Ghost Brochure 08/98

Ghost Brochure 08/98
25/1/02 12:16 pm
Page 1
Ghost Typical Specifications
INPUT CHANNEL
Microphone input
Console Input/Output circuit types
Sensitivity range for 0VU output...........-8dBu to -60dBu
Maximum input level...................................................+14dBu
Input impedance............................................................2k ohm
Common Mode Rejection Ratio
(CMRR) 1kHz Typical figure
.....................................................-90dB @ sensitivity -30dBu
Equivalent input noise EIN.
22Hz-22kHz measured at insert point
................................................-128dBu @ sensitivity -60dBu
150 ohm mic input load.
................................................-122dBu @ sensitivity -30dBu
Line input
Sensitivity range for 0VU output........+12dBu to -40dBu
Maximum input level...................................................+34dBu
Input impedance..........................................................15k ohm
Common Mode Rejection Ratio
(CMRR) 1kHz................................-60dB @ sensitivity 0dBu
Insert send & return
Nominal level.....................................................................-2dBu
Maximum level ..............................................................+22dBu
Maximum send load .....................................................2k ohm
Direct Output level
Channel output selected................................................-2dBu
Group output selected..........+4dBu/-10dBV link selected
Electronically balanced inputs:
Microphone, Line, Mix B, Stereo Return, 2-Track
Unbalanced 75ohms inserts: Channel, Group, Mix
Unbalanced 75ohms outputs: Channel Direct
Ground Compensated 75ohms outputs:
Group, Studio, Aux, Mix & Mix B
TYPICAL CONSOLE PERFORMANCE
Attenuation. All at 1kHz
Long Fader attenuation
From top to bottom.........................................................-90dB
MixB rotary fader attenuation
From max to min ..............................................................-70dB
Mute attenuation Channel & MixB............................-80dB
Pan isolation, ie from left to right ..............................-70dB
THD+n. (harmonic distortion)
1dB below clipping, 1kHz
Mic/Line to Direct output.............................0.002% EQ out
.................................................................................0.003% EQ in
MixB to Direct out (Swap pressed)...........................0.002%
Direct output noise
22Hz-22kHz Mic sensitivity @ -10dB
Channel Fader at unity..................................-95dBu EQ out
.................................................................................-93dBu EQ in
Frequency response
Tape Return input
Sensitivity at calibrated centre detent .....................+4dBu
Tape trim range .............................................-15dB to +15dB
Input impedance.......................................................>24k ohm
Common Mode Rejection Ratio
(CMRR) 1kHz: ...........................-60dB @ Calibrated detent
Low Cut Filter
Frequency ...........................................................................100Hz
Type of filter ....................................3 pole, 18dB per octave
Mic/Line input to any output .......................20Hz - 20kHz
.....................................................................................(+0/-0.5dB)
......................................................................Sensitivity @ 30dB
Crosstalk
Mic input to Line input crosstalk.............-100dB @ 1kHz
Line input to Mic input crosstalk ...............-90dB @ 1kHz
MixB to Channel crosstalk............................-80dB @ 1kHz
Channel to MixB crosstalk............................-75dB @ 1kHz
Bus noise
Equaliser section
HF Eq. turnover frequency ............................................12kHz
Maximum boost/cut...................................................+/- 15dB
LF Eq. turnover frequency................................................60Hz
Maximum boost/cut...................................................+/- 15dB
HMF Eq. frequency range...........................400Hz to 20KHz
Q range .............................................................................0.7 to 6
Maximum boost/cut...................................................+/- 15dB
LMF Eq. frequency range..............................25Hz to 1.5kHz
Q range .............................................................................0.7 to 6
Maximum boost/cut...................................................+/- 15dB
MASTER SECTION
Nominal levels
22Hz-22kHz Channel faders down
+4dBu/-10dBV selected to +4dBu
Group outputs 1 to 8
Group fader at unity, nothing routed .....................-90dBu
24 channels routed, chan faders down...................-80dBu
32 channels routed, chan faders down...................-78dBu
Mix fader at unity, nothing routed..........................-90dBu
24 channels routed, chan faders down...................-80dBu
32 channels routed, chan faders down...................-78dBu
Dimensions and weights
Group output level.................+4dBu/-10dBV link selected
Group insert level.............................................................-2dBu
Aux output level ..............................................................+4dBu
Mix output level ..............................................................+4dBu
Mix insert level..................................................................-2dBu
Mix B output level...........................................................+4dBu
CRM/ALT/Headphones level .............+14dBu at maximum
Studio outputs..................................................................+4dBu
2 Track inputs ...................................................................+4dBu
Stereo return inputs .......................................................+4dBu
mixing for the next millennium
Mix outputs L & R
CH
24
32
24 exp.
Overall width
Weight(kg/lb)
1059.36mm (41.71”).............................44.0/97
1303.20mm (51.31”) ..........................53.6/118
815.52mm (32.11”) ...............................33.0/73
SOUNDCRAFT
HARMAN INTERNATIONAL INDUSTRIES LTD.
CRANBORNE HOUSE, CRANBORNE RD.,
POTTERS BAR, HERTS, EN6 3JN, UK.
