Ghost Brochure (V3) 22/5/1998 10:34 Page 2

mixing for the next millennium

Ghost Brochure (V3) 22/5/1998 10:35 Page 3

EVERYTHING YOU EVER WANTED IN A MIXER.

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 all of
the audio precision and quality and all of the control
facilities 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.
 Ghost Brochure (V3) 22/5/1998 10:36 Page 4

ED IN A MIXER.... AND MORE

QUALITY AND VERSATILITY

Ghost is a highly versatile 8-bus mixer, packed with facilities for EQ is a crucial part of a mixer, and the EQ on Ghost is designed
handling a wide range of recording and mixing applications. without compromise – two fully parametric overlapping mid
Whether for studio or live recording, or mixing for picture, this is bands, with shelving high and low filters. Classic ‘British EQ’, in
a console that offers unparalleled flexibility and value. fact, like that found on Soundcraft’s acclaimed 3200 and Europa
Ghost is an in-line multitrack mixer with a Mix B path (often consoles. The result is unsurpassed ability to control and correct
called monitor path), as well as the main signal path on each – for creative effect in a recording session, or applying corrective
channel strip. It’s called Mix B because the architecture of the EQ to an awkward live signal.
signal routing is much more flexible than that suggested by the Being able to swap main and Mix B inputs, and split the EQ
term “monitor”, offering many of the features normally found between the two paths, Ghost allows a high degree of control
only on a main input channel – unlike many mid-range consoles, over a mix. Professional features on the channel strip include
Ghost doesn’t restrict facilities such as muting and EQ to the individually switched phantom power, phase reverse and plenty
main channel path. of aux sends – 10 aux busses including 2 stereo pairs in all.
24 and 32 channel frames are available, providing 56 and 72 There’s level and peak metering on every channel, and both the
inputs respectively at mixdown. In addition, using the 24 channel main and Mix B paths have MIDI muting and PFL, while the main
expander unit, a further 48 inputs at mixdown are possible. channel path also offers true solo-in-place.
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 Soundcraft Ghost, Ghost LE and Ghost Expander are pictured
mic preamp, with automated muting on both the main channel throughout with optional meterbridge fitted.
and Mix B inputs, based on the advanced technology used on
Soundcraft’s ground-breaking DC2020 console, and proved in
both professional recording and post-production 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 mid-
gain region, with enough headroom for peaks from drum kit
mics, and extremely low distortion figures.
Ghost Brochure (V3) 22/5/1998 10:37 Page 5
Ghost Brochure (V3) 22/5/1998 10:37 Page 6

GHOST PUTS YOU IN CONTROL

TRANSPORT AND AUTOMATION

As on the biggest studio consoles, Ghost’s master section offers

SOUNDCRAFT GHOST MACHINE CONTROL NOTES
full transport control for analogue and digital tape recorders, VTRs,
and hard disk recorders, equipping it for remixing, mixing for Protocol support

picture, or live recording sessions. A built-in timecode Machine/Protocol Timecode source

reader/generator means that Ghost is compatible with professional MIDI Timecode master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Internal
MIDI Timecode slave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC (MIDI Timecode)
audio or video equipment, supporting both MIDI timecode and LTC Timecode master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
LTC Timecode slave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
SMPTE. (See table). Fostex R-Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
Ghost also has comprehensive MIDI support. Certain faders can be Fostex G-Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
Fostex RD-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC (Using MIDI Machine Control)
used to transmit MIDI controller data, for automated effects MMC General Closed Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
MMC General Closed Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
control. MIDI Sequencer transport functions can be controlled
MMC Open Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
from the Ghost master section, and external MIDI data from a Alesis ADAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AI-2
Alesis BRC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
sequencer can be used to automate desk mutes dynamically. Tascam DA88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
Whether under MIDI control or switched by the desk’s own mute Tascam DA88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
Sony UVW1800 9-pin plus DA88 MMC track enable. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
groups, all mutes benefit from ‘soft cut’ switching, effectively Sony 9-pin P2 (48 track record enable). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
Sony 9-pin P2 (no record enable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC
fading a signal in a few milliseconds (rather than cutting it Akai DR4/DR8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC
instantly), thereby avoiding any sudden clicks or thumps. (Even All trademarks acknowledged

