Ashly DIGIMIX24 User Manual

24 Channel Digital Mixer

Operating Manual

ASHLY AUDIO INC.

847 Holt Road Webster, NY 14580-9103 Phone: [phone]

Toll-Free: [phone] Fax: [phone] ashly.com

All Trademarks referred to herein are the property of their respective owners

2016-2018 Ashly Audio, Inc. • All rights reserved worldwide

*This owner's manual corresponds to digiMIX24 mixers with rmware version v5.0 or higher installed.

Operating Manual - digiMIX24 Digital Mixer

Important Safety Instructions

Consignes de sécurité à lire attentivement

The lightning ash with arrowhead symbol, within an equilateral triangle,

is intended to alert the user to the presence of uninsulated "dangerous

voltage" within the product's enclosure that may be of sufcient magnitude
to constitute a risk of electric shock to persons. The exclamation point
within an equilateral triangle is intended to alert the user to the presence

of important operating and maintenance instructions in the literature ac-

companying the device.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. To reduce the risk of re or electric shock, do not expose this

apparatus to rain or moisture.

6. Do not use this apparatus near water.

7. Clean only with dry cloth.

8. Do not block any ventilation openings. Install in accordance with
the manufacturer’s instructions.

9. Do not install near any heat sources such as radiators, heat
registers, stoves, or other apparatus.

10. Do not defeat the safety purpose of the polarized or grounding­type plug. A polarized plug has two blades with one wider than the
other. A grounding type plug has two blades and a third ground­ing prong. The wide blade or the third prong are provided for your

safety. If the provided plug does not t into your outlet, consult an

electrician for replacement of the obsolete outlet.

11. Protect the power cord from being walked on or pinched par-

ticularly at plugs, convenience receptacles, and the point where they
exit from the apparatus.

12. Only use attachments/accessories specied by the manufac-

turer.

13. Use only with the cart, stand, tripod, bracket, or table specied
by the manufacturer, or sold with the apparatus. When a cart is
used, use caution when moving the cart/apparatus combination to

avoid injury from tip-over.

14. Unplug this apparatus during lightning storms or when unused
for long periods of time.

15. Refer all servicing to qualied service personnel. Servicing is
required when the apparatus has been damaged in any way, such as
power-supply cord or plug is damaged, liquid has been spilled or ob­jects have fallen into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has been dropped.

Le symbole de la èche dans un triangle équilateral symbolisant la foudre
est prévu pour sensibiliser l’utilisateur à la présence de tension de voltage
non isolée à l’intérieur de l’appareil. Elle pourrait constituer un danger de
risque de décharge électrique pour les utilisateurs. Le point d’exclamation
dans le triangle équilatérale alerte l’utilisateur de la présence de consignes
qu’il doit d’abord consulter avant d’utiliser l’appareil.

1. Lisez ces instructions.

2. Conservez ces instructions.

3. Observez les avertissements.

4. Suivez ces instructions.

5. Pour réduire le risque de feu ou la décharge électrique, ne pas
exposer cet appareil pour pleuvoir ou l'humidité.

6. Ne pas utiliser l’appareil près de l’eau.

7. Le nettoyer à l’aide d’un tissus sec.

8. Ne pas bloquer les ouvertures de ventilation, installer selon les

consignes du fabricant.

9. Eloigner des sources de chaleur tel: radiateurs, fourneaux ou

autres appareils qui produisent de la chaleur.

10. Ne pas modier ou amputer le système de la mise à terre. Une
prise avec mise à terre comprend deux lames dont une plus large
ainsi qu’une mise à terre: ne pas la couper ou la modier. Si la prise
murale n’accepte pas la che, consulter un électricien pour qu’il

remplace la prise désuète.

11. Protéger le cordon de secteur contre tous bris ou pincement qui

pourraient l’endommager, soit à la che murale ou à l’appareil.

12. N’employer que les accessoires recommandés par le fabricant.

13. N’utiliser qu’avec les systèmes de xation,chariots, trépied ou
autres, approuvés par le fabricant ou vendus avec l’appareil.

14. Débrancher l’appareil lors des orages électriques ou si inutilisé
pendant une longue période de temps.

15. Un entretient effectué par un centre de service accrédité est

exigé si l’appareil a été endommagé de quelque façon: si il a été
exposé à la pluie,, l’humidité ou s’il ne fonctionne pas normalement

ou qu’il a été échappé.