TEL: +44 (0)1707 665000
FAX: +44 (0)1707 660742
EMAIL: [email protected]
http://www.soundcraft.com
SOUNDCRAFT US
AIR PARK BUSINESS CENTER 12
1449 DONELSON PIKE
NASHVILLE TN 37217, USA.
TEL: 1-615-360-0471
FAX: 1-615-360-0273
Part No.
A4; ZL0338
US; ZL0339
Side elevation with optional meterbridge
Soundcraft reserve the right to improve or otherwise alter any information supplied in
this document or any other documentation supplied hereafter.
E&OE 9/98
Ghost Brochure 08/98
25/1/02 12:17 pm
Page 3
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 digital
recorders, and improvements all through the live and
studio audio chain, today’s mixers have to stand up
to closer sonic scrutiny than ever before. At the same
time, mixing has become less a process that takes
place at the console alone, and more one that
involves outboard effects, samplers, and
synchronisation of audio and video recorders. It’s a
big task for a mixer to keep in touch with all of that
– which is why Soundcraft created Ghost, the
ultimate affordable analogue recording console.
Simply put, Ghost is the only desk that delivers the
audio precision, quality and all the control features of
a big studio desk without the usual prohibitive price
ticket.
The EQ, for instance, is directly comparable to that of
the classic Soundcraft 3200 and Europa consoles. No
compromises.
An all-new mic preamp, ProMic, has been developed
just for Ghost. Its performance alone puts Ghost into
a different league from other consoles of similar
price.
The killer punch, however, is delivered by Ghost’s
integral computer-based machine control and mute
automation. Derived from the innovative Soundcraft
DC2020 post-production console, the machine
control in Ghost makes it far more than just another
mixer. It actually forms the heart of an automated
recording setup with countless benefits in ease of
use 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 for
handling a wide range of recording and mixing applications.
Whether for studio or live recording, or mixing for picture, this is
a console that offers unparalleled flexibility and value.
Ghost is an in-line multitrack mixer with a Mix B path (often
called monitor path), as well as the main signal path on each
channel strip. It’s called “Mix B” because the architecture of the
signal routing is much more flexible than that suggested by the
term “monitor”, offering many of the features normally found
only on a main input channel. Unlike many mid-range consoles,
Ghost doesn’t restrict facilities such as muting and EQ to the
main channel path.
24 and 32 channel frames are available, providing 56 and 72
inputs respectively at mixdown. In addition, using the 24 channel
expander unit, a further 48 inputs at mixdown are possible.
There’s signal level indication on each channel as standard, plus
an optional meterbridge with 12-segment channel meters and
20-segment left/right master meters, for more precise metering.
Ghost’s audio path combines traditional analogue benefits, and
innovations like Soundcraft’s latest high-performance ProMic
mic preamp, with automated muting on both the main channel
and Mix B inputs. The automation is based on the advanced
technology used on Soundcraft’s ground-breaking DC2020
console, and proven in both professional recording and postproduction environments.
Unlike other mixers, Ghost’s ProMic mic amplifier offers smooth
control over a wide gain range – up to 60dB. It’s amazingly
quiet, giving greatly improved noise performance in the midgain region, with enough headroom for peaks from drum kit
mics, and extremely low distortion figures.
EQ is a crucial part of a mixer, and the EQ on Ghost is designed
without compromise – two fully parametric overlapping mid
bands, with shelving high and low filters. Classic ‘British EQ’, in
fact, 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 corrective
EQ to an awkward live signal.
Being able to swap main and Mix B inputs, and split the EQ
between the two paths, Ghost allows a high degree of control
over a mix. Professional features on the channel strip include
individually switchable phantom power, phase reverse and plenty
of aux sends – 10 aux busses including 2 stereo pairs in all.
There’s level and peak metering on every channel, and both the
main and Mix B paths have MIDI muting and PFL, while the main
channel 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 5
GHOST PUTS YOU IN CONTROL
TRANSPORT AND AUTOMATION
As on the biggest studio consoles, Ghost’s master section offers
full transport control for analogue and digital tape recorders, VTRs,
and hard disk recorders, equipping it for remixing, mixing for
picture, or live recording sessions. A built-in timecode
reader/generator means that Ghost is compatible with professional
audio or video equipment, supporting both MIDI timecode and
SMPTE. (See table).
Ghost also has comprehensive MIDI support. Certain faders can be
used to transmit MIDI controller data, for automated effects
control. MIDI Sequencer transport functions can be controlled
from the Ghost master section, and external MIDI data from a
sequencer can be used to automate desk mutes dynamically.
Whether under MIDI control or switched by the desk’s own mute
groups, all mutes benefit from ‘soft cut’ switching, effectively
fading a signal in a few milliseconds (rather than cutting it
instantly), thereby avoiding any sudden clicks or thumps. (Even
some so-called ‘silent switches’ will introduce an audible ‘Fourier
click’ if they operate too fast.)
