Ghost Brochure 08/98 25/1/02 12:16 Pm Page 1

Ghost Brochure 08/98 25/1/02 12:16 pm 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 MixB to Direct out (Swap pressed)...... 0.002% Nominal level...... -2dBu 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 22Hz-22kHz Channel faders down HF Eq. turnover frequency ...... 12kHz 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 24 channels routed, chan faders down...... -80dBu Q range ...... 0.7 to 6 32 channels routed, chan faders down...... -78dBu Maximum boost/cut...... +/- 15dB LMF Eq. frequency range...... 25Hz to 1.5kHz Mix outputs L & R mixing for the next millennium Q range ...... 0.7 to 6 Mix fader at unity, nothing routed...... -90dBu SOUNDCRAFT Maximum boost/cut...... +/- 15dB 24 channels routed, chan faders down...... -80dBu HARMAN INTERNATIONAL INDUSTRIES LTD. 32 channels routed, chan faders down...... -78dBu CRANBORNE HOUSE, CRANBORNE RD., MASTER SECTION POTTERS BAR, HERTS, EN6 3JN, UK. Nominal levels Dimensions and weights TEL: +44 (0)1707 665000 FAX: +44 (0)1707 660742 Group output level...... +4dBu/-10dBV link selected CH Overall width Weight(kg/lb) EMAIL: [email protected] Group insert level...... -2dBu 24 1059.36mm (41.71”)...... 44.0/97 http://www.soundcraft.com Aux output level ...... +4dBu 32 1303.20mm (51.31”) ...... 53.6/118 Mix output level ...... +4dBu 24 exp. 815.52mm (32.11”)...... 33.0/73 SOUNDCRAFT US Mix insert level...... -2dBu AIR PARK BUSINESS CENTER 12 Mix B output level...... +4dBu 1449 DONELSON PIKE CRM/ALT/Headphones level ...... +14dBu at maximum NASHVILLE TN 37217, USA. Studio outputs...... +4dBu TEL: 1-615-360-0471 2 Track inputs ...... +4dBu FAX: 1-615-360-0273 Stereo return inputs ...... +4dBu Part No. A4; ZL0338 US; ZL0339 Side elevation with optional meterbridge

Soundcraft reserve the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter. E&OE 9/98 Ghost Brochure 08/98 25/1/02 12:17 pm Page 3

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

Designing good audio mixers has never been easy – QUALITY AND VERSATILITY but with the widespread use of ultra-quiet digital recorders, and improvements all through the live and 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 studio audio chain, today’s mixers have to stand up handling a wide range of recording and mixing applications. without compromise – two fully parametric overlapping mid to closer sonic scrutiny than ever before. At the same Whether for studio or live recording, or mixing for picture, this is bands, with shelving high and low filters. Classic ‘British EQ’, in time, mixing has become less a process that takes a console that offers unparalleled flexibility and value. fact, like that found on Soundcraft’s acclaimed 3200 and Europa place at the console alone, and more one that Ghost is an in-line multitrack mixer with a Mix B path (often consoles. The result is unsurpassed ability to control and correct involves outboard effects, samplers, and called monitor path), as well as the main signal path on each – for creative effect in a recording session, or applying corrective synchronisation of audio and video recorders. It’s a channel strip. It’s called “Mix B” because the architecture of the EQ to an awkward live signal. big task for a mixer to keep in touch with all of that signal routing is much more flexible than that suggested by the Being able to swap main and Mix B inputs, and split the EQ – which is why Soundcraft created Ghost, the term “monitor”, offering many of the features normally found between the two paths, Ghost allows a high degree of control ultimate affordable analogue recording console. only on a main input channel. Unlike many mid-range consoles, over a mix. Professional features on the channel strip include Simply put, Ghost is the only desk that delivers the Ghost doesn’t restrict facilities such as muting and EQ to the individually switchable phantom power, phase reverse and plenty audio precision, quality and all the control features of main channel path. of aux sends – 10 aux busses including 2 stereo pairs in all. a big studio desk without the usual prohibitive price 24 and 32 channel frames are available, providing 56 and 72 There’s level and peak metering on every channel, and both the ticket. inputs respectively at mixdown. In addition, using the 24 channel main and Mix B paths have MIDI muting and PFL, while the main The EQ, for instance, is directly comparable to that of expander unit, a further 48 inputs at mixdown are possible. channel path also offers true solo-in-place. the classic Soundcraft 3200 and Europa consoles. No There’s signal level indication on each channel as standard, plus compromises. an optional meterbridge with 12-segment channel meters and An all-new mic preamp, ProMic, has been developed 20-segment left/right master meters, for more precise metering. just for Ghost. Its performance alone puts Ghost into Ghost’s audio path combines traditional analogue benefits, and a different league from other consoles of similar innovations like Soundcraft’s latest high-performance ProMic Soundcraft Ghost, Ghost LE and Ghost Expander are pictured price. mic preamp, with automated muting on both the main channel throughout with optional meterbridge fitted. The killer punch, however, is delivered by Ghost’s and Mix B inputs. The automation is based on the advanced integral computer-based machine control and mute technology used on Soundcraft’s ground-breaking DC2020 automation. Derived from the innovative Soundcraft console, and proven in both professional recording and post- DC2020 post-production console, the machine production environments. control in Ghost makes it far more than just another Unlike other mixers, Ghost’s ProMic mic amplifier offers smooth mixer. It actually forms the heart of an automated control over a wide gain range – up to 60dB. It’s amazingly recording setup with countless benefits in ease of quiet, giving greatly improved noise performance in the mid- use and production efficiency. gain region, with enough headroom for peaks from drum kit Read on and discover just what Ghost will do for you. mics, and extremely low distortion figures. Ghost Brochure 08/98 25/1/02 12:17 pm Page 5