2

Operating Manual - digiMIX24 Digital Mixer

Table of Contents

1 Introduction and Important digiMIX24 tips. . . . . . . . . . . . . . . . . 4

2 Mixer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

3 Rear Panel Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

4 Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

5 System Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

6 Other Mixer Functions (Firmware Update, Preset Backup/Restore,

Factory Reset, EZ-Mode, Automixer, Crossfade) . . . . . . . . . . . . . . . . . . 22

7 Dante-32 Digital Audio Module (optional) . . . . . . . . . . . . . . . . . 26

8 USB-32 Digital Audio Module (optional) . . . . . . . . . . . . . . . . . . 27

9 iPad Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

10 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

11 Specications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

12 Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

13 Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

14 Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Unpacking

As a part of our system of quality control, every Ashly product is carefully inspected before leaving the factory to ensure awless appearance.
After unpacking, please inspect for any physical damage. Save the shipping carton and all packing materials, as they were carefully designed
to reduce to a minimum the possibility of transportation damage should the unit again require packing and shipping. In the event that damage
has occurred, immediately notify your dealer so that a written claim to cover the damages can be initiated.

The right to any claim against a public carrier can be forfeited if the carrier is not notied promptly and if the shipping carton and packing
materials are not available for inspection by the carrier. Save all packing materials until the claim has been settled.

About Ashly

Ashly Audio was founded in 1974 by a group of recording engineers, concert sound professionals, and electronics designers. The rst products were
elaborate custom consoles for friends and associates, but business quickly spread to new clients and the business grew. The philosophy we established

from the very beginning holds true today: to offer only the highest quality audio tools at an affordable cost to the professional user – ensuring reli-

ability and long life. Many years later, Ashly remains committed to these principles.

Ashly’s exclusive Five Year, Worry- Free Warranty (three years on touchscreen and motorized faders) remains one of the most generous policies

available on any commercial- grade product. The warranty covers every product with the Ashly brand name and is offered at no extra cost.

Please read this entire manual to fully understand the features and capabilities of this product.

FCC Compliance

This device complies with part 15 of the FCC Rules. Operation is subject to the following two conditions:

1. This device may not cause harmful interference

2. This device must accept any interference received, including interference that may cause undesired operation

Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in both a commercial and residential installation. This equipment generates, uses and can radiate
radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However,
there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception,
which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

- Reorient or relocate the receiving antenna.

- Increase the separation between the equipment and receiver.

- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

- Consult the dealer or an experienced radio/TV technician for help..

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Operating Manual - digiMIX24 Digital Mixer

 1 INTRODUCTION

Thank you for purchasing the Ashly digiMIX24 digital and networkable 24 input x 14 bus mixer. This owner's manual

corresponds to digiMIX24 mixers with installed rmware version v5.0 or higher. v5.0 rmware added digital audio insert
capability (sec. 7), and separated the rmware update utility from the preset update utility (sec. 6).

With 16 high performance discrete mic/line preampliers, assignable auto-mixer, 4 line-level inputs, stereo tape inputs, stereo
USB audio input, assignable cross-fade mode, DSP processing with parametric and graphic EQ, compressor/limiter, expander/
gate, delay, invert polarity, two built in stereo effects buses, four aux buses, four subgroups which can switch to four additional
aux outputs, six DCA groups, sensitive LED metering, preset control, password security, iPad® remote control via network con­nection, and much more, the compact and powerful digiMIX24 offers all the right tools to manage your sound job with condence.

In order to thoroughly understand the features of the digiMIX24, please read this entire manual as you explore the controls,
touchscreen, and remote control capabilities of your mixer.

Standard Features:

• 7 inch color LCD touch screen for graphical viewing, assign, and setup

• Wired network interface for Ashly digiMIX24 iPad remote control app, available free on the App Store

• 16 low noise mic/line preamps with Neutrik Combo jacks, dedicated trim controls, +48V phantom power, phase invert

• 4 aux sends and 4 subgroup outputs, switchable to 8 aux sends

• 6 DCA for fader or mute groups

• Cross-fade mode for panning between any two assigned channels

• Stereo link for inputs, subgroups, and aux outputs

• EZ-Mode for secure, simplied touchscreen or iPad® control

• TRS inserts on channels 1-8

• Digital inserts on channels 1-16 with optional Dante-32 or USB-32 module installed

• 2 internal stereo FX with fully editable reverbs, delay with tap tempo, tremolo, anger, and chorus.

