ghost typical specifications - soundcraft

SOUNDCRAFTHARMAN INTERNATIONAL INDUSTRIES LTD.CRANBORNE HOUSE, CRANBORNE RD.,POTTERS BAR, HERTS, EN6 3JN, UK.TEL: +44 (0)1707 665000FAX: +44 (0)1707 660742EMAIL: [email protected]://www.soundcraft.com

SOUNDCRAFT USAIR PARK BUSINESS CENTER 121449 DONELSON PIKENASHVILLE TN 37217, USA.TEL: 1-615-360-0471FAX: 1-615-360-0273

Part No. A4; ZL0338US; ZL0339

Soundcraft reserve the right to improve or otherwise alter any information supplied inthis document or any other documentation supplied hereafter.E&OE 9/98

Ghost Typical SpecificationsINPUT CHANNELMicrophone inputSensitivity range for 0VU output...........-8dBu to -60dBuMaximum input level...................................................+14dBuInput impedance............................................................2k ohmCommon Mode Rejection Ratio(CMRR) 1kHz Typical figure.....................................................-90dB @ sensitivity -30dBuEquivalent input noise EIN. 22Hz-22kHz measured at insert point................................................-128dBu @ sensitivity -60dBu150 ohm mic input load.................................................-122dBu @ sensitivity -30dBu

Line inputSensitivity range for 0VU output........+12dBu to -40dBuMaximum input level...................................................+34dBuInput impedance..........................................................15k ohmCommon Mode Rejection Ratio(CMRR) 1kHz................................-60dB @ sensitivity 0dBu

Insert send & return Nominal level.....................................................................-2dBu Maximum level ..............................................................+22dBuMaximum send load .....................................................2k ohm

Direct Output levelChannel output selected................................................-2dBuGroup output selected..........+4dBu/-10dBV link selected

Tape Return inputSensitivity at calibrated centre detent .....................+4dBuTape trim range .............................................-15dB to +15dBInput impedance.......................................................>24k ohmCommon Mode Rejection Ratio(CMRR) 1kHz: ...........................-60dB @ Calibrated detent

Low Cut FilterFrequency ...........................................................................100HzType of filter ....................................3 pole, 18dB per octave

Equaliser sectionHF Eq. turnover frequency ............................................12kHzMaximum boost/cut...................................................+/- 15dBLF Eq. turnover frequency................................................60HzMaximum boost/cut...................................................+/- 15dBHMF Eq. frequency range...........................400Hz to 20KHzQ range .............................................................................0.7 to 6Maximum boost/cut...................................................+/- 15dBLMF Eq. frequency range..............................25Hz to 1.5kHzQ range .............................................................................0.7 to 6Maximum boost/cut...................................................+/- 15dB

MASTER SECTIONNominal levelsGroup output level.................+4dBu/-10dBV link selectedGroup insert level .............................................................-2dBuAux output level ..............................................................+4dBuMix output level ..............................................................+4dBuMix insert level..................................................................-2dBuMix B output level...........................................................+4dBuCRM/ALT/Headphones level .............+14dBu at maximumStudio outputs..................................................................+4dBu2 Track inputs ...................................................................+4dBuStereo return inputs .......................................................+4dBu

Console Input/Output circuit typesElectronically balanced inputs:

Microphone, Line, Mix B, Stereo Return, 2-TrackUnbalanced 75ohms inserts: Channel, Group, MixUnbalanced 75ohms outputs: Channel DirectGround Compensated 75ohms outputs:

Group, Studio, Aux, Mix & Mix B

TYPICAL CONSOLE PERFORMANCEAttenuation. All at 1kHzLong Fader attenuationFrom top to bottom.........................................................-90dBMixB rotary fader attenuationFrom max to min ..............................................................-70dBMute attenuation Channel & MixB............................-80dBPan isolation, ie from left to right ..............................-70dB

THD+n. (harmonic distortion)1dB below clipping, 1kHzMic/Line to Direct output.............................0.002% EQ out.................................................................................0.003% EQ inMixB to Direct out (Swap pressed)...........................0.002%

Direct output noise

22Hz-22kHz Mic sensitivity @ -10dBChannel Fader at unity ..................................-95dBu EQ out.................................................................................-93dBu EQ in

Frequency responseMic/Line input to any output .......................20Hz - 20kHz .....................................................................................(+0/-0.5dB)......................................................................Sensitivity @ 30dB

CrosstalkMic input to Line input crosstalk.............-100dB @ 1kHzLine input to Mic input crosstalk ...............-90dB @ 1kHzMixB to Channel crosstalk............................-80dB @ 1kHzChannel to MixB crosstalk............................-75dB @ 1kHz

Bus noise22Hz-22kHz Channel faders down+4dBu/-10dBV selected to +4dBuGroup outputs 1 to 8Group fader at unity, nothing routed .....................-90dBu24 channels routed, chan faders down...................-80dBu32 channels routed, chan faders down...................-78dBu

Mix outputs L & RMix fader at unity, nothing routed..........................-90dBu24 channels routed, chan faders down...................-80dBu32 channels routed, chan faders down...................-78dBu

Dimensions and weightsCH Overall width Weight(kg/lb)24 1059.36mm (41.71”).............................44.0/9732 1303.20mm (51.31”) ..........................53.6/11824 exp. 815.52mm (32.11”) ...............................33.0/73