GHOST PUTS YOU IN CONTROL

TRANSPORT AND AUTOMATION

As on the biggest studio consoles, Ghost’s master section offers 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 client ...... MTC (MIDI Timecode) audio or video equipment, supporting both MIDI timecode and LTC Timecode master...... Internal SMPTE. (See table). LTC Timecode client ...... LTC 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 control. MIDI Sequencer transport functions can be controlled MMC General Closed Loop ...... LTC MMC Open Loop ...... MTC from the Ghost master section, and external MIDI data from a Alesis ADAT and AI2 ...... MTC Alesis ADAT and 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 fading a signal in a few milliseconds (rather than cutting it Sony 9-pin P2 (no record enable) ...... LTC 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.) 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 MACHINE CONTROL 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. Ghost offers totally integrated machine Cue points can be set up either by entering them ‘on the fly’, as the control facilities. The CPU in Ghost’s master desk receives timecode, or by specifying precise timecode locations. section provides full remote control - with To the left of the transport controls, an 8-character display shows autolocation points - of audio tape incoming timecode, as well as providing a display facility to set up recorders, VTRs or digital audio and edit the desk’s MIDI fader facilities. A third mode displays the snapshot number currently recalled. 128 workstations. Without even turning away of these ‘snapshots’ record all channel and Mix B mute settings, from your mixer you can drop tracks into plus MIDI fader set up, and MIDI program change information. and out of record and loop, while Ghost’s Snapshots can be referenced to incoming timecode, or recalled mute automation constantly locks to directly using their program change number. Mute settings can also be stored against the four multi-function buttons, which act incoming timecode. You can even scrub like four mute groups, layering their stored mutes together when video and audio with the jog/shuttle wheel. several are called at once. It is sometimes useful to assign groups of channels in this way, especially in a live situation. Ghost Brochure 08/98 25/1/02 12:17 pm Page 7

MASTER SECTION INPUT CHANNEL

Ghost’s master section provides just as much in the way of output On the rear panel, each channel offers balanced XLR mic in place of the regular Mix B path, the post-EQ, pre fade and monitoring control as it does transport and MIDI facilities. Each and balanced 1/4” jack line inputs to the main channel main channel signal – for an additional stereo aux send, of the eight groups gets its own 100mm fader, with routing to the path, a balanced jack Mix B input, jack tape send, and jack perhaps, or a stereo monitor mix.