• Automixer (gain sharing), individually assignable to input channels 1-16

• Four additional line-level inputs on 1/4" jacks

• Stereo RCA inputs and outputs

• USB 2-track audio stereo record and playback

• 100mm precision Alps® motorized fader

• Pan control

• High resolution delay (0.2mS) on every input, subgroup, aux, or FX

• Expander/noise gate on every input and FX channel

• Compressor/limiter on every input, subgroup, output, and FX channel

• 4-band parametric/shelving EQ lters plus HPF/LPF on every input, subgroup, output, and FX channel

• 31-band graphic EQ on main, aux, and sub outputs

• Solo/PFL on every input, output, subgroup, aux, or FX

• Stereo main output on XLR and 1/4" phone jack with dedicated level control

• Headphone and control room outputs with level control

• User presets for Scene Settings, DSP channel settings, FX settings, or GEQ settings, plus channel copy function

• 32-bit A/D and D/A converters, 32-bit DSP processing, 48KHz sampling rate

• Password security

• Utility programs for rmware update and preset backup/restore (Windows® or Mac

• Internal 100-240VAC universal power supply

• Safety/compliance: cTUVus, CE, FCC, RoHs

®)

®

Optional Features

• Dante-32 network audio interface, eld installable, digital outputs for input channels 1-16 are selectable pre/post DSP

• USB-32 multi-track audio interface, eld installable, digital outputs for input channels 1-16 are selectable pre/post DSP

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Operating Manual - digiMIX24 Digital Mixer

10 Tips Before Getting Started:

► Channel Selection - Every input, output, subgroup, and FX channel has their own select button for

quick access. Changing the fader or other settings only affects the currently selected channel or mix.

► Channel Assignment - Input channels must be assigned (or sent) to main, aux, sub, or FX mixes

using the assign or send buttons. Channel assignments are stored in the working preset, and also saved
in a scene preset. (sec. 2.38)

► Working Preset - The mixer remembers all settings in whatever state they are in when the mixer is

powered off. When powered back on, the mixer loads these settings as the working preset.

► Saved Presets -

There are four types of presets that can be named and saved on the mixer: Scene (all

mixer settings), DSP Channel (single channel), FX (effect), and GEQ (graphic EQ - outputs only) (sec.

2.31).

All presets can be backed up/restored using a computer and <digiMIX24 Preset Utility> software.

►

Ethernet/USB Control Jacks (rear panel) - For remote control of the mixer, connect the Ethernet jack

to a network with Wi-Fi, and use Ashly digiMIX24 app for iPad, available free on the App Store.

(sec. 9)

- For firmware update, use the USB jack to connect to a computer running <digiMIX24 Firmware Utility>.

- For preset backup/restore, use either USB or Ethernet connection with a computer running <digiMIX24
Preset Utility>. Preset and firmware utilities are available for both Windows and MAC. (sec. 6.1)

Note: The front panel USB jack is only used for 2-track USB audio device I/O, not for preset control or
firmware update. (sec. 2.4)

► EZ-Mode - EZ-Mode offers a simplified touchscreen control surface on the mixer or iPad app for a

non-technical user to operate the mixer with limited access to mixer functions. Press the mixer system
button for the shortcut to EZ-Mode. (sec. 6.4)

► Password Protection - Access password and security settings by pressing the System button.

Passwords are always four character, alpha-numeric, and case sensitive. The password entered on the
mixer will always be the same one used by the Ashly digiMIX24 app on a connected iPad. (sec. 5.5)

With a password, the entire mixer can be fully locked or unlocked. In EZ-Mode, password protection can limit

operation of the mixer to EZ-mode only. Also within EZ mode, faders and icons can be locked independently.

► iPad Connection -

The mixer does not provide its own Wi-Fi signal, an Ethernet connection to a network
with Wi-Fi is required. Only one iPad at a time can connect to digiMIX24. If more than one digiMIX24 is
discovered on the network, a list of all available mixers is displayed on start-up. The iPad app and mixer
touchscreen will both display a solid green box in the upper left corner when properly connected.