Side elevation with optional meterbridge

mixing for the next millennium

Ghost Brochure 08/98 25/1/02 12:16 pm

EVERYTHING YOU EVER WANTED IN A MIXER... AND MORE

Designing good audio mixers has never been easy –but with the widespread use of ultra-quiet digitalrecorders, and improvements all through the live andstudio audio chain, today’s mixers have to stand upto closer sonic scrutiny than ever before. At the sametime, mixing has become less a process that takesplace at the console alone, and more one thatinvolves outboard effects, samplers, andsynchronisation of audio and video recorders. It’s abig task for a mixer to keep in touch with all of that– which is why Soundcraft created Ghost, theultimate affordable analogue recording console.Simply put, Ghost is the only desk that delivers theaudio precision, quality and all the control features ofa big studio desk without the usual prohibitive priceticket. The EQ, for instance, is directly comparable to that ofthe classic Soundcraft 3200 and Europa consoles. Nocompromises. An all-new mic preamp, ProMic, has been developedjust for Ghost. Its performance alone puts Ghost intoa different league from other consoles of similarprice.The killer punch, however, is delivered by Ghost’sintegral computer-based machine control and muteautomation. Derived from the innovative SoundcraftDC2020 post-production console, the machinecontrol in Ghost makes it far more than just anothermixer. It actually forms the heart of an automatedrecording setup with countless benefits in ease ofuse and production efficiency.Read on and discover just what Ghost will do for you.

QUALITY AND VERSATILITY

Ghost is a highly versatile 8-bus mixer, packed with facilities forhandling a wide range of recording and mixing applications. Whether for studio or live recording, or mixing for picture, this isa console that offers unparalleled flexibility and value.Ghost is an in-line multitrack mixer with a Mix B path (oftencalled monitor path), as well as the main signal path on eachchannel strip. It’s called “Mix B” because the architecture of thesignal routing is much more flexible than that suggested by theterm “monitor”, offering many of the features normally foundonly on a main input channel. Unlike many mid-range consoles,Ghost doesn’t restrict facilities such as muting and EQ to themain channel path. 24 and 32 channel frames are available, providing 56 and 72inputs respectively at mixdown. In addition, using the 24 channelexpander unit, a further 48 inputs at mixdown are possible.There’s signal level indication on each channel as standard, plusan optional meterbridge with 12-segment channel meters and20-segment left/right master meters, for more precise metering. Ghost’s audio path combines traditional analogue benefits, andinnovations like Soundcraft’s latest high-performance ProMicmic preamp, with automated muting on both the main channeland Mix B inputs. The automation is based on the advancedtechnology used on Soundcraft’s ground-breaking DC2020console, and proven in both professional recording and post-production environments.Unlike other mixers, Ghost’s ProMic mic amplifier offers smoothcontrol over a wide gain range – up to 60dB. It’s amazinglyquiet, giving greatly improved noise performance in the mid-gain region, with enough headroom for peaks from drum kitmics, and extremely low distortion figures.

EQ is a crucial part of a mixer, and the EQ on Ghost is designedwithout compromise – two fully parametric overlapping midbands, with shelving high and low filters. Classic ‘British EQ’, infact, like that found on Soundcraft’s acclaimed 3200 and Europa consoles. The result is unsurpassed ability to control and correct– for creative effect in a recording session, or applying correctiveEQ to an awkward live signal.Being able to swap main and Mix B inputs, and split the EQbetween the two paths, Ghost allows a high degree of controlover a mix. Professional features on the channel strip includeindividually switchable phantom power, phase reverse and plentyof aux sends – 10 aux busses including 2 stereo pairs in all.There’s level and peak metering on every channel, and both themain and Mix B paths have MIDI muting and PFL, while the mainchannel path also offers true solo-in-place.

Soundcraft Ghost, Ghost LE and Ghost Expander are pictured

throughout with optional meterbridge fitted.

Ghost Brochure 08/98 25/1/02 12:17 pm Page 3

GHOST PUTS YOU IN CONTROL

TRANSPORT AND AUTOMATION

As on the biggest studio consoles, Ghost’s master section offersfull transport control for analogue and digital tape recorders, VTRs,and hard disk recorders, equipping it for remixing, mixing forpicture, or live recording sessions. A built-in timecodereader/generator means that Ghost is compatible with professionalaudio or video equipment, supporting both MIDI timecode andSMPTE. (See table).Ghost also has comprehensive MIDI support. Certain faders can beused to transmit MIDI controller data, for automated effectscontrol. MIDI Sequencer transport functions can be controlledfrom the Ghost master section, and external MIDI data from asequencer can be used to automate desk mutes dynamically.Whether under MIDI control or switched by the desk’s own mutegroups, all mutes benefit from ‘soft cut’ switching, effectivelyfading a signal in a few milliseconds (rather than cutting itinstantly), thereby avoiding any sudden clicks or thumps. (Evensome so-called ‘silent switches’ will introduce an audible ‘Fourierclick’ if they operate too fast.)

