Audient ASP2802 Uživatelský manuál stáhnout pdf (Strana 1)

resolution May/June 2011

REVIEW

n a slightly surprising move, Audient has

handed over production and marketing of

its ASP 2802 console to Focusrite, which

has rebadged it as the Control 2802. The

review model arrived as an Audient but there is no

indication that the difference between the two models

will be anything other than the screen print on the

surface. Focusrite and Audient will work together on

developing and delivering new designs, bringing Dual

Layer and other technologies to a wider audience

than Audient could access on its own. This in turn

allows Audient to strengthen its position in the studio

market and develop key new products, such as the

ASP8024DLC, that use this same technology.

The Control 2802’s Dual Layer system provides

fader control for common DAWs and, by ﬂipping

modes, good old-fashioned analogue faders for the

console’s eight channels. Despite its compact size, there

is a lavishly featured centre section. There are some

familiar ideas and some parts appear almost identical to

the more expensive and larger Audient Zen, but this is

not simply a cut-down Zen. The larger console features

a unique automation system; the 2802 expands that,

and also includes fully featured DAW control with fader

banking (see sidebar), which the Zen lacks.

The construction of the Control 2802 is

conventionally wedge shaped, and like its big brother

Zen, the build is solid and weighty. Macho mottled

rough black Hammerite-style metal panels ﬂank the

unit, and full-size generously-spaced faders dominate

the surface panel.

At the top of each channel is a clear LED meter

relating to the channel input, or globally switchable to

show Direct Outputs. However, they can also switch

to show DAW meters. The channel strips’ assortment

of knobs and switches mainly relate to signal routing:

there are no sonic manipulation tools such as EQ or

dynamics apart from the mic preamps’ 75Hz high

pass ﬁlters. The preamps sound great, they’re quiet

and clean, but have power and guts. I especially

enjoyed recording drums through the 2802, where

they engendered a superb immediacy and punch.

Polarity reverse and 48V phantom are provided; and

the switch for the separate Line input is sensibly

located at the top here too.

The mic gain knob goes from 6-60dB and that’s

plenty for most instances and in the following input

selection there is a further handy +/-15dB Trim knob.

The DAW button switches the channel source from

Line/Mic to a second line input intended for monitor

outputs from the DAW. Between the mic preamp and

this though are a couple of pushbuttons to conﬁgure

the direct output of the Mic or Line input. This provides

for the signal to be tapped in four different ways. Post

means post-fader, post-mute and post-insert. Pre-Ins

is, as you might expect, before the insert and fader

to provide a clean feed, but still allowing use of the

Trim knob, perhaps using the insert for monitoring

purposes, say to give a vocalist extra compression in

the cans without committing to tape/DAW. Pre-Fader

mode is useful when you do want to record with the

insert but perhaps use the fader to provide a monitor

balance. For purists, the fourth mode, ‘Channel’ takes

the direct output immediately after the mic preamp.

This is the cleanest feed and pulls the signal from

before even the Trim knob. You can then use the DAW

return in the channel for monitoring while recording

the mic preamp output. These options can be quite

a bit to take in, but the excellent manual explains

everything clearly in plain English. Sufﬁce to say

that this ﬂexibility makes recording and monitoring

possible in all sorts of different ways.

Next is a useful Insert enable/bypass. The Stereo

Cue (with level and pan) has a Pre/Post button, and

an Alt I/P button (more below). Two further mono

Aux knobs are below this, each governed by global

Pre/Post selection in the centre section. Finally, above

the fader panel is the centre détented Pan knob and

Mix route button, determining whether the channel

output is sent to the main stereo bus. Faders have a

professional feel and nice big illuminating Sel, Cut and

Solo buttons.

With just eight main channels it’s likely you would

create a Cue mix in the DAW (using the 2802 faders

Roland Orange

PANTONE Color: PANTONE 151

Process Colors: Magenta 60% + Yellow 100%

Black White

Focusrite Control 2802

It’s a logical extension and development of the thought processes introduced in the Zen,

most particularly adding DAW control. GEORGE SHILLING had an Audient delivered that

became a Focusrite during the course of his review.

1 2

Shrnutí obsahu

Strany 1 - Focusrite Control 2802

18resolution May/June 2011REVIEWIn a slightly surprising move, Audient has handed over production and marketing of its ASP 2802 console to Focusrite

Strany 2 - DAW control

May/June 2011 resolutionREVIEWin DAW mode) while using the onboard Cue sends to feed the live mics to the headphones. This is made especially easy he

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