centre detent position, the signal goes to the L/R buses and Odd/Even groups equally. You can also select intermediate settings with the pan knob. You turn up the Aux 7 level knob or press the assign switches to route the signals to the appropriate buses. At this point you have the channel input signal available as a source for the MIX B section, and it is also available at Aux 1-4 (5/6) and Aux 7, the Solo switch, the Dir/Tape Snd output jack, and the Mix L/R and Group 1-8 buses.
MIX B has a " line input jack. If you have the optional meterbridge and its set for tape monitoring, then the signal goes from the input jack to the meterbridge input meter. It also goes to the Tape Trim knob and then the Reverse switch. If depressed, the Reverse switch can send MIX B to the channel path and the channel to the MIX B path. If you reverse the signal, the MIX B input is still monitored by the meterbridge, as described above, and controlled by the Tape Trim knob. We will assume Reverse has not been pressed. Next, the signal goes to the MIX B Source switch. As described above, the prefader signal from the channel also appears here. The source switch determines if the MIX B signal is routed to the MIX B path, or if the pre-fader channel signal is routed there. If the LF/HF EQ has been assigned to MIX B, then the signal is routed there and then to the PFL switch. Note that the EQ In/Out switch must be engaged for the EQ to function. This is where the MIX B pre-fader signal ends. The signal is also routed to the MIX B rotary fader and the mute circuit. From this point on, it is a post-fader signal. If you press the Cut switch, the signal will be muted beyond this point. If not muted, the signal goes to the MIX B switch in Aux 3/4 (5/6). Pressing the switch makes Aux 3/4 (5/6) available to the MIX B path. The signal continues to the MIX B pan knob and from there it goes to the MIX B L/R buses and to the stereo Aux 8 Send knob. From the knob its routed to the Aux 8 L/R buses. At this point you have the MIX B input signal available as a source for the MIX B section, and it is also available at Aux 3-4 (5/6) and Aux 8, the PFL switch, and the MIX B L/R buses.

Effects Returns

There are 4 stereo effects returns. The output from an effects device is usually connected to an FX L and FX R " line jack. From there the signal goes to the PFL switch and to the effects return level control and balance knob. It is then sent to the effects return routing matrix (assign) switches. The balance knob works just like the channel pan knob, described above, and sends the signal to the L/Odd signal path, the R/Even signal path, or both. The Mix switch sends signals to the MIX L/R buses, the 1/2 switch to the Grp 1-2 buses, the 3/4 switch to the Grp 3-4 buses, the 5/6 switch to the Grp 5-6 buses, and the 7/8 switch to the Grp 7-8 buses. As with the channel, you press an assign switch to send the effects return signal to the appropriate Group buses or to the MIX L/R bus. At this point the effects return signal is available to the MIX L/R buses and to the Group 1-8 buses.

track recorder or 4 (or 3) digital 8-track recorders. Then, you could send any channel to any of the 32 (or 24) Group Output jacks, for recording onto 32 (or 24) tape tracks. For instance, if you press the DIR/GRP 2 switch for channel 10, then any channel that is assigned to Group 2 will appear at channel 10s DIR/TAPE SND jack, and that jack will no longer carry the Direct Output of channel 10. More information on multi-busing and on using the DIR/TAPE SND jacks is given later in this manual. This jack is an unbalanced output when DIRECT is selected, and ground compensated when GROUP n is selected. The " jack is wired as follows: DIRECT Tip: Ring: Sleeve: Signal Gnd Gnd GROUP n Signal Gnd Sense Gnd
7. DIR/GRP n. This switch determines whether its associated DIR/TAPE SND jack functions as a Direct Output from the channel fader (switch up) or carries the Group Output of GRP n (switch down). The letter "n" doesnt actually appear on the switch, but represents a number from 1 to 8, and each switch is labeled from DIR/GRP 1 to DIR/GRP 8. The GRP numbers on the switches start with GRP 1 for channel 1, are numbered sequentially to GRP 8, and then repeat. So on the 32-channel Ghost, GRP 1 appears on Channels 1, 9, 17, 25; GRP 2 appears on Channels 2, 10, 18, 26, etc. More information on using the DIR/GRP n switches and DIR/TAPE SND jacks is given later in this manual.
GHOST Back and Rear Panel Desription
Following is the Group number for the DIR/GRP n switch and for the Group Output for its associated DIR/TAPE SND jack for each channel: Channel Channel Group # for DIR/GRP n Switch and DIR/TAPE SND Jack Group # for DIR/GRP n Switch and DIR/TAPE SND Jack 7 8
Master Section Rear Connector Panel
1. TO METERBRIDGE. This connector is used to connect the optional meterbridge to Ghost. After installing the meterbridge, insert the D-type plug from the meterbridge into this connector.
All jacks on this panel are " jacks.

INPUTS

2. FX 1 L/R FX 4 L/R. Ghost has 4 identical stereo effects returns, numbered 1 through 4. Generally, you will use the Aux Sends to route signals to your outboard effects devices, such as reverb and chorus, and then connect the outputs of those devices to one of the effects returns inputs. Some effects are mono in/stereo out and others are stereo in/stereo out. In either case, the stereo L/R outputs of the effects device are connected to one of these 4 L/R inputs. Mono output devices can also be used by connecting the output to either the L or R input. It doesnt matter which of the 4 effects returns you use. Signals connected here are controlled by the same numbered FX 1 FX 4 controls in the master section on the top panel. That is, if you return a signal to the FX 3 L/R input, it is controlled by the FX 3 controls on the top panel. You can also use these jacks as regular line inputs to the mixer, although you wont have as much control as when using the channel inputs. By using these 4 stereo inputs, together with the channel and Mix B inputs, you can have 72 inputs from a 32-channel Ghost and 56 inputs from a 24channel Ghost, during mixdown. Note that you dont have to connect the outputs of your effects devices to these effects returns. You can connect them to the channel inputs, while recording or mixing down, or to the MIX B inputs during mixdown. 3. 2TKA I/P L/R 2TKB I/P L/R. These 2 pairs of stereo inputs are used to connect the outputs of 2 tape recorders or any other line level stereo devices. Youll usually connect the outputs of a DAT recorder, 2-track analog open reel or cassette deck, or a CD player here. These inputs are sent to the 2 TK A and 2 TK B switches in the CRM SRCE section on the top panel. Pressing either of those switches routes the appropriate input to the control room monitors.

