User manual SOUNDCRAFT GHOST BROCHURE

[. . . ] Ghost Typical Specifications INPUT CHANNEL Microphone input Sensitivity range for 0VU output. . . . . . . . . . . -8dBu to -60dBu Maximum input level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +14dBu Input impedance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2k ohm Common Mode Rejection Ratio (CMRR) 1kHz Typical figure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -90dB @ sensitivity -30dBu Equivalent input noise EIN. 22Hz-22kHz measured at insert point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -128dBu @ sensitivity -60dBu 150 ohm mic input load. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -122dBu @ sensitivity -30dBu 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 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 THD+n. [. . . ] cue points, allocated to four internal mute groups, or The main channel path provides Phase Reverse, essential remotely switched via MIDI. for full control in live recordings or any application where the phase of signals may vary, and a 3-pole (18dB/octave) 100Hz low cut filter to treat low frequency vibrations. CHANNEL METERING The EQ section of Ghost offers an unprecedented level of tonal control for a console in this class, with two fully Channel metering is via a single LED next to the channel parametric mid bands in addition to the high frequency fader that glows brighter as signal level increases, and low frequency bands. The mid bands overlap, offering augmented by a peak LED that meters four points in the a high degree of flexibility, covering 25Hz - 1. 5kHz and signal path ­ at the output of the mid EQ bands, after 400Hz - 20 kHz. Q is continuously variable from 0. 7 to 6, the low-cut filter, after the HF and with up to 15dB of cut or boost. For more bands operate at 12kHz and 60Hz, with 15dB of cut or comprehensive input level metering, an optional boost. If both the main and Mix B channel paths are being overbridge is available. used simultaneously, and both require a degree of EQ, then the LF and HF bands can be switched into the Mix B path. MIC AMP A total of 10 aux busses are provided ­ six mono sends and two stereo. Auxes 1 & 2 are switched as a pair to pre or Ghost's ProMic is the best mic pre-amp post-fade operation. Auxes 3 & 4 are post-fade, and can be switched as a pair from the main channel signal path to Soundcraft has ever produced with Mix B, making the latter much more than just a tape much lower noise in the low and mid return path. Another switch re-routes the signal from gain settings, high gain noise these two pots to aux sends 5 & 6. The two sets of postperformance equal to consoles many fader stereo sends, 7/8 and 9/10, are each controlled by a times the price and superior mid gain single pot, and follow the channel pan settings. linear fader, designed for smooth operation, excellent The sensitivity control is superattenuation and long life. Its construction and rightsmooth for fine adjustment of level, angled mounting are such that dust and dirt falling even at high gain. Ghost's customised through the fader slot will not foul the fader track. Routing switches send the panned signal to the main pot ensures that the gain range is stereo mix bus, or to any of four pairs of groups: 1 & 2, 3 equally distributed which means that & 4, 5 & 6, 7 & 8. The Mix B signal has rotary pan and level getting the right gain setting is controls, and is sent only to the stereo Mix B bus. button allows the Mix B pan and level controls to pick up, 0 10 20 30 40 50 60 Fader Travel (mm) 70 80 90 100 + 10 0 -10 -20 -30 -40 -50 -60 -70 Fader Attenuation (dB) EQ - NOBODY DOES IT BETTER SOUNDCRAFT - GREAT BRITISH EQ Soundcraft have been making mixers for over 20 years, and throughout this time the Soundcraft EQ has remained at the top of the list of reasons why people love our desks, and why top artists rely on Soundcraft technology on stage and in the studio. Smoothness, musicality, and ease of use are qualities that appeal to engineers who use classic Soundcraft designs such as the 3200 and Europa ­ the same qualities are to be found on Ghost. setting of 25Hz, delivering precise control over the full filter range. Thanks to custom-designed pots, there's no `squeezing' of range as you twist them all the way round (where a small movement of a pot near the end of its travel produces a bigger change in EQ than near the middle) ­ response remains even. The two mid bands are supported by LF and HF shelving filters, each with up to 15dB of cut or boost. [. . . ] This will be displayed until the tape is played again, at which point the display will update to the new value being sent. To cope with timecode dropouts, the SMPTE reader `flywheels' for a short period after which the timecode stops. MIDI Machine Control with LTC Mode This allows Ghost to work with a tape machine which can be controlled using the generic MIDI Machine Control protocol and which sends the timecode as SMPTE Longitudinal Timecode (LTC). Transport Controls All supported, machine required to send back tallies. Setup Notes Connect the timecode output of the tape machine to SMPTE In on Ghost. [. . . ]