Group faders 1 to 4 double up as MIDI faders, allowing the controlof effects units or levels on digital audio systems – anything thatcan be controlled by MIDI continuous controller data. Transportcontrols use MIDI Machine Control or Sony 9-pin protocol forremote operation. LEDs above the Rew, FF, Stop, Play, Track Enableand Record buttons offer ‘tally back’ confirmation that a machineis responding. Ghost’s internal software supports a wide range ofmachines such as the Alesis ADAT, Tascam DA88, etc. See the tableabove, and Machine Control Notes inside back cover for furtherdetails.Above the transport controls, four locate buttons let you jump tocue points, and the cycle facility will loop between points 1 and 4.Cue points can be set up either by entering them ‘on the fly’, as thedesk receives timecode, or by specifying precise timecode locations.To the left of the transport controls, an 8-character display showsincoming timecode, as well as providing a display facility to set upand edit the desk’s MIDI fader facilities.A third mode displays the snapshot number currently recalled. 128of these ‘snapshots’ record all channel and Mix B mute settings,plus MIDI fader set up, and MIDI program change information.Snapshots can be referenced to incoming timecode, or recalleddirectly using their program change number. Mute settings canalso be stored against the four multi-function buttons, which actlike four mute groups, layering their stored mutes together whenseveral are called at once. It is sometimes useful to assign groupsof channels in this way, especially in a live situation.

THE JOG/SHUTTLE WHEEL

When supported by a recording machine, the jog/shuttle wheelallows an operator great precision in locating edit points – thepoints in a song, or in video post-production the points in a film,where some change is required in the mix. The wheel provides avery quick and intuitive means of scanning backwards or forwards,or even stepping frame-by-frame through a song or video tape.

MACHINE CONTROL

Ghost offers totally integrated machinecontrol facilities. The CPU in Ghost’s mastersection provides full remote control - withautolocation points - of audio taperecorders, VTRs or digital audioworkstations. Without even turning awayfrom your mixer you can drop tracks intoand out of record and loop, while Ghost’smute automation constantly locks toincoming timecode. You can even scrubvideo and audio with the jog/shuttle wheel.

SOUNDCRAFT GHOST MACHINE CONTROL NOTES

Protocol support

Machine/Protocol Timecode source

MIDI Timecode master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . InternalMIDI Timecode slave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC (MIDI Timecode)LTC Timecode master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . InternalLTC Timecode slave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTCFostex R-Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTCFostex G-Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTCFostex RD-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC (Using MIDI Machine Control)MMC General Closed Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTCMMC General Closed Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTCMMC Open Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTCAlesis ADAT and AI2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTCAlesis ADAT and BRC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTCTascam DA88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTCTascam DA88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTCSony UVW1800 9-pin plus DA88 MMC track enable. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTCSony 9-pin P2 (48 track record enable). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTCSony 9-pin P2 (no record enable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTCAkai DR4/DR8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTCAll trademarks acknowledged


MASTER SECTIONGhost’s master section provides just as much in the way of outputand monitoring control as it does transport and MIDI facilities. Eachof the eight groups gets its own 100mm fader, with routing to themain stereo mix bus in mono or stereo (odd numbered groups feedleft, even numbered groups feed right), and AFL. Metering, forgroups and the main stereo mix bus, is via 12-segment bargraphsabove the CPU. Group inserts and ground-compensated groupoutputs are located on rear panel jack sockets. These sends, as wellas the channel direct outputs, can be switched to +4dBu or -10dBVoperation via an internal jumper option. The main stereo mix output is via a 100mm stereo fader, with asecond rotary fader for the Mix B output. The stereo Mix B signalcan be switched into the main mix bus, pre fader, when you want touse Ghost’s full input potential at mixdown.The four stereo effects returns each have a PFL solo facility withprecision level and balance pots. Each can be routed to the mainmix bus and to any of the four pairs of sub-groups. Aux sends are on ground-compensated jack outputs, with a rotaryfader and AFL solo for each bus; auxes 7/8 and 9/10 are combinedon two stereo send pots.The master output section allows the use of several sets of studioand control room speakers, and headphones. In addition to themain mix output and Mix B outputs, there are two sets of ControlRoom outputs, allowing you to switch between two alternativesets of monitors at the flick of the Alt switch. Both Main and Altoutputs can be summed to mono, to check mono compatibility.The source for the Control Room outputs is switchable betweenMain Mix and Mix B (both post-master fader), and two sets of 2-track tape inputs. Two sets of Studio outputs, A & B, are alsoprovided. Each has its own level control and AFL, and can besourced from the Control Room monitor signal, Mix B, or from theAux 1 & 2 outputs. Two sets of headphones can be used; one viathe main headphones output, which disconnects the control roomspeaker outputs, whilst a second can be driven from the Studio Boutputs. (See System Configuration diagrams for examples.)Ghost’s talkback section allows the built-in electret mic to bemomentarily routed to the studio outputs, to auxes 1 & 2, or to themain stereo mix and group outputs. A level control is provided. As well as PFL/solo-in-place switching, there’s also a trim controlfor the output level of PFL and AFL solo, to control room outputs.The oscillator, routed to the group output, is switchable between1kHz and 10kHz, with gain variable from -∞ to +15dBu.