Summary

In the control room, to monitor the sources you are recording, send the signal to the MT, put the proper track in RECORD-READY mode, and turn up the recording level control on the MT. On Ghost, make sure REV, CUT, and SOLO/PFL/AFL switches are off, and that TAPE is selected as the MIX B source. Select MIX B as the CRM Source, turn MONO CHECK off, and turn up the CRM level control. Monitor through headphones or speakers. Turn up the MIX B master fader and using the MIX B section on the channel that corresponds to the track you are recording on, turn up its level control to the desired volume and use its pan pot to determine its stereo placement.
CRM Tape Monitoring Overview
This section details how to monitor in the control room, previously recorded tape tracks. The procedure is very similar to CRM Signal Monitoring, above. You use the MIX B sections of the channels that correspond to the tracks you wish to monitor. That is, channel 1 monitors tape track 1, channel 2 monitors tape track 2, etc. For instance, if tracks 1 and 2 were already recorded and you were currently recording on track 3, you would use the MIX B sections of channels 1 and 2 to monitor the tape playback of tracks 1 and 2, and you would use the MIX B section of channel 3 to monitor what you were currently recording to track 3. Basically, you use the same procedure used for signal monitoring, except youll be monitoring tape playback from the MT. However, there are two changes that should be made before you monitor tape signals. The two changes are necessary so that AUX 1-2 can be used for Studio Tape Monitoring (see below). On the channel that corresponds to the tape track you wish to monitor, you must press the REV switch. The reason for doing this is that by reversing the signal path, the signal from the MIX B/TAPE RET jack is sent to the channel path. This is done so that AUX 1-2 (which is only in the channel path) can be used with the Studio Foldback section of Ghost. Then, in the same channels MIX B section you must press the SRCE switch so that CHAN is selected. As a result of reversing the signal paths, you had to select CHAN as the Source for MIX B, so that the MIX B section would also be carrying the tape playback signal. (Since the channel is reversed, selecting CHAN as the source means you are selecting TAPE as the source.) If you didnt select CHAN as the MIX B source, then the channel inputs (MIC I/P or LINE) would be the source for MIX B, and thats not what we want.

Procedure

1. On Ghost, make sure all CUT and SOLO/PFL/AFL switches are off, and that the REV switch is ON (Down) in the channel strips of the MIX B sections you will use for monitoring tape playback. 2. In the CRM SRCE section, make sure that only MIX B is pressed and that MONO CHECK is off. Turn the CRM LEVEL knob about 75% up. 3. Turn the MIX B master fader in Ghosts master section about 75% up. 4. On the appropriate MIX B section that corresponds to the tape track you wish to monitor, make sure the SRCE switch is set to monitor CHAN (DOWN Position). You are really monitoring TAPE, since the channel and MIX B paths have been reversed. 5. Set the output level control on the MT, if any, to its nominal position, and with the MT tape playing, adjust the TAPE TRIM knob in the channel strips input section, if necessary. Then turn up the appropriate MIX B level control to attain the volume you want and use its pan pot to determine the stereo placement. You will now be monitoring the tape playback of the appropriate track. 6. The TAPE TRIM knob, MIX B master fader, MIX B level control, CRM LEVEL knob, and the MT output level control, if any, will all affect the volume of the monitored signal.

1. On all channels that contain the outputs of previously recorded tape tracks, press the REV switch and set the MIX B SRCE switch to CHAN. This routes the Tape Returns to both the Channel and MIX B paths. These are your Tape channels and are for monitoring purposes only. 2. Connect your input sources for the overdub to the channel MIC and LINE inputs. These are your Input channels. 3. On the Input channels, use the MIC/LINE switch to select the appropriate input for each channel. Press the 48V switch for condenser mics, where required. Make sure the REV switch is not depressed and set the MIX B SRCE switch to TAPE. 4. Select one of the 3 recording methods, from "Recording Basic Tracks", above, and follow the directions for signal routing and channel/group fader positioning for each Input channel. 5. On the MT, rewind the tape to the beginning of the song, or to a point before the overdub will be recorded, and put the appropriate tracks into RECORD-READY mode. Make sure that all previously recorded tracks are not in RECORD-READY mode. Then set the recording level controls of the MT, if any, to their nominal positions and start playing the tape. 6. With the musicians playing along with the tape, set up Control Room and Studio preliminary monitor mixes of the overdub being recorded and of previously recorded tape tracks (see Control Room/Studio Monitoring, above). Then use the INPUT SENSITIVITY knob to set your input gain structure for the overdub, using the optional meterbridge or the CRM/SOLO-L/R meters, and the SIG and PK LEDs. 7. Use the LCF and PHASE switches, as required. 8. Apply EQ, as required. 9. Add effects and processing, as required. 10. Adjust the channel and group faders, as required, so that the multitracks meters display the desired recording level. 11. Set up your final monitor mixes, of both the live signal and of previously recorded tape tracks, and then have the musicians stop playing. Put the MT into RECORD mode and have the musicians play the overdub. When the overdub is over, STOP the MT and rewind the tape to zero or to a point right before the overdub. 12. Play back the overdub you have just recorded. To let the musicians in the Studio hear the take, select CRM as the Source in the appropriate Studio Foldback section. 13. If dissatisfied, record over the first take of the overdub. Before recording again, remember to unselect CRM and select AUX 1-2 as the Studio Foldback Source, if necessary. 14. When you are satisfied with the take of the overdub, proceed to record the next overdub. If there are any mistakes on the overdub that need fixing, and you dont want to record the entire track over again, then see "Punching In/Out", below. If you run out of tracks on the multitrack, you might want to bounce tracks to create more empty tracks. See "Bouncing Tracks", below. When youre satisfied with all the tracks on the tape, proceed to "Mixing Down", below.

