Soundcraft GHOST USER GUIDE

GHOST Contents 1

2 GHOST Contents

Manual written by Dominick J. Fontana

© Harman International Industries Ltd. 1999
All rights reserved

Parts of the design of this product may be protected by worldwide patents.

Part No. ZM0168
Issue 5

Soundcraft is a trading division of Harman International Industries Ltd.

Information in this manual is subject to change without notice and does not repre­sent a commitment on the part of the vendor. Soundcraft shall not be liable for
loss or damage whatsoever arising from the use of information or any error con­tained in this manual.

No part of this manual may be reproduced, stored in a retrieval system, or trans­mitted, in any form or by any means, electronic, electrical, mechanical, optical,
chemical, including photocopying and recording, for any purpose without the
express written permission of Soundcraft.

It is recommended that all maintenance and service on the product should be car­ried out by Soundcraft or its authorised agents. Soundcraft cannot accept any lia­bility whatsoever for any loss or damage caused by service, maintenance or repair
by unauthorised personnel.

Harman International Industries Limited.
Cranborne House,
Cranborne Road,
Cranborne Industrial Estate,
Potters Bar,
Herts.,
EN6 3JN
UK.

Tel: [phone]
Fax: [phone]

¨

GHOST Contents i

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1 Introduction 1.1

Features of Ghost and Ghost LE 1.3

2 Installation 2.1

Optional Meterbridge 2.3

User Modifications to Ghost 2.4

Connections 2.7

Din Connectors 2.8

Hookup Diagrams 2.9

Dimensions 2.11

3 Quick Start Guide 3.1

Control Room Monitoring 3.6

Studio Monitoring 3.7

Adding Effects and Processors 3.9

4 Block Diagram 4.12

Block Diagram Explanation 4.3

Signal Flow 4.6

Overview of Main Signal Paths 4.12

5 Back and Rear Panel Description 5.1

Back Panel 5.2

6 Functional Description 6.1

The Mono Input Module 6.2

Output and Master section 6.15

7 Tutorial 7.1

Multitrack Tutorial 7.2

Studio Monitoring 7.8

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ii GHOST Contents

8 Application Notes 8.1

Overview 8.2

9 CPU Application Guide 9.1

(NOT APPLICABLE TO GHOST LE)

10 Troubleshooting 10.1

General 10.2

Troubleshooting Chart 10.3

11 Specifications 11.1

12 Glossary 12.1

Appendix A A.1

Notes for Machine Control A.2

Appendix B B.1

MIDI Controller Numbers B.2

Appendix C C.1

MIDI Note Numbers to Mutes Conversion Chart C.2

MIDI Note Numbers to Expander Mutes Conversion Chart C.3

MIDI Note Numbers by Octave C.4

Appendix D D.1

MIDI Implementation Chart D.2

Appendix E E.1

Upgrading the Software E.2

GHOST Introduction 1.1

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1

1.2 GHOST Introduction

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Thank you for purchasing the Soundcraft Ghost Music Production console. It has

been designed to give you many years of trouble-free service. Please read this

entire guide before using the console and then retain it for future reference. The

terms console, mixer, and board are used interchangeably throughout this guide.

This guide covers two versions of the Ghost console, namely Ghost (with a CPU

section containing a Timecode reader/generator, MIDI Machine Control, MIDI

Mute Automation, and MIDI Controller Faders) and Ghost LE (with no CPU sec-

tion). Both Ghost and Ghost LE are identical, except that Ghost LE does not have

a CPU section above the Group faders. The top panel views in this guide some-

times show Ghost and sometimes Ghost LE. Except for the sections dealing with

the CPU, which applies to Ghost only, everything else in this guide applies to both

Ghost and Ghost LE.

This guide is composed of a Table of Contents, 12 chapters, 5 appendices, and an

index. Following is an overview of the guide:

Chapter Title Description

- Table of Contents Allows you to find broad topics easily.

1 Introduction What you are currently reading.

Contains basic information about Ghost.

2 Installation Contains information about installing

Ghost and modifying some of its default

settings. Also has detailed hookup and

connections diagrams.

3 Quick Start Allows you to quickly get up and running

Guide with Ghost.

4 Block Diagram Contains a standard pictorial block diagram,

as well as a plain English signal flow explana

tion of that diagram.

5 Back and Rear Contains a detailed description of all of

Panel Description Ghosts back and rear

panel jacks.

6 Functional Contains a detailed description of all of

Description Ghosts controls.

7 Tutorial Explains in detail how to use Ghost for

tracking, overdubbing, monitoring, adding

effects and processors, punching in/out,

bouncing tracks, and mixing down.

8 Application Explains some of Ghosts more advanced

Notes uses.

9 CPU Application Explains how to use the CPU section of

Guide Ghost. (Not Applicable to Ghost LE.)

GHOST Introduction 1.3

10 Troubleshooting Contains some common problems, causes,

and solutions.

11 Specifications Lists complete specifications of Ghost.

12 Glossary Contains some common audio terms and

their definitions.

- Appendices Contain information on MIDI Machine

A through E: Control, Controller Numbers, Note

Numbers, MIDI Implementation Chart, and

upgrading Ghosts software.

- Index Contains a detailed index, which allows

you to find a specific topic.

It is suggested that you read this entire manual. If youre the type that doesnt like

to read manuals, then we suggest the following:

For Advanced Users: Read the Introduction (up to "The Basics of In-Line

Consoles"), Installation, Block Diagram, Back and Rear Panel Description, and

Functional Description chapters, and the Appendices.

For Intermediate Users: Read the Introduction (up to "The Basics of In-Line

Consoles"), Installation, Quick Start Guide, Block Diagram, Back and Rear Panel

Description, Functional Description, and Application Notes chapters, and the

Appendices.

For Beginning Users: You should read the entire manual, but at the very least you

should read the entire Introduction, Installation, Block Diagram, Back and Rear

Panel Description, Functional Description, Tutorial, Application Notes chapters,

and the Appendices. Refer to the Troubleshooting and Glossary chapters, as need-

ed.

For All Users: If you have the Ghost console with the CPU (not Ghost LE), then

you should also read the CPU Application Guide chapter.

1.4 GHOST Introduction

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Ghost is a professional 8-bus mixing console, primarily designed for multitrack

recording and music production applications. It is an In-Line console, having a main

input path and a secondary Mix B input path on each channel. This doubles the

number of inputs at mixdown, yet the console remains compact. Following are

some of Ghosts features:

l Soundcrafts ProMic ultra-low-noise mic preamp, with +60dBu input sensi-

tivity, is included on every channel.

l Every channel features a mic input, a line input, individually switched

phatom power, mic/line switch, phase reverse, and 100Hz Low-Cut Filter.

l Multi-busing on every channel allows Direct Outs on each channel to also

be used as Group Outs, allowing you to send a signal from any channel to

any of 32 tape tracks (24 tape tracks with 24 channel Ghost).

l Powerful 4-band "British" EQ, featuring high/low shelving EQ and two fully-

parametric mid EQs, with continuously variable Q (bandwidth) control and

EQ In/Out switch.

l 6 mono (4 usable at once per channel) and 2 stereo auxiliary sends. Sends

1/2 are switchable as a pair between pre-fader and post-fader. Sends 3/4

can be routed as a pair to Sends 5/6.

l 100mm faders and inserts for channels, groups, and main L/R mix.

l Variable brightness Signal Present LED for each channel.

l Peak LED for each channel.

l Automated/Manual Mutes (Cut) for each channel. (Mutes cannot be auto-

mated on Ghost LE.)

l Solo (either PFL or Solo-in-Place) for each channel.

l Mix B section on each channel features a line input, source select (tape or

channel), rotary fader, pan, PFL Solo, and automated/manual Mutes (Cut).

(Mutes cannot be automated on Ghost LE.)

l Tape Input Trim pot for the Mix B line input.

l High/Low shelving EQ and Auxs 3/4 (5/6) may be switched into the Mix B

path.

l Reverse switch allows you to route the channel input to the Mix B path and

the Mix B input to the channel path.

l 8 Group buses with AFL solo and routing to the L/R bus.

l 4 stereo effects returns, each with PFL Solo and routing to the L/R bus or

any of the group buses.

l 2 separate Studio Foldback monitoring sections with AFL Solo.

l Control Room monitoring section with headphone jack, mono check, pro-

visions for two stereo line inputs (DAT deck, two-track deck, CD player,

etc.), and two sets of control room monitors.

l A 2-frequency oscillator.

l Talkback section with built-in mic.

l 8 Aux Send Master pots with AFL Solo.

GHOST Introduction 1.5

l Mix B Master pot with provision for routing Mix B to the L/R bus.

l PFL/AFL Trim pot with Solo LED and Solo-in-place switch with LED.

l 12-segment vertical peak LED meters for the 8 Groups and for the Control

Room/Solo outputs.

l By using the channel inputs, Mix B inputs, and 4 stereo FX returns at mix-

down, you have a total of 56 inputs from the 24 channel Ghost and a total

of 72 inputs from the 32 channel Ghost.

l Optional 24 channel expander module is available.

l Optional meterbridge is available.

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l MIDI In/Out/Thru jacks.

l SMPTE timecode In/Out jacks and Sony 9-pin connector.

l SMPTE/MTC timecode reader/generator/converter.

l MIDI Machine Control transport control buttons with jog/shuttle wheel for

controlling external tape machines, video machines, hard disk recorders,

and MIDI sequencers.

l 4 mute groups.

l 128 snapshots for MIDI muting, which may be recalled manually, from

timecode, or from MIDI Program Change Messages.

l Dynamic Mute Automation (with an external MIDI sequencer).

l 4 MIDI Controller Faders for controlling external MIDI effects and other

MIDI parameters by transmitting MIDI Control Change data.

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Ghost is available in two frames sizes:

l 24 Input Channels

l 32 Input Channels

There is also an optional 24 channel expander module available, which allows you

to expand Ghost to 48 channels or 56 channels. With the 4 stereo FX returns, this

will give you either 104 or 120 inputs at mixdown.

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There is an optional meterbridge for each console size and for the expander mod-

ule. The meterbridge contains a vertical 12 segment peak LED meter for each

channel, which can be internally configured to show either the Mix B (tape) inputs

or the channel inputs. It also includes two

20-segment LED VU meters for the Control Room/Solo outputs.

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Use only the power supply that comes with the console and make sure it is config-

ured for the country you will be using it in.

1.6 GHOST Introduction

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You may write, phone, fax, or EMAIL Soundcraft at the following places:

In Europe:

Soundcraft Telephone: [phone]

Harman International Industries LTD. FAX: [phone]

Cranborne House, Cranborne Rd., EMAIL: [e-mail]

Potters Bar, Herts, EN6 3JN, UK.

In the United States:

Soundcraft USA Telephone: [phone]

1449 Donelson Pike FAX: [phone]

Nashville, Tennessee 37217

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When using a console for traditional multitrack recording, it is necessary to be able

to record the consoles channel inputs to tape, while at the same time monitoring

previously recorded tape tracks. When youre finished recording, you must be

able to play the finished multitrack master tape through the console, make adjust-

ments to the tape tracks, and then record your mix to your 2-track mixdown

deck. This means that the outputs of the mixer (group outs or direct outs) have to

be connected to the inputs of the multitrack deck for recording purposes, while at

the same time the outputs of the multitrack deck have to be connected to the

inputs of the mixer (tape returns) for monitoring and mixdown purposes.

However, the requirements for simply monitoring tape tracks while overdubbing

are different than what is needed when mixing down those tracks.

Before in-line consoles, split console designs were used. Since this is not a primer

on split consoles, just the basics will be given here. With split consoles the channel

strips and the tape returns were split, with the channels on the left side and the

tape returns located above the group masters on the right side of the board. While

tracking and overdubbing, the channel outputs were routed to the multitrack

inputs and the multitrack outputs were routed to the tape returns. The channels

were used for recording and the tape returns were simply used to monitor previ-

ously recorded tape tracks. This meant that if you wanted to monitor 32 tape

tracks, you had to have 32 separate tape returns located apart from the channel

strips. And those returns might have only provided level and pan controls for each

track. Since the tape returns didnt offer all the features of the channel strip (such

as EQ and Aux Sends), and didnt provide a way to route the tape tracks to the

mixdown deck, when it came time for mixdown, the multitrack outputs had to be

repatched from the tape returns to the channel strip inputs. This allowed you to

use all of the features of the channel strip and to route the tape tracks to the

2-track deck during mixdown. While this is an oversimplification of the process, it

is sufficient to illustrate the point.

The drawbacks of a split console design are as follows: the console usually has to

be very wide to accommodate all the tape returns; as the number of tape returns

increases on a console, so do the number of channel strips, so if you need 32 tape

returns, you might have to buy a console with 64 or more channel strips; you have

to repatch when you want to mixdown and then repatch again when you want to

track and overdub; while mixing down, the tape returns are unused; and split con-

sole designs cost more than an equivalent in-line design.

An in-line console solves these problems, while remaining compact and affordable.

With todays digital multitrack recorders, hard disk recorders, and MIDI

sequencers, many studios have 24 or more tracks (whether tape, disk, or

sequenced) that need to be monitored, yet not as many channel inputs are needed

for recording purposes. With an in-line console, the tape return controls are physi-

cally located right in the channel strip, or "in-line" with the channel strip, hence,

GHOST Introduction 1.7

the name. You have as many tape returns as you have channel strips, yet no extra

width is added to the console regardless of the number of returns, although there

is a slight increase in the depth of the console.