INPUT CHANNELOn the rear panel, each channel offers balanced XLR micand balanced 1/4” jack line inputs to the main channelpath, a balanced jack Mix B input, jack tape send, and jackinsert point (pre-fade, pre-EQ). Phantompower is individually switched on each micinput, rather than in blocks of 8 or more.The routing of Main and Mix B inputsignals to the two channel paths can bereversed for more control over the Mix Bsignal – at mixdown, for example.Mic input gain is variable from +8 to+60dB. The Mic/line switch selects eithermic or line level input to the channel. Lineinput gain is from -12dB (for very highlevels) to +40dB. Mix B also has a trimcontrol, offering ±15dB of gain variation.The main channel path provides Phase Reverse, essentialfor full control in live recordings or any application wherethe phase of signals may vary, and a 3-pole (18dB/octave)100Hz low cut filter to treat low frequency vibrations.The EQ section of Ghost offers an unprecedented level oftonal control for a console in this class, with two fullyparametric mid bands in addition to the high frequencyand low frequency bands. The mid bands overlap, offeringa high degree of flexibility, covering 25Hz - 1.5kHz and400Hz - 20 kHz. Q is continuously variable from 0.7 to 6,with up to 15dB of cut or boost. The shelving HF and LFbands operate at 12kHz and 60Hz, with 15dB of cut orboost. If both the main and Mix B channel paths are beingused simultaneously, and both require a degree of EQ, thenthe LF and HF bands can be switched into the Mix B path. A total of 10 aux busses are provided – six mono sends andtwo stereo. Auxes 1 & 2 are switched as a pair to pre orpost-fade operation. Auxes 3 & 4 are post-fade, and canbe switched as a pair from the main channel signal path toMix B, making the latter much more than just a tapereturn path. Another switch re-routes the signal fromthese two pots to aux sends 5 & 6. The two sets of post-fader stereo sends, 7/8 and 9/10, are each controlled by asingle pot, and follow the channel pan settings.The main channel signal output level is set by a 100mmlinear fader, designed for smooth operation, excellentattenuation and long life. Its construction and right-angled mounting are such that dust and dirt fallingthrough the fader slot will not foul the fader track.Routing switches send the panned signal to the mainstereo mix bus, or to any of four pairs of groups: 1 & 2, 3& 4, 5 & 6, 7 & 8. The Mix B signal has rotary pan and levelcontrols, and is sent only to the stereo Mix B bus. A Sourcebutton allows the Mix B pan and level controls to pick up,

in place of the regular Mix B path, the post-EQ, pre fade main channel signal – for an additional stereo aux send,perhaps, or a stereo monitor mix.

Ghost has all the connections required formultitrack recording. Tape tracks can befed from the channel direct outputs, orswitched individually on each channel tofeed from the group busses which areallocated in blocks of eight (i.e. channels1-8 from groups 1-8, channels 9-16 fromgroups 1-8, channels 17-24 from groups1-8).Both the main channel and Mix B pathhave solo and cut features. Mute settingscan be individually switched, stored into

snapshot memories in the master section for recall later atcue points, allocated to four internal mute groups, orremotely switched via MIDI.

CHANNEL METERING

Channel metering is via a single LED next to the channelfader that glows brighter as signal level increases,augmented by a peak LED that meters four points in thesignal path – at the output of the mid EQ bands, afterthe low-cut filter, after the HF and LF bands, and after the channel fader. For morecomprehensive input level metering, an optionaloverbridge is available.

MIC AMP

Ghost’s ProMic is the best mic pre-ampSoundcraft has ever produced withmuch lower noise in the low and midgain settings, high gain noiseperformance equal to consoles manytimes the price and superior mid gainperformance. The sensitivity control is super-smooth for fine adjustment of level,even at high gain. Ghost’s customisedpot ensures that the gain range isequally distributed which means thatgetting the right gain setting isalways easy.

+ 10100

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Fader Attenuation (dB)

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Plot of fader attenuation vs. fader travel


EQ - NOBODY DOES IT BETTERSOUNDCRAFT - GREAT BRITISH EQ

Soundcraft have been making mixers forover 20 years, and throughout this time theSoundcraft EQ has remained at the top ofthe list of reasons why people love ourdesks, and why top artists rely onSoundcraft technology on stage and in thestudio. Smoothness, musicality, and ease ofuse are qualities that appeal to engineerswho use classic Soundcraft designs such asthe 3200 and Europa – the same qualitiesare to be found on Ghost.

Whilst most parts of the mixer’s audio chainmust alter a signal as little as possible, EQ hasthe tricky task of allowing tonal modificationsto specific parts of a signal without affectingthe rest, whether for bringing out thecharacter of a voice or instrument, resolvingelements in a mix, or correcting a troublesomesignal. Ghost’s 4-band EQ section offers thesame precision and warmth that Soundcraftconsoles are renowned for – the classicattributes of ‘British EQ’. It’s accurate,consistent and reliable – the same controlpositions produce the same predictable resultsevery time. The wide-ranging mid bands arefully parametric, allowing independent controlof filter frequency, 15dB of cut/boost, and Q.Whether you need to bring up a broad range offrequencies, or notch out a narrow band, youcan do it cleanly and quickly. The lo-mid band covers the range25-1,500Hz, and the hi-mid covers 400-20,000Hz, providing fullcoverage of the audio spectrum from the deepest bass to theupper limit of human hearing, with a very usable overlappingregion. In reaching all the way down to 25Hz, the lo-mid bandgoes deeper than other parametric EQ filters. That gives Ghost theflexibility to cope with a wide range of musical and mixing styles,including modern dance music where control of ultra-low bassfrequencies is important. Even the hi-mid reaches down to 400Hz,allowing both parametric bands to be applied to bass frequenciesfor even finer control. Q, the measure of the filter’s bandwidth, is continuously variablefrom 0.7 to 6. As the response curves (see opposite) show, over thefull range of settings the filter response remains even and smooth.Q and boost settings remain accurate even down to the lowest