Punching In/Out Overview

Punching in and punching out is a procedure you use when you want to correct a performance on a tape track, without having to record the entire track over again. It allows you to selectively record over just a portion of a tape track. For instance, you might want to fix a guitar solo with one bad note in the middle. Rather than record the solo over again, you can have the guitarist just play over the point where the bad note occurs. Besides punching in/out manually, some multitracks let you automate the process and even have a rehearsal mode, where you can practice the punch, without actually committing it to tape. (See your Multitrack (MT) manual.) On the MT, you must select a pre-roll point, a punch-in point, a punch-out point, and a post-roll point. The pre-roll point occurs before the bad note and gives the guitarist, in our example, some time to play along with the song before the bad note occurs. The punch-in point is where you actually start recording. The punchout point is where you stop recording, but the tape continues to play. The postroll point is where the tape stops. The procedure is as follows: The multitrack starts in PLAY mode at the pre-roll point. The guitarist plays along with the song, but it is not recorded. At the punchin point, the MT changes from PLAY mode to RECORD mode. At this point, the guitarist is being recorded. He plays over a small section of the solo, including the point where the bad note is. At the punch-out point, the MT switches from RECORD mode back to PLAY mode. At this point recording is no longer taking place. The MT continues in PLAY mode until the post-roll point, where the MT goes into STOP mode. Heres a diagram illustrating the procedure: PRE-ROLL(PLAY) P-IN(REC) BAD NOTE P-OUT(PLAY) POSTROLL(STOP) The procedure is very similar to overdubbing. While performing the punch, the performer can listen to any previously recorded tape tracks. The issue is what the performer will hear on the track thats being used for the punch. Between the Punch-In and PunchOut points, it is only possible to hear the new part being recorded, since the original part is being erased. Note that you will still be able to hear all the tracks that are not being used in the punch. But you must determine what the performer wants to hear on the punched track, during pre-roll and postroll. Does he just want to hear himself playing the new part, does he just want to hear the old part and only hear himself during the punch, or does he want to hear himself playing along with the old part? What the performer hears during pre-/post-roll is determined by the MT. Normally, when the MT is in PLAY mode, you will hear tape playback, unless a track is armed and in RECORD-READY mode, in which case you will hear the input signal for that track, instead of tape playback. Since the punch track will be in RECORD-READY mode during pre-/post-roll, the performer would just hear the new performance during this time. Most MTs will have an INSERT mode, that allows the performer to hear tape playback during the roll points, even though the punch track is armed. Some MTs also have a MIX mode that allows the performer to hear both the old and new material during the roll points. Your MT may use different terms for these functions. If you select neither INSERT nor MIX on the MT, this is what you will hear: Pre-Roll: New material Punch-In to Punch-Out: New material Post-Roll: New material This means the performer will never hear the original punch track. The performer will play along with the other tracks that are not involved in the punch.

AUX Section

18. The signals available at the AUX Sends knobs are dependent on the settings of the REV switch, the MIX B SRCE switch, and the AUX 3-4 MIX B switch. AUX 1-2 can be PRE-/POST-fader and the AUX 3-4 "5-6" switch will route the AUX 3-4 sends to the AUX 5-6 buses. The following chart shows the source of the AUX Sends knobs for all possible switch combinations: REV SRCE AUX 3-4 MIX B AUX 1-2 AUX 3-6 AUX 7 AUX 8 UP TAPE UP Channel Channel Channel Tape UP TAPE DOWN Channel Tape Channel Tape UP UP CHAN UP CHAN DOWN UP DOWN Channel Channel Tape Tape Tape Tape Channel Channel Tape Channel Tape Tape Channel Chan. Channel Chan. Tape Tape Tape Tape Chan. Chan. Tape Tape

DOWN TAPE DOWN TAPE

DOWN CHAN UP DOWN CHAN DOWN
l AUX 1-2 and AUX 7 always carry the same signal, except that AUX 1-2 can be pre-/post-fader and AUX 7 is always post-fader. l If CHAN is selected as the MIX B Source, then MIX B carries the same signal as the channel path, and all the AUXs carry the same signal. Note, however, that in this instance, if the AUX 3-4 MIX B switch is up, AUX 3-6 carry the post-channel fader signal. If the AUX 3-4 MIX B switch is down, AUX 3-6 carry the pre-channel fader and post-MIX B fader signal. l When the REV switch is pressed, the AUX sources are the exact opposite of when the REV switch is not pressed. l AUX 7 always carries the Channel path signal and AUX 8 always carries the MIX B path signal.
19. The FX Returns can also be used as line inputs while recording (by assigning them to the Group buses) or during mixdown (by assigning them to the L/R Mix). 20. The channel inputs can also be used as FX Returns while recording (by assigning them to the Group buses) or during mixdown (by assigning them to the L/R Mix).
21. The MIX B inputs can also be used as FX Returns (for recording the effect), but during mixdown only, since they can only be assigned to the Main Mix bus. 22. The Groups can also be used as FX Returns while recording (using the Group buses) or during mixdown (by assigning the Group buses to the L/R Mix), if you use the Group Inserts to connect the line level outputs of your FX devices. (See #24, below.)
23. Each channel has a DIR/GRP n switch, where n is a Group number from 1 to 8, and an associated DIR/TAPE SND jack on the rear connector (rearcon) panel. Any signals assigned to the Group n bus will automatically appear at the appropriate DIR/GRP n switch. If the switch is set to DIR (UP), then its DIR/TAPE SND jack will carry the direct output of its channel. If the switch is set to GRP n (DOWN), then its DIR/TAPE SND jack will carry all signals assigned to the Group n bus. 24. If you use a cable with a TS (Tip-Sleeve) plug, you can connect line level sources to the Group Insert jacks. This will allow you to record those sources using the shortest possible signal path to the Group outputs. 25. In the Control Room Source section, the switches are generally used as follows: MIX A for monitoring during mixdown. MIX B for monitoring during tracking and overdubbing. 2-TK A for monitoring the playback of your mixdown deck. 2-TK B for monitoring the playback of your dubbing deck.