► Touchscreen Modes - There are three different touchscreen modes; Mixer mode, Long Faders

mode, and Cross-fade mode (when activated). A dedicated button on the mixer (or iPad app) toggles
between the three modes. Mixer Mode shows all inputs and outputs, plus a long fader on the right for
Main output and long fader on the left for the currently selected channel. In Long Faders mode, groups
of eight channels are displayed, all with long faders. Crossfade mode shows the current fade position,
adjusted by the Pan control, and shows assigned crossfade source channels.

In either mixer mode, press the unlabeled "PEQ" box in the touchscreen's upper left corner to edit the selected
channel parameters or system functions. (sec. 2.32) This box always displays the selected channel's PEQ curve.

► Naming Channels - In long fader mode, press and hold the green "Name" text box beneath any long

fader on the mixer touchscreen to edit channel names. To save, press the keyboard <Enter> button. To
escape, press the keyboard icon in the lower right corner of the pop-up keyboard display. (sec. 2.32)

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Operating Manual - digiMIX24 Digital Mixer

 2 MIXER CONTROLS

2.1 Input Trim

This controls the gain of the analog mic or line input preamplier. For analog inputs, this is the most important control for set­ting up proper gain structure in the mixer. Properly set, it helps to avoid clipping and maintains low noise. A good rule is that
with typical input signal present on a channel, adjust the trim control to allow 20dB headroom between the expected signal's
peak level and when it clips. In other words, normal signal peaks should be around "0" on the meter. Set this control rst and
then leave it alone unless the input source changes. Do not use the trim control to adjust mix volume later on, use the channel's
fader control instead.

2.2 Input/Output LEDs

Input LEDs indicate the signal level of each input in dBu, after the preamplier stage but pre-fader. Output LEDs (Sub & Main)
indicate signal level at the output. They can alternately indicate every channel's current fader position by pressing the Faders/
Meters button (sec. 2.23).

2.3 Select Button

Every input, subgroup, main output, aux, and effect (FX) has a dedicated select button. All routing assignment, DSP, sends
functions, and motorized fader activity are applied only to the selected channel. This allows the user to quickly change from
one channel to the next from any mixer function.

2.4 USB 2-Trk I/O Port

This is used to connect with a USB stereo audio device for playback or recording. It is not for software control of the mixer.

USB audio input is always sent to channels 23-24, and is adjusted using the USB 23-24 level control (sec. 2.9). USB audio output
uses the main L/R output signal. Audio resolution & sampling rate for 2-track USB audio on the digiMIX24 is 16 bit @ 48kHz.

2.5 Headphone Out

Plug in headphones here for monitoring the main outputs or selected solo channels. Use the Headphones Level control to adjust

volume

2.6 Meter/Solo Button

Press this button to toggle the two LED bars directly above it from indicating either the Stereo Main signal level, or the Stereo
Solo level.

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Operating Manual - digiMIX24 Digital Mixer

2.7 Line 1 & 2 Level Control

Line1 and line2 level controls adjust the level of inputs 17-

18 and 19-20 to the main mix. Line inputs can be assigned

to the main, aux, sub, and FX bus using the Assign button

and touchscreen (sec. 2.38). For stereo line inputs, press the

Stereo Link button (sec. 2.35) so that settings of the selected
line input will track with its adjacent channel. Movement of

a selected line level control also moves the motorized fader
and corresponding touchscreen fader, as all three controls

work together.

2.8 Tape Level Control

Tape inputs 21-22 come from the RCA inputs, and can be
assigned to the main, aux, sub, and FX bus using the assign
button and touchscreen. This control only adjusts the tape
input level to the main mix, working together with the motor­ized fader and the corresponding touchscreen fader.

2.9 USB Level Control

USB stereo inputs 23-24 come from the USB audio input

(sec. 2.4). They can be assigned to the main, aux, sub, and

FX bus using the assign button and touchscreen. This control
only adjusts the USB input level to the main mix, working
together with the motorized fader and the corresponding
touchscreen fader.

2.10 Aux 1-4 Level Controls and Send Button

Aux outputs are typically used for secondary mixes such as monitors, video feed, assistive listening devices, subwoofers, etc.

Each aux level control, when selected, determines the overall output level for that aux output. Aux outputs can be stereo linked.

Input channels are assigned to an aux mix pre or post-fader using one of two methods: The rst method is to select an input chan­nel, then press the <Assign> button. Use the touchscreen to select the aux outputs you wish to send that input channel to, then
adjust the level sent to that aux mix by adjusting either the touchscreen <Parameter Adjust> control or the Adjust Parameter knob.