As mentioned, Ghost is an in-line console. There are 2 separate inputs for each

channel strip. The main channel input is called "Channel" and the tape return input

is called "Mix B." Note that you can connect any line level source to Mix B; it does-

nt have to be the output of a tape deck. Normally, whatever is connected to the

mic or line input on the rear panel is routed to the channel strip and you use the

channel strips controls to process that input. And whatever is connected to the

Mix B/Tape Ret jack on the rear panel is routed to the Mix B section, located with-

in the same channel strip, and you use Mix Bs controls to process the Mix B input

separately from the channel input.

Generally speaking, while recording basic tracks and overdubbing, you connect the

sources you want to record to the channel inputs and you connect the sources

you want to monitor to the Mix B inputs. Youll usually want to monitor previously

recorded tape tracks, hard disk tracks, and MIDI sequenced tracks. At mixdown,

youll press the Reverse switch on each channel, which will route the Mix B inputs

to the channel strip and the channel inputs to Mix B. Youll also be able to route all

of the Mix B outputs as a group to the L/R bus for mixdown to a 2-track recorder.

This is how you double the number of inputs at mixdown. By doing this, all of your

tape tracks are now routed to the channel strips, with the full complement of

channel strip controls available to the tape tracks for mixdown, while at the same

time allowing you to connect sources, such as MIDI tracks, that dont need as

much processing, to the Mix B inputs, which can also be recorded to the 2-track

deck. This means that Mix B, which is normally used as a tape return, can also be

used for recording during mixdown. In addition, Mix B has access to some of the

channel EQ and Aux Sends.

Complete descriptions of all the features, a Quick Start Guide, and a Tutorial fol-

low later in this guide.

1.8 GHOST Introduction

GHOST Quick Start Guide 3.1

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3

3.2 GHOST Quick Start Guide

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We suggest that you read this entire manual before using Ghost; but for those who

want to get started right away, we have provided this QUICK START GUIDE.

This will get you up and running quickly. The basic procedures given here are

taken from the TUTORIAL chapter, which contains much more detailed informa-

tion. If you dont understand something in this chapter, then refer to the TUTORI-

AL. However, to get the full benefit of Ghosts many features, it is suggested that

at some point you read this entire manual.

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Procedure:

1.

Reset Console. "Zero Out" or reset the console. That means to set all

controls to their off or neutral positions.

2. Connections. Connect your input sources to the channel MIC and LINE

inputs.

3. Select Inputs. 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.

4. Recording methods. There are 3 methods you can use to send the chan-

nel signal to a multitrack tape recorder (MT), and they are outlined below:

a. Using the Group Output jacks. Use this method if the GRP 1-8 output

jacks are connected to the inputs of your multitrack recorder. The group

number should match the tape input number. In the channel strip, press the

assign switch for the tape track(s) you want to record on. Next, use the

pan pot to send the signal to the Group output jack for the track(s) you

wish to record on. Pan left for odd-numbered tracks; right for even-num-

bered tracks; and centre for both tracks. Then, turn up the channel fader

to its nominal position, as indicated by the fader marking 3/4 of the way up.

Finally, turn up the appropriate Group fader(s) to its nominal position.

b. Using the DIR/TAPE SND jack as a Group Output. Use this method if

the DIR/TAPE SND jacks are connected to the inputs of your multitrack

recorder, and you wish to use the Groups for recording. The channel num-

ber should match the tape input number.

First, press the DIR/GRP n switch (on the rear connector panel) on the

channel that represents the tape track you wish to record on. Then note

the GRP n number on the switch. For instance, both channels 2 and 10 will

have a switch that reads DIR/GRP 2. This means that the channel 2 and

channel 10 DIR/TAPE SND jacks will act as Group 2 output jacks, when

their DIR/GRP 2 switches are pressed.

Next assign all the inputs youre recording to the appropriate Group num-

ber(s) and use the pan pot to send the signal to the appropriate Group bus.

Pan left for odd-numbered groups; right for even-numbered groups; and

centre for both groups.

Then, turn up the channel fader to its nominal position, as indicated by the

fader marking 3/4 of the way up. Finally, turn up the Group fader(s) to its

nominal position.

c. Using the DIR/TAPE SND jack as a Direct Output: Use this method if the

DIR/TAPE SND jacks are connected to the inputs of your multitrack

recorder, and you wish to record directly from the channel outputs. The

channel number should match the tape input number.

GHOST Quick Start Guide 3.3

This method differs from method (b), above, because youre using the

DIR/TAPE SND jack as a Direct Output from the channel and the Group

buses are not involved at all. The channel signal, post-fader and post-mute,

will be routed to this jack for direct recording to your multitrack.

To use this method, first make sure the DIR/GRP n switch (on the rear con-

nector panel) is in the DIR (UP) position for all channels that you wish to

record. Then, turn up the channel fader to its nominal position, as indicated

by the fader marking 3/4 of the way up. The pan pot and assign switches will

have no effect on the Direct Output signal.

Select one of the above three recording methods and then proceed to step 5.

5. Setting Up The MT. On the MT, insert a tape, wind to where you wish to

begin recording, set the counter to zero, put the appropriate tracks into

RECORD-READY mode, and set the recording level controls of the MT, if

any, to their nominal positions.

6. Monitoring. To learn how to listen to the sound you are recording, see the

section below entitled, "Control Room Monitoring." To learn how to send the

sound you are recording to the musicians in the studio, see the section below

entitled, "Studio Monitoring."

With the musicians playing, set up preliminary monitor mixes for the Control

Room and Studio.

7. Gain Structure. If you have the optional meterbridge and its set for channel

input monitoring, then gradually turn up the Input Sensitivity knob until the

meterbridge channel input meter indicates 0.

In all other instances, press the channel SOLO switch. Make sure the SIP

switch in the master section is off. This will display the channel signal on the

CRM/SOLO-L/R meters in the master section. Gradually turn up the Input

Sensitivity knob until the meters indicate 0, then turn the SOLO switch off.

In either case, the Signal Present LED should be brightly lit, and the PK LED

should light only occasionally, if at all.

8) LCF & Phase. Use the Low-Cut Filter (LCF) switch to get rid of low fre-

quency noise. The Phase switch should be in the up position, unless you

know your input cables are wired incorrectly or if youre employing M-S

recording techniques.

9. EQ. If you want to add EQ to the channel inputs, first press the EQ IN switch

and make sure the EQ MIX B button is up. Then apply the EQ as needed.

The HF/LF shelving EQ can be boosted or cut 15dB. The HMF/LMF EQ are

true parametrics and allow you to select the centre frequency, the bandwidth

of that frequency (with the Q control), and apply boost or cut of 15dB.

10. Effects & Processing. If you want to add effects or processing, then see the

section below, entitled, "Adding Effects and Processors."

11. Adjust Faders. Adjust the channel and group faders, as required, so that the

multitracks meters display the desired recording level.

12. Recording. Set up your final monitor mixes, and then have the musicians

stop playing. Put the MT into RECORD mode and have the musicians play the

song. When the song is over, STOP the multitrack and rewind the tape to

zero.

13. Playback. Play back the tracks 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.

3.4 GHOST Quick Start Guide

14. Record Another Take. If dissatisfied, record over the first take or add

another take after it. Before recording again, remember to unselect CRM

and select AUX 1-2 as the Studio Foldback Source, if necessary.

15. Proceed With Overdubbing. When you are satisfied with the take of the

basic tracks, you can proceed to "Overdubbing," below.

OOvveerrdduubbbbiinngg

Procedure:

1. Tape Channels. 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. Connections. Connect your input sources for the overdub to the channel

MIC and LINE inputs. Do not connect them to any Tape channels. These

are your Input channels.

3. Select Inputs. 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 Recording Method. Select one of the 3 recording methods, from

above, and follow the directions for signal routing and channel/group fader

positioning for each Input channel.

5. Setting Up The MT. On the MT, rewind the tape to the beginning of the

song, or to a point before the overdub will be recorded, set the counter to

zero, and put the appropriate track(s) 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. Monitoring And Gain Structure. 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, below.) Then use the INPUT SENSITIVI-

TY 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.

(See "Recording Basic Tracks," above.)

7. LCF & Phase. Use the LCF and PHASE switches, as required. (See above.)

8. EQ. Apply EQ, as required. (See above.)

9. Effects & Processing. If you want to add effects or processing, then see

the section below, entitled, "Adding Effects and Processors."

10. Adjust Faders. Adjust the channel and group faders, as required, so that

the multitracks meters display the desired recording level.

11. Recording. 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 multitrack and rewind the tape to

zero or to a point right before the overdub.

12. Playback. Play back the overdub you have just recorded. To let the musi-

cians in the Studio hear the take, select CRM as the Source in the appropri-

ate Studio Foldback section.

GHOST Quick Start Guide 3.5

13. Record Another Take. 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. Proceed With Overdubs & Mixing Down. When you are satisfied with

the take of the overdub, proceed to record the next overdub. When youre

satisfied with all the tracks on the tape, you can proceed to "Mixing Down",

below.

MMiixxiinngg DDoowwnn

Procedure:

1. Inputs. "Zero Out" the console and then press the REV switches to route

all your tape tracks to the channel path. Channel inputs on those channels

will be routed to the MIX B path. If you have additional input sources, such

as MIDI tracks, and extra channels available (that are not being used for

tape tracks), then route the additional sources to the channel path. If you

have more input sources than channels, then connect some to the channel

inputs and some to the MIX B inputs. Then decide where best to route

those extra sources, between the channel and MIX B paths. You can also

use the Effects Returns as line level source inputs, but remember that youll

probably also need inputs for the outputs of your effects devices. Make

sure the MIX B SRCE switch is set to TAPE (UP) on all channels, unless you

wish to use it as a pre-fader send for the channel path.

2. Assignment & Master Levels. Assign all channels and Effects Returns that

are in use to the L/R MIX by pressing the L/R assign switch on the channels

and the MIX assign switch on the Effects Returns. Press the MIX B TO MIX

switch in Ghosts MIX B master section and set the MIX B rotary master

fader about 75% up. Set the MIX L/R master fader to the top of its travel.

3. Using Groups. If youre grouping some sources, assign them to the appro-

priate Group buses and then assign the Group buses to the L/R MIX, using

the TO MIX- L, R, and L+R switches in the Group master section. Turn

the appropriate Group faders about 75% up.

4. Monitoring. Set the CRM SRCE to monitor MIX A only, turn up the level

control, and make sure MONO CHECK is off. To send the mix to the stu-

dio, select CRM as the source in the appropriate Studio Foldback section

and turn up its level control.

5. Input Gain. Adjust the INPUT SENSITIVITY and TAPE TRIM knobs, if

needed. (See above.)

6. Setting Up The MT. Rewind the MT tape, set the counter to zero, and

start playback. If the MT has an output level control, set it to its nominal

position. If youre syncing a sequencer to the tape, make sure its set up

properly, so that the MIDI tracks are also playing.

7. Practice The Mix. As the tape plays, set the relative levels of the

tape/MIDI tracks using the channel and MIX B faders, (and the FX level

controls, if they are being used as inputs). Use the PAN and BAL controls

to set the stereo perspective. USE EQ, effects, and processors, as needed.

(See "Effects and Processors," below.) Use the MUTE Automation system,

as needed. (Not Ghost LE). (See the "CPU Application Guide" in this manu-

al.) Use the MONO CHECK switch periodically to check for mono com-

patibility. Listen to the mix through your main speakers, your alternate

speakers, if any, and headphones. Keep practicing the mix, until youre

happy with it, then rewind the MT tape to the beginning of the song.

3.6 GHOST Quick Start Guide

8. Setting Up The 2-Track. Insert a new tape in your 2-track recorder and

rewind it to the beginning. Roll about one minute into the tape and use the

TO TAPE switches in the Talkback and Oscillator sections to record any

announcements and tones that are needed. Allow the tape to roll a bit past

the tones, stop the 2-track, and set the counter to zero. Then, set the deck

to RECORD-READY mode and set its input level control to its nominal

position.

9. Setting Levels. Play the MT tape again, and adjust the MIX L/R Master

fader, MIX B Master fader, and Group Master faders, to retain the proper

balance of your mix, while at the same time, achieving the proper level on

your 2-track recorders meters. The proper recording level should be

achieved with the 2-tracks input control at its nominal position. Then

rewind the MT tape to the beginning of the song.

10. Recording The Mix. To commit your final mix to tape, start the 2-track in

RECORD mode and then start playback of the MT tape. Make any mix

moves that are necessary and when the song is completed, stop the 2-

track, then stop the MT. Press the appropriate 2-TK switch in the CRM

SRCE section, unselect MIX A, and then rewind and play back the 2-track

tape. If youre not satisfied with the final mix, then unselect the 2-TK CRM

SRCE switch, select MIX A, and try the mix again. If you are satisfied with

the mix, then make a dub of the 2-track master and play the dub on as

many systems as you can. If youre not satisfied, then mix it again. If the mix

meets with your approval on these other systems, then make a backup

copy of the 2-track master and label everything. This final 2-track stereo

master tape is now ready for mastering and/or duplication.