some so-called ‘silent switches’ will introduce an audible ‘Fourier

click’ if they operate too fast.)
desk receives timecode, or by specifying precise timecode locations.
To the left of the transport controls, an 8-character display shows
Ghost offers totally integrated machine
incoming timecode, as well as providing a display facility to set up
control facilities, its CPU in the master and edit the desk’s MIDI fader facilities.
section providing full remote control with A third mode displays the snapshot number currently recalled. 128
autolocation points, of audio tape recorders, of these ‘snapshots’ record all channel and Mix B mute settings,
plus MIDI fader set up, locate points, and MIDI program change
VTRs, or digital audio workstations. Without
information. Snapshots can be referenced to incoming timecode,
even turning away from your mixer you can or recalled directly using their computer number. Mute settings
drop tracks into and out of record and loop, can also be stored against the four multi-function buttons, which
while Ghost’s mute automation constantly act like four mute groups, layering their stored mutes together
locks to incoming timecode. You can even when several are called at once. It is sometimes useful to assign
groups of channels in this way, especially in a live situation.
scrub video and audio with the jog/shuttle
wheel.
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 When supported by a recording machine, the jog/shuttle wheel
can be controlled by MIDI continuous controller data. Transport allows an operator great precision in locating edit points – the
controls use MIDI Machine Control or Sony 9-pin protocol for points in a song, or in video post-production the points in a film,
remote operation. LEDs above the Rew, FF, Stop, Play, Track Enable where some change is required in the mix. The wheel provides a
and Record buttons offer ‘tally back’ confirmation that a machine very quick and intuitive means of scanning backwards or forwards,
is responding. Ghost’s internal software supports a wide range of or even stepping frame-by-frame through a song or video tape.
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
Ghost Brochure (V3) 22/5/1998 10:38 Page 7

MASTER SECTION
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 2-
track 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 on pages 14 and 15
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.
When it comes to the desk’s solo facilities, 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
group outputs, is switchable between 1kHz and 10kHz, with gain
variable from ∞ to +15dBu.
Ghost Brochure (V3) 22/5/1998 10:38 Page 8

INPUT CHANNEL
On the rear panel, each channel offers balanced XLR mic in place of the regular Mix B path, the post-EQ, pre fade
and balanced 1/4” jack line inputs to the main channel main channel signal – for an additional stereo aux send,
path, a balanced jack Mix B input, jack tape send, and jack perhaps, or a stereo monitor mix.
insert point (pre-fade, pre-EQ). Phantom Plot of fader attenuation vs. fader travel Ghost has all the connections required for
power is individually switched on each mic a multitrack tape based studio. Tape tracks
0

input, rather than in blocks of 8 or more. 10

can be fed from the channel direct
The routing of Main and Mix B input 20 outputs, or switched individually on each
30
signals to the two channel paths can be Fader Travel (mm)
channel to feed from the group busses
40

reversed for more control over the Mix B 50

which are allocated in blocks of eight (i.e.
signal – at mixdown, for example. 60 channels 1-8 from groups 1-8, channels 9-
Mic input gain is variable from +8 to 70
16 from groups 1-8, channels 17-24 from
80
+60dB. The Mic/line switch selects either 90
groups 1-8).
mic or line level input to the channel. Line 100
+ 10 0 -10 -20
Both the main channel and Mix B path
-30 -40 -50 -60 -70

input gain is from -12dB (for very high have solo and mute (sometimes called CUT)
Fader Attenuation (dB)

levels) to +40dB. Mix B also has a trim facilities. Mute settings can be individually
control, offering ±15dB of gain variation. switched, stored into snapshot memories in the master
The main channel path provides Phase Reverse, essential section for recall later at cue points, allocated to four
for full control in live recordings or any application where internal mute groups, or remotely switched via MIDI.
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.
A total of 10 aux busses are provided – six mono sends and
MIC AMP
two stereo. Auxes 1 & 2 are switched as a pair to pre or
post-fade operation. Auxes 3 & 4 are post-fade, and can Ghost’s ProMic is the best mic pre-amp
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
these two pots to aux sends 5 & 6. The two sets of post-
gain settings, high gain noise
fader stereo sends, 7/8 and 9/10, are each controlled by a performance equal to consoles many
single pot, and follow the channel pan settings. times the price and superior mid gain
The main channel signal output level is set by a 100mm performance.
linear fader, designed for smooth operation, excellent
The sensitivity control is super-
attenuation and long life. Its construction and right-
angled mounting are such that dust and dirt falling smooth for fine adjustment of level,
through the fader slot will not foul the fader track. even at high gain. Ghost’s customised
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
controls, and is sent only to the stereo Mix B bus. A Source
getting the right gain setting is
button allows the Mix B pan and level controls to pick up, always easy.
Ghost Brochure (V3) 22/5/1998 10:39 Page 9
Ghost Brochure (V3) 22/5/1998 10:39 Page 10