The second method is to press the <Send> button associated with each aux level control to quickly view and adjust all input chan­nels sent to that aux mix. Use the touchscreen to select each input and assign it pre/post, and use either the touchscreen <Parameter

Adjust> control or the Adjust Parameter knob to adjust the level sent to the aux mix.

2.11 Subgroup 1-4 (or Aux 5-8) Level Control and Sends

Subgroups are typically used for a user-selected group of inputs to be controlled together using one fader, or to send grouped signals
to their own dedicated output for recording or processing. Typical grouped inputs include drum sets, choirs, orchestral sections,
background vocals, etc. FX can also be included in a subgroup. Subgroups are somewhat similar to DCA and aux groups, but each
have advantages. Subgroups in this mixer are always post-fader. Inputs can be assigned to multiple subgroups. To create a stereo
subgroup, SUB1-2 or SUB3-4 can be linked using the stereo link button (sec. 2.35).

To assign inputs to a subgroup, rst select an input (or FX channel), then press the desired SUB (1-4) button below the touchscreen

(sec. 2.34), or use the Assign function for touchscreen control. All inputs and FX assigned to a subgroup will be controlled by their

respective SUB (1-4) level control. Subgroups can only be routed to the main L/R outputs or to their dedicated subgroup output
jacks. Subgroups can use onboard processing including polarity, delay time, compression, PEQ, and GEQ.

►

TIP: When assigning an input to a subgroup for live mixing, you should leave its assignment to the Main output unselected,

otherwise the input will still be heard in the main mix even with its subgroup level control turned all the way down.

Aux(5-8) Mode: All four subgroups can be switched as a group to work instead as Aux5-8 outputs that function the same as Aux1-

4. To switch their function from subgroup to aux, press the system button (sec. 2.30) then press the touchscreen button that says

Aux/Sub Mode and press "Yes" when the display prompts to change settings.

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Operating Manual - digiMIX24 Digital Mixer

2.12 FX 1 & 2 Level Controls, Send, and Mute Button

This mixer has built-in effects including reverbs, delay, chorus, anger, tremolo, plus combinations. Up to 104 effects can be
custom congured, saved, and loaded from mixer memory. Only two effects can be used at a time.

Press the FX1 or FX2 button beneath the touchscreen to dene or load the currently available effects (sec. 2.44). Then press the FX1
or FX2 Send button and use the touchscreen Parameter Adjust fader or the Adjust Parameter knob (sec. 2.27) to set the level of each
input that you want sent to each effect. Pre/Post effect send status is also assigned here. An alternate method of applying effect to
an input channel is to select an input, press the Assign button, then select and adjust the resulting touchscreen FX1 or FX2 controls.

Once FX1 and FX2 have been dened and desired input channel sends have been adjusted, each FX bus must be routed to the
main, aux, or subgroup outputs as desired. Press the FX1 or FX2 Select button, then press the Assign button, then select the main
or sub outputs using the touchscreen or with the buttons below the touchscreen. Similarly assign and adjust the FX level sent to

Aux outputs using the touchscreen parameter adjust control for each aux.

The master FX1 and FX2 knobs, when selected, work along with the motorized fader to control the FX level sent to the stereo
main and four subgroup outputs as assigned. FX level sent to the aux outputs is adjusted by using the touchscreen assign window
or the aux level controls, again while FX1 or FX2 is selected. Press the FX1 or FX2 mute button to silence the effect or compare
the sound with/without effect.

2.13 Main Volume Control

This control adjusts the stereo output level to the main L/R outputs. When the main select button is pressed (sec. 2.3), this control
works together with the motorized fader and touchscreen.

2.14 Ctrl Room Level Control

This adjusts the level of the control room outputs. Control room outputs always use
the post-fader signal from the main L/R outputs.

2.15 Headphones Level Control

This adjusts the headphone output level. The headphones default to L/R post-fader signal
unless an input, output, subgroup, FX, or DCA group is assigned to the solo bus. (sec 2.19)

2.16 DCA Set Button

Digital controlled ampliers (DCA1-6) are used to combine multiple inputs, aux or
sub outputs, or FX outputs into one mix group for simplied control of that group.
DCA groups allow the relative fader position of each member to be preserved while
adjusting their overall combined level as a group. It also allows the group to be instantly
muted. This is typically used for grouping vocals, drums, choir or orchestral sections,
etc. DCA groups must rst be dened before using EZ-Mode (sec 6.4).

