Designing good audio mixers has never been easy – but with the widespread use of ultra-quiet digital recorders, and improvements all through the live and studio audio chain, today’s mixers have to stand up to closer sonic scrutiny than ever before. At the same time, mixing has become less a process that takes place at the console alone, and more one that involves outboard effects, samplers, and synchronisation of audio and video recorders. It’s a big task for a mixer to keep in touch with all of that – which is why Soundcraft created Ghost, the ultimate affordable analogue recording console. Simply put, Ghost is the only desk that delivers the audio precision, quality and all the control features of a big studio desk without the usual prohibitive price ticket. The EQ, for instance, is directly comparable to that of the classic Soundcraft 3200 and Europa consoles. No compromises. An all-new mic preamp, ProMic, has been developed just for Ghost. Its performance alone puts Ghost into a different league from other consoles of similar price. The killer punch, however, is delivered by Ghost’s integral computer-based machine control and mute automation. Derived from the innovative Soundcraft DC2020 post-production console, the machine control in Ghost makes it far more than just another mixer. It actually forms the heart of an automated recording setup with countless benefits in ease of use and production efficiency. Read on and discover just what Ghost will do for you. QUALITY AND VERSATILITY Ghost is a highly versatile 8-bus mixer, packed with facilities for handling a wide range of recording and mixing applications. Whether for studio or live recording, or mixing for picture, this is a console that offers unparalleled flexibility and value. Ghost is an in-line multitrack mixer with a Mix B path (often called monitor path), as well as the main signal path on each channel strip. It’s called “Mix B” because the architecture of the signal routing is much more flexible than that suggested by the term “monitor”, offering many of the features normally found only on a main input channel. Unlike many mid-range consoles, Ghost doesn’t restrict facilities such as muting and EQ to the main channel path. 24 and 32 channel frames are available, providing 56 and 72 inputs respectively at mixdown. In addition, using the 24 channel expander unit, a further 48 inputs at mixdown are possible. There’s signal level indication on each channel as standard, plus an optional meterbridge with 12-segment channel meters and 20-segment left/right master meters, for more precise metering. Ghost’s audio path combines traditional analogue benefits, and innovations like Soundcraft’s latest high-performance ProMic mic preamp, with automated muting on both the main channel and Mix B inputs. The automation is based on the advanced technology used on Soundcraft’s ground-breaking DC2020 console, and proven in both professional recording and post-production environments. Unlike other mixers, Ghost’s ProMic mic amplifier offers smooth control over a wide gain range – up to 60dB. It’s amazingly quiet, giving greatly improved noise performance in the mid-gain region, with enough headroom for peaks from drum kit mics, and extremely low distortion figures. EQ is a crucial part of a mixer, and the EQ on Ghost is designed without compromise – two fully parametric overlapping mid bands, with shelving high and low filters. Classic ‘British EQ’, in fact, like that found on Soundcraft’s acclaimed 3200 and Europa consoles. The result is unsurpassed ability to control and correct – for creative effect in a recording session, or applying corrective EQ to an awkward live signal. Being able to swap main and Mix B inputs, and split the EQ between the two paths, Ghost allows a high degree of control over a mix. Professional features on the channel strip include individually switchable phantom power, phase reverse and plenty of aux sends – 10 aux busses including 2 stereo pairs in all. There’s level and peak metering on every channel, and both the main and Mix B paths have MIDI muting and PFL, while the main channel path also offers true solo-in-place. Image shown is Soundcraft Ghost with optional Expander and optional meterbridge fitted.