EQ - NOBODY DOES IT BETTER

SOUNDCRAFT - GREAT BRITISH EQ 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
Soundcraft have been making mixers for
movement of a pot near the end of its travel produces a bigger
over 20 years, and in all that time the change in EQ than near the middle) – response remains even.
Soundcraft EQ has remained at the top of The two mid bands are supported by LF and HF shelving filters,
the list of reasons why people love our 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
desks, and why top artists rely on
important low and high frequency components without
Soundcraft technology on stage and in the interfering with and muddying the mid bands. Whilst they
studio. Smoothness, musicality, and ease of complement the two mid bands perfectly, the frequencies chosen,
use are qualities that appeal to engineers and the wide range of those two mids, means that when the HF
who use classic Soundcraft designs such as and LF bands are switched into the Mix B channel path, both
channel signal paths are equipped with practical EQ facilities.
the 3200 and Europa – the same qualities An EQ In/Out switch lets you hear what the channel sounds like
are to be found on Ghost. with or without EQ - a valuable instant reference facility that no
professional engineer would be without. Also, when switched out,
Whilst most parts of the mixer’s audio chain High and Low Mid Range Equalisation Characteristics the audio signal bypasses the EQ circuitry
must alter a signal as little as possible, EQ has dB HMF Section
altogether, reducing the likelihood of noise.
20.0
the tricky task of allowing tonal modifications 15.0
There are very good reasons why Ghost’s EQ
to specific parts of a signal without affecting 10.0 performs to such a high standard. Each mid
the rest, whether for bringing out the 5.0
band on the Ghost uses four op-amps, with
0.0
character of a voice or instrument, resolving -5.0
high-grade bi-polar types for the main signal.
elements in a mix, or correcting a troublesome -10.0 Some desk designs attempt to achieve
signal. Ghost’s 4-band EQ section offers the -15.0 parametric performance with only three op
-20.0
same precision and warmth that Soundcraft 20 100 1k
Frequency/Hz
10k 20k amps, but there’s a price: only a truly
consoles are renowned for – the classic parametric topology like Ghost’s preserves
dB LMF Section
20.0
attributes of ‘British EQ’. It’s accurate, accurate gain values even when you push the
15.0
consistent and reliable – the same control 10.0
Q and frequency settings to the limit, and
positions produce the same predictable results 5.0 only such a circuit will avoid distortion at
every time. The wide-ranging mid bands are 0.0
extreme settings. The response of the Ghost
-5.0
fully parametric, allowing independent control -10.0
EQ is at all times predictable, precise, and has
of filter frequency, 15dB of cut/boost, and Q. -15.0 the warm sound that has won Soundcraft
Whether you need to bring up a broad range of -20.0
20 100 1k 10k 20k praise from engineers around the world.
Frequency/Hz

frequencies, or notch out a narrow band, you

can do it cleanly and quickly. The lo-mid band covers the range
25-1,500Hz, and the hi-mid covers 400-20,000Hz, providing full SPLIT EQ
coverage of the audio spectrum from the deepest bass to the
upper limit of human hearing, with a very usable overlapping
With two inputs on each channel, split EQ
region. In reaching all the way down to 25Hz, the lo-mid band
goes deeper than other parametric EQ filters. That gives Ghost the means you can apply control where it’s
flexibility to cope with a wide range of musical and mixing styles, needed. Normally all EQ bands affect the
including modern dance music where control of ultra-low bass main path, but the high and low bands can
frequencies is important. Even the hi-mid reaches down to 400Hz,
be switched into Mix B – perhaps to lift
allowing both parametric bands to be applied to bass frequencies
for even finer control.
high frequencies on a tape track.
Q, the measure of the filter’s bandwidth, is continuously variable
from 0.7 to 6. As the response curves (see opposite) show, over the
full range of settings the filter response remains even and smooth.
Q and boost settings remain accurate even down to the lowest
Ghost Brochure (V3) 22/5/1998 10:40 Page 11
Ghost Brochure (V3) 22/5/1998 10:40 Page 12