To dene a DCA group, rst press the DCA Set button so that it ashes, then select
one of the six DCA button on the mixer or touchscreen, then select the individual
channels to combine for that DCA group. When nished, press the DCA Set button
again to store settings. Channels can be assigned across multiple DCA groups. To
clear the currently selected DCA group, press the DCA set button, then press DCA
clear on the touchscreen.

2.17 DCA1-6 Buttons

These six buttons are used to select a pre-dened DCA group for main fader, mute, or
solo control. If the DCA group is not dened, a touchscreen message appears requiring a response before proceeding.

2.18 Motorized Fader

This is the primary level control for all inputs, main output, aux and sub outputs, effects master, and DCA control. Press the select
button on any input or output, and the motorized fader will control its level. The fader works together with other level controls
used for the same selected signal. Motorized fader speed can be adjusted in the system screen (sec. 5.2).

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Operating Manual - digiMIX24 Digital Mixer

2.19 Solo Button

Use the solo button for listening to one or more isolated signals in the headphones.
Select an input, output, subgroup, FX, or DCA group, then press the solo button to
include that signal in the solo bus. The default solo setting is pre-fader, meaning the
selected channel's solo level is not affected by its fader position.

Press the solo clear button to clear all solo-selected channels. With no channels
selected for solo, the headphone output defaults to the main L/R output. Solo status
can also be viewed and set from the touchscreen display.

The solo function will work in stereo for any linked inputs, aux or sub outs, or FX channels.

2.20 PFL Button

As part of the solo function, PFL is used to monitor selected solo channels at their

pre-fader level, meaning the selected solo channel(s) will still be heard even if its
fader is turned down.

2.21 Clear Button

This button clears all solo selections and returns the headphone output to main L/R.

2.22 Mute Button

The mute button is used to silence the selected input, output, aux or sub output, FX, or
DCA group. Mute status can also be seen or controlled using the touchscreen display.

2.23 LED Faders/Meters Select Button

This button is used to toggle the input LED bars (sec. 2.2) to either indicate the
current signal levels of all channels, or show the current fader position of all channels.

2.24 Pan Control

The pan control is dedicated to fading the selected channel from left to right in the mix. It is also used for Crossfade mode (sec.

6.6) to quickly fade between two assigned channels. Its stereo position for the selected channel is displayed on the touchscreen.

2.25 EQ Bypass Button

Press the EQ bypass button to disable the PEQ or GEQ on the selected channel. This is useful for comparing signal with and without EQ.

2.26 Mixer/Long Faders Select Button

This button toggles between the two main mixer displays, one showing every mixer input and output, the other showing groups
of eight channels with longer faders. Channel names are edited in long fader mode. To edit a channel name, press and hold the
channel name text box at the bottom of any long fader, then use the pop-up touchscreen keyboard to enter a new name.

If Crossfade mode is active (sec. 6.6), this button toggles through both mixer display modes plus Crossfade mode.

2.27 Adjust Parameter Control

This control is typically used to adjust the currently active or highlighted DSP parameter within the touchscreen display. It may
work together with other level controls.

2.28 Flat Button

Press this button to atten the PEQ or GEQ settings, or reset Exp/Gate or Comp/Limiter settings on the currently selected channel.

2.29 Enter (Tap) Button

This button has two functions. The rst is to offer a "Yes" response any time the touchscreen prompts for yes or no input, for
example selecting a DCA that has not yet been dened.

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Operating Manual - digiMIX24 Digital Mixer

The second function is to manually set an FX delay time to match the beat of the music, also called as "tap delay". Press the FX1 or
FX2 button and select Delay as the effect type. Set the delay time by pressing the TAP button at the start and again at the end of the
desired delay time. Maximum tap delay is 1200ms.

2.30 System Buttons

The system button opens the touchscreen window to various functions including EZ-mode (sec. 6.4), digital output pre/post-DSP select,
aux5-8/sub1-4 mode select, cross-fade mode (sec. 6.6), auto-mixer channel assign (sec. 6.5), LCD brightness, fader speed calibration,
password/security functions, restore default settings, and more. The up/down/left/right (UDLR) system buttons are used to adjust
parameters in the various system functions, their purpose depending on the selected function. For example, with the GEQ function selected,
the two Left/Right system buttons move to select one of the 31 EQ bands, while the Up/Down buttons adjust the selected EQ lter level.
The buttons work together with touch controls on the screen, but for smaller touchscreen controls it is easier to use the UDLR buttons.