main stereo mix bus in mono or stereo (odd numbered groups feed insert point (pre-fade, pre-EQ). Phantom Plot of fader attenuation vs. fader travel Ghost has all the connections required for left, even numbered groups feed right), and AFL. Metering, for power is individually switched on each mic multitrack recording. Tape tracks can be 0

groups and the main stereo mix bus, is via 12-segment bargraphs input, rather than in blocks of 8 or more. 10 fed from the channel direct outputs, or

above the CPU. Group inserts and ground-compensated group The routing of Main and Mix B input 20 switched individually on each channel to outputs are located on rear panel jack sockets. These sends, as well signals to the two channel paths can be 30 feed from the group busses which are

)

m 40

as the channel direct outputs, can be switched to +4dBu or -10dBV reversed for more control over the Mix B (m l allocated in blocks of eight (i.e. channels 50

rave

operation via an internal jumper option. signal – at mixdown, for example. T der 60 1-8 from groups 1-8, channels 9-16 from

Fa The main stereo mix output is via a 100mm stereo fader, with a Mic input gain is variable from +8 to 70 groups 1-8, channels 17-24 from groups 80 second rotary fader for the Mix B output. The stereo Mix B signal +60dB. The Mic/line switch selects either 1-8). 90

can be switched into the main mix bus, pre fader, when you want to mic or line level input to the channel. Line 100 Both the main channel and Mix B path +10 0-10-20 -30 -40 -50 -60 -70 use Ghost’s full input potential at mixdown. input gain is from -12dB (for very high Fader Attenuation (dB) have solo and cut features. Mute settings The four stereo effects returns each have a PFL solo facility with levels) to +40dB. Mix B also has a trim can be individually switched, stored into precision level and balance pots. Each can be routed to the main control, offering ±15dB of gain variation. snapshot memories in the master section for recall later at mix bus and to any of the four pairs of sub-groups. The main channel path provides Phase Reverse, essential cue points, allocated to four internal mute groups, or Aux sends are on ground-compensated jack outputs, with a rotary for full control in live recordings or any application where remotely switched via MIDI. fader and AFL solo for each bus; auxes 7/8 and 9/10 are combined the phase of signals may vary, and a 3-pole (18dB/octave) on two stereo send pots. 100Hz low cut filter to treat low frequency vibrations. CHANNEL METERING The master output section allows the use of several sets of studio The EQ section of Ghost offers an unprecedented level of and control room speakers, and headphones. In addition to the tonal control for a console in this class, with two fully Channel metering is via a single LED next to the channel main mix output and Mix B outputs, there are two sets of Control parametric mid bands in addition to the high frequency fader that glows brighter as signal level increases, Room outputs, allowing you to switch between two alternative and low frequency bands. The mid bands overlap, offering augmented by a peak LED that meters four points in the sets of monitors at the flick of the Alt switch. Both Main and Alt a high degree of flexibility, covering 25Hz - 1.5kHz and signal path – at the output of the mid EQ bands, after outputs can be summed to mono, to check mono compatibility. 400Hz - 20 kHz. Q is continuously variable from 0.7 to 6, the low-cut filter, after the HF and The source for the Control Room outputs is switchable between with up to 15dB of cut or boost. The shelving HF and LF LF bands, and after the channel fader. For more Main Mix and Mix B (both post-master fader), and two sets of 2- bands operate at 12kHz and 60Hz, with 15dB of cut or comprehensive input level metering, an optional track tape inputs. Two sets of Studio outputs, A & B, are also boost. If both the main and Mix B channel paths are being overbridge is available. provided. Each has its own level control and AFL, and can be used simultaneously, and both require a degree of EQ, then sourced from the Control Room monitor signal, Mix B, or from the the LF and HF bands can be switched into the Mix B path. Aux 1 & 2 outputs. Two sets of headphones can be used; one via A total of 10 aux busses are provided – six mono sends and MIC AMP the main headphones output, which disconnects the control room two stereo. Auxes 1 & 2 are switched as a pair to pre or speaker outputs, whilst a second can be driven from the Studio B post-fade operation. Auxes 3 & 4 are post-fade, and can Ghost’s ProMic is the best mic pre-amp outputs. (See System Configuration diagrams for examples.) be switched as a pair from the main channel signal path to Soundcraft has ever produced with Ghost’s talkback section allows the built-in electret mic to be Mix B, making the latter much more than just a tape much lower noise in the low and mid momentarily routed to the studio outputs, to auxes 1 & 2, or to the return path. Another switch re-routes the signal from gain settings, high gain noise main stereo mix and group outputs. A level control is provided. these two pots to aux sends 5 & 6. The two sets of post- As well as PFL/solo-in-place switching, there’s also a trim control fader stereo sends, 7/8 and 9/10, are each controlled by a performance equal to consoles many for the output level of PFL and AFL solo, to control room outputs. single pot, and follow the channel pan settings. times the price and superior mid gain The oscillator, routed to the group output, is switchable between The main channel signal output level is set by a 100mm performance. ∞ 1kHz and 10kHz, with gain variable from - to +15dBu. 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 08/98 25/1/02 12:17 pm Page 9