A SOLID INVESTMENT
INTERNAL CONSTRUCTION

The construction of the Ghost is based on individual vertical designed for use on Ghost – no off-the-shelf components would
circuit boards for each channel, rather than on a single horizontal meet the specifications required by our designers and yet still be
board. This allows more board space to be devoted to each channel small enough to pack all of the controls into Ghost’s frame. Gold
strip, hence more components, and more facilities. All pots are plated pins are used on the connectors of all boards to minimise
bolted directly to the front panel, so if a load is accidentally noise in the audio path.
placed on the knobs, for example when a heavy object is dropped
on them, then it’s the metal work that takes the strain – not the WHY BE PICKY ABOUT COMPONENTS?
circuit board underneath. Vertical boards allow the desk to
function even if an individual channel is removed, and make High quality components ensure that an electronic circuit behaves
servicing and repair a good deal easier. Should anything need as it is designed to. It is vitally important that no compromises are
replacing, all components are readily available from Soundcraft made in component selection as relatively small differences in
distributors around the world. their resistance or capacitance can have a disproportionate effect
Ghost’s custom pots and faders are vital to its high 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 – usable fader component’s performance – only high quality parts have the
laws, with predictable attenuation characteristics and smooth necessary stability.
response, were among the key requirements specified by
Soundcraft designers. The result is a mixer whose controls offer Soundcraft is the world’s leading
predictable, smooth operation across their full range, excellent manufacturer of professional mixing
attenuation, and low crosstalk.
consoles, for applications ranging from film
and TV post-production, through music
recording, to live and installed sound. We
BUILT TO LAST know what professionals need in a mixer,
In the audio circuitry, you’ll find bi-polar 5532 op amps – more and how to deliver it in a rugged, cost-
expensive and requiring more power than the op amps most effective design that is built to withstand a
consoles use, but the benefits are less noise and less distortion. lifetime of hard work. Which is why, 20
Not only are the components themselves superior in terms of
years after we started making them, most of
audio performance, but their ability to drive lower impedance
loads means that the signal path as a whole can be designed for
the thousands of Soundcraft mixers –
lower inherent noise, one of the sources of which is impedance- including Europas, 3200s, Deltas, Venues
related ‘Johnson Noise’. All pots and faders have been specially and Viennas – are still going strong.
Ghost Brochure (V3) 22/5/1998 10:42 Page 13
Ghost Brochure (V3) 22/5/1998 10:43 Page 14

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 mutes and MIDI
functions are integrated with, and
controlled from, the main console’s master
section.

GHOST LE
The Ghost LE is a stripped-down version of the Ghost, designed
for users who do not need transport control or MIDI facilities.
Channel strips are identical to the 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. The 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 (V3) 22/5/1998 10:43 Page 15

System Configuration Examples

Audio recording (shown with optional expander)

AUDIO RECORDING Ghost is designed to connect to
STUDIO/PERFORMANCE AREA

KEYBOARD INSERT COMPRESSOR FOLDBACK

MIX
multitrack tape machines via
MICROPHONES POWER DATA ENTRY LEVEL

GUITAR
SAMPLERS EFFECTS UNIT
dedicated send and return jack
POWER DATA ENTRY

DIGITAL MULTITRACK
sockets, avoiding the need to
MIC

STE FX1 STE AUX 7

repatch. Ghost’s transport
TAPE SEND/RETURNS

STUDIO B buttons will control tape

KEYBOARD transports via a number of
C/Rm
MICROPHONES
GUITAR
SAMPLERS
protocols. Sound sources are
connected to channels as
required and input processors,
POWER AMP

POWER

MONO
BRIDGE
CHANNEL
A B
VOLUME

0 10
such as compressors or gates,
TEMP

can be inserted into the channel

HEADPHONES

path. Effects units are fed from

auxiliary outputs in the master
CONTROL ROOM
MONITORS section and return via the stereo
return inputs. Multiple outputs
MACHINE CONTROL VIA MIDI are possible, including the main
ENGINEERS
HEADPHONES monitor mix and secondary
mixes for separate performance
space headphones.