setting of 25Hz, delivering precise control over the full filterrange. Thanks to custom-designed pots, there’s no ‘squeezing’ ofrange as you twist them all the way round (where a smallmovement of a pot near the end of its travel produces a biggerchange in EQ than near the middle) – response remains even.The two mid bands are supported by LF and HF shelving filters,each with up to 15dB of cut or boost. Operating at 60Hz and12kHz, they are perfectly placed to roll off or enhance the mostimportant low and high frequency components withoutinterfering with and muddying the mid bands. Whilst theycomplement the two mid bands perfectly, the frequencies chosen,and the wide range of those two mids, means that when the HFand LF bands are switched into the Mix B channel path, bothchannel signal paths are equipped with practical EQ facilities.

An EQ In/Out switch lets you hear what thechannel sounds like with or without EQ - avaluable instant reference facility that noprofessional engineer would be without. Also,when switched out, the audio signal bypassesthe EQ circuitry altogether, reducing thelikelihood of noise.There are very good reasons why Ghost’s EQperforms to such a high standard. Each midband on Ghost uses four op-amps, with high-grade bi-polar types for the main signal.Some desk designs attempt to achieveparametric performance with only three opamps, but there’s a price: only a trulyparametric EQ like Ghost’s preserves accurategain values even when you push the Q andfrequency settings to the limit, and only sucha circuit will avoid distortion at extremesettings. The response of the Ghost EQ is at all

times predictable, precise, and has the warm sound that has wonSoundcraft praise from engineers around the world.

SPLIT EQ

With two inputs on each channel, split EQmeans you can apply control where it’sneeded. Normally all EQ bands affect themain path, but the high and low bands canbe switched into Mix B – perhaps to lifthigh frequencies on a tape track.

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HMF Section

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High and Low Mid Range Equalisation Characteristics


A SOLID INVESTMENTINTERNAL CONSTRUCTION

The construction of Ghost is based on individual vertical circuit

boards for each channel, rather than on a single horizontal board.

This allows more board space to be devoted to each channel strip,

hence more components, and more facilities. All pots are bolted

directly to the front panel, so if a load is accidentally placed on

the knobs, for example when a heavy object is dropped on them,

then it’s the metalwork that takes the strain – not the circuit

board underneath. Vertical boards allow the desk to function even

if an individual channel is removed, and make servicing and repair

a good deal easier. Should anything need replacing, all

components are readily available from Soundcraft distributors

around the world.

Ghost’s custom pots and faders are vital to its excellent audio

performance. Properties such as end stop resistance (how much

attenuation a knob offers at the end of its travel), and usable

fader laws with predictable attenuation characteristics and

smooth response, were among the key requirements specified by

Soundcraft designers. The result is a mixer whose controls offer

predictable, smooth operation across their full range, excellent

attenuation, and low crosstalk.

BUILT TO LAST

Within the audio circuitry, you’ll find bi-polar 5532 op amps –more expensive and requiring more power than the op amps mostconsoles use - but creating less noise and distortion. Not only arethe components themselves superior in terms of audioperformance, but their ability to drive lower impedance loadsmeans that the signal path as a whole can be designed for lowerinherent noise, one of the sources of which is impedance-related‘Johnson Noise’. All pots and faders have been specially

designed for use on Ghost – no off-the-shelf components wouldmeet the specifications required by our designers and yet still besmall enough to pack all of the controls into Ghost’s frame. Goldplated pins are used on the connectors of all boards to minimisenoise in the audio path.

WHY BE PICKY ABOUT COMPONENTS?

High quality components ensure that an electronic circuit behaves

as it is designed to. It is vitally important that no compromises are

made in component selection as relatively small differences in

their resistance or capacitance can have a disproportionate effect

on a circuit. It is also important that the passage of time, changing

temperature, or other changes in environment do not affect a

component’s performance – only high quality parts have the

necessary stability.

Soundcraft is the world’s leadingmanufacturer of professional mixingconsoles, for applications ranging from filmand TV post-production, through musicrecording, to live and installed sound. Weknow what professionals need in a mixer,and how to deliver it in a rugged, cost-effective design that is built to withstand alifetime of hard work. Which is why, over 20years after we started making them,thousands of Soundcraft mixers – includingEuropas, 3200s, Deltas, Venues and Viennas– are still going strong.


GHOST EXPANDER

Should you ever run out of inputs on your Ghost, there’s a simplesolution – the Ghost Expander. This 24-channel extension modulefeatures removable side panels allowing it to be positioned flushalongside a Ghost or Ghost LE for configurations up to 56 inputs –a massive 120 separately controllable inputs on mixdown. Thechannel strips are identical to those on the Ghost and Ghost LE,and the audio bussing integrates fully, via a single D-typeconnector and ribbon cable, with the eight group busses, 10 auxsends, solo detection and solo-in-place functions on the maindesk. Furthermore, when the expander is added to a Ghost, itsMIDI and mute functions are integrated with, and controlled from,the main console’s master section.

