Speaker & Headphone Monitoring Controller
Speaker & Headphone Monitoring Controller
The 2Control combines loudspeaker and headphone monitoring in a compact, user-friendly and high quality control device. Control near-field monitors, full-range speakers and headphone monitoring for two listeners from one central unit!
Analog volume control for your DAW
A majority of D/A converters and sound cards provide nothing in the way of analog level monitoring control, and this means the necessity of varying signal levels at the converter outputs. The result is a lowered bit rate in the monitoring signal, which can lead to commensurate loss of audio quality.
The advantages of an analog monitoring controller becomes especially apparent in combination with modern audio and video production tools such as ProTools™, Nuendo™, Cubase™, Logic™, Deck™, etc. Monitor levels and source management can be handled independently of the software and with virtually no loss in quality. You no longer need to set up additional aux sends for monitoring. In addition, you won’t have to worry about over- or underdriving the converters when changing monitor levels.
2 times ... everything
The concept of the 2Control is based on a dual-channel operation that allows for connection of two sources, two stereo speaker sets and two headphones. Each of the three speaker outputs (2 stereo sets, 1 x mono speaker) is driven by its own balancing stage to exclude signal degrading mutual influences. Each headphone output is supplied by a separate amplifier to allow for completely independent operation of two headphones without any interaction from the other output.
The high-quality 2Control speaker volume potentiometer and active circuits correspond with the high demands in professional audio applications regarding sound quality and usability. In contrast to passive circuits, the 2Control’s active designs do not influence impedances when levels change. Altering impedances would again have effects on the frequency response, so the 2Control’s active design guarantees linearity.
Additionally there is often the need to “zoom” into audio material when listening to quiet passages or checking for artifacts etc. – and only active designs offer signal amplification.
There is more than meets the eye in working with headphones. One reason for this is that modern audio production often necessitates decentralized processes. In turn, many musicians or producers might wish to – or be able to – mix at home (to say nothing of having to). Then the headphone becomes a clear must, enabling an evening or late night session that can only take place thanks to its being unhindered by the local acoustic environment.
Now each and every careful headphone user should know about the analytical advantages of headphone monitoring, but also about the main disadvantage: the difficulty (if note impossibility) in properly judging room ambience.
A new feature of the 2Control is the Crossfeed control for both headphone outputs, which was derived from the high-end headphone amplifier Phonitor. From their principle, headphones have the disadvantage of producing a 180 degree stereo panorama – the Crossfeed control can be used to adjust a stereo panorama that corresponds to a stereo speaker image. Based upon the imaging of a speaker set positioned on angle of 30 degrees towards the listener, the crosstalk of both channels can be regulated to meet individual demands. Whenever speaker monitoring may not be possible or if an monitoring alternative to speakers is required, the 2Control allows for judging mixes also on headphones.
Separate mono speaker output
In addition to two stereo speaker sets you can also connect a mono speaker or a subwoofer. Tip for working with headphones: Listen with subwoofer to enjoy the physical impact of the low end.
Source and speaker output switches as well as mono and dim switches provide the main monitoring functions for a complete controller – without overloading user interface and electronics.
Input Sensitivity (Input 2)
Inputs IN?1 and IN?2 are gauged to analog line level signals at +4?dBu. The second input IN?2 can alternatively be set to another input sensitivity of -10dBV nominal level. A nominal level of +4?dBu represents the international standard of professional studio equipment, -10dBV corresponds to the standard in consumer electronics, hence the ideal setting for connecting comsumer CD/DVD-Players.
High-grade balancing stages
We use custom made balancing stages to drive long distances reliably and for first class common mode rejection values. Note that only balanced connections exclude hum and interferences. We recommend to establish balanced connections wherever possible – especially connections over long distances (e. g. to speakers).
Unbalanced connections (e. g. RCA, TS Jack)
You can establish unbalanced connections easily and without adaptors – for example from CD-Players with RCA outputs or to (HiFi) power amplifiers with RCA inputs. It is important to pay attention to the correct polarity of the three XLR wires.
Connections to RCA and TS Jack inputs or outputs are always unbalanced. Connections to TRS inputs or outputs may be balanced or unbalanced. In any case we recommend to use readily configured cables from XLR to the respective RCA or TS/TRS connector to dispense with adaptors. Ask your dealer for configured cables. With the XLR pin configuration diagram in our manuals any audio expert can ensure to select or configure appropriate cables.