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: 01707 665000
Fax: 01707 660482
¨
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 Ghosts back and rear
panel jacks.
6 Functional Contains a detailed description of all of
Description Ghosts 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 Ghosts 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 Ghosts software.
- Index Contains a detailed index, which allows
you to find a specific topic.
It is suggested that you read this entire manual. If youre the type that doesnt 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 Ghosts features:
l Soundcrafts 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
CCoonnttaacctt IInnffoorrmmaattiioonn
You may write, phone, fax, or EMAIL Soundcraft at the following places:
In Europe:
Soundcraft Telephone: +44 (0) 1707 665000
Harman International Industries LTD. FAX: +44 (0) 1707 660742
Cranborne House, Cranborne Rd., EMAIL: info@soundcraft.co.uk
Potters Bar, Herts, EN6 3JN, UK.
In the United States:
Soundcraft USA Telephone: 1(615) 360-0471
1449 Donelson Pike FAX: 1(615) 360-0273
Nashville, Tennessee 37217
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When using a console for traditional multitrack recording, it is necessary to be able
to record the consoles channel inputs to tape, while at the same time monitoring
previously recorded tape tracks. When youre 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 didnt offer all the features of the channel strip (such
as EQ and Aux Sends), and didnt 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 todays 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-
nt 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 strips 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 Bs 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. Youll usually want to monitor previously
recorded tape tracks, hard disk tracks, and MIDI sequenced tracks. At mixdown,
youll 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. Youll 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 dont 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 dont understand something in this chapter, then refer to the TUTORI-
AL. However, to get the full benefit of Ghosts 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 youre 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 youre 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 its 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 youre 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
multitracks 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 multitracks 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 youre
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 youll
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 Ghosts 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 youre 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 youre syncing a sequencer to the tape, make sure its 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 youre
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 recorders meters. The proper recording level should be
achieved with the 2-tracks 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 youre 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 youre 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.
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