GHOST LE

Ghost LE is a stripped-down version ofGhost, designed for users who do notneed transport control or MIDI facilities.Channel strips are identical to Ghost,offering the same superb audio qualityand facilities, and all audio facilities ofthe master section are also carried over.The CPU and its associated facilities,however, are omitted. Mutes can be

switched manually, but there is nomute automation or mutegrouping, and no machine controlor MIDI support. Ghost LE isideally suited to live recordingand mixing, installed sound, orrecording applications where

little or no MIDI equipmentis involved.

EXPANDER AND GHOST LE


System Configuration Examples

STUDIO B

INSERT COMPRESSOR

MIC

FOLDBACKMIX

STUDIO/PERFORMANCE AREA

STE FX1 STE AUX 7

C/Rm

LEVELDATA ENTRYPOWER

POWER DATA ENTRY

POWER AMP

CONTROL ROOMMONITORS

POWER

HEADPHONES

VOLUME

MONO

BRIDGE

TEMP

0 10

CHANNEL

A B

DIGITAL MULTITRACK

KEYBOARD

MICROPHONES

GUITAR

SAMPLERS

MACHINE CONTROL VIA MIDI

ENGINEERSHEADPHONES

AUDIO RECORDING

EFFECTS UNIT

TAP

E S

EN

D/R

ET

UR

NS

KEYBOARD

MICROPHONES

GUITAR

SAMPLERS


TONE MODULE

POWER DATA ENTRY

EFFECTS UNIT

DAT RECORDERON

EJECT DAT

REC LEVEL

0 10

POWER AMP


POWER

HEADPHONES

VOLUME

MONO

BRIDGE

TEMP

0 10

CHANNEL

A B

C/Rm

DIGITAL MULTITRACK

MIDI

MIDI

SEQUENCER(Transport controlled

from Ghost MMC)KEYBOARD

PLAYBACK/MIX-DOWN

DRUM MACHINE

STE FX 1

MIX L/R

STE AUX 7

AUDIO SAMPLERDATA

CURSOR

LEVEL

TAPESEND/RETURN

TAPESEND/RETURN


TONE MODULE

AUDIO SAMPLER

DATA

CURSOR

LEVEL

ON

POWER DATA ENTRY

EFFECTS UNIT

STE FX1 STE AUX 7

C/Rm

AltPOWER AMP


POWER

HEADPHONES

VOLUME

MONO

BRIDGE

TEMP

0 10

CHANNEL

A B

TAPESEND/RETURN

TAPESEND/RETURN

DIGITAL MULTITRACK

VTR PLAYBACK

SONY 9-PIN MACHINE CONTROL

IN

OUT

TIMECODE

IN

IN

IN

MIDI

MIDI

SEQUENCER(Can control Mutes

on Ghost) KEYBOARD

COMPOSING TO PICTURE

POWER HEADPHONES

MONO

BRIDGE

TEMP

TV STYLESPEAKERS

POWER DATA ENTRY

POWER

POWER AMP

POWER

HEADPHONES

VOLUME

MONO

BRIDGE

TEMP

0 10

CHANNEL

A B

GRAPHIC EQUALIZER

POWER AMP

POWER

HEADPHONES

VOLUME

MONO

BRIDGE

TEMP

0 10

CHANNEL

A B

ON STAGEMONITORS

EFFECTS UNIT

KEYBOARD

D.I.BOX

MICS

LIVE PUBLIC ADDRESS

MIX L/R

STE FX 1

STE AUX

AUX 1 AUX 2

Audio recording (shown with optional expander)

Composing to picture

Playback/mix-down

Live public address

Ghost is designed to connect to

multitrack tape machines via

dedicated send and return jack

sockets, avoiding the need to

repatch. Ghost’s transport

buttons will control tape

transports via a number of

protocols. Sound sources are

connected to channels as

required and input processors,

such as compressors or gates,

can be inserted into the channel

path. Effects units are fed from

auxiliary outputs in the master

section and return via the stereo

return inputs. Multiple outputs

are possible, including the main

monitor mix and secondary

mixes for separate performance

space headphones.

At this stage, it is likely that the

Main and MixB inputs will be

swapped over so that the

multitrack machines become the

main sound source. Additional

sound sources required at

mixdown can also be connected

via extra channels or via MixB

paths. It is likely that a

sequencer will still be controlled

from Ghost, via MIDI, to

generate input from sound

modules. The end result is a

stereo mix, recorded onto DAT or

some other high quality

mastering medium.

Ghost can also be used for live

PA work. Live sound sources are

input in the usual way, treated

as necessary by effects and

dynamics processors connected

to inserts and auxiliaries, and

then output via a graphic

equaliser to the main front of

house speakers. Auxiliary mixes,

switched pre fade, can be used

to provide monitor mixes to the

musicians on stage - up to four

separate mixes if using MixB as

a pre fade stereo bus. The 4

mute groups, controlled from

Ghost’s onboard computer, are

particularly useful in a live

situation.

