Soundcraft Ghost LE
8 Bus Mixer

Features

• Completely analog signal path, no compromise in audio quality.
• Available in 24 or 32 channels.
• Inputs double at mixdown to provide 48 or 64 line inputs.
• Four bands of equalization each channel, 2 bands of which are full parametric.
• Available optional 24 channel expander
• Pictured with optional meterbridge.

Ghost LE 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, this is a console that offers unparalleled flexibility and value. Ghost LE 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 analog benefits, and innovations like Soundcraft's latest high-performance ProMic mic preamp.

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 Megan 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 Aurora 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 LE 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 NFL, while the main channel path also offers true solo-in-place.

Input Channel
On the rear panel, each channel offers balanced XLR mic and balanced 1/4" jack line inputs to the main channel path, a balanced jack Mix B input, jack tape send, and jack insert point (pre-fade, pre-EQ). Phantom power is individually switched on each mic input, rather than in blocks of 8 or more. The routing of Main and Mix B input signals to the two channel paths can be reversed for more control over the Mix B signal - at mixdown, for example. Mic input gain is variable from +8 to +60dB. The Mic/line switch selects either mic or line level input to the channel. Line input gain is from -12dB (for very high levels) to +40dB. Mix B also has a trim control, offering +/-15dB of gain variation. The main channel path provides Phase Reverse, essential the phase of signals may vary, and a 3-pole (18dB/octave) 100Hz low cut filter to treat low frequency vibrations.

The EQ section of Ghost offers an unprecedented level of tonal control for a console in this class, with two fully parametric mid bands in addition to the high frequency and low frequency bands. The mid bands overlap, offering a high degree of flexibility, covering 25Hz - 1.5kHz and 400Hz - 20 kHz. Q is continuously variable from 0.7 to 6, with up to 15dB of cut or boost. The shelving HF and LF bands operate at 12kHz and 60Hz, with 15dB of cut or boost. If both the main and Mix B channel paths are being used simultaneously, and both require a degree of EQ, then the LF and HF bands can be switched into the Mix B path.

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 post-fade operation. Auxes 3 & 4 are post-fade, and can be switched as a pair from the main channel signal path to Mix B, making the latter much more than just a tape return path. Another switch re-routes the signal from these two pots to aux sends 5 & 6. The two sets of postfader stereo sends, 7/8 and 9/10, are each controlled by a single pot, and follow the channel pan settings.

The main channel signal output level is set by a 100mm linear fader, designed for smooth operation, excellent attenuation and long life. Its construction and right-angled mounting are such that dust and dirt falling through the fader slot will not foul the fader track. Routing switches send the panned signal to the main stereo mix bus, or to any of four pairs of groups: 1 & 2, 3 & 4, 5 & 6, 7 & 8. The Mix B signal has rotary pan and level controls, and is sent only to the stereo Mix B bus. A Source button allows the Mix B pan and level controls to pick up, in place of the regular Mix B path, the post-EQ, pre fade main channel signal - for an additional stereo aux send, perhaps, or a stereo monitor mix.

Ghost has all the connections required for multitrack recording. Tape tracks can be fed from the channel direct outputs, or switched individually on each channel to feed from the group busses which are allocated in blocks of eight (i.e. channels 1-8 from groups 1-8, channels 9-16 from groups 1-8, channels 17-24 from groups 1-8).

Channel Metering
Channel metering is via a single LED next to the channel fader that glows brighter as signal level increases, augmented by a peak LED that meters four points in the signal path - at the output of the mid EQ bands, after the low-cut filter, after the HF and LF bands, and after the channel fader. For more comprehensive input level metering, an optional overbridge is available.

Mic Amp
Ghost's ProMic is the best mic pre-amp Soundcraft has ever produced with much lower noise in the low and mid gain settings, high gain noise performance equal to consoles many times the price and superior mid gain performance. The sensitivity control is super smooth for fine adjustment of level, even at high gain. Ghost's customized pot ensures that the gain range is equally distributed which means that getting the right gain setting is always easy.

