SoundCraft Ghost User Manual page 144

9.10
The mute switches generate MIDI note events whenever they are pressed,
regardless of what else is happening on the console (e.g., machine control, mute
groups, mute snapshots, etc) and this information is transmitted and received on
the Ghost's global MIDI channel. The same MIDI channel is also used for program
change messages (described previously).
A further point to note is that in order for the sequencer to know the correct sta-
tus of all mute switches when recording is started, but no switches have yet been
pressed, Ghost automatically sends out a burst of note-on data containing all the
current mute switch states, when the play button on the transport control section
is pressed. This must be recorded by the sequencer at the beginning of the mix.
M M I I D D I I C C o o n n t t r r o o l l l l e e r r F F a a d d e e r r s s
Ghost's last CPU feature is unique on any recording console in its class: Four
100mm faders are provided which can transmit MIDI continuous controller infor-
mation via the MIDI out port. This opens up a whole range of control possibilities,
and further enhance the consoles effectiveness as the centrepiece of the studio.
Each fader can be set up individually to transmit any of 128 different types of con-
troller information, on any of 16 MIDI channels, and these setups or configurations
can be stored in the consoles snapshot memories.
The uses for this feature are considerable:
l Mixing levels of pre-recorded parts on a MIDI sequencer, using Ghost's
MIDI faders to transmit level changes which will be recorded into the
tracks on the sequencer. This would normally have to be done using a
mouse to drag an on-screen fader up and down.
l Changing parameters of outboard effect units, such as delay time, reverb
decay, or modulation level, from the console, for special effects during mix-
down or track laying.
l Remotely controlling synth or sampler parameters in real time, for special
effects during a mix. For example, the filter frequency could be swept from
the console, either as a live effect, or recorded into a sequencer. (This
assumes that the synth parameters can be accessed using continuous con-
trollers -many use sys-ex messages for internal controls, and so cannot be
controlled by Ghost's controller faders).
It should be noted that the Ghost's MIDI faders are real-time only -they only trans-
mit MIDI information when they are physically moved, and the values sent are not
storable within the console in any way.
The memory locations used to store the controller fader setups are shared with
the mute snapshots, but there are enough locations (128) to allow some to be
used for mutes, and some for controller faders. For example, the last 28 snapshots
could be used for controller setups, and the first 100 for mute snapshots. Mute
snapshots and controller fader setups can also be stored together in the same
location, if required.
In order to save space on the console, the MIDI controller faders are shared with
the first four of the consoles audio group faders. It is assumed that the MIDI con-
trollers will not need to be used at the same time as groups 1-4. When groups 1-4
do need to be used for audio, the MIDI controllers can be easily switched off to
avoid unnecessary transmission of data. Note that the second four audio group
faders (5-8) are always available for audio use, so that they could be used for audio
subgroups during mixdown, while the first four faders were used as MIDI con-
trollers.
GHOST Application Guide