GHOST Quick Start Guide 3.7

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CCRRMM SSiiggnnaall MMoonniittoorriinngg

Procedure:

1. Follow the procedures under "Recording Basic Tracks" to send your live

signals to the MT for recording.

2. On Ghost, make sure all CUT and SOLO/PFL/AFL switches are off, and

that the REV switch is OFF (UP) in the MIX B channel(s) you will use for

monitoring.

3. On the MT, press the RECORD-READY switches for the track(s) you wish

to record on and set the record level control, if any, to its nominal position.

4. 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.

5. Turn the MIX B master fader in Ghosts master section about 75% up.

6. On the appropriate MIX B section that corresponds to the track you are

recording on, make sure the SRCE switch is set to monitor TAPE (UP

Position).

7. With the performers playing their parts, (there should be a reading on the

MTs meters for the track(s) you are recording), adjust the TAPE TRIM

knob in the appropriate channel strips 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 all signals sent to the appropriate tape track.

8. The Channel faders, Group faders (if youre recording with the Group

buses), TAPE TRIM knob, MIX B master fader, MIX B level control, CRM

LEVEL knob, and the MT record level control, if any, will all affect the vol-

ume of the monitored signal.

CCRRMM TTaappee MMoonniittoorriinngg

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 MIX B channel(s) 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 Ghosts 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 strips

input section, if necessary. Then turn up the appropriate MIX B level con-

trol 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 vol-

ume of the monitored signal.

3.8 GHOST Quick Start Guide

SSttuuddiioo MMoonniittoorriinngg

SSttuuddiioo SSiiggnnaall MMoonniittoorriinngg

Procedure:

1. Follow the procedures under "Recording Basic Tracks" to send your live

signals to the MT for recording.

2. On Ghost, make sure all CUT and SOLO/PFL/AFL switches are off, and

that the REV switch is OFF (UP) in the channel(s) that you are going to

monitor.

3. In the STUDIO FOLDBACK section, decide whether you are using STU-

DIO A or STUDIO B/PHONES and make sure that only AUX 1-2 is

pressed. Turn the STUDIO LEVEL knob about 75% up.

4. Turn the AUX 1 and AUX 2 master fader pots in Ghosts master section

about 75% up and make sure their AFL switches are off.

5. On the appropriate channels that correspond to the channel inputs you are

about to record, make sure the AUX 1-2 PRE switches are depressed, so

that you are monitoring Pre-Fader.

6. With the performers playing their parts, turn up the AUX 1-2 level con-

trols, on all channels whose signals you want to monitor, to attain the vol-

ume (and balance) you want. AUX 1 will be sent to the left headphone

(speaker) and AUX 2 will be sent to the right headphone (speaker). You

will now be monitoring all channel input signals.

7. The AUX 1-2 master faders, AUX 1-2 level controls, and STUDIO LEVEL

knob, will all affect the volume of the monitored signal.

SSttuuddiioo TTaappee MMoonniittoorriinngg

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(s) you will use for moni-

toring tape playback.

2. In the STUDIO FOLDBACK section, decide whether you are using STU-

DIO A or STUDIO B/PHONES and make sure that only AUX 1-2 is

pressed. Turn the STUDIO LEVEL knob about 75% up.

3. Turn the AUX 1 and AUX 2 master fader pots in Ghosts master section

about 75% up and make sure their AFL switches are off.

4. On the appropriate MIX B sections that correspond to the tape tracks you

wish to monitor (in the control room), 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. This has no effect on

Studio Tape Monitoring, but must be done in order to use MIX B for CRM

Tape Monitoring.

5. On the appropriate channels that correspond to the tape tracks you wish

to monitor, make sure the AUX 1-2 PRE switches are depressed, so that

you are monitoring Pre-Fader.

6. 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 appropriate

channel strips input section, if necessary. Then turn up the AUX 1-2 level

controls, on all channels that correspond to the tape tracks you want to

monitor, to attain the volume (and balance) you want. AUX 1 will be sent

GHOST Quick Start Guide 3.9

to the left headphone (speaker) and AUX 2 will be sent to the right head-

phone (speaker). You will now be monitoring the tape playback of the

appropriate tracks.

7. The TAPE TRIM knob, AUX 1-2 master faders, AUX 1-2 level controls,

STUDIO LEVEL knob, and the MT output level control, if any, will all affect

the volume of the monitored signal.

MMoonniittoorriinngg SSuummmmaarryy

To sum up, if tracks 1 and 2 were already recorded and you were currently

recording on track 3 through the channel 10 input, then for control room moni-

toring, 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. For studio monitoring, you

would use AUX 1-2 of channels 1 and 2 to monitor the tape playback of tracks 1

and 2, and you would use AUX 1-2 of channel 10 (where the input is located) to

monitor what you were currently recording to track 3.

3.10 GHOST Quick Start Guide

AAddddiinngg EEffffeeccttss aanndd PPrroocceessssoorrss

1. External Treatment. With this method you alter the signal before it

reaces Ghost. It is commonly used by guitarists, when using "stomp boxes."

For example, you connect a guitar cable to the input of a delay box, then

you connect the output of the box to one of Ghosts LINE inputs. You use

the effects mix control to determine the balance of wet and dry signals that

enters Ghost. External treatment does not require using any of Ghosts

controls. You simply plug the treated signal into one of Ghosts inputs.

2. Using Processors. Outboard processors are connected to Ghost using a

send/return Y-cable connected to one of Ghosts Insert jacks. The signal

from Ghost is sent to the outboard device, processed, and then the

processed signal is returned to Ghost. You use this method when you want

to treat the entire signal, as opposed to blending the wet and dry signals.

Youll generally use outboard EQ or dynamics processors with the Inserts.

Ghost has Inserts on all Channels, Groups, and the L/R Mix. Using proces-

sors with Ghost just requires that you connect them properly to Ghosts

Insert jacks. It does not require using any of Ghosts controls.

3. Using Effects. To use effects with Ghost, you can use the AUX system.

This method involves sending a copy of a channel/MIX B signal to the out-

board effect, processing it, and then returning it to Ghost. This wet signal is

then combined with the dry signal within Ghost.

NNoottee aabboouutt SSttuuddiioo MMoonniittoorriinngg aanndd EEffffeeccttss

The FX Returns were designed to add effects during mixdown, or while multi-

tracking in the control room and only using the control room monitor section.

When using the FX Returns, you cannot monitor the wet signal in the Studio

Foldback sections. However, you can record the wet signal to the multitrack or

the mixdown deck and you can monitor it in the Control Room. If youre record-

ing the effect and the performers dont care if they hear the effect while perform-

ing, then you can use the FX Returns. However, if the performers want to hear

the effect while recording, or if you want to record dry, but monitor wet, then

you should not use the FX Returns. You should connect the stereo outputs of

your effects device to 2 channel inputs and use those channels to route the wet

signal to the Group or L/R buses for recording, if desired, and to the Control

Room and Studio monitoring sections.

For connecting effects devices to the FX Returns. Studio Monitoring is not

possible

Procedure:

1. First, select which AUX Send you wish to use, based on whether you wish

to use it with a Channel or MIX B input and whether your effect has mono

or stereo inputs. Lets say you want to use AUX 1. (If you use AUX 1 or 2,

make sure the PRE switch is not pressed.) Connect the AUX 1 output jack

to the input of your effects device. Connect the L/R outputs of your effects

device to the FX 1-L/R jacks. (Note that you can use any FX RETURN.)

2. On the effects device, set the input level and output level controls to their

nominal positions. Make sure the effects unit is set for 100% wet output

and select the effect you wish to use.

3. Turn the AUX 1 rotary master fader control about 75% up. With a signal

present, turn the AUX 1 Send controls about 75% up on all channels that

you wish to be treated with the effect. This sends the channel signals to the

effects device.

GHOST Quick Start Guide 3.11

4) There should be a reading on the input meter of the effects device, showing

that there is a signal present. If youre recording to a multitrack deck, then

set the Control Room Source to MIX B. If youre mixing down, then set the

Control Room Source to MIX A. Turn the Control Room Level knob 75%

up. You cannot monitor the effect in the Studio Foldback sections.

5. Use the Channel ASSIGN switches and PAN Pots to route the dry signals to

the appropriate buses, as usual. Use the FX 1 ASSIGN switches and BAL

knob to route the wet signal to the appropriate buses. You can record the

wet signal on the same tape tracks as the dry signals or on their own tape

tracks. Turn the appropriate Group Faders about 75% of the way up (if mul-

titracking) and set the MIX fader to the top of its travel (if mixing down).

This sends the wet and dry signals to the buses.

6. In the control room, to monitor the effect while youre recording to a multi-

track deck, you use the MIX B section in the channel strip that represents

the tape track the effect is being recorded on. To monitor the effect while

mixing down, you should assign the FX Return to the L/R Mix by pressing the

MIX switch, and then monitor MIX A in the control room, as usual. To

record dry and monitor wet, assign the FX Return to the L/R Mix by pressing

the MIX switch, but dont assign it to the Groups. Set the Control Room

Source to monitor both MIX A and MIX B. MIX B is what you normally use

for control room monitoring and MIX A would be used to monitor the

effect.

7. Turn the FX 1 level control about 75% up. This returns the wet signal from

the effects device to Ghost.

8. With a signal present in the channels youre using, you should be able to hear

the effect. Adjust the AUX 1 Send controls to determine how prevalent the

effect will be for each channel. For instance, all other things being equal, if

the AUX 1 Send control is turned 75% up for one channel and 50% up for

another channel, you will hear the effect more for the former channel.

9. After setting the AUX 1 Send levels for all the channels, press the AUX 1

Master Fader AFL switch. This will send all AUX 1 levels, post-AUX 1 mas-

ter fader, to the CRM/SOLO-L/R meters. Adjust the AUX 1 Master Fader so

that the meters read 0, then turn AFL off.

10. Adjust the input level of the effects device to achieve the meter reading on

the effects device, suggested by the devices manual.

11. Then press the PFL switch in the FX 1 section. This will display the effects

signal returned to Ghost, pre-FX 1 level control, on the CRM/SOLO-L/R

meters. Adjust the output level of the effects device so that the meters read

0, then turn PFL off.

12. Finally, adjust the FX 1 level control, together with the channel faders, to

achieve the blend of wet/dry signals that you desire. The channel faders con-

trol the dry signal and the FX 1 level knob controls the wet signal. The

Group/MIX faders control the overall signal sent to the Group/MIX buses.

Remember that the individual AUX 1 Send knobs and AUX 1 master fader

determine the level of the signal sent to the effects device and the FX 1 level

knob determines the level of the signal returned to Ghost.

3.12 GHOST Quick Start Guide

For connecting effects devices to 2 Channel LINE Inputs (Channel

Returns).

Studio Monitoring is possible.

Procedure:

1. First, select which AUX Send you wish to use, based on whether you wish

to use it with a Channel or MIX B input and whether your effect has mono

or stereo inputs. Lets say you want to use AUX 1. (If you use AUX 1 or 2,

make sure the PRE switch is not pressed.) Connect the AUX 1 output jack

to the input of your effects device. Connect the L/R outputs of your effects

device to any 2 adjacent Channel LINE inputs. Make sure their REV switch-

es are not engaged and set their MIX B SRCE switches to CHAN (Down).

2. On the effects device, set the input level and output level controls to their

nominal positions. Make sure the effects unit is set for 100% wet output

and select the effect you wish to use.

3. Turn the AUX 1 rotary master fader control about 75% up. With a signal

present, turn the AUX 1 Send controls about 75% up on all channels that

you wish to be treated with the effect. This sends the channel signals to the

effects device.

4. There should be a reading on the input meter of the effects device, show-

ing that there is a signal present. If youre recording to a multitrack deck,

then set the Control Room Source to MIX B. If youre mixing down, then

set the Control Room Source to MIX A. Turn the Control Room Level

knob 75% up. For multitrack recording, select AUX 1-2 as the Studio

Foldback Source and turn its level control 75% up.

5. Use the Channel ASSIGN switches and PAN Pots to route the dry signals

to the appropriate buses. If you want to record the wet signal, then using

the Channel Returns, set their ASSIGN switches and PAN Pots to route the

wet signals to the appropriate buses. You can record the wet signals on the

same tape tracks as the dry signals or on their own tape tracks. Turn the

appropriate Group Faders about 75% of the way up (if multitracking) and

set the MIX fader to the top of its travel (if mixing down). This sends the

wet and dry signals to the buses.

6. In the control room, to monitor the effect while youre recording to a mul-

titrack deck, you use the MIX B section in the channel strip that represents

the tape track the effect is being recorded on. To monitor the effect while

mixing down, you should assign the Channel Returns to the L/R Mix by

pressing the L/R switch, and then monitor MIX A in the control room, as

usual. To record dry and monitor wet, dont assign the effect to the Groups

and use the MIX B sections in the Channel Returns to monitor the effect.

7. Set the Channel Return Faders to their nominal positions. This returns the

wet signal from the effects device to Ghost.

8. With a signal present in the channels youre using, you should be able to

hear the effect. Adjust the AUX 1 Send controls to determine how preva-

lent the effect will be for each channel. For instance, all other things being

equal, if the AUX 1 Send control is turned 75% up for one channel and

50% up for another channel, you will hear the effect more for the former

channel.