2.31 Save, Load, and Copy Buttons

There are four different types of user presets that can be saved/loaded on the digiMIX24.

1)

2) DSP Channel - The DSP channel preset is used on inputs, outputs, aux, and subgroups. It saves/loads a single channel's
assignments, channel settings, gate, comp, and PEQ/GEQ settings. Up to 48 different DSP channel presets can be saved.

3) FX - FX presets are used to save/load up to 104 different user dened FX1 and FX2 effects.

4) GEQ - The 48 GEQ presets are only used to save/load graphic equalizer settings, which are only used on outputs.

SAVE: To save a mixer preset, rst press the save button, then use the touchscreen to select one of the four preset types. Next, select
a preset number to use, then press the preset name box, type in a preset name, press enter, then press Save on the touchscreen to
write to memory. Use UpPage and DownPage to navigate to the next available group of presets.

LOAD: To load a mixer preset, press the load button, then in the touchscreen window select the type of preset to load, then select
one of the available presets and press the touchscreen load button.

To delete a mixer preset, press the load button, select a preset to delete, then press the touchscreen delete button.

COPY: To copy current settings from one channel to another, press the Copy button on the mixer or the Copy Channel button
from the touchscreen system page. The resulting touchscreen window will display all inputs and outputs, with the currently se­lected channel ashing. This is the channel that will be copied from, and can be changed by selecting any other channel using the
touchscreen or control surface select buttons.

Next, press the <Copy to: Select> button on the touchscreen and select every channel(s) you want settings to be copied to. Next,
press the touchscreen <Copy> button to complete the copying process.

►

TIP: All channel DSP functions are individually listed across the bottom of the touchscreen. Each function can be checked or

unchecked to include or exclude from being copied. Only the checked parameters will be copied.

Scene - Scene presets are the most inclusive, capturing all audio settings in the mixer. Up to 24 scene presets are available.

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2.32 Touchscreen Display

Most mixer functions can be adjusted using
either the touchscreen or the buttons/knobs,
however some functions can only be adjusted
using the touchscreen.

Level and fader controls are adjusted by
dragging the control, or by rst selecting it
then turning the adjust parameter knob (sec.

2.27).

In Mixer Mode, touch any channel fader to
select it. The currently selected input channel,
FX, aux, or subgroup fader will appear along the
left side. Parameters include channel name and

number, fader level, plus mute, solo, and auto-

mixer status. In mixer mode, the main output
fader is always shown along the right side.

►

TIP: The unlabeled touch-box above the

solo function shows the current PEQ curve for
the selected channel. Touch this box to access
all DSP functions for the selected channel.

►

TIP: Above the PEQ box is a smaller
unlabeled box which turns green when the
mixer is connected to digiMIX24 app for iPad.
It turns black when the iPad connection is lost.

►

TIP: The channel name can be edited by

pressing and holding the "Name" text box
below any long fader until a keyboard appears on screen. Type in the new name and press enter to complete. To escape out of
the keyboard without changing anything, press the keyboard icon in the lower right corner.

2.33 Main

The Main button is used to assign the currently selected input channel, subgroup, or FX to the main mix, and becomes lit when as­signed. Assignment status can also be edited using the touchscreen Assign window (sec. 2.38), or the Main Sends button (sec. 2.45).

2.34 Sub 1-4

Press the sub(1-4) buttons to assign the currently selected input channel or FX to a subgroup (sec. 2.11).

2.35 Stereo Link

The stereo link button is used to link two adjacent input channels, subgroups, or aux outputs together so that all level, DSP,
and assignment parameters are equally applied to both channels. Channel pairs can only be linked where the odd numbered
channel is rst, ie 1-2, 15-16, sub1-sub2, aux1-aux2, etc. When stereo linking a pair of channels, the mixer automatically
routes the odd numbered channel to the left output and the even numbered channel to the right output, and they will be heard
in stereo. To see the various way stereo linking and panning work with linked subgroups or linked aux outputs, see section 4.7.

2.36 Digital In/Out

The optional Dante-32 or USB-32 multi-track audio module must be installed before using this feature. These buttons open the digital
audio assignment screen to enable mixer channels for digital audio use. Note: With mixer rmware v5.0 or higher, digital outputs
from input channels 1-16 can be assigned as either pre or post-DSP. See sections 7-8 for details on using Dante-32 or USB-32.