Composing to picture
Many of the same machines and COMPOSING TO PICTURE

sound sources will be connected EFFECTS UNIT SEQUENCER

POWER DATA ENTRY
(Can control Mutes
on Ghost)
to Ghost as in the previous KEYBOARD

example. However, it is likely STE FX1 STE AUX 7

MIDI
DIGITAL MULTITRACK

that these will include an IN

TAPE TONE MODULE
SEND/RETURN POWER DATA ENTRY LEVEL

external MIDI sequencer, which IN AUDIO SAMPLER

LEVEL

TAPE
drives a number of sound
DATA

SEND/RETURN CURSOR

MIDI
C/Rm

modules and can also control TIMECODE Alt

POWER AMP
VTR PLAYBACK IN
the automatic mutes on Ghost.
CHANNEL VOLUME
A B

ON POWER

OUT MONO
BRIDGE 0 10
TEMP

HEADPHONES

IN
Additionally, there will be a VTR
player, which will follow Ghost’s
Sony 9 pin protocol transport
CONTROL ROOM
messages. Multitrack tape MONITORS

TV STYLE
machines can be set to chase SPEAKERS

the VTR’s timecode generator.

MONO

POWER BRIDGE HEADPHONES

TEMP

SONY 9-PIN MACHINE CONTROL

Ghost Brochure (V3) 22/5/1998 10:44 Page 16

Playback/mix-down
PLAYBACK/MIX-DOWN At this stage, it is likely that the
Main and MixB inputs will be
SEQUENCER
(Transport controlled
KEYBOARD from Ghost MMC)
swapped over so that the
DRUM MACHINE
MIDI multitrack machines become the
DAT RECORDER
POWER
TONE MODULE
DATA ENTRY LEVEL
ON

EJECT DAT
REC LEVEL

main sound source. Additional

0 10

AUDIO SAMPLER

DIGITAL MULTITRACK
LEVEL

DATA

CURSOR

MIX L/R
sound sources required at

MIDI
mixdown can also be connected
EFFECTS UNIT
STE FX 1 POWER DATA ENTRY

via extra channels or via MixB

STE AUX 7
C/Rm
paths. It is likely that a
sequencer will still be controlled
POWER AMP

POWER
CHANNEL
A B
VOLUME from Ghost, via MIDI, to
MONO
BRIDGE 0 10
TEMP

HEADPHONES

generate input from sound

modules. The end result is a
stereo mix, recorded onto DAT or
CONTROL ROOM
MONITORS
some other high quality
mastering medium.

Live public address ON STAGE

MONITORS

Ghost can also be used for live LIVE PUBLIC ADDRESS

PA work. Live sound sources are
input in the usual way, treated POWER AMP
MICS
CHANNEL VOLUME
A B

KEYBOARD MONO
POWER

as necessary by effects and BRIDGE 0 10

TEMP

HEADPHONES

AUX 1 AUX 2 EFFECTS UNIT

dynamics processors connected STE FX 1 POWER DATA ENTRY

STE AUX

to inserts and auxiliaries, and MIX L/R POWER

GRAPHIC EQUALIZER

then output via a graphic

POWER AMP
equaliser to the main front of POWER
CHANNEL
A B
VOLUME

MONO
BRIDGE 0 10
TEMP

house speakers. Auxiliary mixes, HEADPHONES

switched pre fade, can be used

to provide monitor mixes to the
musicians on stage - up to four
D.I.
separate mixes if using MixB as BOX

a pre fade stereo bus. The 4

mute groups, controlled from
Ghost’s onboard computer, are
particularly useful in a live
situation.
 MIX LEFT
DIRECT CPU INSERT
OUTPUT GROUP N/

CPU MUTE BUS A

PFL DETECT
PFL/AFL L
AUX 7 L
AUX 8 R
GRP 6
GRP 8

SOLO CUT
MIX R

SOLO DETECT
AUX 3
AUX 5
MIX B L

PFL/AFL R
AUX 7 R
AUX 8 L
GRP 2
GRP 4
GRP 3

AUX 2
MIX L

GRP 5
GRP 7
MIX B R

AUX 4
AUX 6
CPU MUTE BUS B

AUX 1
GRP O/P BUS (1-8)

GRP 1
INSERT DIRECT
POINT

EQ MIX LEFT
IN/OUT MIX RIGHT 100mm OUTPUT
OPTIONAL LF/HF LMF/HMF INSERT MASTER
EQ EQ SOLO FADER
INPUT METER

EQ TO MON
LEFT
MIX RIGHT
100mm OUTPUT
CHANNEL MUTE PAN L-R
FADER
MIX B
RIGHT TO MIX
CUT

1-2

PEAK MIX B MIX B LEFT

MASTER OUTPUT
FADER
FROM 3-4
48V 48V
PHANT PEAK
SIGNAL DETECT MIX B RIGHT
POWER -20 DETECT
OUTPUT

LCF
INPUT 5-6
LINE PHASE SENS

MIC I/P AUX7 AUX7 LEFT

MASTER OUTPUT
FADER
7-8
Ghost Brochure (V3) 22/5/1998 10:44 Page 17

LCF

LINE I/P AUX7 RIGHT

OUTPUT CRM L
REV AUX 8 CIRCUIT
TAPE
TRIM IS SIMILAR
AUX 7 TO AUX7
(STEREO)
PFL CRM R
TAPE I/P
ALT
+4/-10
(SNIP RESISTORS PRE ALT L
TO SELECT
-10dBV) AUX 1 MASTER
AFL/PFL METER
TRIM