9. To send the effect to the performers in the Studio, whether or not you are

recording the effect, use the AUX 1-2 Sends on the Channel Returns.

These AUX 1-2 controls should be set up as Pre-Fader Sends by pressing

the PRE switch.

GHOST Quick Start Guide 3.13

10. After setting the AUX 1 Send levels for all the channels, press the AUX 1

Master Fader AFL switch. This will send all AUX 1 levels, post-AUX 1 mas-

ter fader, to the CRM/SOLO-L/R meters. Adjust the AUX 1 Master Fader

so that the meters read 0, then turn AFL off.

11. Adjust the input level of the effects device to achieve the meter reading on

the effects device, suggested by the devices manual.

12. Then press the SOLO switches (with SIP Off) in the Channel Returns. This

will display the effects signal returned to Ghost, pre-channel fader, on the

CRM/SOLO-L/R meters. Adjust the output level of the effects device so

that the meters read 0, then turn SOLO off.

13. Finally, adjust the Channel Faders and Channel Return Faders for the wet

and dry signals, to achieve the wet/dry recording mix that you desire.

Adjust the MIX B level controls and AUX 1-2 Sends to achieve the wet/dry

monitoring mix that you desire for the control room and studio, respective-

ly. The Channel Faders that contain the signal sources control the dry signal

and the Channel Return Faders control the wet signal. The Group/MIX

faders control the overall signal sent to the Group/MIX buses. The MIX B

controls are used for control room monitoring and the AUX 1-2 controls

are used for studio monitoring. Remember that the individual AUX 1 Send

knobs and AUX 1 master fader determine the level of the signal sent to the

effects device and the 2 Channel Return Faders determine the level of the

signal returned to Ghost.

3.14 GHOST Quick Start Guide

GHOST Block Diagram 4.1

GGHHOOSSTT

BBlloocckk DDiiaaggrraamm

4

4.2 GHOST Block Diagram

BBlloocckk DDiiaaggrraamm

PAN

L-R

1-2

3-4

5-6

7-8

AUX 7

(STEREO)

AUX 8

(STEREO)

AUX 1

AUX 3

PRE

MON

AUX 2

AUX 4

MIX B

FADER

CUT

PFL

PAN

5-6

LEFT

RIGHT

CUT

SOLO CUT

SOLO DETECT

PFL DETECT

PFL/AFL L

PFL/AFL R

AUX 1

GRP 1

GRP 2

GRP 3

GRP 4

GRP 5

GRP 6

GRP 7

GRP 8

GRP O/P BUS (1-8)

CPU MUTE BUS A

CPU MUTE BUS B

MIX L

MIX B L

MIX R

MIX B R

AUX 2

AUX 3

AUX 4

AUX 5

AUX 6

AUX 7 L

AUX 8 L

AUX 7 R

AUX 8 R

SOLO

PEAK

PFL

MUTE

SOURCE

MUTE

100mm

CHANNEL

FADER

100mm

MASTER

FADER

MIX B

MASTER

FADER

AUX7

MASTER

FADER

PFL

AFL

PFL

LEVEL

BAL

AUX 8 CIRCUIT

IS SIMILAR

TO AUX7

EQ TO MON

INSERT

POINT

LF/HF

EQ

EQ

IN/OUT

EQ

IN/OUT

GROUP N/

DIRECT

LMF/HMF

EQ

MIX LEFT

INSERT

CPU

MIX RIGHT

INSERT

MIX B

TO MIX

MIX LEFT

OUTPUT

MIX B LEFT

OUTPUT

AUX7 LEFT

OUTPUT

TB

MIC

TALKBACK

1k/10k

AUX1

OUTPUT

AUX2 TO AUX6 CIRCUITS

ARE SIMILAR TO AUX1

STUDIO B OUTPUT

IS SIMILAR TO

STUDIO A OUTPUT

MIX RIGHT

OUTPUT

MIX B RIGHT

OUTPUT

AUX7 RIGHT

OUTPUT

AFL

DIRECT

OUTPUT

PEAK

DETECT

SIGNAL

DETECT

MIC I/P

LINE I/P

TAPE I/P

+4/-10

(SNIP RESISTORS

TO SELECT

-10dBV)

48V

PHANT

POWER

FROM

48V

LINE

PHASE

INPUT

SENS

LCF

LCF

-20

REV

TAPE

TRIM

LEFT

RIGHT

FX INPUT 1

FX INPUTS 2 TO 4

ARE SIMILAR TO

FX INPUT 1

SIP

AFL/PFL

TRIM

AUX 1

SOLO

L

R

MASTER

METER

AFL/PFL

OVERRIDE

2-TRACK B L

2-TRACK A L

2-TRACK B R

-10dBV

+4dBu

2-TRACK A R

SIP

LF/HF

EQ

2TKB

2TKA

MIX B

MIX A

CONTROL-ROOM

SOURCE SELECT

CRM

MIX B

AUX 1-2

STUDIO A

SOURCE SELECT

TAPE

OSC TO

TAPE

DIM CTL

STU

OSC

OSC

AUX 1-2

TALKBACK

ROUTING

DIM

MONO

CHECK

CRM

LEVEL

STUDIO A

HEADPHONES

ALT R

CRM R

ALT L

ALT

CRM L

LEFT

RIGHT

STUDIO A

OUTPUT

MIX

1-2

3-4

5-6

7-8

L+R

AFL

MIX R

100mm

GROUP

FADER

GROUP 2

INSERT

GROUP 2

OUTPUT

GROUPS 4, 6 & 8

ARE SIMILAR TO GROUP 2

METER

L+R

AFL

MIX L

100mm

GROUP

FADER

GROUP 1

INSERT

GROUP 1

OUTPUT

GROUPS 3, 5 & 7

ARE SIMILAR TO GROUP 1

METER

OPTIONAL

INPUT METER

+4

-10

INTERNAL

JUMPERS

+4

-10

INTERNAL

JUMPERS

GHOST Block Diagram 4.3

BBlloocckk DDiiaaggrraamm EExxppllaannaattiioonn

A Block Diagram of Ghost appears on the previous page. What follows is a plain

English explanation of that diagram. It is primarily intended for those who are

unfamiliar with how to read a Block Diagram, but can also be useful for the more

experienced user. You can follow the diagram as you read the explanation, but just

reading the explanation alone will also be helpful.

TThhee BBaassiiccss

If you want to follow along, first position the diagram so that the top of the page is

facing to the right. The diagram is read from left to right, but not necessarily from

top to bottom. The diagram is a pictorial representation of Ghosts signal flow.

Generally, the inputs are on the left and the outputs are on the right. Youll notice

vertical lines in the middle of the diagram. These represent the various buses in

Ghost. A bus is a signal path that can contain many signals.

The pictures in the diagram represent all the controls and the input/output jacks of

Ghost, as well as some internal circuits. Most of the pictures and the buses are

labeled. We wont discuss the unlabeled pictures, such as summing amplifiers

(which appear as unlabeled triangles), but will concentrate instead on the labeled

pictures. For instance, if a connection is actually to a summing amplifier and then

to a control, we will describe the connection as being to the control and not to the

summing amplifier. This should not present a problem in understanding Ghosts

signal flow.

The other lines with the black dots represent the signal flow within Ghost. The

black dots indicate a connection with either a control, a jack, another signal flow

line, or a bus. If a lines crosses a control, a jack, a signal flow line, or a bus in the

diagram, but is not connected by a black dot, then there is no connection between

them.

Generally, the signals enter Ghost through the input diagrams on the left, travel to

the buses in the middle, and then continue to the output diagrams on the right.

There are exceptions, however. For instance, the Direct Output jacks appear on

the left of the diagram and the 2-Track Inputs appear on the right, because it is

clearer to represent them in this fashion.

To save space when there a number of identical controls, the diagram usually only

shows the signal flow for one of them and makes a note that the other controls

are similar (meaning that they function in an identical manner). For instance, the

diagram only shows the signal flow for one channel and for one FX Input, but all

channels are the same and all FX Inputs are the same.

TThhee BBuusseess

NNoottee

To read the labels for the buses, you should temporarily turn the diagram so the

top of the page is facing up.

Ghost has 31 buses represented by the 31 lines in the middle of the diagram. They

are labeled on the left. A bus is a circuit where similar signals are sent to, so that

these signals can be sent as a group to their next destination within Ghost. For

instance, all signals assigned to Group 1 are sent to the GRP 1 bus. Usually, the

buses are connected on both the input side and output side of the diagram. Most

buses carry audio signals, but some buses are used for other purposes.

Following is a brief description of each bus, starting from the bottom of the

diagram. The input side and output side of the buses are described separately.

Note that some buses are described together, such as the GRP buses and any L/R

buses, even though they are labeled separately in the diagram.

4.4 GHOST Block Diagram

SSoolloo CCuutt

Input: This bus is connected to the channel mute circuits and operates

only when SIP is engaged. When SIP is on, if a channel SOLO switch is

engaged, it mutes all channels that dont have their SOLO switches

engaged.

Output: This bus is connected to the SIP switch.

SSoolloo DDeetteecctt

Input: This bus is connected to the channel SOLO switches and it detects

when the switch has been engaged.

Output: This bus is connected to the SIP switch, the Master SOLO LED in

the Master section, and to the AFL/PLF Override circuit.

PPFFLL DDeetteecctt

Input: This bus is connected to all PFL/AFL switches and it detects when

the switch has been engaged. (It is more accurately called PFL/AFL Detect.)

Output: This bus is connected to the Master SOLO LED in the Master

section and to the AFL/PLF Override circuit.

PPFFLL//AAFFLL LL//RR..((22 bbuusseess))--

Input: These buses are connected to all channel SOLO switches and to all

PFL/AFL switches. Whenever any PFL/AFL switch is engaged, its signal is

sent to this stereo bus. If SIP is off, then whenever any channel SOLO

switch is engaged, its signal is also sent to this stereo bus. If SIP is on, then

the channel SOLO switches operate in conjunction with the SOLO CUT

bus.

Output: These buses are connected to the AFL/PFL TRIM control in the

Master section.

AAUUXX 11--22:: ((22 bbuusseess))--

Input: These buses are connected to the AUX Send 1 and AUX Send 2

level controls. Turning up these controls, respectively, sends signals to

these buses. They are also connected to the AUX 1-2 routing switch in the

TALKBACK section.

Output: These buses are respectively connected to the AUX 1 and AUX 2

Master level controls in the Master section. They are also connected to the

AUX 1-2 Source Select switches in the STUDIO A and STUDIO B sections.

AAUUXX 33--66:: ((44 bbuusseess))--

Input: These buses are connected to the 5-6 switch which is connected to

the AUX Send 3 and AUX Send 4 level controls. If the 5/6 switch is not

engaged, then the AUX Send 3 and AUX Send 4 level controls send the

signal to the AUX 3 and AUX 4 buses. If the 5/6 switch is engaged, then the

AUX Send 3 and AUX Send 4 level controls send the signal to the AUX 5

and AUX 6 buses.

Output: These buses are respectively connected to the AUX 3-6 Master

level controls in the Master section.

GHOST Block Diagram 4.5

AAUUXX 77 LL//RR:: ((22 bbuusseess))--

Input: These buses are connected to the AUX 7 (Stereo) level control.

Turning up this control sends signals to both buses simultaneously.

Output: These buses are connected to the AUX 7 (Stereo) Master level

control in the Master section.

AAUUXX 88 LL//RR:: ((22 bbuusseess))--

Input: These buses are connected to the AUX 8 (Stereo) level control.

Turning up this control sends signals to both buses simultaneously.

Output: These buses are connected to the AUX 8 (Stereo) Master level

control in the Master section.

GGRRPP 11--88:: ((88 bbuusseess))--

Input: These buses are connected to the 1/2, 3/4, 5/6, 7/8 Routing Matrix

switches in the channel fader section and in the effects return section. They

are also connected to the TO TAPE switches in the OSCILLATOR and

TALKBACK Routing sections.

Output: These buses are respectively connected to the Group 1-8 Insert

jacks in the Master section rear connector panel and to their respective

Group Master Faders.

MMIIXX LL//RR:: ((22 bbuusseess))--

Input: These buses are connected to the L/R Routing Matrix switches in

the channel fader section and to the MIX Routing Matrix switches in the

effects return section. They are also connected to the following switches:

the TO TAPE switches in the OSCILLATOR and TALKBACK Routing

sections; the MIX B TO MIX switch in the MIX B Master section; and the

TO MIX-L and TO MIX-R switches in the GROUP MASTER FADER

section. They represent the MAIN MIX or MIX A.

Output: These buses are respectively connected to the MIX L/R Insert

jacks in the Master section rear connector panel and to the Stereo MIX

Master Fader.

MMIIXX BB LL//RR:: ((22 bbuusseess))--

Input: These buses are connected to the pan controls in the MIX B

section. They represent MIX B.

Output: These buses are connected to the MIX B Rotary Master Fader in

the MIX B Master section. They are also connected to the MIX B SOURCE

SELECT switches in the Studio A and Studio B sections.