EQ - NOBODY DOES IT BETTER SOUNDCRAFT - GREAT BRITISH EQ

Soundcraft have been making mixers for setting of 25Hz, delivering precise control over the full filter over 20 years, and throughout this time the range. Thanks to custom-designed pots, there’s no ‘squeezing’ of Soundcraft EQ has remained at the top 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 the list of reasons why people love our change in EQ than near the middle) – response remains even. desks, and why top artists rely on The two mid bands are supported by LF and HF shelving filters, Soundcraft technology on stage and in the each with up to 15dB of cut or boost. Operating at 60Hz and studio. Smoothness, musicality, and ease of 12kHz, they are perfectly placed to roll off or enhance the most important low and high frequency components without use are qualities that appeal to engineers interfering with and muddying the mid bands. Whilst they who use classic Soundcraft designs such as complement the two mid bands perfectly, the frequencies chosen, the 3200 and Europa – the same qualities and the wide range of those two mids, means that when the HF are to be found on Ghost. and LF bands are switched into the Mix B channel path, both channel signal paths are equipped with practical EQ facilities. An EQ In/Out switch lets you hear what the Whilst most parts of the mixer’s audio chain High and Low Mid Range Equalisation Characteristics channel sounds like with or without EQ - a

must alter a signal as little as possible, EQ has dB HMF Section 20.0 valuable instant reference facility that no 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 the rest, whether for bringing out the 5.0 the EQ circuitry altogether, reducing the character of a voice or instrument, resolving 0.0 -5.0 likelihood of noise. elements in a mix, or correcting a troublesome -10.0 There are very good reasons why Ghost’s EQ signal. Ghost’s 4-band EQ section offers the -15.0 performs to such a high standard. Each mid -20.0 same precision and warmth that Soundcraft 20 100 1k 10k 20k Frequency/Hz band on Ghost uses four op-amps, with high- consoles are renowned for – the classic dB LMF Section grade bi-polar types for the main signal. attributes of ‘British EQ’. It’s accurate, 20.0 15.0 Some desk designs attempt to achieve consistent and reliable – the same control 10.0 parametric performance with only three op positions produce the same predictable results 5.0 amps, but there’s a price: only a truly every time. The wide-ranging mid bands are 0.0 parametric EQ like Ghost’s preserves accurate fully parametric, allowing independent control -5.0 -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 -20.0 Whether you need to bring up a broad range of 20 100 1k 10k 20k Frequency/Hz 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 goes deeper than other parametric EQ filters. That gives Ghost the SPLIT EQ flexibility to cope with a wide range of musical and mixing styles, including modern dance music where control of ultra-low bass With two inputs on each channel, split EQ frequencies is important. Even the hi-mid reaches down to 400Hz, means you can apply control where it’s allowing both parametric bands to be applied to bass frequencies needed. Normally all EQ bands affect the for even finer control. main path, but the high and low bands can Q, the measure of the filter’s bandwidth, is continuously variable from 0.7 to 6. As the response curves (see opposite) show, over the be switched into Mix B – perhaps to lift full range of settings the filter response remains even and smooth. high frequencies on a tape track. Q and boost settings remain accurate even down to the lowest Ghost Brochure 08/98 25/1/02 12:17 pm Page 11

