Apogee Control 2 Feature Deep Dive

Demystifying Control 2 What's in an Interface? Often at Apogee when we're talking about interfaces we're talking about the physical devices that bring audio into a computer, this time around we'll focus on software interface; particularly Control 2.

With so much functionality and flexibility, at times it can be overwhelming looking at buttons without knowing their precise function or seeing meters without knowing what they're showing.

In this blog entry we'll help you get the most out of the software, detail workflows and provide some useful tips to best suit your preferences.

CONTROL 2 BASICS: LAYOUT AND MONITOR SECTION First let's look at layout. Rather than trying to make sense of everything at once there's a few sections of the interface that are super useful to segment:

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Monitor and Output Controls The Monitor/ Output section is a great place to start as no matter what we're doing this stage will be used. Inside this section you'll find multiple knobs, as every Apogee device it's used with will have both a Headphone output and a Speaker Output. Adjusting volume is independent between the controls and both have Mute (M), Dim (D) and Sum to Mono ( ) options.

Muting will already feel familiar from your TV remote but can be particularly handy if something starts creating unpredictable noise and you want to cut the sound to ensure your speakers aren't damaged. A great trick for mute is to hold the encoder knob on your physical apogee interface which will turn on the mute feature.

What is Dim and Sum to Mono? Dimming may be less familiar but can be really useful if you are playing back a track with a collaborator and want to talk while listening, this reduces volume temporarily and toggles right back to the previously chosen volume level. Finally the mysterious sigma button : this is used for Sum to Mono. The concept is simple, combine the stereo signals so both speakers receive the same signal.

While mono compatibility is no longer the concern it was in the era of the Beatles and Beach Boys, it can still be a useful tool to see how a mix may translate in a less than perfect environment. For example you can make sure a stereo widener isn't weakening the impact of a synth or that mid side processing isn't making the mix weaker.

ALL IN The input section sports some very robust features that may not be immediately intuitive. Here we'll find things like input type which are critical to ensure the source we are connecting is seen by our interface as well as gain to adjust levels appropriately, if you need more guidance on this topic, please check out our Complete Beginners Guide to Audio which will help you learn everything you need to know to get started.

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Grouping Channels for Stereo Recording Beyond setting appropriate levels, we'll also find a Group button shown by a knob icon, this feature groups inputs 1 and 2 together, especially handy when using a stereo pair of mics such as is commonly used for overhead drum micing or pianos. The feature links the gain knob so both receive the same incremental adjustments for gain. If you want to take this a step further the mixer section allows stereo linking which also allows for FX settings to be shared.

Fixing Phase Issues with the Polarity Switch Speaking of techniques involving 2 mics, another useful feature is the Polarity Switch ( ) which can be extremely useful in a pinch. Phase issues occur when audio traveling from two sources create cancelling combinations (AKA one wave form goes up when the other goes down) with a resulting thin hollow sound. There are a few ways to deal with this. Sometimes the solution may be obvious, for example experienced ears often pinpoint a hollow midrange quality and adjust mics accordingly.

For the unexperienced, an easy check is toggling the phase switch and monitoring the audio or record a test clip. If it's in phase, flipping the switch will result in a noticeably weaker thinner sound with less bottom end, if the opposite occurs you can either keep this setting or move the mics 2- 5cm towards or away from the source and put the phase back to normal and retest to correct the issue.

WHY IS THERE A MIXER IN CONTROL 2? Just like at a concert venue where the Front of House engineer determines the sound coming out of the PA but a singers monitor may have a different mix, virtual mixers allow a slew of alternatives, helpful for a number scenarios.

Direct Monitoring Explained One example where this comes in handy is Direct Monitoring. This allows you to completely avoid latency. Latency is the time it takes for sound to travel. In the context of audio interfaces, this involves the interface communicating to the computer back to the interface then to headphones or monitors.

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