driver. But because the whole architecture is understandable, intuitive and malleable, I found the time well-spent learning it. The console has analog automation focusrtie the eight channel faders.
The stereo master fader was set all the way up; it’s a mm Alps nonmotorized fader without a VCA. It weighs just more than 40 pounds, measures Visit his Web site at: For the first 16 outputs I wanted panning facilities, so I used the fkcusrite and alternate input cue paths, each of which have pan pots.
Focusrite Control Dual-Layer Mixing Console
The mix playing through my KRK ERGO monitoring-correction unit sounded the same whether connected directly to the ‘s stereo bus outs or its stereo monitor outs. There are also four user-programmable function keys, and I was okay with the default values: The Select mode section defines the operation of the Channel Select switches for specific tasks in the DAW or analog layers.
Back To Home Focustite. Back Up To The Top. That way, when tracking or overdubbing, the channel faders are free for riding mic levels and the cue mixer will provide a zero-latency mix of those channels’ recording inputs.
On thethere is up to 15dB additional gain available using the Channel Trim control if you select the post-fader direct output path.
About one-third of the ‘s surface is dedicated to professional and comprehensive monitoring facilities. I downloaded and installed the latest Control driver and followed all of the manual’s instructions. Using a combination of four switch positions, direct outs can exit the console post-fader, pre-insert, pre-fader or in Channel mode–directly out of the mic pre section–which is my choice for all mic pre testing.
I used the ‘s superclean Channel mode preamp output and then ran the RTZ’s line out into an adjacent line-input channel on the focusritr in this way, I could match levels and route both signals out the direct outputs to Pro Tools HD.
Focusrite Control Analogue Recording Console DAW PROAUDIOSTAR | eBay
I found 32 stem outputs an optimum working number of sources to mix. The dual-layer, small-format Focusrite Control is the first product created by both companies.
It was amazing how close both pre’s sounded: There is also SIP Safe, a way to isolate any channel from muting.
The Focusrite Control ‘s diminutive size might fool the casual observer, but I found it to be everything I could want foxusrite more. I would only say that the RTZ had more gain available and was more open-sounding. Furthermore, the Channel Trim knobs all aligned perfectly on their detents, indicating good design, manufacturing quality and tight circuit component tolerances. In the analog layer when the Select mode is active and the Unity button is on, pushing any of the Focusrjte buttons above the channel faders caused them to “slew” to unity gain instantly–very handy for this setup process.