GGRRPP OOPP BBUUSS ((11--88)):: ((22 bbuusseess))--

Input: Signal is sent to these buses from a point directly before the GRP 1-

8 Output Jacks.

Output: These buses are connected to the DIR/GRP n switches located

above the DIR/TAPE SND jacks on the Input rear connector panel.

CCPPUU MMUUTTEE BBUUSS AA:: ((NNoott GGhhoosstt LLEE))--

Input: This bus is connected to Ghosts CPU and controls the Mute

Automation for the channel mutes.

Output: This bus is connected to the channel mute circuits.

4.6 GHOST Block Diagram

CCPPUU MMUUTTEE BBUUSS BB:: ((NNoott GGhhoosstt LLEE))--

Input: This bus is connected to Ghosts CPU and controls the Mute

Automation for the MIX B mutes.

Output: This bus is connected to the MIX B mute circuits.

SSiiggnnaall FFllooww

We will now trace the signal flow through Ghost. Youll see that in many places

the signal branches off to a number of destinations. If we were to discuss all the

signal branches in detail as they appeared in the signal flow, you might lose sight of

the main signal path. So instead, we will mention when the signal branches off, but

continue with the main signal path flow. Then we will go back and trace the

branches in detail.

We will trace the input sides and output sides separately. For the inputs, we will

trace the Channel inputs, MIX B inputs, and Effects Returns inputs separately,

tracing them from their input jacks to the buses. For the outputs, we will trace

them from the buses to the output jacks. Then at the end, we will provide a quick

overview of the complete signal path from input to output. There are also some

items in the diagram that dont fit neatly into input/output categories, so we will

discuss them at the most appropriate points. Two of those items are the CUT

switches and the SOLO/PFL/AFL switches, so we will start with them, since they

are very common throughout Ghost. Then, when we encounter a CUT or

SOLO/PFL/AFL switch in a signal path, we will mention it, but not have to trace its

path each time.

GHOST Block Diagram 4.7

SSiiggnnaall FFllooww

MMuuttee aanndd SSoolloo

CCUUTT SSwwiittcchheess

There is one Cut (Mute) switch for each channel and each MIX B section. All of

them are connected to a Mute Circuit. The channel Mute Circuits are connected

to CPU Mute Bus A and the MIX B Mute Circuits are connected to CPU Mute

Bus B. Both Mute Buses are connected to Ghosts CPU, which controls the

automation. (Not Ghost LE). In addition, the channel Mute Circuit is connected to

the Solo Cut Bus.

Engaging any Cut switch will mute the signal beyond the Mute Circuit. You engage

the Cut switch manually, by pressing it, or automatically, either with Solo-In-Place

(SIP) or by using Ghosts Mute Automation. With Automation, the CPU will send

signals to the Mute Circuits, via the Mute Buses, to automatically engage the Cut

switches. Solo-In-Place is discussed below.

SSOOLLOO//PPFFLL//AAFFLL SSwwiittcchheess

All channels have Solo switches and all MIX B sections have PFL (Pre-Fader-

Listen) switches. There are also numerous other PFL and AFL (After-Fader-

Listen) switches throughout Ghost. The channel Solo switches will function as

Solo-In-Place (SIP) switches (if SIP is on) or as PFL switches (if SIP is off). PFL

switches come before the fader or level control, so that the faders have no effect

on the switches, and signal will be sent, even if the fader is at its minimum level.

AFL switches come after the fader or level control, so that the faders will have an

effect on the switches, and no signal will be sent, if the fader is at its minimum

level.

On the channels only, if SIP is on, it sends a signal to the Solo Detect bus, telling

Ghost that when a channel Solo switch is engaged, the Solo Cut Bus should

engage the mute circuits for all channels that do not have their Solo switches

engaged. For the rest of this discussion, we will assume that SIP is off. If SIP is off,

then Ghost treats the channel Solos as PFL switches.

The channel Solo switches are connected to the Solo Detect and PFL/AFL-L/R

buses. The MIX B PFL switches and all other PFL/AFL switches are connected to

the PFL Detect bus and to the PFL/AFL-L/R buses. When SIP is off, the Solo

Detect bus functions identically to the PFL Detect bus. (For the rest of this

section, we will use the term solo to refer to all SOLO, PFL, and AFL switches.)

Both Detect buses are connected to the Global Solo LED in the Master Solo

section and when either bus detects that a solo switch has been pressed, it lights

the LED.

Both of the detect buses are connected to the AFL/PFL Override Circuit, which in

turn, is connected to the CRM/SOLO-L/R meters and then the CRM level control.

The PFL/AFL-L/R signal buses are connected to the AFL/PFL Trim Control, which

is also connected to the AFL/PFL Override Circuit. The Control Room section will

be covered in more detail below, but the point to note here is that whenever any

solo switch is depressed, the detect circuit sends a notice to the override circuit

telling it to mute the selected Control Room Source, and in its place, send the

signals from the AFL/PFL Trim Control to the Control Room Outputs.

What all of this means is that if you press any solo switch, the Global Solo LED will

light and all soloed signals (from the PFL/AFL-L/R bus) will be sent to the solo

Trim Control, where you can adjust the level of the soloed signals, and then to the

control room meters and headphones/control room outputs.

4.8 GHOST Block Diagram

IInnppuuttss

CChhaannnneellss

The channel has 2 inputs: an XLR mic input and a ¼" line input. (They are located

in the upper-left of the diagram). The Mic input is connected to the 48V (phantom

power) switch and then to the Mic/Line switch. The line input is connected to the

Mic/Line switch. The Mic input has the 48V option and then you select the channel

input with the Mic/Line switch. From that point on, both inputs are treated

identically.

The channel signal then goes to the Phase switch, the Input Sensitivity knob, and

the Low-Cut Filter (LCF) switch and circuit. The last switch determines whether

the signal goes through the LCF circuit or not.

The signal continues to the Signal Present LED, the Peak Detect LED, and the

Reverse switch. This switch determines whether the signal continues down the

channel path or MIX B path. Note that even if Reverse is pressed, the channel

signal will still have passed through all the pre-Reverse points above. If Reverse is

pressed, then the channel signal will follow the MIX B path that comes after the

switch, as explained in the MIX B section below. We will continue tracing the

channel path, as if Reverse was not pressed.

The signal continues to the Channel Insert jack. If a send/return plug is inserted,

the signal will be sent to the outboard device, processed by it, and then returned

to the Insert jack. If nothing is connected, the signal proceeds from the Insert jack.

If you have the optional meterbridge and its set to monitor channel inputs, then

from the Insert jack the signal goes to the meterbridge input meter.

Next, the signal goes to the EQ MIX B switch, to the LF/HF EQ and LMF/HMF EQ

circuits, and to the EQ In/Out switch. If MIX B is pressed, the LF/HF EQ is

switched into the MIX B path and is not available to the channel. The EQ In/Out

switch is used to switch all 4 bands of EQ in or out of the signal path and it affects

the LF/HF EQ, whether that EQ is in the channel path or MIX B path. The outputs

of the 2 separate EQ circuits also go to the Peak Detect LED.

From this point, the pre-fader signal goes to the following 3 places: the channel

Solo switch, the Pre switch in the Aux 1/2 section, and the Source switch in the

MIX B section. These signals will be routed to the above destinations, regardless of

the level of the channel fader. This is the signal that will appear if you use the

channel Solo as a PFL, if you press the Pre switch in the Aux 1/2 section, or if you

select channel as the Source in the MIX B section.

The signal also travels to the channel fader, which will affect its level, and to the

mute circuit. Now the signal 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

following 5 places: the Dir/Grp n switch (which is connected to the Dir/Tape Snd

jack), the channel pan knob, the Pre button in Aux 1/2, the Mix B button in Aux

3/4 (5/6), and the Peak Detect LED. If the Dir/Grp n switch is up, then the signal

continues to the Dir/Tape Snd jack as a Direct Output. If the Pre switch in Aux 1/2

is not depressed, then it is this post-fader signal that is routed there. If the Mix B

switch in Aux 3/4 is not pressed, then it is this post-fader signal that is routed

there.

Regardless of the above switch settings, the signal passes to the channel pan knob,

which is used to route the signal to the L/Odd signal path, R/Even signal path, or

both signal paths. These signal paths then go to the channel Routing Matrix (Assign)

switches and to the stereo Aux 7 level control. The signal from the Aux 7 control

goes to the Aux 7 L/R buses and the signal flow from the Routing Matrix switches

is as follows: the L/R switch goes to the Mix L/R buses, the 1/2 switch goes to the

Grp 1/2 buses, the 3/4 switch goes to the Grp 3/4 buses, the 5/6 switch goes to

the Grp 5/6 buses, and the 7/8 switch goes to the Grp 7/8 buses.

The pan control determines to which bus or buses the signal is routed. The signals

from the L/Odd path go to the Aux 7 L, Mix L, and Grp 1, 3, 5, 7 buses. The

signals from the R/Even path go to the Aux 7 R, Mix R, and Grp 2, 4, 6, 8 buses.

That is, if you pan full left, the signal goes to the left buses and odd groups and if

you pan right, it goes to the right buses and even groups. If the pan control is at its

GHOST Block Diagram 4.9

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.

MMIIXX BB

MIX B has a ¼" line input jack. If you have the optional meterbridge and its 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 pre-

fader 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 its 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.

EEffffeeccttss RReettuurrnnss

There are 4 stereo effects returns. The output from an effects device is usually

connected to an FX L and FX R ¼" 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.

22--TTrraacckk

The 2-Track inputs are located to the right of the buses in the diagram, near the

centre of the page. There are 2 pairs of stereo inputs. The inputs are on ¼" line

jacks. You normally connect the outputs of your 2-Track recorders here, but you

can connect any line level signal. The 2-Track A L/R inputs are routed directly to

the 2TK A Control Room Source Select switch and the

2-Track B L/R inputs are routed directly to the 2TK B Control Room Source

Select switch. You press either switch to hear its signal in the headphones/control

room monitors.

4.10 GHOST Block Diagram

OOtthheerr IInnppuuttss

While not technically inputs (there are no input jacks), Ghost has some controls

that send signals to the buses. They will be covered here. For our purposes, we

are generally treating signals sent to the buses as inputs. In the next section

(Outputs), we will trace the signal flow from the buses to Ghosts outputs.

TTaallkkbbaacckk

The TB MIC is connected to the Talkback level control, which sets the level of the

signal, and then to the Talkback routing switches. There are switches for TO

TAPE, TO AUX 1-2, and TO STU. When you press the TO TAPE switch, the

signal from Ghosts mic passes through the Oscillators TO TAPE switch, and if

that switch is not depressed, the signal is sent to the MIX-L/R and GRP 1-8 buses.

The Oscillator TO TAPE switch takes precedence over the Talkback TO TAPE

switch. When you press the TO AUX 1-2 switch, the signal is sent to the AUX 1/2

buses. When you press the TO STU switch, the signal goes to a point directly after

the Studio source select switches and before the Studio level control, so that the

TB signal can be monitored in the Studio outputs. Note that whenever any

Talkback switch is engaged, it automatically engages the DIM circuit, which is

located directly after the Control Room level control. This will attenuate the level

of the control room outputs.

OOsscciillllaattoorr

The Oscillator is connected to the 1k/10k switch, which allows you to select the

frequency of the oscillator. The selected frequency is then routed to the OSC

LEVEL control, which sets the level of the signal, and then to the TO TAPE switch.

When you press the Oscillators TO TAPE switch, the signal from the oscillator is

sent to the MIX-L/R and GRP 1-8 buses. Pressing this switch takes precedence

over the TO TAPE switch in the Talkback section. This means that if both

switches are pressed simultaneously, only the signal from the oscillator goes to the

MIX and Group buses.

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GGrroouuppss

The block diagram only shows the outputs of Groups 1 and 2, using 1 as

representative of the odd Groups and 2 as representative of the even Groups.

However, the signal paths of both the odd and even Groups are the same. The

only difference is the TO MIX- L or R switch in the Group Master Output section.

They route the odd Groups to the Mix L bus and the even Groups to the Mix R

bus. Therefore, we will discuss the odd and even Group buses together.

The Group buses are routed to the Group Insert jacks for outboard processing

and then to the 100mm Group Fader. From there, the signal is sent to the L+R

switch, the To MIX- L switch (for odd buses) or the To MIX- R switch (for even

buses), and to the AFL switch, in the Group Master Output section. The L+R

switch affects both the AFL and the Mix routing. If AFL is pressed and the L+R

switch is not pressed, then the post-fader Group signal is sent to the PFL/AFL-L

bus for odd groups and the PFL/AFL-R bus for even groups. If AFL is pressed and

the L+R switch is pressed, then the post-fader Group signal is sent to the

PFL/AFL-L+R buses. For Mix routing, for odd groups, if Mix L is pressed, the

signal is sent to the Mix L bus, and if both Mix L and L+R are pressed, the signal is

sent to the Mix L/R buses. For even buses, if Mix R is pressed, the signal is sent to

the Mix R bus, and if both Mix R and L+R are pressed, the signal is sent to the Mix

L/R buses. The signal is also sent to the Group output meters in Ghosts Master

section. Then, the signal is sent to the GRP OP BUS (1-8) (more on that below)

and finally to the Group Output jack. Whatever is connected to the Group Output

jack will receive all the signals that have been sent to that Group bus. These jacks

can be connected to the inputs of a multitrack tape machine for recording

purposes. However, if you have more than 8 tracks on your recorder, you might

want to connect your recorders inputs to the channel DIR/TAPE SND jacks.