4.28 4.28 4.29 4.30 4.31 4.31 4.32 4.33

Using The Mute Groups

Setting Up Mute Groups Operating Mute Groups Clearing Mute Groups

4.34 4.34 4.34

Using Mute Snapshots
Setting Up Mute Snapshots The ALL Snapshot Recalling Snapshots Manually Triggering Snapshots From Timecode Allocating Timecode Values To Snapshots Viewing And Editing The Timecode Value For A Snapshot Clearing Timecode Values From Snapshots Example Of Typical Operating Procedure For Automated Snapshot Recall Triggering Snapshots Using Program Changes
4.35 4.35 4.36 4.36 4.37 4.37 4.37 4.38 4.38
Using The MIDI Controller Faders
Setting Up The Controller Faders Switching Controllers On and Off Using Snapshots To Store Controller Fader Parameters

4.40 4.41 4.42

How The Controller Faders Are Related To The Group 1-4 Faders 4.40
Using Ghost With A Sequencer For Dynamic Mute Automation
How Mute Information Is Transmitted And Received By Ghost Setting The Global Tx/Rx MIDI Channel Notes On Setting Up The External Sequencer

4.43 4.43 4.44

Dumping And Reloading The Internal Memory
Dumping The Memory Reloading The Memory Re-initialising The Memory

4.45 4.45 4.46

Front Panel Description

Midi Chan

Cont Num

Mach Sel

The front panel is divided into four key areas (numbers refer to above drawing):
Machine Control Section (1,2,3,5)
This comprises transport buttons as found on most tape machines, STOP, FAST FORWARD, REWIND, PLAY and RECORD. A TRACK ENABLE enable button allows tracks on a remote machine to be switched to record-ready mode. The JOG WHEEL can be used with certain machines to control jog and shuttle functions. Four LOCATE buttons and a CYCLE 1-4 button allow basic autolocate and cycling to be set up.

7-Segment Display (6)

A 9-digit LED display is switchable to indicate either timecode display, current snapshot number or various system. The legend below the display in italics indicates the various parameters which are displayed in Setup mode.
M u l t i fu n c t i o n S e l e c t s w i t c h e s ( 7 )
A bank of four switches are used for different functions according to the current setting of the DISPLAY MODE switch, or the Mute Group or Track Enable switches. An adjacent array of three LEDs indicates the current function of these switches. The Multifunction Select switches are used for the following functions: MIDI Controller fader On/Off switching Selecting a MIDI Controller fader when setting up parameters Mute Group Activation Record-ready control of external tape machines Snapshot Control switches (4,8,9,10) These switches are used for storing and recalling mute snapshots and system parameters, and for enabling automatic replay of snapshots to timecode.

The Transport Controls

The transport controls follow standard tape machine conventions in their layout, with the normal STOP, PLAY, REWIND, FAST FORWARD and RECORD arranged in a row with indicator LEDs above each switch. The LEDs illuminate to show either the true state of the connected machine (using tally signals within the machine control protocol) or are illuminated locally direct from the transport switches (Open Loop machine control or timecode master modes only). The TRACK ENABLE button adjacent to the Record button is used to arm individual tracks prior to dropping into record. The exact procedure for this process, including use of the RECORD button is covered in "Arming And Dropping-in Tracks" (see later). Below the normal transport buttons is the Jog Wheel (2) with the associated SEARCH button (3). The Jog Wheel incorporates a built-in push switch. The Jog Wheel can be used to control a connected machine if the machine itself supports this function. This generally includes most machines using the Sony 9-pin protocol, but few machines using MMC currently support jog/shuttle. The SEARCH button is used to determine the mode of operation of the Jog Wheel -when Search is pressed, and its LED illuminated, the Jog Wheel is enabled for machine control purposes, and functions as a jog/shuttle wheel. Pressing down on the Jog Wheel switches the mode from jog (frame by frame advance of the machine) to shuttle (variable fast wind from zero up to 20 times play speed). Shuttle mode is indicated by flashing Search switch LED, while in jog mode the LED is illuminated constantly. Once Search mode has been entered, it can only be cancelled by pressing STOP, or another transport mode switch. Pressing Search again whilst its LED is illuminated has two different results depending on whether jog or shuttle mode is active at the time: l In Jog mode (Search LED not flashing), pressing Search switches the Jog Wheel into Shuttle mode (Search LED will now start flashing). l In Shuttle mode (Search LED flashing), pressing Search will reset the selected amount of fast wind back to zero, which avoids having to turn the Jog Wheel until the correct null point is found. When Search mode is not selected, the Jog Wheel has no effect on the connected machine, and it functions instead as a data entry wheel for snapshots and other parameters. (Note therefore that when other sections of this manual ask for the Jog Wheel to be turned to edit a parameter, Search mode must not be selected).