Many of the same machines and

sound sources will be connected

to Ghost as in the previous

example. However, it is likely

that these will include an

external MIDI sequencer, which

drives a number of sound

modules and can also control

the automatic mutes on Ghost.

Additionally, there will be a VTR

player, which will follow Ghost’s

Sony 9 pin protocol transport

messages. Multitrack tape

machines can be set to chase

the VTR’s timecode generator.


Level Diagram and Rear Panel

dBu

+ 30

+ 20

+ 10

0

-10

-20

-30

-40

-50

-60

-70

-80

MICROPHONE

LINE

+ 4dBu

Cha

nnel

Fad

er+

8dB

u

StereoInput

Headroom

Cha

nnel

Inse

rt-2

dB

u

Mix

/Gro

upB

us

Mix

/Gro

upFa

der

+8d

Bu

Mix

/Gro

upIn

sert

-2d

Bu

Dire

ctO

utp

ut-2

dB

u

Gro

up/O

utp

utM

eter

Op

tiona

lIn

put

Met

er

Mix

/Gro

upO

utp

uts

Ghost patch panel

Ghost operating levels

System Block DiagramP

AN

L-R

1-2

3-4

5-6

7-8

AU

X 7

(ST

ER

EO

)

AU

X 8

(ST

ER

EO

)

AU

X 1

AU

X 3

PR

E

MO

N

AU

X 2

AU

X 4

MIX

BFA

DE

R

CU

T

PF

L

PA

N

5-6

LEF

T

RIG

HT

CU

T

SOLO CUTSOLO DETECT

PFL DETECTPFL/AFL LPFL/AFL R

AUX 1

GRP 1GRP 2GRP 3GRP 4GRP 5GRP 6GRP 7GRP 8

GRP O/P BUS (1-8)

CPU MUTE BUS ACPU MUTE BUS B

MIX L

MIX B LMIX R

MIX B R

AUX 2AUX 3AUX 4AUX 5AUX 6

AUX 7 L

AUX 8 LAUX 7 R

AUX 8 R

SO

LO

PE

AK

PF

L

MU

TE

SO

UR

CE

MU

TE

100m

mC

HA

NN

EL

FAD

ER

100m

mM

AS

TE

RFA

DE

R

MIX

BM

AS

TE

RFA

DE

R

AU

X7

MA

ST

ER

FAD

ER

PF

L

AF

L

PF

L

LEV

EL

BA

L

AU

X 8

CIR

CU

ITIS

SIM

ILA

RT

O A

UX

7

EQ

TO

MO

N

INS

ER

TP

OIN

T

LF/H

FE

Q

EQ

IN/O

UT

GR

OU

P N

/D

IRE

CT

LMF

/HM

FE

Q

MIX

LE

FT

INS

ER

TC

PU

MIX

RIG

HT

INS

ER

T

MIX

BT

O M

IX

MIX

LE

FT

OU

TP

UT

MIX

B L

EF

TO

UT

PU

T

AU

X7

LEF

TO

UT

PU

T

TB

MIC

TALK

BA

CK

1k/1

0k

AU

X1

OU

TP

UT

AU

X2

TO

AU

X6

CIR

CU

ITS

AR

E S

IMIL

AR

TO

AU

X1

ST

UD

IO B

OU

TP

UT

IS S

IMIL

AR

TO

ST

UD

IO A

OU

TP

UT

MIX

RIG

HT

OU

TP

UT

MIX

B R

IGH

TO

UT

PU

T

AU

X7

RIG

HT

OU

TP

UT

AF

L

DIR

EC

TO

UT

PU

T

PE

AK

DE

TE

CT

SIG

NA

LD

ET

EC

T

MIC

I/P

LIN

E I/

P

TAP

E I/

P

+4/

-10

(SN

IP R

ES

ISTO

RS

TO

SE

LEC

T-1

0dB

V)