ALT R
AUX 2 SIP

SIP
2-TRACK B L
MON CONTROL-ROOM
SOURCE SELECT CRM
AUX 3 LEVEL
2TKB L
SOLO
2-TRACK B R 2TKA
5-6 HEADPHONES
MIX B DIM
AUX 4 R MONO
MIX A CHECK
PFL AFL/PFL
2-TRACK A L
OVERRIDE

LF/HF
EQ PFL
2-TRACK A R
System Block Diagram

SOURCE

LEFT
MIX B STUDIO A
FADER SOURCE SELECT
MUTE PAN
CRM
MIX B
CUT STUDIO A
AUX 1-2
OUTPUT
RIGHT

AUX 8
(STEREO) AFL

AUX 1 AFL STUDIO B OUTPUT

IS SIMILAR TO
AUX1 STUDIO A OUTPUT
OUTPUT
AUX2 TO AUX6 CIRCUITS
ARE SIMILAR TO AUX1
INTERNAL
GROUP 1 METER JUMPERS
MIX INSERT +4 -10
100mm
GROUP
FADER
GROUP 1
OUTPUT OSC
1-2
OSC

MIX L
L+R GROUPS 3, 5 & 7
ARE SIMILAR TO GROUP 1 1k/10k
3-4 AFL
LEFT
OSC TO
TAPE TALKBACK TALKBACK
INTERNAL
ROUTING
GROUP 2 METER JUMPERS
FX INPUT 1 5-6 INSERT +4 -10 TAPE
100mm
LEVEL BAL GROUP STU
FADER
RIGHT AUX 1-2
GROUP 2 TB
7-8 OUTPUT MIC

DIM CTL
GROUPS 4, 6 & 8
FX INPUTS 2 TO 4 MIX R
ARE SIMILAR TO GROUP 2
ARE SIMILAR TO L+R
FX INPUT 1 AFL

PFL
Ghost Brochure (V3) 22/5/1998 10:44 Page 18

Level Diagram and Rear Panel

Ghost operating levels

dBu
+ 30
Headroom
+ 20
Stereo
+ 10 Input + 4dBu
0
L
I
N
-10
E
M
I -20
C
R
O -30
P
H
O
-40
Mix/Group Insert -2dBu
Channel Insert -2dBu

Channel Fader + 8dBu

Direct Output -2dBu

Mix/Group Fader + 8dBu

Mix/Group Outputs
Mix/Group Bus
Optional Input Meter

Group/Output Meter
N
E -50
-60
-70
-80

Ghost patch panel

Ghost rear panel

Ghost Brochure (V3) 22/5/1998 10:44 Page 19

EQ Curves
Low frequency section High frequency section
dB LF Section dB 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 -20.0
20 100 1k 10k 20k 20 100 1k 10k 20k
Frequency/Hz Frequency/Hz

Low mid frequency section High mid frequency section

dB LMF Section dB HMF 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 -20.0
20 100 1k 10k 20k 20 100 1k 10k 20k
Frequency/Hz Frequency/Hz