A SOLID INVESTMENT INTERNAL CONSTRUCTION

The construction of Ghost is based on individual vertical circuit designed for use on Ghost – no off-the-shelf components would boards for each channel, rather than on a single horizontal board. meet the specifications required by our designers and yet still be This allows more board space to be devoted to each channel strip, small enough to pack all of the controls into Ghost’s frame. Gold hence more components, and more facilities. All pots are bolted plated pins are used on the connectors of all boards to minimise directly to the front panel, so if a load is accidentally placed on noise in the audio path. the knobs, for example when a heavy object is dropped on them, then it’s the metalwork that takes the strain – not the circuit WHY BE PICKY ABOUT COMPONENTS? board underneath. Vertical boards allow the desk to function even if an individual channel is removed, and make servicing and repair High quality components ensure that an electronic circuit behaves a good deal easier. Should anything need replacing, all as it is designed to. It is vitally important that no compromises are components are readily available from Soundcraft distributors made in component selection as relatively small differences in around the world. their resistance or capacitance can have a disproportionate effect Ghost’s custom pots and faders are vital to its excellent audio on a circuit. It is also important that the passage of time, changing performance. Properties such as end stop resistance (how much temperature, or other changes in environment do not affect a attenuation a knob offers at the end of its travel), and usable component’s performance – only high quality parts have the fader laws with predictable attenuation characteristics and necessary stability. smooth response, were among the key requirements specified by Soundcraft designers. The result is a mixer whose controls offer 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,

Within the audio circuitry, you’ll find bi-polar 5532 op amps – and how to deliver it in a rugged, cost- more expensive and requiring more power than the op amps most effective design that is built to withstand a consoles use - but creating less noise and distortion. Not only are lifetime of hard work. Which is why, over 20 the components themselves superior in terms of audio years after we started making them, performance, but their ability to drive lower impedance loads means that the signal path as a whole can be designed for lower thousands of Soundcraft mixers – including inherent noise, one of the sources of which is impedance-related Europas, 3200s, Deltas, Venues and Viennas ‘Johnson Noise’. All pots and faders have been specially – are still going strong. Ghost Brochure 08/98 25/1/02 12:18 pm Page 13

EXPANDER AND GHOST LE

GHOST EXPANDER

Should you ever run out of inputs on your Ghost, there’s a simple solution – the Ghost Expander. This 24-channel extension module features removable side panels allowing it to be positioned flush alongside a Ghost or Ghost LE for configurations up to 56 inputs – a massive 120 separately controllable inputs on mixdown. The channel strips are identical to those on the Ghost and Ghost LE, and the audio bussing integrates fully, via a single D-type connector and ribbon cable, with the eight group busses, 10 aux sends, solo detection and solo-in-place functions on the main desk. Furthermore, when the expander is added to a Ghost, its MIDI and mute functions are integrated with, and controlled from, the main console’s master section.

GHOST LE Ghost LE is a stripped-down version of Ghost, designed for users who do not need transport control or MIDI facilities. Channel strips are identical to Ghost, offering the same superb audio quality and facilities, and all audio facilities of the master section are also carried over. The CPU and its associated facilities, however, are omitted. Mutes can be switched manually, but there is no mute automation or mute grouping, and no machine control or MIDI support. Ghost LE is ideally suited to live recording and mixing, installed sound, or recording applications where little or no MIDI equipment is involved. Ghost Brochure 08/98 25/1/02 12:18 pm Page 15

System Configuration Examples

Audio recording (shown with optional expander) Playback/mix-down

AUDIO RECORDING Ghost is designed to connect to PLAYBACK/MIX-DOWN At this stage, it is likely that the STUDIO/PERFORMANCE AREA

KEYBOARD INSERT COMPRESSOR FOLDBACK multitrack tape machines via Main and MixB inputs will be MICROPHONES POWER DATA ENTRY LEVEL MIX SEQUENCER (Transport controlled GUITAR KEYBOARD from Ghost MMC) SAMPLERS EFFECTS UNIT dedicated send and return jack swapped over so that the