SOUNDCRAFT GHOST MACHINE CONTROL NOTES
Protocol support
Machine/Protocol
MIDI
MIDI
LTC
LTC
Fostex
Fostex
Fostex
MMC
MMC
MMC
Alesis
Alesis
Tascam
Tascam
Sony
Sony
Sony
Akai
Timecode source
Timecode master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Internal
Timecode slave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC (MIDI Timecode)
Timecode master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Internal
Timecode slave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
R-Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
G-Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
RD-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC (Using MIDI Machine Control)
General Closed Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
General Closed Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
Open Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
ADAT and AI2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
ADAT and BRC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
DA88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
DA88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
UVW1800 9-pin plus DA88 MMC track enable. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
9-pin P2 (48 track record enable). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
9-pin P2 (no record enable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
DR4/DR8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
All trademarks acknowledged
THE JOG/SHUTTLE WHEEL
Group faders 1 to 4 double up as MIDI faders, allowing the control
of effects units or levels on digital audio systems – anything that
can be controlled by MIDI continuous controller data. Transport
controls use MIDI Machine Control or Sony 9-pin protocol for
remote operation. LEDs above the Rew, FF, Stop, Play, Track Enable
and Record buttons offer ‘tally back’ confirmation that a machine
is responding. Ghost’s internal software supports a wide range of
machines such as the Alesis ADAT, Tascam DA88, etc. See the table
above, and Machine Control Notes inside back cover for further
details.
Above the transport controls, four locate buttons let you jump to
cue 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 the
desk receives timecode, or by specifying precise timecode locations.
To the left of the transport controls, an 8-character display shows
incoming timecode, as well as providing a display facility to set up
and edit the desk’s MIDI fader facilities.
A third mode displays the snapshot number currently recalled. 128
of 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 recalled
directly using their program change number. Mute settings can
also be stored against the four multi-function buttons, which act
like four mute groups, layering their stored mutes together when
several are called at once. It is sometimes useful to assign groups
of channels in this way, especially in a live situation.
When supported by a recording machine, the jog/shuttle wheel
allows an operator great precision in locating edit points – the
points in a song, or in video post-production the points in a film,
where some change is required in the mix. The wheel provides a
very 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 machine
control facilities. The CPU in Ghost’s master
section provides full remote control - with
autolocation points - of audio tape
recorders, VTRs or digital audio
workstations. Without even turning away
from your mixer you can drop tracks into
and out of record and loop, while Ghost’s
mute automation constantly locks to
incoming timecode. You can even scrub
video and audio with the jog/shuttle wheel.
25/1/02 12:17 pm
Page 7
MASTER SECTION
INPUT CHANNEL
Ghost’s master section provides just as much in the way of output
and monitoring control as it does transport and MIDI facilities. Each
of the eight groups gets its own 100mm fader, with routing to the
main stereo mix bus in mono or stereo (odd numbered groups feed
left, even numbered groups feed right), and AFL. Metering, for
groups and the main stereo mix bus, is via 12-segment bargraphs
above the CPU. Group inserts and ground-compensated group
outputs are located on rear panel jack sockets. These sends, as well
as the channel direct outputs, can be switched to +4dBu or -10dBV
operation via an internal jumper option.
The main stereo mix output is via a 100mm stereo fader, with a
second rotary fader for the Mix B output. The stereo Mix B signal
can be switched into the main mix bus, pre fader, when you want to
use Ghost’s full input potential at mixdown.
The four stereo effects returns each have a PFL solo facility with
precision level and balance pots. Each can be routed to the main
mix bus and to any of the four pairs of sub-groups.
Aux sends are on ground-compensated jack outputs, with a rotary
fader and AFL solo for each bus; auxes 7/8 and 9/10 are combined
on two stereo send pots.
The master output section allows the use of several sets of studio
and control room speakers, and headphones. In addition to the
main mix output and Mix B outputs, there are two sets of Control
Room outputs, allowing you to switch between two alternative
sets of monitors at the flick of the Alt switch. Both Main and Alt
outputs can be summed to mono, to check mono compatibility.
The source for the Control Room outputs is switchable between
Main Mix and Mix B (both post-master fader), and two sets of 2track tape inputs. Two sets of Studio outputs, A & B, are also
provided. Each has its own level control and AFL, and can be
sourced from the Control Room monitor signal, Mix B, or from the
Aux 1 & 2 outputs. Two sets of headphones can be used; one via
the main headphones output, which disconnects the control room
speaker outputs, whilst a second can be driven from the Studio B
outputs. (See System Configuration diagrams for examples.)
Ghost’s talkback section allows the built-in electret mic to be
momentarily routed to the studio outputs, to auxes 1 & 2, or to the
main stereo mix and group outputs. A level control is provided.
As well as PFL/solo-in-place switching, there’s also a trim control
for the output level of PFL and AFL solo, to control room outputs.
The oscillator, routed to the group output, is switchable between
1kHz and 10kHz, with gain variable from -∞ to +15dBu.
in place of the regular Mix B path, the post-EQ, pre fade
On the rear panel, each channel offers balanced XLR mic
main channel signal – for an additional stereo aux send,
and balanced 1/4” jack line inputs to the main channel
perhaps, or a stereo monitor mix.
path, a balanced jack Mix B input, jack tape send, and jack
Ghost has all the connections required for
insert point (pre-fade, pre-EQ). Phantom
Plot of fader attenuation vs. fader travel
multitrack recording. Tape tracks can be
power is individually switched on each mic
fed from the channel direct outputs, or
input, rather than in blocks of 8 or more.
switched individually on each channel to
The routing of Main and Mix B input
feed from the group busses which are
signals to the two channel paths can be
allocated in blocks of eight (i.e. channels
reversed for more control over the Mix B
1-8 from groups 1-8, channels 9-16 from
signal – at mixdown, for example.
groups 1-8, channels 17-24 from groups
Mic input gain is variable from +8 to
1-8).