U s i n g S n aps h o t s T o S t o r e C o n t r o l l e r F ade r P ar ame t e r s
The parameters for each controller fader are stored in a snapshot memory location as part of the setup procedure described on the previous pages. There are no dedicated snapshots for Controller setups -they share the same snapshots as used for the console mutes. The following are suggestions for how to organise mute and Controller snapshots, depending on the application: All snapshots required for Mutes, but the same Controller setup required regardless of which mute snapshot is recalled: Store mute snapshots as required, store required Controller setup to ALL snapshots. (Note: storing Controller setups to ALL does not affect any mutes already stored, and vice versa). Mute snapshots required, with corresponding Controller fader setup required for each mute snapshot: Store mutes and Controller fader setups to the same snaphots. Mute Snapshots required for certain tasks, various Controller setups required for different tasks: Store mute snapshots to snapshots 1-100, store Controller fader setups to snapshots 101-128 (for example).
U s i n g G h o s t Wi t h A S e qu e n c e r F o r D yn ami c M u t e A u t o mat i o n
Although Ghost allows automation of mute snapshots via its own internal CPU, full real-time dynamic automation of individual mutes requires the use of an external MIDI sequencer to act as the recording and storage device. Ghost has been designed to allow each mute switch to transmit MIDI data in the form of note-on messages, which can be recorded on a dedicated track in the sequencer alongside (and therefore synchronised to) normal music tracks. On playback of the sequence, Ghost will receive the note data and will convert it back to individual mute events.
H o w M u t e I n f o r mat i o n I s T r an s mi t t e d A n d Re c e i ve d By G h o s t
There are a number of things to bear in mind when using the console with a sequencer in this way: l Ghost transmits a note-on with velocity of 1 when a channel is muted, and a note-on with velocity of 127 when the channel is unmuted. l Each channel and mix-B mute switch sends its own unique note number, which will be in the range 0-63 (or 0-111 if you have the 24 Channel Expander option). l Ghost automatically transmits a snapshot of the current status of all mute switches, when the PLAY transport button is pressed. The sequencer must record this snapshot at the beginning of a new mix, to ensure that it can initialise Ghost's mutes correctly on playback. This snapshot consists of a burst of note-on data corresponding to the initial mute status. l The note-on MIDI messages are transmitted and received on the consoles Global MIDI channel (the same channel is also used for sending and receiving program changes).

28) The Control Room Output level suddenly drops.
28) A TALKBACK routing switch is depressed.
29) The Control Room Outputs are in MONO. I) PFL/AFL/SOLO: 30) I press a PFL/AFL/SOLO switch, but I dont hear anything in the Control Room or the level is low. 31) When I press a Channel SOLO switch, the PFL/AFL Trim knob has no effect.
29) The MONO CHECK switch is on.
27) When any PFL/AFL/SOLO switch is depressed, you will hear its associated signal in the Control Room, in place of the selected Control Room source. To hear the selected Control Room Source, make sure no PFL/AFL/SOLO switches are engaged. 28) Whenever any TALKBACK Routing switch is depressed, the Control Room Outputs are automatically dimmed. 29) Make sure the MONO CHECK switch is off (UP). 30) The PFL/AFL TRIM knob has a +/- 10 dB range. Turn the knob clockwise to increase the level of the PFL/AFL signals. 31) When SIP is engaged, the Channel SOLO switches do not function as PFL switches and are not controlled with the PFL/AFL TRIM knob.
30) The PFL/AFL Trim control is set to a low level.(Note: The SOLO switches function as PFL switches when SIP is off.) 31) SOLO-IN-PLACE (SIP) is activated.
32) When I press a Channel SOLO switch, and another PFL/AFL switch, I dont hear the Channel I have Soloed.
32) SOLO-IN-PLACE (SIP) is activated.
32) When SIP is on and you activate a Channel SOLO switch, the Channel signal is not sent to the PFL/AFL buses. Instead, all UN-SOLOED Channels are muted and you hear the SOLOED Channels as the Control Room source. Engaging any regular PFL/AFL switch overrides the Control Room source and you hear the PFL/AFL buses instead. 33) AUX 1-2 and STE AUX 7 will send the signal routed to the Channel path with the REV switch. With the REV switch UP, AUX 3-4/5-6 will send the signal from the Channel input, when the AUX 3-4 MIX B switch is in the UP position. It will send the signal from the MIX B input when the AUX 3-4 MIX B switch is in the DOWN position and the MIX B SRCE switch is set to TAPE (UP). All this is reversed when the REV switch is depressed. STE AUX 8 will send the signal assigned to the MIX B path. 34) Turn the OSC LEVEL knob clockwise to increase the output level of the Oscillator. 35) Turn the TALKBACK Level knob clockwise to increase the output level of the TB MIC, and make sure nothing is blocking the TB MIC. 36) When the TO TAPE switch is pressed in both the OSCILLATOR and TALKBACK sections, the Oscillator has precedence and you will only hear its signal. To hear the TB MIC, make sure the Oscillators TO TAPE switch is off (UP). 37) The Group TO MIX-L+R switch has no effect on the MAIN MIX routing when pressed by itself. (See Note.) To route odd-numbered Groups to the MAIN MIX-L bus, press its TO MIX-L switch, and to route even-numbered Groups to the MAIN MIX-R bus, press its TO MIX-R switch. To route any Group to the MAIN MIX L+R buses, press its TO MIX-L or R switch and its associated TO MIX-L+R switch.Note: The TO MIX-L+R switch also determines if the Group signal will be routed to the PFL/AFL buses in Mono or Stereo, when its associated AFL switch is pressed.