GHOST Block Diagram 4.11

DDiirr//TTaappee SSnndd

These output jacks can carry either the Direct Output of the channel or function

as a Group Output. You decide which by using the DIR/GRP n switch. The GRP

OP BUS (1-8), mentioned above, should not be confused with the regular Group 1

through Group 8 buses. Those buses send signals to the Group Output jacks on

Ghosts Master Rear Connector Panel. The GRP OP BUS (1-8) are 2 buses that

carry all 8 Groups and send them to the DIR/GRP n switch. The switch is

connected to the DIR/TAPE SND output jack. The post-fader channel signal is also

connected to the DIR/GRP n switch. If the switch is up, then the jack is used as a

Direct Output for the post-fader channel signal. If the switch is depressed, then

one of the 8 Group Bus signals (from the GRP OP BUS (1-8)) is sent to the jack.

The Group Bus 1 signal is only sent to the 1, 9, 17, 25 DIR/TAPE SND jacks;

Group Bus 2 signal is only sent to 2, 10, 18, 26; Group Bus 3 signal is only sent to

3, 11, 19, 27, etc.

The GRP 1-8 output jacks and the DIR/TAPE SND jacks, when used as Tape

Sends, carry the same signals. For instance, if you press the DIR/GRP 8 switch for

channel 8, then its DIR/TAPE SND jack will output all signals that are on the

Group 8 bus. The Group 8 bus signals will also be sent to the GRP 8 output jack.

Or to look at it another way, if you want to use one of the DIR/TAPE SND jacks

as the Group 8 output, then you can press the DIR/GRP 8 switch for either

channel 8, 16, 24, or 32, and its DIR/TAPE SND jack will carry the Group 8

output. You might use this method if the DIR/TAPE SND jacks were connected to

the inputs of a multitrack recorder and you wanted to send a number of signals to

one track of that recorder. In this example, you would press the DIR/GRP 8 switch

on the channel that matched the tape track you wanted to record on: channel 8

for track 8; channel 16 for track 16; channel 24 for track 24; or channel 32 for

track 32.

MMaaiinn MMiixx

The Mix L/R buses are sent to the MIX Left Insert and MIX Right Insert jacks, and

then to the 100mm MIX Master Fader on the top panel. It is one fader that

controls both the Left and Right MIX buses. From there, the signal is sent to the

MIX A Control Room Source Select switch and also to the MIX Left Output and

MIX Right Output jacks.

MMIIXX BB

The MIX B L/R buses are sent to the rotary MIX B Master Fader on the top panel.

It is one rotary fader that controls both the Left and Right MIX B buses. From

there, the signal is sent to the MIX B Control Room Source Select switch and also

to the MIX B TO MIX switch in the MIX B Master section and to the MIX B Left

Output and MIX B Right Output jacks. The MIX B TO MIX switch, if depressed,

will combine the MIX B L/R signals with the MIX L/R signals right before the MIX

Left Insert and MIX Right Insert jacks and from that point on the MIX B L/R signals

will be combined with the MIX L/R signals and appear at the MIX L/R output jacks.

The MIX B L/R buses are also sent directly to the MIX B Source Select switches

for Studio A and Studio B, without passing through the MIX B master fader.

Normally, the MIX B signal path is separate from the Main MIX signal path, and

each has its own stereo output jacks. The Main MIX outputs are normally

connected to a stereo recorder, such as a DAT deck, for mixdown purposes. If

you also want to record the MIX B signals to the DAT recorder during mixdown,

then you press the MIX B TO MIX switch and now all channel inputs and MIX B

inputs can be recorded to DAT. The MIX B signals will also be able to use the Mix

L/R Insert jacks and will pass through the MIX L/R Master Fader before appearing

at the MIX L/R Output jacks. Even if the MIX B TO MIX switch is depressed, the

MIX B signals will also appear at the MIX B-L/R output jacks.

4.12 GHOST Block Diagram

AAuuxxiilliiaarriieess

The mono AUX buses 1-6 are sent to the same-numbered AUX Master level

control in Ghosts Master section. They are then sent to the Master AUX AFL

switch and then to the same-numbered AUX output.

The stereo AUX buses 7-L/R and 8-L/R are sent to the same-numbered AUX

Master level control in Ghosts Master section. The level control is one knob that

controls the L/R buses. The signal is then sent to the Master AUX AFL switch and

then to the same-numbered AUX-L/R outputs.

The AUX outputs are normally connected to the inputs of outboard effects

devices. The outputs of the effects devices are then connected to the effects

returns or to the channel inputs. Generally, the channel AUX Sends are used to

send and balance all the signals that are going to the same-numbered AUX bus,

and the AUX Master level control is used to set the overall level going to the

effects device.

CCoonnttrrooll RRoooomm//HHeeaaddpphhoonneess

This section is used to provide monitoring for the engineer (recordist) in the

control room. The Headphones jack, the CRM O/P L/R jacks, and the ALT O/P

L/R jacks all carry the same signals. What is heard in these outputs is determined

by the Control Room Source Select switches. There are Source Select switches

for MIX A, MIX B, 2 TK A, and 2 TK B. As explained previously, the appropriate

buses are connected to the MIX A and MIX B switches and both pairs of 2-Track

stereo input jacks are connected directly to the 2 TK switches. More than one

switch can be depressed at once, and you will hear a combination of all your

selections.

The combined output of the Control Room Source Select switches is sent to the

Studio A and Studio B CRM Source Select switches. (Pressing the CRM switch

sends the Control Room output to the Studio outputs.) The combined output is

also sent to the AFL/PFL Override Circuit. Whenever any AFL/PFL switch on

Ghost is pressed, it will override what you have selected with the Control Room

Source Select switches, and the AFL/PFL signal will be heard in the

headphones/control room monitors instead. From the Override Circuit the signal

continues to the CRM/SOLO-L/R meters in Ghosts Master section. (If you have

the optional meterbridge, the signal is also sent to its L/R Master meters.)

The signal continues to the CRM level control, the DIM circuit, the MONO

switch, the headphones jack, and the ALT switch. The ALT switch is connected to

the CRM L/R outputs and the ALT L/R outputs. The level control sets the output

level, the MONO switch sums the output to mono, and the ALT switch sends the

signal to the ALT L/R outputs, instead of the CRM L/R outputs. Normally you

connect the CRM L/R outputs to one set of studio monitors (such as your main

monitors), and you connect the ALT L/R outputs to a second set of studio

monitors, such as nearfields. By using the ALT switch you can select which

monitors you wish to hear. If headphones are plugged into the headphones jack, it

disconnects the signal beyond that point. This means there will be no output in the

CRM or ALT monitors, if headphones are plugged in. Make sure the headphones

are unplugged, when you want to listen to the CRM or ALT monitors.

The DIM circuit is connected to the TALKBACK Routing switches. Whenever one

of those switches is pressed, the DIM circuit dims (lowers the volume of) the

signal sent to the headphones/control room monitors.

SSttuuddiioo

This section is used to provide monitoring for the musicians in the studio

(performing space). Ghost has two stereo Studio outputs, called Studio A and

Studio B/Phones. They are identical, except that the Studio A outputs are ground

compensated and the Studio B outputs are unbalanced and suitable for driving

headphones, with the proper cable. Normally, you connect one set of outputs to a

headphone amp in the studio or directly to a set of headphones. The other Studio

outputs are connected to a power amp/monitor setup in the studio.

GHOST Block Diagram 4.13

What is heard in these outputs is determined by the Studio Source Select switches.

There are Source Select switches for AUX 1-2, MIX B, and CRM. As explained

previously, the appropriate buses are connected to the AUX 1-2 and MIX B

switches and the output of the Control Room Source Select switches is sent to the

CRM switch. More than one switch can be depressed at once, and you will hear a

combination of all your selections.

The combined output of the Studio Source Select switches is sent to the Studio

level control and then to the Studio AFL switch and the Studio Output L/R jacks.

4.14 GHOST Block Diagram

OOvveerrvviieeww ooff MMaaiinn SSiiggnnaall PPaatthhss

As a summary, below is an overview of Ghosts main signal paths, without the

explanations.

IInnppuuttss

CChhaannnneellss:: SSiiggnnaall CCoonnnneeccttiioonnss

MIC I/P to 48V switch to LINE switch.

LINE I/P to LINE switch.

LINE switch to PHASE switch to Input Sensitivity knob to LCF switch.

LCF switch to SIGNAL DETECT LED and PEAK DETECT LED.

LCF switch to REV switch.

REV switch (UP) to Channel INSERT JACK.

Channel INSERT JACK to optional meterbridge INPUT METER (if channel

input monitoring is selected).

Channel INSERT JACK to EQ MIX B switch to LF/HF EQ to LMF/HMF EQ

to EQ IN switch.

LF/HF EQ to PEAK DETECT LED.

LMF/HMF EQ to PEAK DETECT LED.

EQ IN switch to SOLO switch.

EQ IN switch to AUX 1-2 PRE switch.

EQ IN switch to MIX B SOURCE switch.

EQ IN switch to Channel FADER to Channel CUT switch.

Channel CUT switch to DIR/GRP n switch to DIR/TAPE SND jack.

Channel CUT switch to PEAK DETECT LED.

Channel CUT switch to AUX 1-2 PRE switch.

Channel CUT switch to AUX 3-4 MIX B switch.

Channel CUT switch to Channel PAN POT.

Channel PAN POT to AUX 7 stereo SEND knob.

Channel PAN POT to Channel ROUTING MATRIX switches (L-R, 1-2, 3-

4, 5-6, 7-8).

BBuuss CCoonnnneeccttiioonnss

CUT switch to SOLO CUT bus and CPU MUTE BUS A.

SOLO switch to SOLO DETECT bus and PFL/AFL L/R bus.

DIR/GRP n switch to GRP OP BUS (1-8).

ROUTING MATRIX switches:

L-R to MIX L/R bus.

GHOST Block Diagram 4.15

1-2 to GRP 1/2 bus.

3-4 to GRP 3/4 bus.

5-6 to GRP 5/6 bus.

7-8 to GRP 7/8 bus.

MMIIXX BB:: SSiiggnnaall CCoonnnneeccttiioonnss

MIX B/TAPE RET jack to optional meterbridge INPUT METER (if tape

input monitoring is selected).

MIX B/TAPE RET jack to TAPE TRIM knob to REV switch.

REV switch (UP) to MIX B SOURCE switch to EQ MIX B switch.

EQ MIX B switch to MIX B PFL switch.

EQ MIX B switch to MIX B FADER to MIX B CUT switch.

MIX B CUT switch to AUX 3-4 MIX B switch.

MIX B CUT switch to MIX B PAN POT.

MIX B PAN POT to AUX 8 stereo SEND knob.

BBuuss CCoonnnneeccttiioonnss

CUT switch to CPU MUTE BUS B.

PFL switch to PFL DETECT bus and PFL/AFL L/R bus.

PAN POT to MIX B L/R bus.

AAuuxxss:: SSiiggnnaall aanndd BBuuss CCoonnnneeccttiioonnss

Pre-fader channel signal and post-fader channel signal to AUX 1-2 PRE

switch to AUX 1-2 SEND knobs to AUX 1/2 buses.

Post-fader channel signal and post-fader MIX B signal to AUX 3-4 MIX B

switch to AUX 3-4 SEND knobs to AUX 3-4 "5-6" switch.

AUX 3-4 "5-6" switch to AUX 3/4/5/6 buses.

Channel post-fader, post-pan signal to AUX 7 stereo SEND knob to AUX 7

L/R buses.

MIX B post-fader, post-pan signal to AUX 8 stereo SEND knob to AUX 8

L/R buses.

EEffffeeccttss RReettuurrnnss

SSiiggnnaall CCoonnnneeccttiioonnss

FX L/R jacks to FX PFL switch.

FX L/R jacks to FX stereo LEVEL knob to FX BALANCE knob to FX

ROUTING MATRIX switches (MIX, 1-2, 3-4, 5-6, 7-8).

4.16 GHOST Block Diagram

BBuuss CCoonnnneeccttiioonnss

ROUTING MATRIX switches:

MIX to MIX L/R bus.

1-2 to GRP 1/2 bus.

3-4 to GRP 3/4 bus.

5-6 to GRP 5/6 bus.

7-8 to GRP 7/8 bus.

OOuuttppuuttss

MMIIXX AA

MIX L/R buses to MIX INSERT jacks to MIX MASTER FADER.

MIX MASTER FADER to MIX A Control Room Source Select switch.

MIX MASTER FADER to MIX L/R outputs.

MMIIXX BB

MIX B L/R buses to MIX B Studio A and B Source Select switches.

MIX B L/R buses to MIX B MASTER FADER.

MIX B MASTER FADER to MIX B Control Room Source Select switch.

MIX B MASTER FADER to "MIX B TO MIX" switch.

MIX B MASTER FADER to MIX B L/R outputs.

AAUUXX 11--66

AUX 1-6 buses to AUX 1-6 MASTER FADERS.

AUX 1-6 MASTER FADERS to AUX 1-6 AFL switches.