Low cut filter

dB Low Cut Filter
10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.0

-25.0

-30.0

-35.0

-40.0
10 100 1k 10k
Frequency/Hz
Ghost Brochure (V3) 22/5/1998 10:44 Page 20

Ghost Machine Control Notes

Timecode Support MIDI Machine Control with LTC Mode
The console will display the last timecode value sent by the tape machine. This This allows Ghost to work with a tape machine which can be controlled using
means that, for some machines, when you rewind the tape the displayed the generic MIDI Machine Control protocol and which sends the timecode as
timecode will correspond to the point at which it stopped. This will be displayed SMPTE Longitudinal Timecode (LTC).
until the tape is played again, at which point the display will update to the new
value being sent. Transport Controls
All supported, machine required to send back tallies.
To cope with timecode dropouts, the SMPTE reader ‘flywheels’ for a short period
after which the timecode stops. Locate To Timecode
Supported.
Control Button Support Record Enable
Supported.
To provide feedback to the console transport control buttons the tape machine Jog/Shuttle
should support ‘tally’ messages (i.e. feedback from the tape machine of its Not supported.
status). If this is not provided the console will try to interpret any timecode
received to give an accurate status indication. Setup Notes
Connect the timecode output of the tape machine to SMPTE In on Ghost.
MIDI Timecode Master Mode 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.
Ghost uses its own internal clock as a timecode reference for mixing. It also Other Notes
sends out MIDI timecode. This mode would normally be used with a sequencer Closed loop system required.
which can chase to MTC.

Transport Controls LTC Timecode (Master) Mode

Control timecode sent out by Ghost.
Ghost uses its own internal SMPTE generator as a timecode reference for
Locate to timecode mixing. It also sends out SMPTE from its SMPTE Out socket. This mode would
Supported. normally be used with a tape machine that can chase timecode, but does not
have specific transport control support.
Record Enable
Not supported. Transport Controls
Jog/Shuttle Chase to SMPTE timecode sent out by Ghost.
Shuttle not supported (use FF or REW). Locate To Timecode
Setup Notes Chase.
Connect MIDI out cable from Ghost to sequencers etc. Record Enable
Not supported.
MIDI Timecode Slave Mode Jog/Shuttle
The automation slaves to incoming MIDI timecode. The transport buttons on Shuttle not supported (use FF or REW).
the console indicate whether timecode is running, stopped, etc. The console Setup Notes
transport buttons have no effect on the tape machine. Connect SMPTE Out from Ghost to Timecode In on tape machine.
Transport Controls
Display only, by using timecode values returned by the tape machine. LTC Timecode (Slave) Mode
Setup Notes
Connect MIDI cable from external MIDI Timecode source to console MIDI in. 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.
MIDI Machine Control with MTC Mode
Transport Controls
This allows Ghost to work with a tape machine which can be controlled using Display only, by using timecode values returned by the tape machine. The
the generic MIDI Machine Control (MMC) protocol and which also sends the transport buttons on the console indicate whether timecode is running,
timecode as MIDI Timecode (MTC) on the same MIDI output as the MMC tallies. stopped, etc.
Transport Controls Setup Notes
All supported, machine required to send back tallies in closed loop Connect tape machine SMPTE signal to SMPTE In on Ghost.
systems.
Locate To Timecode Sony 9-Pin Protocol
Supported.
Ghost can control a number of different machines via the Sony 9-Pin protocol.
Record Enable
Supported. Transport Controls
All supported, machine required to send back tallies.
Jog/Shuttle
Not supported. Locate To Timecode
Supported.
Setup Notes
See tape machine manual. Record Enable
Generic mapping available for VTR audio tracks.
Other Notes
Both generic Open and Closed MIDI loop system drivers are available. There Jog/Shuttle
are also some drivers for specific machines. (See table on Transport and Fully supported.
MIDI page.)
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.)
Ghost Brochure (V3) 22/5/1998 10:32 Page 1

Ghost Typical Specifications

INPUT CHANNEL Console Input/Output circuit types
Microphone input Electronically balanced inputs:
Sensitivity range for 0VU output...........-8dBu to -60dBu Microphone, Line, Mix B, Stereo Return, 2-Track
Maximum input level...................................................+14dBu Unbalanced 75ohms inserts: Channel, Group, Mix
Input impedance............................................................2k ohm Unbalanced 75ohms outputs: Channel Direct
Common Mode Rejection Ratio Ground Compensated 75ohms outputs:
(CMRR) 1kHz Typical figure Group, Studio, Aux, Mix & Mix B
.....................................................-90dB @ sensitivity -30dBu
Equivalent input noise EIN. TYPICAL CONSOLE PERFORMANCE
22Hz-22kHz measured at insert point Attenuation. All at 1kHz
................................................-128dBu @ sensitivity -60dBu
150 ohm mic input load. Long Fader attenuation
................................................-122dBu @ sensitivity -30dBu From top to bottom.........................................................-90dB
MixB rotary fader attenuation
Line input From max to min ..............................................................-70dB
Mute attenuation Channel & MixB............................-80dB
Sensitivity range for 0VU output........+12dBu to -40dBu Pan isolation, ie from left to right ..............................-70dB
Maximum input level...................................................+34dBu
Input impedance..........................................................15k ohm THD+n. (harmonic distortion)
Common Mode Rejection Ratio
(CMRR) 1kHz................................-60dB @ sensitivity 0dBu 1dB below clipping, 1kHz
Mic/Line to Direct output.............................0.002% EQ out
Insert send & return .................................................................................0.003% EQ in
Nominal level.....................................................................-2dBu MixB to Direct out (Swap pressed)...........................0.002%
Maximum level ..............................................................+22dBu
Maximum send load .....................................................2k ohm Direct output noise