Ghost Typical Specifications INPUT CHANNEL Microphone input Sensitivity range for 0VU output. ...-8dBu to -60dBu Maximum input level.........+14dBu Input impedance....2k ohm Common Mode Rejection Ratio (CMRR) 1kHz Typical figure .....-90dB @ sensitivity -30dBu Equivalent input noise EIN. 22Hz-22kHz measured at insert point .....-128dBu @ sensitivity -60dBu 150 ohm mic input load. ...-122dBu @ sensitivity -30dBu Line input Sensitivity range for 0VU output........+12dBu to -40dBu Maximum input level...+34dBu Input impedance.........15k ohm Common Mode Rejection Ratio (CMRR) 1kHz....-60dB @ sensitivity 0dBu Insert send & return Nominal level......-2dBu Maximum level ......+22dBu Maximum send load ......2k ohm Direct Output level Channel output selected...... ......-2dBu Group output selected... .......+4dBu/-10dBV link selected Tape Return input Sensitivity at calibrated centre detent .....+4dBu Tape trim range ......-15dB to +15dB Input impedance.......>24k ohm Common Mode Rejection Ratio (CMRR) 1kHz: .............-60dB @ Calibrated detent Low Cut Filter Frequency ............100Hz Type of filter .........3 pole, 18dB per octave Equaliser section HF Eq. turnover frequency .12kHz Maximum boost/cut...+/- 15dB LF Eq. turnover frequency...60Hz Maximum boost/cut....+/- 15dB HMF Eq. frequency range..400Hz to 20KHz Q range ......0.7 to 6 Maximum boost/cut.....+/- 15dB LMF Eq. frequency range......25Hz to 1.5kHz Q range .........0.7 to 6 Maximum boost/cut......+/- 15dB MASTER SECTION Nominal levels Group output level...+4dBu/-10dBV link selected Group insert level.....-2dBu Aux output level ......+4dBu Mix output level .........+4dBu Mix insert level......-2dBu Mix B output level......+4dBu CRM/ALT/Headphones level ..+14dBu at maximum Studio outputs....+4dBu 2 Track inputs .......+4dBu Stereo return inputs ...+4dBu Console Input/Output circuit types Electronically balanced inputs: Microphone, Line, Mix B, Stereo Return, 2-Track Unbalanced 75ohms inserts: Channel, Group, Mix Unbalanced 75ohms outputs: Channel Direct Ground Compensated 75ohms outputs: Group, Studio, Aux, Mix & Mix B TYPICAL CONSOLE PERFORMANCE Attenuation. All at 1kHz Long Fader attenuation From top to bottom.......-90dB MixB rotary fader attenuation From max to min .............-70dB Mute attenuation Channel & MixB.... ...-80dB Pan isolation, ie from left to right ........-70dB THD+n. (harmonic distortion) 1dB below clipping, 1kHz Mic/Line to Direct output.....0.002% EQ out ...0.003% EQ in MixB to Direct out (Swap pressed)..........0.002% Direct output noise 22Hz-22kHz Mic sensitivity @ -10dB Channel Fader at unity.....-95dBu EQ out .........-93dBu EQ in Frequency response Mic/Line input to any output ...20Hz - 20kHz ..............(+0/-0.5dB) .........Sensitivity @ 30dB Crosstalk Mic input to Line input crosstalk. .-100dB @ 1kHz Line input to Mic input crosstalk ..-90dB @ 1kHz MixB to Channel crosstalk.... ..-80dB @ 1kHz Channel to MixB crosstalk.. ....-75dB @ 1kHz Bus noise 22Hz-22kHz Channel faders down +4dBu/-10dBV selected to +4dBu Group outputs 1 to 8 Group fader at unity, nothing routed ....-90dBu 24 channels routed, chan faders down. ....-80dBu 32 channels routed, chan faders down. ....-78dBu Mix outputs L & R Mix fader at unity, nothing routed.. ..-90dBu 24 channels routed, chan faders down. ..-80dBu 32 channels routed, chan faders down. -78dBu Dimensions and weights CH Overall width Weight(kg/lb) 24 1059.36mm (41.71”).....44.0/97 32 1303.20mm (51.31”) ...53.6/118 24 exp. 815.52mm (32.11”) ...33.0/73 mixing for the next millennium