AUX 1-6 MASTER FADERS to AUX 1-6 outputs.

AAUUXX 77--88

AUX 7 L/R and AUX 8 L/R buses to AUX 7-8 stereo MASTER FADERS.

AUX 7-8 stereo MASTER FADERS to AUX 7-8 AFL switches.

AUX 7-8 stereo MASTER FADERS to AUX 7-8 L/R outputs.

GGRROOUUPPSS

GRP 1-8 buses to Group 1-8 INSERT jacks to Group 1-8 MASTER FADERS.

Group 1-8 MASTER FADERS to Group 1-8 AFL switches.

Group 1-8 MASTER FADERS to Group 1-8 L+R switches.

Group 1, 3, 5, 7 MASTER FADERS to Group 1, 3, 5, 7 TO MIX-L switches.

Group 2, 4, 6, 8 MASTER FADERS to Group 2, 4, 6, 8 TO MIX-R switches.

Group 1-8 MASTER FADERS to Group 1-8 OUTPUT METERS.

Group 1-8 OUTPUT METERS to GRP OP BUS (1-8).

Group 1-8 OUTPUT METERS to GRP 1-8 outputs.

GHOST Back and Rear Panel Description 5.1

GGHHOOSSTT

BBaacckk aanndd RReeaarr

PPaanneell DDeessccrriippttiioonn

5

5.2 GHOST Back and Rear Panel Description

BBaacckk aanndd RReeaarr PPaanneell DDeessccrriippttiioonn

BBaacckk PPaanneell

1. Power Connector. Used to connect the Power Supply Unit (PSU) to

Ghost. Place the PSU away from the console, preferably in a rack. Make

sure the voltage and fuse are correct for the country you will be using it in.

Connect one end of the supplied PSU cable to the PSU by lining up the pins

in the cable with the holes in the PSU and pushing in. Then hand-tighten

the ring around the cable. Connect the other end of the cable to the power

connector on back of Ghost, using the same procedure. Then attach one

end of the supplied AC cable to the back of the PSU and plug the other end

into a mains (AC) outlet. Use the power switch on the front of the PSU to

turn Ghosts power on and off.

2. MIDI Jacks. (Not Ghost LE). Used to connect Ghost to a tape recorder

for MIDI Machine Control (MMC) and MIDI TimeCode (MTC) or to con-

nect Ghost to a computer MIDI sequencer via a MIDI interface.

A. MIDI IN is connected to MIDI Out of another device. You can connect it

to MIDI Out of a tape recorder to provide Ghost with tallyback confirma-

tion of the recorders transport status and to send MTC messages to

Ghost. You can also connect it to MIDI Out of a MIDI sequencer in order

to send MTC, MIDI messages, such as program change and MIDI Mute

data, to Ghost, and to load the contents of Ghosts snapshot memory into

Ghost after you have saved it to a sequencer.

B. MIDI Out is connected to MIDI In of another device. You can connect it to

MIDI In of a tape recorder in order to control the recorders transport

controls via MMC and to send MTC messages to the recorder. You can

also connect it to MIDI In of a MIDI sequencer for MTC purposes; to send

MIDI Mute data to the sequencer for dynamic mute automation; and to

save the contents of the Ghosts snapshot memory to the sequencer.

C. MIDI THRU simply echoes whatever is plugged into Ghosts MIDI In jack.

For instance, if you plug MIDI Out from a tape recorder into Ghosts MIDI

In, you can then connect Ghosts MIDI Thru jack to the MIDI In of a

sequencer, so that the MIDI Out of the recorder will send the same mes-

sages to Ghost and the sequencer.

3. SMPTE IN/OUT Jacks. (Not Ghost LE). Used to send SMPTE timecode

to and from Ghost. Connect SMPTE In of Ghost to the SMPTE Out of your

timecode source and connect SMPTE Out of Ghost to SMPTE In of the

receiving device.

4. SONY Jack. (Not Ghost LE). Used to connect Ghost to a video tape

recorder or other device that uses the standard Sony 9-pin protocol.

5. C3 Link & TO EXPANDER CONSOLE Jacks. Used to connect the

optional 24-channel expander module to Ghost. Further instructions are

included with the expander module.

GHOST Back and Rear Panel Description 5.3

IInnppuutt RReeaarr CCoonnnneeccttoorr PPaanneell

The Input Rear Connector Panel is located directly above the channel strips,

behind the optional meterbridge, if installed. This panel contains the main inputs

and outputs for each channel of the console. The top and bottom of each panel is

numbered with the channel number that it represents and is directly above its

associated channel. For instance, if you plug a microphone into input panel 7, then

you use the controls of channel strip 7 to control that signal source.

1. 48V. When this switch is depressed it applies +48V phantom power to its

associated MIC I/P. Use this switch for condenser microphones that

require phantom power. Make sure this switch is in the up position for

microphones, such as dynamics, that do not require phantom power.

2. MIC I/P. This XLR jack provides a balanced microphone input to its associ-

ated channel. Microphones and direct boxes should be connected here and

will be routed to the channel, if the REV(ERSE) switch is not pressed. If the

REV switch is pressed, then this input will be routed to MIX B. Regardless

of the position of the REV switch, the input gain is controlled by the INPUT

SENS knob on the top panel.

The XLR jack is wired as follows:

Pin 1: Gnd

Pin 2: Signal +

Pin 3: Signal -

3. LINE. This ¼" jack provides a balanced line level input to its associated

channel. Line level inputs, such as synths and samplers, should be connect-

ed here and will be routed to the channel, if the REV switch is not pressed.

If the REV switch is pressed, then this input will be routed to MIX B.

Regardless of the position of the REV switch, the input gain is controlled by

the INPUT SENS knob on the top panel.

Note that while you can have both the MIC I/P and LINE I/P connected at

the same time, only one input will be active and pass its signal to the chan-

nel. The LINE switch on the top panel channel strip determines which of

the two inputs is active.

The ¼" jack is wired as follows:

Tip: Signal+

Ring: Signal-

Sleeve: Gnd

4. INS. This ¼" jack provides an unbalanced line level Insert Point for its asso-

ciated channel. It is used (instead of the Aux Send/Return system) when you

want to process just one channel and you want to process the entire signal

(instead of having a wet/dry mix of the signal). Line level inputs and outputs,

such as compressors/limiters and outboard EQ, should be connected here.

The INS jack is located after the REV switch. The channel input signal will

be routed to this jack, if the REV switch is not pressed. If the REV switch is

pressed, then the MIX B input signal will be routed to this jack.

The jack acts as a send and return, which are normalled together. If nothing

is plugged into the jack, the input signal continues uninterrupted through

the Ghosts circuitry. You normally use an Insert Y-cable, readily available at

most electronics stores, with this jack. This Y-cable consists of one TRS

(Tip-Ring-Sleeve) ¼" plug connected to two TS (Tip-Sleeve) ¼" plugs. The

TRS ¼" plug should be connected to Ghosts Insert Jack, the Send ¼" TS

plug should be connected to the input of the outboard device, and the

Return ¼" TS plug should be connected to the output of the outboard

device. You can also use a regular TS cable, if you want to use this jack as a

line level input to the channel.

5.4 GHOST Back and Rear Panel Description

The ¼" Insert jack is wired as follows:

Tip: Return

Ring: Send

Sleeve: Gnd

5. MIX B/TAPE RET. This ¼" jack provides a balanced line level input to its

associated channels MIX B path. You normally connect the outputs of your

multitrack recorder to these jacks, but any line level outputs, such as synths

and samplers, can be connected here. This input will be routed to the MIX

B path, if the REV switch is not pressed. If the REV switch is pressed, then

this input will be routed to the channel path. Regardless of the position of

the REV switch, the input gain is controlled by the TAPE TRIM knob on the

top panel.

Just as the MIC I/P and LINE jacks serve as inputs for the channel path, the

MIX B/TAPE RET jacks serve as the inputs for the MIX B path. The reason

for the dual designation for this jack is that normally you would connect

your Tape Returns (outputs of your multitrack recorder) here. However,

you can connect any line level source here, such as virtual tracks from a

MIDI sound module, and it will be routed to the MIX B path.

Also note that since Ghost is an in-line console, two inputs per channel can

be active at the same time; one channel input (controlled by the channel

strip) and the MIX B input (controlled by the MIX B controls for that chan-

nel). The LINE switch on the top panel channel strip determines which of

the two channel inputs, MIC I/P or LINE, is active for the channel, while at

the same time, whatever is plugged into the MIX B/TAPE RET jack is the

active input for the MIX B path, if REV is not pressed.

The ¼" jack is wired as follows:

Tip: Signal+

Ring: Signal-

Sleeve: Gnd

6. DIR/TAPE SND. This ¼" jack provides either a Direct Output from its

associated channel or acts as a Group Output 1-8, depending on the setting

of the DIR/GRP n switch, described below. This jack should be connected

to the input of another device. In a common scenario, 8 or more of these

jacks would be connected to the inputs of a multitrack recorder and the

outputs of that recorder would be connected to the MIX B/TAPE RET

jacks of Ghost.

When used as a Direct Output (DIR/GRP n switch in the up position), the

channel input (either MIC I/P or LINE) will be routed to this jack, if the REV

switch is not pressed. If the REV switch is pressed, then the MIX B input

will be routed to this jack. In both cases, the Direct Output is post-channel

fader, post-channel mute.

Instead of a Direct Output, this jack can also be used as a Group Output,

when the DIR/GRP n switch is in the down position. The "n" represents a

Group number from 1 to 8, and when the switch is depressed its associat-

ed jack will carry the output of Group n. In that case, any channel that is

routed to Group n will appear at this jack, in addition to appearing at the

separate GRP n jack on the Master Section Rear Connector Panel.

When used as a Group Output, this jack has no relationship to its associat-

ed channels input. The channel input will only be routed to its associated

Group Output jack if it is assigned to the Group indicated by the DIR/GRP n

switch for that jack and the switch is depressed. Since there are only 8

Group Buses, one reason to use this method, known as multi-busing, is if

you want to record on more than 8 tracks without repatching. You could

connect all 32 (or 24) DIR/TAPE SND jacks to 32 (or 24) inputs of a multi-

GHOST Back and Rear Panel Desription 5.5

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 10s 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 ¼" jack is wired as follows:

DIRECT GROUP n

Tip: Signal Signal

Ring: Gnd Gnd Sense

Sleeve: Gnd 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" does-

nt 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.

5.6 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:

Group # for DIR/GRP n Switch

Channel and DIR/TAPE SND Jack

1 1

2 2

3 3

4 4

5 5

6 6

7 7

8 8

Group # for DIR/GRP n Switch

Channel and DIR/TAPE SND Jack

9 1

10 2

11 3

12 4

13 5

14 6

15 7

16 8

17 1

18 2

19 3

20 4

21 5

22 6

23 7

24 8

25 1

26 2

27 3

28 4

29 5

30 6

31 7

32 8

GHOST Back and Rear Panel Description 5.7

MMaasstteerr SSeeccttiioonn RReeaarr CCoonnnneeccttoorr PPaanneell

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.

NNoottee

All jacks on this panel are ¼" jacks.

IINNPPUUTTSS

2. FX 1 L/R  FX 4 L/R. Ghost has 4 identical stereo effects returns, num-

bered 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 doesnt 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 sig-

nal 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 wont 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 24-

channel Ghost, during mixdown. Note that you dont 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. Youll usually connect the outputs of a DAT recorder, 2-track ana-

log 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.

5.8 GHOST Back and Rear Panel Description

OOUUTTPPUUTTSS

4. GRP 1  GRP 8. These jacks carry the outputs of group buses 18. You

can assign the channel inputs and the 4 effects returns to any of the 8 buses

in odd/even pairs. You generally use the group bus outputs for recording,

by connecting them to the same-numbered inputs of a multitrack recorder.

That is, GRP 1 output to tape input 1, GRP 2 output to tape input 2, etc.

For example, if you want to record on tape track 4, you assign a channel

input or effects return input to bus 4, pan fully right, and the signal will be

routed to the GRP 4 output, which is connected to tape input 4. Note that

if you have the DIR/GRP n switch depressed on the input rear connector

panel, then all signals assigned to GRP n will be routed to that switchs

DIR/TAPE SND jack as well as to the GRP n jack.

5. AUX 1  AUX 6. These jacks carry the outputs of AUX Sends 1-6. They

are generally used to send a channel or MIX B signal to the inputs of an out-

board effects device for processing. The outputs of the effects device are

then returned to Ghost, either via one of the 4 effects returns or via the

channel or MIX B inputs, and mixed with the original, dry signal. You use

the AUX 1  AUX 6 level controls in the channel strips and the AUX 1-6

master level controls, in the master section on the top panel, to control the

level of these outputs. Note that to use the AUX 5 and AUX 6 outputs,

you must press the 5-6 switch on the top panel channel strip for each chan-

nel you want to route to these outputs.

6. AUX 7 L/R  AUX 8 L/R. These jacks carry the outputs of stereo AUX

Sends 7-8. They operate in the same manner as AUX 1-6, except they

work with the AUX 7 and AUX 8 controls on the top panel and their out-

puts are stereo.