Direct Output level 22Hz-22kHz Mic sensitivity @ -10dB

Channel Fader at unity..................................-95dBu EQ out
Channel output selected................................................-2dBu .................................................................................-93dBu EQ in
Group output selected..........+4dBu/-10dBV link selected
Frequency response
Tape Return input
Mic/Line input to any output .......................20Hz - 20kHz
Sensitivity at calibrated centre detent .....................+4dBu .....................................................................................(+0/-0.5dB)
Tape trim range .............................................-15dB to +15dB ......................................................................Sensitivity @ 30dB
Input impedance.......................................................>24k ohm
Common Mode Rejection Ratio Crosstalk
(CMRR) 1kHz: ...........................-60dB @ Calibrated detent
Mic input to Line input crosstalk.............-100dB @ 1kHz
Low Cut Filter Line input to Mic input crosstalk ...............-90dB @ 1kHz
MixB to Channel crosstalk............................-80dB @ 1kHz
Frequency ...........................................................................100Hz
Channel to MixB crosstalk............................-75dB @ 1kHz
Type of filter ....................................3 pole, 18dB per octave

Equaliser section Bus noise

HF Eq. turnover frequency ............................................12kHz 22Hz-22kHz Channel faders down
Maximum boost/cut...................................................+/- 15dB +4dBu/-10dBV selected to +4dBu
LF Eq. turnover frequency................................................60Hz Group outputs 1 to 8
Maximum boost/cut...................................................+/- 15dB Group fader at unity, nothing routed .....................-90dBu
HMF Eq. frequency range...........................400Hz to 20KHz 16 channels routed, chan faders down...................-82dBu
Q range .............................................................................0.7 to 6 24 channels routed, chan faders down...................-80dBu
Maximum boost/cut...................................................+/- 15dB 32 channels routed, chan faders down...................-78dBu
LMF Eq. frequency range..............................25Hz to 1.5kHz
Q range .............................................................................0.7 to 6 Mix outputs L & R SOUNDCRAFT
Maximum boost/cut...................................................+/- 15dB Mix fader at unity, nothing routed..........................-90dBu HARMAN INTERNATIONAL INDUSTRIES LTD.
16 channels routed, chan faders down...................-82dBu CRANBORNE HOUSE, CRANBORNE RD.,
MASTER SECTION 24 channels routed, chan faders down...................-80dBu POTTERS BAR, HERTS, EN6 3JN, UK.
Nominal levels 32 channels routed, chan faders down...................-78dBu TEL: +44 (0)1707 665000
FAX: +44 (0)1707 660742
Group output level.................+4dBu/-10dBV link selected EMAIL: info@soundcraft.co.uk
Group insert level.............................................................-2dBu Dimensions and weights
http://www.soundcraft.com
Aux output level ..............................................................+4dBu CH Overall width Weight(kg/lb)
Mix output level ..............................................................+4dBu 24 1059.36mm (41.71”).............................44.0/97 SOUNDCRAFT US
Mix insert level..................................................................-2dBu 32 1303.20mm (51.31”) ..........................53.6/118 HARMAN PRO NORTH AMERICA, INC.
Mix B output level...........................................................+4dBu 24 exp. 815.52mm (32.11”) ...............................33.0/73 AIR PARK BUSINESS CENTER 12
CRM/ALT/Headphones level .............+14dBu at maximum 1449 DONELSON PIKE
Studio outputs..................................................................+4dBu NASHVILLE TN 37217, USA.
2 Track inputs ...................................................................+4dBu TEL: 1-615-399-2199
Stereo return inputs .......................................................+4dBu FAX: 1-615-367-9046

Part No. A4; ZL0338

Side elevation with optional meterbridge US; ZL0339
Soundcraft reserve the right to improve or otherwise alter any information supplied in
this document or any other documentation supplied hereafter.
E&OE 1/97