Soundcraft GHOST BROCHURE

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

Line input

Sensitivity range for 0VU output........+12dBu to -40dBu

Maximum input level...................................................+34dBu

Input impedance..........................................................15k ohm

Common Mode Rejection Ratio

(CMRR) 1kHz................................-60dB @ sensitivity 0dBu

Insert send & return

Nominal level.....................................................................-2dBu

Maximum level ..............................................................+22dBu

Maximum send load .....................................................2k ohm

Direct Output level

Channel output selected................................................-2dBu

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

Tape Return input

Sensitivity at calibrated centre detent.....................+4dBu

Tape trim range .............................................-15dB to +15dB

Input impedance.......................................................>24k ohm

Common Mode Rejection Ratio

(CMRR) 1kHz: ...........................-60dB @ Calibrated detent

Low Cut Filter

Frequency ...........................................................................100Hz

Type of filter ....................................3 pole, 18dB per octave

Equaliser section

HF Eq. turnover frequency ............................................12kHz

Maximum boost/cut...................................................+/- 15dB

LF Eq. turnover frequency................................................60Hz

Maximum boost/cut...................................................+/- 15dB

HMF Eq. frequency range...........................400Hz to 20KHz

Q range.............................................................................0.7 to 6

Maximum boost/cut...................................................+/- 15dB

LMF Eq. frequency range..............................25Hz to 1.5kHz

Q range.............................................................................0.7 to 6

Maximum boost/cut...................................................+/- 15dB

MASTER SECTION
Nominal levels

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

Side elevation with optional meterbridge

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

THD+n. (harmonic distortion)

1dB below clipping, 1kHz

Mic/Line to Direct output.............................0.002% EQ out

.................................................................................0.003% EQ in

MixB to Direct out (Swap pressed)...........................0.002%

Direct output noise

22Hz-22kHz Mic sensitivity @ -10dB

Channel Fader at unity..................................-95dBu EQ out

.................................................................................-93dBu EQ in

Frequency response

Mic/Line input to any output .......................20Hz - 20kHz

.....................................................................................(+0/-0.5dB)

......................................................................Sensitivity @ 30dB

Crosstalk

Mic input to Line input crosstalk.............-100dB @ 1kHz

Line input to Mic input crosstalk...............-90dB @ 1kHz

MixB to Channel crosstalk............................-80dB @ 1kHz

Channel to MixB crosstalk............................-75dB @ 1kHz

Bus noise

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

Dimensions and weights

CH Overall width Weight(kg/lb)

24 1059.36mm (41.71”).............................44.0/97

32 1303.20mm (51.31”)..........................53.6/118

24 exp. 815.52mm (32.11”) ...............................33.0/73

SOUNDCRAFT
HARMAN INTERNATIONAL INDUSTRIES LTD.
CRANBORNE HOUSE, CRANBORNE RD.,
POTTERS BAR, HERTS, EN6 3JN, UK.
TEL: [phone]
FAX: [phone]
EMAIL: [e-mail]
http://www.soundcraft.com

SOUNDCRAFT US
AIR PARK BUSINESS CENTER 12
1449 DONELSON PIKE
NASHVILLE TN 37217, USA.
TEL: [phone]
FAX: [phone]

Part No. A4; ZL0338

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

US; ZL0339

mixing for the next millennium

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

Designing good audio mixers has never been easy –
but with the widespread use of ultra-quiet digital
recorders, and improvements all through the live and
studio audio chain, today’s mixers have to stand up
to closer sonic scrutiny than ever before. At the same
time, mixing has become less a process that takes
place at the console alone, and more one that
involves outboard effects, samplers, and
synchronisation of audio and video recorders. It’s a
big task for a mixer to keep in touch with all of that
– which is why Soundcraft created Ghost, the
ultimate affordable analogue recording console.
Simply put, Ghost is the only desk that delivers the
audio precision, quality and all the control features of
a big studio desk without the usual prohibitive price
ticket.
The EQ, for instance, is directly comparable to that of
the classic Soundcraft 3200 and Europa consoles. No
compromises.
An all-new mic preamp, ProMic, has been developed
just for Ghost. Its performance alone puts Ghost into
a different league from other consoles of similar
price.
The killer punch, however, is delivered by Ghost’s
integral computer-based machine control and mute
automation. Derived from the innovative Soundcraft
DC2020 post-production console, the machine
control in Ghost makes it far more than just another
mixer. It actually forms the heart of an automated
recording setup with countless benefits in ease of
use and production efficiency.
Read on and discover just what Ghost will do for you.