7. MIX O/P L/R. These are the stereo outputs for the Main Mix (L/R) bus.

They are normally connected to the stereo inputs of a mixdown deck, such

as a DAT deck, 2-track open-reel deck, cassette deck, hard disk recorder,

or CD-R recorder. After you have finished recording all tracks on your mul-

titrack deck, you assign them, together with any hard disk or MIDI virtual

tracks, to the L/R bus for mixdown. All channel inputs, Mix B inputs, 4

stereo effects returns, and the 8 group outputs can be assigned to the Main

(L/R) Mix. The output of these jacks is controlled by the Stereo MIX master

fader on the top panel.

8. MIX B O/P L/R. These are the stereo outputs for the Mix B bus. Mix B

can be thought of as a separate 32x2 (or 24x2) mixer within Ghost. All Mix

B inputs (connected via the MIX B/TAPE RET jacks) are routed here auto-

matically, if the REV switch is not pressed. If the REV switch is pressed on a

channel, then that channels MIC or LINE input is routed here automatical-

ly. The Mix B outputs can be used to provide a separate stereo mix of your

tape returns, or provide a separate pre-fader stereo mix of your channels,

if the SRCE switch in the Mix B section in the channel strip is set to CHAN.

You use the Mix B rotary faders in the channel strips and the Mix B master

rotary fader in the master section on the top panel to control the level of

these outputs.

9. CRM O/P L/R. These are the stereo outputs for the main control room

monitors. They are connected to the power amp for those monitors. This

is generally what the engineer listens to while tracking, overdubbing, and

mixing down. You use the CRM SRCE buttons, in the master section on the

top panel, to control what is sent to these outputs. If the MONO CHECK

button is depressed in the master section, then a mono sum of the L/R con-

trol room signals will be sent to these outputs. The CRM LEVEL pot in the

master section controls the level of these outputs.

The CRM/SOLOL/R Meters on the top panel and the Master Meters on

the optional meterbridge, monitor the control room signal.

GHOST Back and Rear Panel Description 5.9

The same stereo outputs also appear at the headphones jack under the

front armrest. If headphones are plugged into that jack, then the control

room outputs will be disconnected.

10. ALT O/P L/R. These are the stereo outputs for the alternate control

room monitors. They are connected to the power amp for those monitors.

They function identically to the CRM L/R outputs above, but cannot be

used simultaneously with them. The ALT switch in the control room sec-

tion on the top panel switches the control room output from the CRM L/R

outputs to these outputs. For instance, you could connect your main moni-

tors to the CRM L/R outputs above, and connect a set of nearfield monitors

to the ALT L/R outputs, and then switch between them by pressing the

ALT switch.

11. HEADPHONES. (Not pictured). The Headphones jack is located under-

neath the front armrest. It carries the same signal as the CRM L/R outputs.

If headphones are plugged in here, the CRM Outputs (or ALT Outputs) are

automatically disconnected.

12. STU O/P A L/R. These are the stereo outputs for the Studio A Foldback

section in the master section on the top panel. The outputs are ¼" ground

compensated outputs, suitable for connection to a power amp/monitors or

a headphone amp located in the studio (performing space). They are used

to send a different mix than the control room mix to the performers in the

studio, while tracking and overdubbing. You use the STUDIO A SRCE but-

tons, in the master section, to control what is sent to these outputs. The

STUDIO A pot in the master section controls the level of these outputs.

13. STU PHNS B L/R. These are the stereo outputs for the Studio B/Phones

Foldback section in the master section on the top panel. The outputs are

¼" unbalanced outputs, suitable for connection to an amp, and are also

capable of directly driving headphones, with a suitable lead (cable). Details

on how to make a lead (cable) for connecting headphones to these outputs

are given at the end of this chapter. These outputs are used in the same

manner as the STUDIO A Outputs above. You use the STUDIO

B/PHONES SRCE buttons, in the master section, to control what is sent to

these outputs. The STUDIO B/PHONES pot in the master section controls

the level of these outputs.

IINNSSEERRTTSS

14. GRP INS 1-8. These are the INSERT POINTS for the 8 Group Outputs.

They are used in the same manner as the Channel Inserts, described above,

but are used to connect outboard processors to the 8 Group Outputs. This

makes it easy to process a number of signals at once. For instance, if you

have all of your drum inputs assigned to 2 Groups, you can process your

drum mix as a whole by using the INSERT POINTS for those 2 Groups.

(See 4. INS: under "Input Rear Connector Panel", above, for further details

on how to connect the GRP INS 1-8 jacks.)

15. MIX INS L/R. These are the INSERT POINTS for the MAIN (L/R) MIX.

They are used in the same manner as the Channel Inserts, described above,

but are used to connect outboard processors to the MAIN (L/R) MIX. This

makes it easy to process the entire MAIN (L/R) MIX during mixdown, and

record the processed mix to your mixdown recorder. For instance, you

could compress the MAIN (L/R) MIX as you record it to a DAT deck. (See

4. INS: under "Input Rear Connector Panel", above, for further details on

how to connect the MIX INS L/R jacks.)

5.10 GHOST Back and Rear Panel Description

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All of the Inputs are balanced:

FX1 L & FX1 R

FX2 L & FX2 R

FX3 L & FX3 R

FX4 L & FX4 R

2TKA I/P L & 2TKA I/P R

2TKB I/P L & 2TKB I/P R

The connections are:

Tip Signal +

Ring Signal -

Sleeve Gnd

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All of the Insert Points are

unbalanced:

MIX INS L & MIX INS R

GRP1 INS

GRP2 INS

GRP3 INS

GRP4 INS

GRP5 INS

GRP6 INS

GRP7 INS

GRP8 INS

The connections are:

Tip Return

Ring Send

Sleeve Gnd

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The following outputs are all

ground compensated:

STU O/P A L & STU O/P A R

AUX 1

AUX 2

AUX 3

AUX 4

AUX 5

AUX 6

AUX 7 L & AUX 7 R

AUX 8 L & AUX 8 R

MIX B O/P L & MIX B O/P R

MIX O/P L & MIX O/P R

GRP 1

GRP 2

GRP 3

GRP 4

GRP 5

GRP 6

GRP 7

GRP 8

The connections are:

Tip Signal +

Ring Gnd Sense

Sleeve Gnd

The following outputs are all

unbalanced:

ALT O/P L & ALT O/P R

CRM O/P L & CRM O/P R

STU PHNS B L & STU PHNS B R

The connections are:

Tip Signal +

Ring Not Used

Sleeve Gnd

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GHOST Tutorial 7.1

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7

7.2 GHOST Tutorial

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This Multitrack Tutorial will present step-by-step procedures on how to use

Ghost in a multitrack recording environment. See the Installation section in this

manual to set up Ghost for multitrack sessions. But first well start with an

overview of how mixers work.

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All mixers, no matter what their size, perform the same basic functions. They

accept a number of inputs, allow you to process them in various ways, and then

combine and route them to various outputs. Every switch, knob, and fader on a

mixer performs at least one of three basic functions, as follows:

1. A control can select where the signal is coming from. These are known as

source controls and they determine the input or source of the signal. A

MIC/LINE switch is an example of this control since it selects the source of

the channel input.

2. A control can process the signal in some way. These are generally

described according to the function they perform. EQ and gain controls are

examples of this type of control because they alter the frequency response

or set the gain of a signal, as opposed to determining its input or output.

3. A control can route where the signal is going to. These are known as assign

or routing switches and they route signals to different buses or outputs.

Channel ROUTING switches are an example of this type of control

because they route the channel signal to the Main Mix or Group buses.

Sometimes a control can perform more than one function. Pan controls

determine to which of 2 buses a signal is routed (routing) and the relative

level of the signal sent to each bus (processing).

It will make it easier to use Ghost if you ask yourself which of the above 3 func-

tions a control is performing: Is it selecting the signal source, processing the signal,

or routing the signal to a bus or output?

Following is a chart showing all of Ghosts controls grouped according to which of

the 3 basic functions they perform. The left side indicates the section of Ghost

where the control is found and the right side indicates the name of the control.

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Channel Input LINE switches

Tape Input REV switches

HF/LF EQ MIX B switches

EQ EQ IN switches

AUX 1-2 Sends PRE switches

AUX 3-4 Sends MIX B switches

MIX B SRCE switches

Studio Foldback A/B AUX 1-2/MIX B/CRM switches

Oscillator 1k/10k switch

Talkback TB MIC

Control Room MIX A/MIX B/2 TK A/2 TK B switches

GHOST Tutorial 7.3

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Rearcon Panel 48V switches

Channel Input Phase-Reverse switches

Channel Input Low-cut filter switches

Channel Input INPUT SENS knobs

TAPE Input TAPE TRIM knobs

EQ HF/LF/HMF-FREQ-Q/LMF-FREQ-Q knobs

AUX Sends AUX 1-4/STE AUX 7/STE AUX 8 Level knobs

MIX B MIX B Rotary Faders/CUT switches

Channel Channel Faders/CUT switches

FX Returns FX 1-4 LEVEL knobs

Studio Foldback STUDIO A-STUDIO B/PHONES Level knobs

Oscillator OSC LEVEL knob

Talkback Talkback Level knob

AUX Masters AUX 1-8 Rotary Master Faders

MIX B Master MIX B Rotary Master Fader

PFL/AFL Master PFL/AFL TRIM knob/SIP switch

Control Room CRM LEVEL knob/MONO CHECK switch

Groups 1-8 Group Master Faders

MIX Stereo MIX Master Fader

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Rearcon Panel DIR/GRP n switches

AUX 3-4 Sends 5-6 switches

MIX B PFL switches

Channel SOLO switches

Channel L-R/1-2/3-4/5-6/7-8 switches

FX Returns MIX/1-2/3-4/5-6/7-8 switches, PFL switches

Studio Foldback A-B AFL switches

Oscillator TO TAPE switch

Talkback TO AUX 1-2/TO STU/TO TAPE switches

AUX Masters AFL switches

MIX B Master MIX B TO MIX switch

Control Room ALT switch

Groups 1-8 TO MIX- L/R/L+R switches, AFL switches

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MIX B PAN knobs

Channel PAN knobs

FX Returns BAL knobs

7.4 GHOST Tutorial

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Not all of Ghosts users will have a traditional studio with a control room for the

recording engineer on one side of the glass and a studio (performance space) on

the other side of the glass. Many project and home studios use just one room for

both functions. And many times the person performing is also doing the recording.

In those instances you might not need all the monitor mixes outlined here. Just

choose the methods that work best for your situation. With recording and moni-

toring, as with many of Ghosts other procedures, there is more than one way to

accomplish something. We generally outline one set of procedures throughout this

manual, but as you come to understand Ghosts signal flow, you may come up

with other procedures of your own.

When we talk about recording to tape, you can use the same procedures for

recording to other media, such as a hard disk in a Digital Audio Workstation

(DAW). And when we speak of previously recorded tape tracks, for the most

part, you can use the same procedures with virtual MIDI tracks. Those are tracks

recorded in a MIDI sequencer that are synchronized to the multitrack tape or

DAW, while overdubbing, and are not committed to tape until mixdown.

Generally, the multitrack procedure is as follows: You record your basic tracks

(backing/rhythm tracks), such as drums, bass, keyboards, and rhythm guitars first.

At this time, you only need to monitor the instruments you are recording.

Everything you record after this is known as overdubbing. With overdubbing, you

not only need to monitor the overdubs, but you also need to monitor previously

recorded tape tracks. You will want separate monitor mixes for the musicians in

the studio and the engineer in the control room. After you have completed your

recording, then you mix all the tape/hard disk/MIDI tracks and record them to a 2-

track recorder, such as a DAT deck. This is known as mixdown. While recording

or during mixdown, you might want to add effects or processors to the tape/hard

disk tracks. Youll also need to know how to configure Ghost when you are

punching in/out and when you bounce tracks. All of these procedures are

explained below. Well start with Monitoring, since you need to know how to

monitor signals before you begin recording.

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During multitrack recording you have to provide 4 different monitor mixes. You

have to monitor both the current inputs you are recording (signal) and previously

recorded tape tracks (tape); and you need to provide these mixes to both the con-

trol room and the studio. This means you have to provide signal and tape monitor-

ing for the control room (CRM) and separate signal and tape monitoring for the

studio.

The purpose of CRM monitoring is to allow the engineer to hear the signal hes

sending to tape. If there is a problem with the signal going to tape, the engineer

needs to hear it. If the engineer presses the Solo switch, he needs to hear just that

signal. If the engineer rides gain (moves the channel faders while recording), he

needs to hear its effect on the signal going to tape. In short, the CRM monitor mix

may change in level or contain soloed channels. On the other hand, the perform-

ers in the studio dont want to hear these changes because it might distract them.

They want to hear a consistent monitor mix that helps them perform better and

they are not concerned with the actual signal going to tape. And many times the

performers want to hear reverb in the headphones, although youre not recording

the reverb to tape. In short, the Studio monitor mix has to be tailored to the pref-

erences of the performers in the studio. Thats why you need separate monitor

mixes for the CRM and Studio.

Control Room Monitoring is covered in this section and Studio Monitoring is cov-

ered in the next section. In each section we will detail how to monitor the signals

being recorded and then how to monitor previously recorded tape tracks. The

bottom line is that you use the MIX B section for CRM monitoring and AUX 1-2

for Studio monitoring.