+60dB. The Mic/line switch selects either
Both the main channel and Mix B path
mic or line level input to the channel. Line
have solo and cut features. Mute settings
input gain is from -12dB (for very high
can be individually switched, stored into
levels) to +40dB. Mix B also has a trim
snapshot memories in the master section for recall later at
control, offering ±15dB of gain variation.
cue points, allocated to four internal mute groups, or
The main channel path provides Phase Reverse, essential
remotely switched via MIDI.
for full control in live recordings or any application where
the phase of signals may vary, and a 3-pole (18dB/octave)
100Hz low cut filter to treat low frequency vibrations.
CHANNEL METERING
The EQ section of Ghost offers an unprecedented level of
tonal control for a console in this class, with two fully
Channel metering is via a single LED next to the channel
parametric mid bands in addition to the high frequency
fader that glows brighter as signal level increases,
and low frequency bands. The mid bands overlap, offering
augmented by a peak LED that meters four points in the
a high degree of flexibility, covering 25Hz - 1.5kHz and
signal path – at the output of the mid EQ bands, after
400Hz - 20 kHz. Q is continuously variable from 0.7 to 6,
the low-cut filter, after the HF and
with up to 15dB of cut or boost. The shelving HF and LF
LF bands, and after the channel fader. For more
bands operate at 12kHz and 60Hz, with 15dB of cut or
comprehensive input level metering, an optional
boost. If both the main and Mix B channel paths are being
overbridge is available.
used simultaneously, and both require a degree of EQ, then
the LF and HF bands can be switched into the Mix B path.
MIC AMP
A total of 10 aux busses are provided – six mono sends and
two stereo. Auxes 1 & 2 are switched as a pair to pre or
Ghost’s ProMic is the best mic pre-amp
post-fade operation. Auxes 3 & 4 are post-fade, and can
be switched as a pair from the main channel signal path to
Soundcraft has ever produced with
Mix B, making the latter much more than just a tape
much lower noise in the low and mid
return path. Another switch re-routes the signal from
gain settings, high gain noise
these two pots to aux sends 5 & 6. The two sets of postperformance equal to consoles many
fader stereo sends, 7/8 and 9/10, are each controlled by a
times the price and superior mid gain
single pot, and follow the channel pan settings.
The main channel signal output level is set by a 100mm
performance.
linear fader, designed for smooth operation, excellent
The sensitivity control is superattenuation and long life. Its construction and rightsmooth for fine adjustment of level,
angled mounting are such that dust and dirt falling
even at high gain. Ghost’s customised
through the fader slot will not foul the fader track.
Routing switches send the panned signal to the main
pot ensures that the gain range is
stereo mix bus, or to any of four pairs of groups: 1 & 2, 3
equally distributed which means that
& 4, 5 & 6, 7 & 8. The Mix B signal has rotary pan and level
getting the right gain setting is
controls, and is sent only to the stereo Mix B bus. A Source
always easy.
button allows the Mix B pan and level controls to pick up,
0
10
20
30
Fader Travel (mm)
Ghost Brochure 08/98
40
50
60
70
80
90
100
+ 10
0
-10
-20
-30
-40
-50
Fader Attenuation (dB)
-60
-70
Ghost Brochure 08/98
25/1/02 12:17 pm
Page 9
EQ - NOBODY DOES IT BETTER
SOUNDCRAFT - GREAT BRITISH EQ
Soundcraft have been making mixers for
over 20 years, and throughout this time the
Soundcraft EQ has remained at the top of
the list of reasons why people love our
desks, and why top artists rely on
Soundcraft technology on stage and in the
studio. Smoothness, musicality, and ease of
use are qualities that appeal to engineers
who use classic Soundcraft designs such as
the 3200 and Europa – the same qualities
are to be found on Ghost.
setting of 25Hz, delivering precise control over the full filter
range. Thanks to custom-designed pots, there’s no ‘squeezing’ of
range as you twist them all the way round (where a small
movement of a pot near the end of its travel produces a bigger
change 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 and
12kHz, they are perfectly placed to roll off or enhance the most
important low and high frequency components without
interfering with and muddying the mid bands. Whilst they
complement the two mid bands perfectly, the frequencies chosen,
and the wide range of those two mids, means that when the HF
and LF bands are switched into the Mix B channel path, both
channel signal paths are equipped with practical EQ facilities.