POWER DATA ENTRY DIGITAL MULTITRACK sockets, avoiding the need to MIDI multitrack machines become the MIC DRUM MACHINE DAT RECORDER TONE MODULE REC LEVEL POWER DATA ENTRY LEVEL ON

TAPE SEND/RETURNS repatch. Ghost’s transport main sound source. Additional STE FX1 STE AUX 7 EJECT DAT AUDIO SAMPLER 010

LEVEL

DATA STUDIO B buttons will control tape CURSOR sound sources required at DIGITAL MULTITRACK MIX L/R TAPE KEYBOARD transports via a number of SEND/RETURN mixdown can also be connected C/Rm MICROPHONES MIDI EFFECTS UNIT STE FX 1 GUITAR POWER DATA ENTRY protocols. Sound sources are TAPE via extra channels or via MixB SAMPLERS SEND/RETURN STE AUX 7 connected to channels as C/Rm paths. It is likely that a required and input processors, sequencer will still be controlled POWER AMP POWER AMP CHANNEL VOLUME AB CHANNEL VOLUME POWER such as compressors or gates, AB from Ghost, via MIDI, to MONO BRIDGE 010 POWER TEMP MONO BRIDGE 010 TEMP HEADPHONES can be inserted into the channel HEADPHONES generate input from sound path. Effects units are fed from modules. The end result is a auxiliary outputs in the master stereo mix, recorded onto DAT or

CONTROL ROOM MONITORS CONTROL ROOM section and return via the stereo MONITORS some other high quality return inputs. Multiple outputs mastering medium.

MACHINE CONTROL VIA MIDI are possible, including the main

ENGINEERS HEADPHONES monitor mix and secondary mixes for separate performance space headphones.

ON STAGE Composing to picture Live public address MONITORS Many of the same machines and COMPOSING TO PICTURE Ghost can also be used for live LIVE PUBLIC ADDRESS

sound sources will be connected EFFECTS UNIT SEQUENCER PA work. Live sound sources are POWER DATA ENTRY (Can control Mutes on Ghost) to Ghost as in the previous KEYBOARD input in the usual way, treated POWER AMP CHANNEL VOLUME MICS AB KEYBOARD POWER MONO BRIDGE 010 STE FX1 STE AUX 7 TEMP example. However, it is likely as necessary by effects and HEADPHONES DIGITAL MULTITRACK MIDI AUX 1 AUX 2 EFFECTS UNIT that these will include an IN dynamics processors connected STE FX 1 POWER DATA ENTRY TAPE TONE MODULE SEND/RETURN STE AUX POWER DATA ENTRY LEVEL external MIDI sequencer, which to inserts and auxiliaries, and GRAPHIC EQUALIZER IN AUDIO SAMPLER MIX L/R POWER

LEVEL TAPE DATA SEND/RETURN drives a number of sound CURSOR then output via a graphic MIDI C/Rm POWER AMP

TIMECODE CHANNEL VOLUME modules and can also control Alt equaliser to the main front of AB POWER POWER AMP MONO BRIDGE 010 IN TEMP VTR PLAYBACK CHANNEL VOLUME AB HEADPHONES ON POWER OUT MONO the automatic mutes on Ghost. 010 house speakers. Auxiliary mixes, BRIDGE TEMP

HEADPHONES Additionally, there will be a VTR IN switched pre fade, can be used player, which will follow Ghost’s to provide monitor mixes to the Sony 9 pin protocol transport musicians on stage - up to four CONTROL ROOM D.I. messages. Multitrack tape MONITORS separate mixes if using MixB as BOX TV STYLE machines can be set to chase SPEAKERS a pre fade stereo bus. The 4 the VTR’s timecode generator. mute groups, controlled from

MONO BRIDGE HEADPHONES Ghost’s onboard computer, are POWER TEMP

SONY 9-PIN MACHINE CONTROL particularly useful in a live situation. Ghost Brochure 08/98 25/1/02 12:18 pm Page 17

System Block Diagram Level Diagram and Rear Panel

Ghost operating levels OUTPUT STUDIO A TB MIC LEFT RIGHT 1k/10k OSC dBu ALT L ALT ALT R ALT CRM L CRM R IS SIMILAR TO TALKBACK STUDIO B OUTPUT STUDIO A OUTPUT HEADPHONES +30