Great British EQ
While most parts of the mixer's audio chain must alter a signal as little as possible, EQ has the tricky task of allowing tonal modifications to specific parts of a signal without affecting the rest, whether for bringing out the character of a voice or instrument, resolving elements in a mix, or correcting a troublesome signal. Ghost's 4-band EQ section offers the same precision and warmth that Soundcraft consoles are renowned for - the classic attributes of 'British EQ'. It's accurate, consistent and reliable - the same control positions produce the same predictable results every time. The wide-ranging mid bands are fully parametric, allowing independent control of filter frequency, 15dB of cut/boost, and Q.

Whether you need to bring up a broad range of frequencies, or notch out a narrow band, you can do it cleanly and quickly. The lo-mid band covers the range 25-1,500Hz, and the hi-mid covers 400-20,000Hz, providing full coverage of the audio spectrum from the deepest bass to the upper limit of human hearing, with a very usable overlapping region. In reaching all the way down to 25Hz, the lo-mid band goes deeper than other parametric EQ filters. That gives Ghost the flexibility to cope with a wide range of musical and mixing styles, including modern dance music where control of ultra-low bass frequencies is important. Even the hi-mid reaches down to 400Hz, allowing both parametric bands to be applied to bass frequencies for even finer control.

Q, the measure of the filter's bandwidth, is continuously variable from 0.7 to 6. Q and boost settings remain accurate even down to the lowest 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. Operating at 60Hz and 12kHz, they are perfectly placed to roll off or enhance the most important low and high frequency components without interfering with and muddying the mid bands. While they complement the two mid bands perfectly, the frequencies chosen, and the wide range of those two mids, means that when the HF and LF bands are switched into the Mix B channel path, both channel signal paths are equipped with practical EQ facilities.

An EQ In/Out switch lets you hear what the channel sounds like with or without EQ - a valuable instant reference facility. Also, when switched out, the audio signal bypasses the EQ circuitry altogether, reducing the likelihood of noise.

There are very good reasons why Ghost's EQ performs to such a high standard. Each mid band on Ghost uses four op-amps, with high-grade bi-polar types for the main signal. Some desk designs attempt to achieve parametric performance with only three op amps, but there's a price: only a truly parametric EQ like Ghost's preserves accurate gain values even when you push the Q and frequency settings to the limit, and only such a circuit will avoid distortion at extreme settings. The response of the Ghost EQ is at all times predictable, precise, and has the warm sound that has won praise from engineers around the world.

Split EQ
With two inputs on each channel, split EQ means you can apply control where it's needed. Normally all EQ bands affect the main path, but the high and low bands can be switched into Mix B - perhaps to lift high frequencies on a tape track.

Internal Construction
The construction of Ghost LE is based on individual vertical circuit boards for each channel, rather than on a single horizontal board. This allows more board space to be devoted to each channel strip, hence more components, and more facilities. All pots are bolted directly to the front panel, so if a load is accidentally placed on the knobs, for example when a heavy object is dropped on them, then it's the metalwork that takes the strain - not the circuit board underneath. Vertical boards allow the desk to function even if an individual channel is removed, and make servicing and repair a good deal easier. Should anything need replacing, all components are readily available from Soundcraft distributors.

Ghost's custom pots and faders are vital to its excellent audio performance. Properties such as end stop resistance (how much attenuation a knob offers at the end of its travel), and usable fader laws with predictable attenuation characteristics and smooth response, were among the key requirements specified by Soundcraft designers. The result is a mixer whose controls offer predictable, smooth operation across their full range, excellent attenuation, and low crosstalk.

Built to Last
Within the audio circuitry, you'll find bipolar 5532 op amps - more expensive and requiring more power than the op amps most consoles use - but creating less noise and distortion. Not only are the components themselves superior in terms of audio performance, but their ability to drive lower impedance loads means that the signal path as a whole can be designed for lower inherent noise, one of the sources of which is impedance-related 'Johnson Noise'. All pots and faders have been specially designed for use on Ghost - no off-the-shelf components would meet their specifications and yet still be small enough to pack all of the controls into Ghost LE's frame. Gold plated pins are used on the connectors of all boards to minimize noise in the audio path.

Click to view: Specifications

Dimensions and Weights:
24 Ch:   6.17"H x 30.74"D x 41.71"W    97 lbs.
32 Ch:   6.17"H x 30.74"D x 51.31"W  118 lbs.
24 Exp: 6.17"H x 30.71"D x 32.11"W    73 lbs.

Soundcraft mixers  |  MH2  |  MH3  |  MH4   |  Ghost LE  |  Ghost Expander