An EQ In/Out switch lets you hear what the
Whilst most parts of the mixer’s audio chain
High and Low Mid Range Equalisation Characteristics
channel sounds like with or without EQ - a
must alter a signal as little as possible, EQ has
HMF Section
valuable instant reference facility that no
20.0
the tricky task of allowing tonal modifications
15.0
professional engineer would be without. Also,
to specific parts of a signal without affecting
10.0
when switched out, the audio signal bypasses
5.0
the rest, whether for bringing out the
the EQ circuitry altogether, reducing the
0.0
character of a voice or instrument, resolving
-5.0
likelihood of noise.
elements in a mix, or correcting a troublesome
-10.0
There are very good reasons why Ghost’s EQ
-15.0
signal. Ghost’s 4-band EQ section offers the
performs to such a high standard. Each mid
-20.0
20
100
1k
10k
20k
same precision and warmth that Soundcraft
band on Ghost uses four op-amps, with highconsoles are renowned for – the classic
LMF Section
grade bi-polar types for the main signal.
20.0
attributes of ‘British EQ’. It’s accurate,
Some desk designs attempt to achieve
15.0
consistent and reliable – the same control
10.0
parametric performance with only three op
5.0
positions produce the same predictable results
amps, but there’s a price: only a truly
0.0
every time. The wide-ranging mid bands are
parametric EQ like Ghost’s preserves accurate
-5.0
fully parametric, allowing independent control
-10.0
gain values even when you push the Q and
of filter frequency, 15dB of cut/boost, and Q.
-15.0
frequency settings to the limit, and only such
Whether you need to bring up a broad range of -20.020
100
1k
10k
20k
a circuit will avoid distortion at extreme
frequencies, or notch out a narrow band, you
settings. The response of the Ghost EQ is at all
can do it cleanly and quickly. The lo-mid band covers the range
times predictable, precise, and has the warm sound that has won
25-1,500Hz, and the hi-mid covers 400-20,000Hz, providing full
Soundcraft praise from engineers around the world.
coverage of the audio spectrum from the deepest bass to the
upper limit of human hearing, with a very usable overlapping
region. In reaching all the way down to 25Hz, the lo-mid band
SPLIT EQ
goes deeper than other parametric EQ filters. That gives Ghost the
flexibility to cope with a wide range of musical and mixing styles,
With two inputs on each channel, split EQ
including modern dance music where control of ultra-low bass
frequencies is important. Even the hi-mid reaches down to 400Hz,
means you can apply control where it’s
allowing both parametric bands to be applied to bass frequencies
needed. Normally all EQ bands affect the
for even finer control.
main path, but the high and low bands can
Q, the measure of the filter’s bandwidth, is continuously variable
be switched into Mix B – perhaps to lift
from 0.7 to 6. As the response curves (see opposite) show, over the
high frequencies on a tape track.
full range of settings the filter response remains even and smooth.
Q and boost settings remain accurate even down to the lowest
dB
Frequency/Hz
dB
Frequency/Hz
Ghost Brochure 08/98
25/1/02 12:17 pm
Page 11
A SOLID INVESTMENT
INTERNAL 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
designed for use on Ghost – no off-the-shelf components would
meet the specifications required by our designers and yet still be
small enough to pack all of the controls into Ghost’s frame. Gold
plated pins are used on the connectors of all boards to minimise
noise in the audio path.
WHY BE PICKY ABOUT COMPONENTS?
board underneath. Vertical boards allow the desk to function even
if an individual channel is removed, and make servicing and repair
High quality components ensure that an electronic circuit behaves
a good deal easier. Should anything need replacing, all
as it is designed to. It is vitally important that no compromises are
components are readily available from Soundcraft distributors
made in component selection as relatively small differences in
around the world.
their resistance or capacitance can have a disproportionate effect
Ghost’s custom pots and faders are vital to its excellent audio
on a circuit. It is also important that the passage of time, changing
performance. Properties such as end stop resistance (how much
temperature, or other changes in environment do not affect a
attenuation a knob offers at the end of its travel), and usable
component’s performance – only high quality parts have the
fader laws with predictable attenuation characteristics and
necessary stability.
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 most
consoles use - but creating less noise and distortion. Not only are
the components themselves superior in terms of audio
performance, but their ability to drive lower impedance loads
means that the signal path as a whole can be designed for lower
inherent noise, one of the sources of which is impedance-related
‘Johnson Noise’. All pots and faders have been specially
Soundcraft is the world’s leading
manufacturer of professional mixing
consoles, for applications ranging from film
and TV post-production, through music
recording, to live and installed sound. We
know what professionals need in a mixer,
and how to deliver it in a rugged, costeffective design that is built to withstand a
lifetime of hard work. Which is why, over 20
years after we started making them,
thousands of Soundcraft mixers – including
Europas, 3200s, Deltas, Venues and Viennas
– are still going strong.
Ghost Brochure 08/98
25/1/02 12:18 pm
Page 13
EXPANDER AND GHOST LE
GHOST EXPANDER
Should you ever run out of inputs on your Ghost, there’s a simple
solution – the Ghost Expander. This 24-channel extension module
features removable side panels allowing it to be positioned flush
alongside a Ghost or Ghost LE for configurations up to 56 inputs –
a massive 120 separately controllable inputs on mixdown. The
channel strips are identical to those on the Ghost and Ghost LE,
and the audio bussing integrates fully, via a single D-type
connector and ribbon cable, with the eight group busses, 10 aux
sends, solo detection and solo-in-place functions on the main
desk. Furthermore, when the expander is added to a Ghost, its
MIDI and mute functions are integrated with, and controlled from,
the main console’s master section.