DRY RECORDING Recording a signal without applying any effects (such as reverb) to it. DYNAMIC RANGE The difference, in dBs, between the noise floor of an audio device and 3% THD (Total Harmonic Distortion). The Signal-to-Noise-Ratio (SNR) plus the available headroom represents the dynamic range of the device. ECHO A discrete repetition of a sound. EFFECT - Outboard gear used by the AUX Send/Return system. The wet signal from the effect is returned to Ghost and combined with the dry signal. EQUALIZATION An intentional modification of an audio signals frequency response. EQUALIZER A signal processing device used to change the frequency response of the audio signal it processes. EQUALIZER, GRAPHIC An equalizer, generally with a series of vertical slide controls, with each control representing a fixed centre frequency. The sliders can boost or cut the signal, and their settings give a graphic representation of the resulting frequency response. Ghost does not have a graphic equalizer. EQUALIZER, PARAMETRIC An equalizer with continuously variable controls for the centre frequency and Q (bandwidth) and a boost/cut control. The boost/cut control raises or attenuates the level of the selected centre frequency, with the width of the boost/cut around the centre frequency determined by the setting of the Q control. Ghost has two parametric equalizers for each channel, labeled HMF and LMF. EQUALIZER, SHELVING An equalizer that applies a variable amount of boost/cut at all frequencies above or below the equalizers fixed frequency. It consists of a boost/cut knob for the fixed frequency. Ghost has two shelving equalizers for each channel, labeled HF and LF. EQUALIZER, SWEEPABLE (Sometimes called semi-parametric.) An equalizer with continuously variable controls for the centre frequency and a boost/cut control, but no Q (bandwidth) control. The boost/cut control raises or attenuates the level of the selected centre frequency, with the width of the boost/cut around the centre frequency being fixed. In effect, a sweepable EQ is similar to a parametric EQ, but without the Q (bandwidth) control. EXTERNAL TREATMENT - Using outboard gear on a signal before the signal enters Ghost. FADE-IN - Beginning a recording by gradually raising the level using a fader. FADE-OUT Ending a recording by gradually lowering the level using a fader. FADER A variable level control. In Ghost, there are 100mm vertical faders (sliders) for the Channels, Group masters, and Main Mix master, and rotary faders (knobs) for MIX B, MIX B master, and AUX masters. FADER, MASTER A single fader used to control the output level of all signals sent to it. In Ghost there are master faders for the Group, MAIN MIX, MIX B, and AUX outputs. FILTER, BANDPASS A filter designed to allow a relatively narrow band of frequencies to pass through, while attenuating all frequencies outside that band. (Its the opposite of a Notch Filter.) FILTER, HIGH-CUT (Also known as Low-Pass.) A filter that passes low frequencies, while attenuating those at or above a specified frequency. For instance, if the specified frequency is 10kHz, then the filter will not affect frequencies below 10kHz and will cut all frequencies at 10kHz and above. FILTER, LOW-CUT (Also known as High-Pass.) A filter that passes high frequencies, while attenuating those at or below a specified frequency. In Ghost, the LOW-CUT FILTER (LCF) in the channel input section, has a specified frequency of 100Hz. This filter will not affect frequencies above 100Hz and will cut all frequencies at 100Hz and below. FILTER, NOTCH A filter designed to attenuate a relatively narrow band of frequencies. (Its the opposite of a Bandpass Filter.) FOLDBACK see Cue System.

SOLO SWITCH With Ghost, only the Channels have SOLO switches. All other solo functions are by means of PFL and AFL switches. When SIP is not engaged, then the Channel SOLO switches function as normal PFL switches. When SIP is engaged, then when a Channel SOLO switch is engaged, all Channels without their SOLO switches engaged are muted. You can SOLO more than one Channel at a time. STEREOPHONIC (Stereo). Two channel sound, requiring two channels of amplification and two speakers for proper reproduction. STUDIO FOLDBACK see Cue System. SUB-MASTER Any tape used to produce a master tape. For example, if a master tape is a processed copy of an earlier tape, then the earlier tape is known as the Sub-Master. TAKE An uninterrupted performance on a multitrack tape. TALKBACK SYSTEM The communication system whereby the control room may speak to the performers in the studio over the Studio Foldback system. Also used to slate tapes and for count-offs. TIMECODE Any data signal that contains timing information which is recorded on tape, either before or while a recording is being made. Some common types of timecode are FSK, Smart FSK, SMPTE Timecode, and MIDI TimeCode (MTC). TRACKS For our purposes, the individual recorded paths on a multitrack tape. For instance, an 8-track recorder will allow you to record 8 separate paths, at different times, without erasing any of the previous tape tracks. TRACKING For our purposes, the process of recording basic tape tracks, during a multitrack recording session. UNBALANCED LINE A line consisting of two conductors, one being positive and the other a ground. Its often in the form of a single conductor, with the shield serving as the ground. UNITY GAIN No gain is added to the input signal. That is, the output level equals the input level. VOLUME UNIT (VU). A unit of measurement related to the average level or loudness of a signal, as opposed to the peak levels of a signal. WET RECORDING Recording a signal together with effects (such as reverb). X-Y RECORDING A stereo recording made with two cardioid microphones located in the same vertical plane, with their axes about 90-135 degrees to each other. Y-CONNECTOR A 2:1 cable or adapter that permits one signal to be split into two signals. ZERO OUT To set a console to its default state. That is, to turn all faders down; to turn all knobs off or to their centre detent positions; and to set all switches to their up positions.