STU Headroom TAPE AUX 1-2 ROUTING TALKBACK +20 DIM CTL OSC AFL +10 Stereo Input +4dBu TAPE OSC TO 0 L

ALT I -10

MONO N CHECK E M I -20 DIM C R -30 ARE SIMILAR TO AUX1 ARE SIMILAR TO AUX1 O CRM OUTPUT OUTPUT OUTPUT OUTPUT OUTPUT OUTPUT OUTPUT OUTPUT MIX LEFT GROUP 1 AUX2 TO AUX6 CIRCUITS AUX2 TO GROUP 2 LEVEL OUTPUT MIX RIGHT AUX7 LEFT MIX B LEFT AUX7 RIGHT MIX B RIGHT P H TO AUX7 TO GROUPS 4, 6 & 8 IS SIMILAR -40 CRM MIX B METER AUX 8 CIRCUIT

GROUPS 3, 5 & 7 O AUX 1-2 MASTER ARE SIMILAR TO GROUP 2 ARE SIMILAR TO STUDIO A N ARE SIMILAR TO GROUP 1 ARE SIMILAR TO SOURCE SELECT

eter

eter E Bus AFL/PFL

OVERRIDE -50

utputs

8dBu 8dBu

-2dBu

O -60 + + AFL

roup

Input

utput

utput L

Insert R

Insert -10 -10 -70

ix/Group

Fader Fader

ix/G +4 +4

M JUMPERS JUMPERS INTERNAL INTERNAL

M 2TKB 2TKA MIX B MIX A

PFL -80

roup MIX L MIX R

roup/O CONTROL-ROOM SOURCE SELECT

roup

ptional

Direct

O MIX B

Channel

ix/G TO MIX TO

Channel

ix/G METER METER

M L+R L+R AUX7 MIX B FADER FADER 100mm FADER MASTER MASTER MASTER 100mm FADER 100mm FADER GROUP GROUP TRIM AFL/PFL AFL AFL AUX 1 INSERT MIX LEFT INSERT INSERT INSERT MIX RIGHT GROUP 2 GROUP 1 Ghost patch panel 2-TRACK A R 2-TRACK A L 2-TRACK B L 2-TRACK B R CPU SOLO SIP SIP

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 5-6 1-2 3-4 5-6 7-8 L-R AUX 8 (STEREO) AUX 3 AUX 4 AUX 1 AUX 2 AUX 7 (STEREO) SOLO PAN PRE MON PAN LEFT RIGHT PFL PFL 1-2 3-4 5-6 7-8 MIX DIRECT GROUP N/ MUTE CUT MUTE DIRECT OUTPUT CUT EQ IN/OUT PEAK PEAK FADER 100mm DETECT CHANNEL MIX B FADER EQ LF/HF EQ LMF/HMF REV EQ SOURCE LF/HF Ghost rear panel EQ TO MON SIGNAL DETECT POINT INSERT -20 LCF LCF OPTIONAL INPUT METER LEVEL BAL TRIM TAPE SENS INPUT PHASE PFL 48V FROM LINE +4/-10 -10dBV) TO SELECT TO (SNIP RESISTORS 48V PHANT POWER FX INPUT 1 ARE SIMILAR TO FX INPUTS 2 TO 4 FX INPUTS 2 TO LEFT RIGHT MIC I/P LINE I/P TAPE I/P TAPE FX INPUT 1 Ghost Brochure 08/98 25/1/02 12:18 pm Page 19

EQ Curves Ghost Machine Control Notes

Low frequency section High frequency section Timecode Support MIDI Machine Control with LTC Mode The console will display the last timecode value sent by the tape machine. This allows Ghost to work with a tape machine which can be controlled dB LF Section dB HF Section This means that, for some machines, when you rewind the tape the displayed using the generic MIDI Machine Control protocol and which sends the 20.0 20.0 timecode will correspond to the point at which it stopped. This will be timecode as SMPTE Longitudinal Timecode (LTC). displayed until the tape is played again, at which point the display will 15.0 15.0 update to the new value being sent. Transport Controls All supported, machine required to send back tallies. 10.0 10.0 To cope with timecode dropouts, the SMPTE reader ‘flywheels’ for a short period after which the timecode stops. Locate To Timecode 5.0 5.0 Supported.