GHOST LE
Ghost LE is a stripped-down version of
Ghost, designed for users who do not
need transport control or MIDI facilities.
Channel strips are identical to Ghost,
offering the same superb audio quality
and facilities, and all audio facilities of
the master section are also carried over.
The CPU and its associated facilities,
however, are omitted. Mutes can be
switched manually, but there is no
mute automation or mute
grouping, and no machine control
or MIDI support. Ghost LE is
ideally suited to live recording
and mixing, installed sound, or
recording applications where
little or no MIDI equipment
is involved.
Ghost Brochure 08/98
25/1/02 12:18 pm
Page 15
System Configuration Examples
Audio recording (shown with optional expander)
Playback/mix-down
AUDIO RECORDING
Ghost is designed to connect to
STUDIO/PERFORMANCE AREA
KEYBOARD
INSERT COMPRESSOR
MICROPHONES
POWER
DATA ENTRY
LEVEL
Main and MixB inputs will be
dedicated send and return jack
EFFECTS UNIT
POWER
At this stage, it is likely that the
SEQUENCER
GUITAR
SAMPLERS
PLAYBACK/MIX-DOWN
multitrack tape machines via
FOLDBACK
MIX
(Transport controlled
from Ghost MMC)
KEYBOARD
swapped over so that the
DATA ENTRY
sockets, avoiding the need to
DIGITAL MULTITRACK
TAPE SEND/RETURNS
STE FX1
DAT RECORDER
repatch. Ghost’s transport
STE AUX 7
POWER
C/Rm
main sound source. Additional
REC LEVEL
LEVEL
DATA ENTRY
ON
DAT
EJECT
0
10
sound sources required at
LEVEL
DATA
CURSOR
DIGITAL MULTITRACK
MIX L/R
transports via a number of
KEYBOARD
TONE MODULE
AUDIO SAMPLER
buttons will control tape
STUDIO B
multitrack machines become the
MIDI
DRUM MACHINE
MIC
mixdown can also be connected
TAPE
SEND/RETURN
MIDI
MICROPHONES
protocols. Sound sources are
GUITAR
SAMPLERS
EFFECTS UNIT
STE FX 1
TAPE
SEND/RETURN
POWER
via extra channels or via MixB
DATA ENTRY
STE AUX 7
C/Rm
connected to channels as
paths. It is likely that a
required and input processors,
sequencer will still be controlled
POWER AMP
CHANNEL
A
MONO
0
BRIDGE
POWER AMP
such as compressors or gates,
VOLUME
B
POWER
CHANNEL
A
10
from Ghost, via MIDI, to
VOLUME
B
POWER
TEMP
MONO
0
BRIDGE
10
TEMP
can be inserted into the channel
HEADPHONES
generate input from sound
HEADPHONES
path. Effects units are fed from
modules. The end result is a
auxiliary outputs in the master
CONTROL ROOM
MONITORS
stereo mix, recorded onto DAT or
section and return via the stereo
some other high quality
CONTROL ROOM
MONITORS
return inputs. Multiple outputs
mastering medium.
are possible, including the main
MACHINE CONTROL VIA MIDI
ENGINEERS
HEADPHONES
monitor mix and secondary
mixes for separate performance
space headphones.
Composing to picture
Many of the same machines and
Live public address
COMPOSING TO PICTURE
Ghost can also be used for live
sound sources will be connected
DATA ENTRY
LIVE PUBLIC ADDRESS
PA work. Live sound sources are
SEQUENCER
(Can control Mutes
on Ghost)
EFFECTS UNIT
POWER
to Ghost as in the previous
input in the usual way, treated
KEYBOARD
POWER AMP
KEYBOARD
example. However, it is likely
STE FX1
MICS
CHANNEL
A
VOLUME
B
POWER
MONO
as necessary by effects and
STE AUX 7
BRIDGE
0
10
TEMP
HEADPHONES
MIDI
DIGITAL MULTITRACK
that these will include an
ON STAGE
MONITORS
TAPE
SEND/RETURN
TONE MODULE
POWER
to inserts and auxiliaries, and
AUDIO SAMPLER
IN
AUX 2
EFFECTS UNIT
STE FX 1
POWER
DATA ENTRY
STE AUX
LEVEL
DATA ENTRY
external MIDI sequencer, which
AUX 1
dynamics processors connected
IN
GRAPHIC EQUALIZER
MIX L/R
POWER
LEVEL
TAPE
SEND/RETURN
drives a number of sound
the automatic mutes on Ghost.
CURSOR
MIDI
modules and can also control
TIMECODE
C/Rm
Alt
POWER AMP
equaliser to the main front of
POWER AMP
IN
VTR PLAYBACK
CHANNEL
A
CHANNEL
VOLUME
B
POWER
OUT
MONO
0
BRIDGE
10
house speakers. Auxiliary mixes,
HEADPHONES
TEMP
HEADPHONES
Additionally, there will be a VTR
IN
switched pre fade, can be used
to provide monitor mixes to the
player, which will follow Ghost’s
musicians on stage - up to four
Sony 9 pin protocol transport
CONTROL ROOM
MONITORS
messages. Multitrack tape
TV STYLE
SPEAKERS
machines can be set to chase
separate mixes if using MixB as
a pre fade stereo bus. The 4
mute groups, controlled from
the VTR’s timecode generator.