48V

PH

AN

TP

OW

ER

FR

OM

48V

LIN

EP

HA

SE

INP

UT

SE

NS

LCF

LCF

-20

RE

VTA

PE

TR

IM

LEF

T

RIG

HT

FX

INP

UT

1

FX

INP

UT

S 2

TO

4A

RE

SIM

ILA

R T

OF

X IN

PU

T 1

SIP

AF

L/P

FL

TR

IM

AU

X 1

SO

LOL R

MA

ST

ER

ME

TE

R

AF

L/P

FL

OV

ER

RID

E

2-T

RA

CK

B L

2-T

RA

CK

A L

2-T

RA

CK

B R

2-T

RA

CK

A R

SIP

LF/H

FE

Q

2TK

B

2TK

A

MIX

B

MIX

A

CO

NT

RO

L-R

OO

MS

OU

RC

E S

ELE

CT

CR

M

MIX

B

AU

X 1

-2

ST

UD

IO A

SO

UR

CE

SE

LEC

T

TAP

E

OS

C T

OTA

PE

DIM

CT

L

ST

U

OS

CO

SC A

UX

1-2

TALK

BA

CK

RO

UT

ING

DIM

MO

NO

CH

EC

K

CR

MLE

VE

L

HE

AD

PH

ON

ES

ALT

R

CR

M R

ALT

L

ALT

CR

M L

LEF

T

RIG

HT

ST

UD

IO A

OU

TP

UT

MIX

1-2

3-4

5-6

7-8

L+R

AF

L

MIX

R

100m

mG

RO

UP

FAD

ER

GR

OU

P 2

INS

ER

T

GR

OU

P 2

OU

TP

UT

GR

OU

PS

4, 6

& 8

AR

E S

IMIL

AR

TO

GR

OU

P 2

ME

TE

R

L+R

AF

L

MIX

L

100m

mG

RO

UP

FAD

ER

GR

OU

P 1

INS

ER

T

GR

OU

P 1

OU

TP

UT

GR

OU

PS

3, 5

& 7

AR

E S

IMIL

AR

TO

GR

OU

P 1

ME

TE

R

OP

TIO

NA

LIN

PU

T M

ET

ER

+4

-10

INT

ER

NA

LJU

MP

ER

S

+4

-10

INT

ER

NA

LJU

MP

ER

S

Ghost rear panel


Ghost Machine Control NotesTimecode SupportThe console will display the last timecode value sent by the tape machine.This means that, for some machines, when you rewind the tape the displayedtimecode will correspond to the point at which it stopped. This will bedisplayed until the tape is played again, at which point the display willupdate to the new value being sent.

To cope with timecode dropouts, the SMPTE reader ‘flywheels’ for a shortperiod after which the timecode stops.

Control Button SupportTo provide feedback to the console transport control buttons the tapemachine should support ‘tally’ messages (i.e. feedback from the tapemachine of its status). If this is not provided the console will try to interpretany timecode received to give an accurate status indication.

MIDI Timecode Master ModeGhost uses its own internal clock as a timecode reference for mixing. It alsosends out MIDI timecode. This mode would normally be used with asequencer which can chase to MTC.

Transport ControlsControl timecode sent out by Ghost.

Locate to timecodeSupported.

Record EnableNot supported.

Jog/ShuttleShuttle not supported (use FF or REW).

Setup NotesConnect MIDI out cable from Ghost to sequencers etc.

MIDI Timecode Slave ModeThe automation slaves to incoming MIDI timecode. The transport buttons onthe console indicate whether timecode is running, stopped, etc. The consoletransport buttons have no effect on the tape machine.

Transport ControlsDisplay only, by using timecode values returned by the tape machine.

Setup NotesConnect MIDI cable from external MIDI Timecode source to console MIDI in.

MIDI Machine Control with MTC ModeThis allows Ghost to work with a tape machine which can be controlledusing the generic MIDI Machine Control (MMC) protocol and which alsosends the timecode as MIDI Timecode (MTC) on the same MIDI output as theMMC tallies.

Transport ControlsAll supported, machine required to send back tallies in closed loop systems.

Locate To TimecodeSupported.

Record EnableSupported.

Jog/ShuttleNot supported.

Setup NotesSee tape machine manual.

Other NotesBoth generic Open and Closed MIDI loop system drivers are available.There are also some drivers for specific machines. (See table on Transportand MIDI page.)

MIDI Machine Control with LTC ModeThis allows Ghost to work with a tape machine which can be controlledusing the generic MIDI Machine Control protocol and which sends thetimecode as SMPTE Longitudinal Timecode (LTC).

Transport ControlsAll supported, machine required to send back tallies.


Record EnableSupported.

Jog/ShuttleNot supported.

Setup NotesConnect the timecode output of the tape machine to SMPTE In on Ghost. Also connect MIDI cables both ways, from the console MIDI Out to thetape machine’s MIDI controller, and from the MIDI controller to Ghost’sMIDI In.

Other NotesClosed loop system required.

LTC Timecode (Master) ModeGhost uses its own internal SMPTE generator as a timecode reference formixing. It also sends out SMPTE from its SMPTE Out socket. This mode wouldnormally be used with a tape machine that can chase timecode, but doesnot have specific transport control support.

Transport ControlsChase to SMPTE timecode sent out by Ghost.

Locate To TimecodeChase.

Record EnableNot supported.

Jog/ShuttleShuttle not supported (use FF or REW).

Setup NotesConnect SMPTE Out from Ghost to Timecode In on tape machine.

LTC Timecode (Slave) ModeThe automation slaves to incoming SMPTE timecode. This mode would beused for a tape machine which has no interface for the Ghost to control it,but which has SMPTE timecode recorded on one track.

Transport ControlsDisplay only, by using timecode values returned by the tape machine. The transport buttons on the console indicate whether timecode is running, stopped, etc.

Setup NotesConnect tape machine SMPTE signal to SMPTE In on Ghost.

Sony 9-Pin ProtocolGhost can control a number of different machines via the Sony 9-Pin protocol.

Transport ControlsAll supported, machine required to send back tallies.


Record EnableGeneric mapping available for VTR audio tracks.

Jog/ShuttleFully supported.

Setup NotesConnect Sony 9-Pin port to tape machine and connect Ghost SMPTE In totape machine timecode generator. (The tape machine is usually the timecode master in this setup.)

EQ Curves

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

HF Section

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

HMF Section

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

LF Section

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

LMF Section

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.0

-25.0

-30.0

-35.0

-40.010 100 1k 10k

Low Cut Filter

Frequency/Hz

dB

Low frequency section High frequency section

Low mid frequency section High mid frequency section

Low cut filter


ghost typical specifications - soundcraft

Documents