Te Koop: Soundcraft Ghost LE 32 met meterbrug. 32 kanaals in-line mengtafel met 8 stereo bussen, 8 auxen, 4 stereo effect returns, uitgebreide monitor sectie, losse 19" voeding, etc.
De tafel is in prima staat en altijd in mijn rookvrije studio gebruikt. Ik verkoop hem wegens de overstap naar een digitale setup en de koper krijgt er dan ook 8 snakes (3 meter) bij met aan beide kanten 8 symmetrische jacks. De nieuwprijs ligt tegenwoordig rond de 7000 euro; voor 3000 euro mag ie weg.
Interesse? Neem contact op per mail: wessel_aecrid@yahoo.com of per telefoon: 0651875617
Tot slot wat informatie uit de brochure van Soundcraft:
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 postproduction
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 midgain
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.
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
De tafel is in prima staat en altijd in mijn rookvrije studio gebruikt. Ik verkoop hem wegens de overstap naar een digitale setup en de koper krijgt er dan ook 8 snakes (3 meter) bij met aan beide kanten 8 symmetrische jacks. De nieuwprijs ligt tegenwoordig rond de 7000 euro; voor 3000 euro mag ie weg.
Interesse? Neem contact op per mail: wessel_aecrid@yahoo.com of per telefoon: 0651875617
Tot slot wat informatie uit de brochure van Soundcraft:
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 postproduction
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 midgain
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.
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