0.0 0.0 Control Button Support Record Enable Supported. -5.0 -5.0 To provide feedback to the console transport control buttons the tape Jog/Shuttle machine should support ‘tally’ messages (i.e. feedback from the tape Not supported. -10.0 -10.0 machine of its status). If this is not provided the console will try to interpret any timecode received to give an accurate status indication. Setup Notes -15.0 -15.0 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 -20.0 -20.0 MIDI Timecode Master Mode 20 100 1k 10k 20k 20 100 1k 10k 20k tape machine’s MIDI controller, and from the MIDI controller to Ghost’s Frequency/Hz Frequency/Hz Ghost uses its own internal clock as a timecode reference for mixing. It also MIDI In. sends out MIDI timecode. This mode would normally be used with a Other Notes sequencer which can chase to MTC. Closed loop system required. Transport Controls Control timecode sent out by Ghost. LTC Timecode (Master) Mode Low mid frequency section High mid frequency section Locate to timecode Ghost uses its own internal SMPTE generator as a timecode reference for Supported. mixing. It also sends out SMPTE from its SMPTE Out socket. This mode would dB LMF Section dB HMF Section normally be used with a tape machine that can chase timecode, but does 20.0 Record Enable not have specific transport control support. 20.0 Not supported. 15.0 15.0 Jog/Shuttle Transport Controls Shuttle not supported (use FF or REW). Chase to SMPTE timecode sent out by Ghost. 10.0 10.0 Setup Notes Locate To Timecode 5.0 5.0 Connect MIDI out cable from Ghost to sequencers etc. Chase.

0.0 Record Enable 0.0 MIDI Timecode Client Mode Not supported. -5.0 -5.0 The automation clients to incoming MIDI timecode. The transport buttons Jog/Shuttle Shuttle not supported (use FF or REW). -10.0 -10.0 on the console indicate whether timecode is running, stopped, etc. The console transport buttons have no effect on the tape machine. Setup Notes -15.0 -15.0 Connect SMPTE Out from Ghost to Timecode In on tape machine. Transport Controls -20.0 -20.0 Display only, by using timecode values returned by the tape machine. 20 100 1k 10k 20k 20 100 1k 10k 20k Frequency/Hz Frequency/Hz Setup Notes LTC Timecode (Client) Mode Connect MIDI cable from external MIDI Timecode source to console MIDI in. The automation clients to incoming SMPTE timecode. This mode would be used for a tape machine which has no interface for the Ghost to control it, MIDI Machine Control with MTC Mode but which has SMPTE timecode recorded on one track.

This allows Ghost to work with a tape machine which can be controlled Transport Controls Low cut filter using the generic MIDI Machine Control (MMC) protocol and which also Display only, by using timecode values returned by the tape machine. The sends the timecode as MIDI Timecode (MTC) on the same MIDI output as the transport buttons on the console indicate whether timecode is running, MMC tallies. stopped, etc. dB Low Cut Filter 10.0 Transport Controls Setup Notes Connect tape machine SMPTE signal to SMPTE In on Ghost. 5.0 All supported, machine required to send back tallies in closed loop systems. 0.0 Locate To Timecode Sony 9-Pin Protocol Supported. -5.0 Ghost can control a number of different machines via the Sony 9-Pin protocol. Record Enable -10.0 Supported. Transport Controls All supported, machine required to send back tallies. -15.0 Jog/Shuttle Not supported. Locate To Timecode -20.0 Supported. Setup Notes -25.0 See tape machine manual. Record Enable Generic mapping available for VTR audio tracks. -30.0 Other Notes Both generic Open and Closed MIDI loop system drivers are available. Jog/Shuttle -35.0 There are also some drivers for specific machines. (See table on Transport Fully supported. and MIDI page.) Setup Notes -40.0 10 100 1k 10k Connect Sony 9-Pin port to tape machine and connect Ghost SMPTE In to Frequency/Hz tape machine timecode generator. (The tape machine is usually the timecode master in this setup.)