MONO
POWER
BRIDGE
HEADPHONES
Ghost’s onboard computer, are
TEMP
SONY 9-PIN MACHINE CONTROL
VOLUME
B
POWER
MONO
BRIDGE
TEMP
A
ON
then output via a graphic
DATA
particularly useful in a live
situation.
D.I.
BOX
0
10
FX INPUTS 2 TO 4
ARE SIMILAR TO
FX INPUT 1
RIGHT
FX INPUT 1
LEFT
TAPE I/P
PHASE
PFL
+4/-10
(SNIP RESISTORS
TO SELECT
-10dBV)
LINE
FROM
48V
LEVEL
TAPE
TRIM
INPUT
SENS
-20
LCF
LCF
BAL
SIGNAL
DETECT
REV
SOURCE
EQ TO MON
LF/HF
EQ
EQ
IN/OUT
MIX B
FADER
LF/HF
EQ
PEAK
DETECT
PEAK
100mm
CHANNEL
FADER
LMF/HMF
EQ
CUT
MUTE
7-8
5-6
3-4
1-2
MIX
GROUP N/
DIRECT
MUTE
CUT
DIRECT
OUTPUT
PFL
PFL
RIGHT
PAN
LEFT
PAN
MON
PRE
7-8
5-6
3-4
1-2
L-R
AUX 8
(STEREO)
AUX 4
AUX 3
AUX 2
AUX 1
AUX 7
(STEREO)
SOLO
5-6
SOLO
SIP
SIP
2-TRACK A R
2-TRACK A L
2-TRACK B R
2-TRACK B L
CPU
GROUP 2
INSERT
GROUP 1
INSERT
MIX RIGHT
INSERT
MIX LEFT
INSERT
AFL
AFL
AUX 1
100mm
GROUP
FADER
100mm
GROUP
FADER
AFL/PFL
TRIM
L+R
L+R
AUX7
MASTER
FADER
MIX B
MASTER
FADER
100mm
MASTER
FADER
MIX R
MIX L
R
L
INTERNAL
JUMPERS
+4
-10
INTERNAL
JUMPERS
+4
-10
MIX A
MIX B
2TKA
2TKB
CONTROL-ROOM
SOURCE SELECT
PFL
AFL
CRM
LEVEL
GROUP 1
OUTPUT
GROUPS 4, 6 & 8
ARE SIMILAR TO GROUP 2
GROUP 2
OUTPUT
M
I
C
R
O
P
H
O
N
E
-40
-50
-60
-70
-80
Ghost patch panel
GRP O/P BUS (1-8)
CPU MUTE BUS B
CPU MUTE BUS A
MIX B R
MIX B L
MIX R
MIX L
GRP 8
GRP 7
GRP 6
GRP 5
GRP 4
GRP 3
GRP 2
GRP 1
AUX 8 R
AUX 8 L
AUX 7 R
AUX 7 L
AUX 6
AUX 5
AUX 4
AUX 3
AUX 2
AUX 1
PFL/AFL R
PFL/AFL L
PFL DETECT
SOLO DETECT
SOLO CUT
Ghost rear panel
Stereo
Input
Mix/Group Outputs
DIM CTL
AUX 1-2
STU
TAPE
TALKBACK
ROUTING
OSC
AFL
+ 20
Group/Output Meter
Mix/Group Fader + 8dBu
Mix/Group Insert -2dBu
Mix/Group Bus
Direct Output -2dBu
L
I
N
E
Channel Fader + 8dBu
OSC TO
TAPE
+ 10
Optional Input Meter
ALT
MONO
CHECK
AUX2 TO AUX6 CIRCUITS
ARE SIMILAR TO AUX1
AUX1
OUTPUT
DIM
GROUPS 3, 5 & 7
ARE SIMILAR TO GROUP 1
AUX 1-2
MIX B
CRM
STUDIO A
SOURCE SELECT
AFL/PFL
OVERRIDE
MASTER
METER
AUX 8 CIRCUIT
IS SIMILAR
TO AUX7
AUX7 RIGHT
OUTPUT
AUX7 LEFT
OUTPUT
MIX B RIGHT
OUTPUT
MIX B LEFT
OUTPUT
MIX RIGHT
OUTPUT
STUDIO A
OUTPUT
TALKBACK
1k/10k
OSC
TB
MIC
STUDIO B OUTPUT
IS SIMILAR TO
STUDIO A OUTPUT
RIGHT
LEFT
HEADPHONES
ALT R
ALT L
CRM R
CRM L
System Block Diagram
Channel Insert -2dBu
METER
METER
MIX B
TO MIX
MIX LEFT
OUTPUT
25/1/02 12:18 pm
LINE I/P
MIC I/P
48V
PHANT
POWER
OPTIONAL
INPUT METER
INSERT
POINT
Ghost Brochure 08/98
Page 17
Level Diagram and Rear Panel
Ghost operating levels
+ 30
dBu
Headroom
0
+ 4dBu
-10
-20
-30
Ghost Brochure 08/98
25/1/02 12:18 pm
Page 19
EQ Curves
Ghost Machine Control Notes
Low frequency section
dB
High frequency section
dB
LF Section
HF Section
20.0
20.0
15.0
15.0
10.0
10.0
5.0
5.0
0.0
0.0
-5.0
-5.0
-10.0
-10.0
-15.0
-15.0
-20.0
20
100
1k
Frequency/Hz
10k
20k
Timecode Support
MIDI Machine Control with LTC Mode
The console will display the last timecode value sent by the tape machine.