Ghost Brochure 08/98

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Page 1

Ghost Typical Specifications
INPUT CHANNEL Microphone input
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
Console Input/Output circuit types
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

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
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%

Insert send & return

Nominal level...-2dBu Maximum level..+22dBu Maximum send load...2k ohm

Direct output noise

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

Direct Output level

Channel output selected..-2dBu Group output selected..+4dBu/-10dBV link selected

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

Frequency response

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

Low Cut Filter

Frequency...100Hz Type of filter.3 pole, 18dB per octave

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

Bus noise

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 outputs L & R

Mix fader at unity, nothing routed.-90dBu 24 channels routed, chan faders down.-80dBu 32 channels routed, chan faders down.-78dBu
SOUNDCRAFT HARMAN INTERNATIONAL INDUSTRIES LTD. CRANBORNE HOUSE, CRANBORNE RD., POTTERS BAR, HERTS, EN6 3JN, UK. TEL: +44 (0)FAX: +44 (0)EMAIL: info@soundcraft.com http://www.soundcraft.com SOUNDCRAFT US AIR PARK BUSINESS CENTER DONELSON PIKE NASHVILLE TN 37217, USA. TEL: 1-615-360-0471 FAX: 1-615-360-0273 Part No. A4; ZL0338 US; ZL0339
mixing for the next millennium
MASTER SECTION Nominal levels
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

Dimensions and weights

CH 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
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

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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, todays 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. Its 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 Ghosts 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. Its 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 doesnt 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. Theres 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. Ghosts audio path combines traditional analogue benefits, and innovations like Soundcrafts 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 Soundcrafts ground-breaking DC2020 console, and proven in both professional recording and postproduction environments. Unlike other mixers, Ghosts ProMic mic amplifier offers smooth control over a wide gain range up to 60dB. Its 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 Soundcrafts 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. Theres 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.

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GHOST PUTS YOU IN CONTROL

TRANSPORT AND AUTOMATION

As on the biggest studio consoles, Ghosts 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 desks 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.) 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. Ghosts 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 desks 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.

SOUNDCRAFT GHOST MACHINE CONTROL NOTES

Protocol support

Machine/Protocol Timecode source
MIDI MIDI LTC LTC Fostex Fostex Fostex MMC MMC MMC Alesis Alesis Tascam Tascam Sony Sony Sony Akai
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

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 Ghosts 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 Ghosts mute automation constantly locks to incoming timecode. You can even scrub video and audio with the jog/shuttle wheel.

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MASTER SECTION
Ghosts 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 Ghosts 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.) Ghosts 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, theres 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.

INPUT CHANNEL

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 Ghosts 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. Ghosts 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,

Fader Travel (mm)

100 + 10

Fader Attenuation (dB)

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, theres 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 mixers 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 Ghosts EQ -15.0 signal. Ghosts 4-band EQ section offers the performs to such a high standard. Each mid -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. Its 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 theres a price: only a truly 0.0 every time. The wide-ranging mid bands are parametric EQ like Ghosts 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 -20.1k 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 its 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 filters 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

Frequency/Hz

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 its 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. Ghosts 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. 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 components performance only high quality parts have the necessary stability. 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 Ghosts frame. Gold plated pins are used on the connectors of all boards to minimise noise in the audio path.
WHY BE PICKY ABOUT COMPONENTS?

BUILT TO LAST

Within the audio circuitry, youll 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

Playback/mix-down
Ghost is designed to connect to multitrack tape machines via

SEQUENCER

PLAYBACK/MIX-DOWN
At this stage, it is likely that the Main and MixB inputs will be

KEYBOARD

(Transport controlled from Ghost MMC)

INSERT COMPRESSOR

POWER DATA ENTRY LEVEL

FOLDBACK MIX

EFFECTS UNIT
dedicated send and return jack sockets, avoiding the need to

MIC DRUM MACHINE

swapped over so that the multitrack machines become the

DAT RECORDER

REC LEVEL ON EJECT

DIGITAL MULTITRACK

STE FX1

STE AUX 7 STUDIO B

repatch. Ghosts transport buttons will control tape

TONE MODULE

DATA ENTRY LEVEL
main sound source. Additional sound sources required at mixdown can also be connected

MACHINE CONTROL VIA MIDI

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 Ghosts Sony 9 pin protocol transport messages. Multitrack tape machines can be set to chase the VTRs timecode generator.

VTR PLAYBACK

TAPE SEND/RETURNS

AUDIO SAMPLER

LEVEL DATA

TAPE SEND/RETURN

CURSOR

MIX L/R

transports via a number of protocols. Sound sources are connected to channels as required and input processors,
MICROPHONES GUITAR SAMPLERS

MIDI STE FX 1 STE AUX 7

via extra channels or via MixB paths. It is likely that a sequencer will still be controlled

POWER AMP

CHANNEL A POWER MONO BRIDGE TEMP B VOLUME
such as compressors or gates, can be inserted into the channel path. Effects units are fed from auxiliary outputs in the master
from Ghost, via MIDI, to generate input from sound modules. The end result is a stereo mix, recorded onto DAT or

HEADPHONES

CONTROL ROOM MONITORS
section and return via the stereo return inputs. Multiple outputs are possible, including the main
some other high quality mastering medium.

ENGINEERS HEADPHONES

monitor mix and secondary mixes for separate performance space headphones.

Composing to picture

COMPOSING TO PICTURE

Live public address

Ghost can also be used for live
SEQUENCER (Can control Mutes on Ghost)

ON STAGE MONITORS

LIVE PUBLIC ADDRESS
PA work. Live sound sources are
input in the usual way, treated

POWER AMP MICS

POWER MONO BRIDGE TEMP HEADPHONES CHANNEL A B VOLUME

STE AUX 7 MIDI

as necessary by effects and

IN TAPE SEND/RETURN

dynamics processors connected to inserts and auxiliaries, and then output via a graphic equaliser to the main front of

STE FX 1 STE AUX

GRAPHIC EQUALIZER
AUDIO SAMPLER TAPE SEND/RETURN MIDI C/Rm

TIMECODE IN OUT IN

CHANNEL A POWER MONO BRIDGE TEMP 0 B VOLUME
house speakers. Auxiliary mixes, switched pre fade, can be used to provide monitor mixes to the musicians on stage - up to four
CONTROL ROOM MONITORS TV STYLE SPEAKERS
separate mixes if using MixB as a pre fade stereo bus. The 4 mute groups, controlled from Ghosts onboard computer, are particularly useful in a live situation.

