There are two common types of studio console layouts. Inline and Split. Inline means that each channels strip actually has two inouts that can be used simultaneously. One input typically controls the gain of your mic and sends the signal out either a buss output or a direct output to your tape machine (or wahtever you use to reocrd with DAW, analog, MDM etc...). The other inout typically has whats considered a tape return. This would take signal back from your recorder into that same channel and is typically what you use to monitor that signal. This way you can EQ it, change levels etc... without affecting what is going to tape. A split console usually has completely seperate channels for returns. This usually ends up making the console much larger and heavier. If you are recording straight into a DAW and using the DAW for all playback through the stereo ouputs of your DAW, than neither inline or split consoles are really a necessity. AS recently as 5 years ago even latencies and routing with DAW's were so primitive that you almost always had to have a split or inline console just to monitor your tracks. On a regular console it would take 32 channels to record 16 tracks, and be able to simultaneously play them back with different settings where the playback channels would not affect what was actually being recorded.
The stereo tape return is not the tape return I was referring to. A stereo tape return is meant to receive a 2 channel (stereo signal) and route it to various output sections of the console. Typically a CD or a DAT or any other kind of two track. It is similar in principle, but a studio console will normally have at least 16 tape returns, or in the inline format, 1 tape return per channel.
What the Venice is a little short on...
The venice is only a 4 buss console. Most studio consoles (including the Mackie and the Ghost) have 8 or more. My console has 24, but for most "home recordists" that is far more than necessary. The venice has a phantom power switch per channel, but they are located on the back. This is purely an inconvenience, but there is a light on the front of each channel to tell you when phantom power is on. Once you get used to where the switch is located, it isn't so bad. I have gotten to where I can just reach over the console and turn them on without even having to see behind it. The venice also does not have a pad. The preamp covers such a wide range though that there has never been an occasion for me (over 500 uses) in which a pad has been absolutely necessary. The venice also does not have a phase reverse button. With current DAWS this is not as big an issue as you can reverse the phase of a track inside the DAW. When double micing a source and running tracks to tape though, that option can be critical. If a person wanted though, there are pretty affordable phase reverse adapters available that you can just plug right into the mic cable and reverse it before it even gets to the console. The last thing I can think of is that the venice only has 60mm faders instead of 100mm faders. It just means that the fader path is only 60% as long as a standard fader (this is a feature that allows manufactureres to make consoles smaller and lighter). Once again, not a huge deal.
The Soundcraft Ghost is a solid little console that sounds pretty decent. It offers all of the features that the Venice comes up short in. However, the Venice, in my opinion, has a MUCH better preamp and EQ section than the Ghost has. So really, it comes down to what is more important in your workflow. Is sound quality more important than repatching or layout? I almost always choose sound quality first. This is not to say though that great stuff can't be done on a ghost. I just think that the same things can be done better on a Midas, if it logistically works for you.
Hope that helps