This means that, for some machines, when you rewind the tape the displayed
timecode will correspond to the point at which it stopped. This will be
displayed until the tape is played again, at which point the display will
update to the new value being sent.
This allows Ghost to work with a tape machine which can be controlled
using the generic MIDI Machine Control protocol and which sends the
timecode as SMPTE Longitudinal Timecode (LTC).
To cope with timecode dropouts, the SMPTE reader ‘flywheels’ for a short
period after which the timecode stops.
-20.0
20
Frequency/Hz
1k
10k
Record Enable
Supported.
To provide feedback to the console transport control buttons the tape
machine should support ‘tally’ messages (i.e. feedback from the tape
machine of its status). If this is not provided the console will try to interpret
any timecode received to give an accurate status indication.
Jog/Shuttle
Not supported.
20k
Ghost uses its own internal clock as a timecode reference for mixing. It also
sends out MIDI timecode. This mode would normally be used with a
sequencer which can chase to MTC.
Transport Controls
Control timecode sent out by Ghost.
Low mid frequency section
High mid frequency section
dB LMF Section
dB
20.0
15.0
15.0
10.0
10.0
5.0
5.0
0.0
0.0
-5.0
-5.0
-10.0
-10.0
-15.0
-15.0
-20.0
20
100
Frequency/Hz
1k
10k
-20.0
20
20k
Locate to timecode
Supported.
HMF Section
20.0
Record Enable
Not supported.
1k
10k
20k
10.0
Transport Controls
Display only, by using timecode values returned by the tape machine.
Setup Notes
Connect MIDI cable from external MIDI Timecode source to console MIDI in.
Transport Controls
All supported, machine required to send back tallies in closed loop
systems.
5.0
0.0
Locate To Timecode
Supported.
-5.0
Record Enable
Supported.
-10.0
-15.0
Jog/Shuttle
Not supported.
-20.0
Setup Notes
See tape machine manual.
-25.0
Other Notes
Both generic Open and Closed MIDI loop system drivers are available.
There are also some drivers for specific machines. (See table on Transport
and MIDI page.)
-30.0
-35.0
-40.0
10
100
Frequency/Hz
1k
10k
Ghost uses its own internal SMPTE generator as a timecode reference for
mixing. It also sends out SMPTE from its SMPTE Out socket. This mode would
normally be used with a tape machine that can chase timecode, but does
not have specific transport control support.
Locate To Timecode
Chase.
This allows Ghost to work with a tape machine which can be controlled
using the generic MIDI Machine Control (MMC) protocol and which also
sends the timecode as MIDI Timecode (MTC) on the same MIDI output as the
MMC tallies.
Low Cut Filter
dB
LTC Timecode (Master) Mode
Setup Notes
Connect MIDI out cable from Ghost to sequencers etc.
MIDI Machine Control with MTC Mode
Low cut filter
Other Notes
Closed loop system required.
Transport Controls
Chase to SMPTE timecode sent out by Ghost.
The automation slaves to incoming MIDI timecode. The transport buttons on
the console indicate whether timecode is running, stopped, etc. The console
transport buttons have no effect on the tape machine.
Frequency/Hz
Setup Notes
Connect the timecode output of the tape machine to SMPTE In on Ghost.
Also connect MIDI cables both ways, from the console MIDI Out to the
tape machine’s MIDI controller, and from the MIDI controller to Ghost’s
MIDI In.
Jog/Shuttle
Shuttle not supported (use FF or REW).
MIDI Timecode Slave Mode
100
Locate To Timecode
Supported.
Control Button Support
MIDI Timecode Master Mode
100
Transport Controls
All supported, machine required to send back tallies.
Record Enable
Not supported.
Jog/Shuttle
Shuttle not supported (use FF or REW).
Setup Notes
Connect SMPTE Out from Ghost to Timecode In on tape machine.
LTC Timecode (Slave) Mode
The automation slaves to incoming SMPTE timecode. This mode would be
used for a tape machine which has no interface for the Ghost to control it,
but which has SMPTE timecode recorded on one track.
Transport Controls
Display only, by using timecode values returned by the tape machine. The
transport buttons on the console indicate whether timecode is running,
stopped, etc.
Setup Notes
Connect tape machine SMPTE signal to SMPTE In on Ghost.
Sony 9-Pin Protocol
Ghost can control a number of different machines via the Sony 9-Pin protocol.
Transport Controls
All supported, machine required to send back tallies.
Locate To Timecode
Supported.
Record Enable
Generic mapping available for VTR audio tracks.
Jog/Shuttle
Fully supported.
Setup Notes
Connect Sony 9-Pin port to tape machine and connect Ghost SMPTE In to
tape machine timecode generator. (The tape machine is usually the
timecode master in this setup.)