D.I. BOX

MONO POWER BRIDGE TEMP HEADPHONES
SONY 9-PIN MACHINE CONTROL
CPU MUTE BUS B CPU MUTE BUS A

GRP O/P BUS (1-8)

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

DIRECT OUTPUT

MIX LEFT INSERT

INSERT POINT

GROUP N/ DIRECT
EQ IN/OUT SOLO MIX RIGHT INSERT 100mm MASTER FADER MIX LEFT OUTPUT

OPTIONAL INPUT METER

LF/HF EQ

LMF/HMF EQ

EQ TO MON LEFT

MIX RIGHT OUTPUT

100mm CHANNEL FADER MUTE PAN RIGHT CUT

MIX B TO MIX

1-2 PEAK
MIX B MASTER FADER MIX B LEFT OUTPUT

48V PHANT POWER -20 LCF

MIC I/P 7-8 SIGNAL DETECT PEAK DETECT

FROM 48V

MIX B RIGHT OUTPUT

INPUT SENS

AUX7 MASTER FADER

AUX7 LEFT OUTPUT

LINE I/P
AUX7 RIGHT OUTPUT TAPE TRIM

AUX 7 (STEREO)

REV AUX 8 CIRCUIT IS SIMILAR TO AUX7

Page 17

TAPE I/P
ALT +4/-10 (SNIP RESISTORS TO SELECT -10dBV)

PRE AUX 1 AFL/PFL TRIM

ALT L MASTER METER

AUX 2 SIP

MON AUX 3
2-TRACK B L CONTROL-ROOM SOURCE SELECT CRM LEVEL

2-TRACK B R

2TKB 2TKA MIX B

MIX A PFL 2-TRACK A L

R AFL/PFL OVERRIDE

MONO CHECK

LF/HF EQ PFL

System Block Diagram

SOURCE

MIX B FADER

2-TRACK A R LEFT STUDIO A SOURCE SELECT PAN CRM

AUX 1-2

STUDIO A OUTPUT

AUX 8 (STEREO)

AFL AUX1 OUTPUT AUX2 TO AUX6 CIRCUITS ARE SIMILAR TO AUX1 METER
STUDIO B OUTPUT IS SIMILAR TO STUDIO A OUTPUT

GROUP 1 INSERT

100mm GROUP FADER

INTERNAL JUMPERS +4 -10

GROUP 1 OUTPUT

OSC OSC MIX L

GROUPS 3, 5 & 7 ARE SIMILAR TO GROUP 1

1k/10k

OSC TO TAPE

GROUP 2 INSERT

FX INPUT 1

TALKBACK ROUTING TAPE

TALKBACK

GROUP 2 OUTPUT

DIM CTL

TB MIC

MIX R L+R AFL
FX INPUTS 2 TO 4 ARE SIMILAR TO FX INPUT 1
GROUPS 4, 6 & 8 ARE SIMILAR TO GROUP 2
M I C R O P H O N E L I N E

Ghost rear panel

Ghost patch panel

Ghost operating levels

Stereo Input
Channel Insert -2dBu Optional Input Meter Channel Fader + 8dBu Direct Output -2dBu Mix/Group Bus Mix/Group Insert -2dBu Mix/Group Fader + 8dBu

Headroom

Group/Output Meter
Level Diagram and Rear Panel

+ 4dBu

Mix/Group Outputs

Page 19

EQ Curves

Low frequency section

Ghost Machine Control Notes

High frequency section

Timecode Support
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. To cope with timecode dropouts, the SMPTE reader flywheels for a short period after which the timecode stops.
MIDI Machine Control with LTC Mode
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). Transport Controls All supported, machine required to send back tallies. Locate To Timecode Supported. Record Enable Supported. Jog/Shuttle Not supported. 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 machines MIDI controller, and from the MIDI controller to Ghosts MIDI In. Other Notes Closed loop system required.

LF Section

HF Section
20.0 15.0 10.0 5.0 0.0 -5.0 -10.0 -15.0 -20.100 1k 10k 20k

20.0 15.0 10.0 5.0 0.0 -5.0 -10.0 -15.0 -20.0 20

Control Button Support

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.
MIDI Timecode Master Mode
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.
LTC Timecode (Master) Mode
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. Transport Controls Chase to SMPTE timecode sent out by Ghost. Locate To Timecode Chase. 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.
Low mid frequency section

dB LMF Section

High mid frequency section
Locate to timecode Supported. Record Enable Not supported. Jog/Shuttle Shuttle not supported (use FF or REW). Setup Notes Connect MIDI out cable from Ghost to sequencers etc.

HMF Section

20.0 15.0 10.0 5.0 0.0 -5.0 -10.0 -15.0

MIDI Timecode Slave Mode

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. 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.

-20.0 20

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.

MIDI Machine Control with MTC Mode Low cut filter
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. Transport Controls All supported, machine required to send back tallies in closed loop systems. Locate To Timecode Supported. Record Enable Supported. Jog/Shuttle Not supported. Setup Notes See tape machine manual. 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.)
10.0 5.0 0.0 -5.0 -10.0 -15.0 -20.0 -25.0 -30.0 -35.0 -40.0 10

1k 10k

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.)