QUALITY AND VERSATILITY

Ghost is a highly versatile 8-bus mixer, packed with facilities for
handling a wide range of recording and mixing applications.
Whether for studio or live recording, or mixing for picture, this is
a console that offers unparalleled flexibility and value.
Ghost is an in-line multitrack mixer with a Mix B path (often
called monitor path), as well as the main signal path on each
channel strip. It’s called “Mix B” because the architecture of the
signal routing is much more flexible than that suggested by the
term “monitor”, offering many of the features normally found
only on a main input channel. Unlike many mid-range consoles,
Ghost doesn’t restrict facilities such as muting and EQ to the
main channel path.
24 and 32 channel frames are available, providing 56 and 72
inputs respectively at mixdown. In addition, using the 24 channel
expander unit, a further 48 inputs at mixdown are possible.
There’s signal level indication on each channel as standard, plus
an optional meterbridge with 12-segment channel meters and
20-segment left/right master meters, for more precise metering.
Ghost’s audio path combines traditional analogue benefits, and
innovations like Soundcraft’s latest high-performance ProMic
mic preamp, with automated muting on both the main channel
and Mix B inputs. The automation is based on the advanced
technology used on Soundcraft’s ground-breaking DC2020
console, and proven in both professional recording and post­production environments.
Unlike other mixers, Ghost’s ProMic mic amplifier offers smooth
control over a wide gain range – up to 60dB. It’s amazingly
quiet, giving greatly improved noise performance in the mid­gain region, with enough headroom for peaks from drum kit
mics, and extremely low distortion figures.

EQ is a crucial part of a mixer, and the EQ on Ghost is designed
without compromise – two fully parametric overlapping mid
bands, with shelving high and low filters. Classic ‘British EQ’, in
fact, like that found on Soundcraft’s acclaimed 3200 and Europa
consoles. The result is unsurpassed ability to control and correct
– for creative effect in a recording session, or applying corrective
EQ to an awkward live signal.
Being able to swap main and Mix B inputs, and split the EQ
between the two paths, Ghost allows a high degree of control
over a mix. Professional features on the channel strip include
individually switchable phantom power, phase reverse and plenty
of aux sends – 10 aux busses including 2 stereo pairs in all.
There’s level and peak metering on every channel, and both the
main and Mix B paths have MIDI muting and PFL, while the main
channel path also offers true solo-in-place.

Soundcraft Ghost, Ghost LE and Ghost Expander are pictured

throughout with optional meterbridge fitted.

GHOST PUTS YOU IN CONTROL

TRANSPORT AND AUTOMATION

As on the biggest studio consoles, Ghost’s master section offers
full transport control for analogue and digital tape recorders, VTRs,
and hard disk recorders, equipping it for remixing, mixing for
picture, or live recording sessions. A built-in timecode
reader/generator means that Ghost is compatible with professional
audio or video equipment, supporting both MIDI timecode and
SMPTE. (See table).
Ghost also has comprehensive MIDI support. Certain faders can be
used to transmit MIDI controller data, for automated effects
control. MIDI Sequencer transport functions can be controlled
from the Ghost master section, and external MIDI data from a
sequencer can be used to automate desk mutes dynamically.
Whether under MIDI control or switched by the desk’s own mute
groups, all mutes benefit from ‘soft cut’ switching, effectively
fading a signal in a few milliseconds (rather than cutting it
instantly), thereby avoiding any sudden clicks or thumps. (Even
some so-called ‘silent switches’ will introduce an audible ‘Fourier
click’ if they operate too fast.)

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

SOUNDCRAFT GHOST MACHINE CONTROL NOTES

Protocol support

Machine/Protocol Timecode source

MIDI Timecode master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Internal

MIDI Timecode slave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC (MIDI Timecode)

LTC Timecode master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Internal

LTC Timecode slave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC

Fostex R-Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC

Fostex G-Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC

Fostex RD-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC (Using MIDI Machine Control)

MMC General Closed Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC

MMC General Closed Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC

MMC Open Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC

Alesis ADAT and AI2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC

Alesis ADAT and BRC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC

Tascam DA88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC

Tascam DA88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MTC

Sony UVW1800 9-pin plus DA88 MMC track enable. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC

Sony 9-pin P2 (48 track record enable). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC

Sony 9-pin P2 (no record enable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LTC

Akai 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 Ghost’s master
section provides full remote control - with
autolocation points - of audio tape
recorders, VTRs or digital audio
workstations. Without even turning away
from your mixer you can drop tracks into
and out of record and loop, while Ghost’s
mute automation constantly locks to
incoming timecode. You can even scrub
video and audio with the jog/shuttle wheel.