2.37 48VDC Phantom Power

Press the 48VDC button to assign +48Vphantom power to any of input channels 1-16.

2.38 Assign

Press the assign button to view or change where the currently selected input or FX is routed to in the mixer. The selected channel
is always shown on the left side of the display. Inputs can be assigned or sent to main, sub1-4 (or aux5-8), aux1-4, and FX1-2.

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Assigned outputs appear blue when selected. Signal level sent to aux and FX buses must be adjusted individually using the touch-

screen parameter adjust fader on the right side of the display, or by using the adjust parameter knob (sec. 2.27). There are also several
quick links to other mixer functions from the assign window.

2.39 Channel

Press the channel button to view and access all DSP settings for the currently selected input channel, subgroup, main output, FX, or
aux output. The currently selected channel (or linked channels) is always shown on the left side of the touchscreen display.

Every DSP function has a dedicated On/Off button on the touchscreen.

Input channel DSP functions include stereo pan, polarity invert, channel delay up to 300ms, stereo link, expander/gate, PEQ, and
compressor/limiter. Subgroups and aux outputs do not have expander/gate function.
as a DSP channel preset (sec. 2.31).

2.40 PEQ

Press the PEQ button to engage the 6-band EQ for the currently selected input channel, subgroup, main output, FX, or aux output.

The PEQ has four parametric lters with adjustable frequency, bandwidth (Q), and gain. Any of these four can also be set as shelv­ing lters by pressing their <Type> icon on the touchscreen. Two additional lters complete the PEQ section, a tuneable hi-pass
(HPF) and low-pass (LPF), each offering 20 different slope types. For tips on using the PEQ see section 4.2.

Channel DSP settings can be saved or loaded

Press the EQ Bypass button (sec. 2.25), or the touchscreen ON button to compare signal with and without PEQ.

ton (sec. 2.28) or the touchscreen Flat EQ button to return all PEQ lters to their 0dB gain and default starting parameters

Press the Flat but-

2.41 GEQ

The GEQ 31-band graphic equalizer is only available on the main, subgroup, and aux outputs. It is not available on inputs or FX.

Select and drag individual lter faders up/down on the touchscreen, or use the left-right buttons on the touchscreen, or use the
system left/right buttons on the mixer front panel (sec. 2.30) to select frequency, then use the system up/down buttons to adjust
lter level. Up to 48 different GEQ presets can be saved to memory and loaded later for use with specic rooms or loudspeakers.

Press the EQ bypass button (sec. 2.25), or the touchscreen ON button to compare signal with and without GEQ. Press the at but-

ton (sec. 2.28) or the touchscreen at EQ button to return all GEQ lters to 0dB.

2.42 Exp/Gate

Press this button to engage the noise gate/expander for the selected channel. This function will silence or reduce the level of
an input or FX signal when it falls below a user dened threshold. Controls include on/off, threshold, attack time, release time,
and ratio. Innite ratio silences all signal below the threshold (noise gate), while using a lower ratio allows some signal below
the threshold to pass (downward expansion). Press the at button to return the expander/gate parameters to their default settings.
See section 4.3 for tips on using an expander/gate.

2.43 Comp/Lim

Press the Comp/Lim button to engage the compressor/limiter function on a selected input, subgroup, main output, FX, or aux output.
Use this feature to reduce the dynamic range of a signal (compressor) or to limit how loud a signal can go (limiter). Touchscreen
controls include on/off, threshold, attack time, release time, ratio, and post gain. See section 4.5 for tips on using a compressor/limiter.

2.44 FX 1 & 2

Two digital effect buses are available. Customized effects can be created, saved, and assigned, and include three types of reverb, delay,
tremolo, anger, chorus, or combinations (sec. 4.8). Up to 104 different user dened effects can be saved to the mixer (sec. 2.31).

2.45 Sends

This button is used to quickly view channel assignment and pan status for the main output mix. Tap any channel on the touchscreen
to select and enable/disable it for main output. The currently selected channel will always display an orange square around it. The
Pan control knob will always affect the currently selected channel.

The other output groups, Aux 1-4 (5-8), Sub1-4, and FX1-2, each have their own dedicated Send button for similarly viewing
or enabling channel assignments to their respective mix. You can navigate to the sends screen for these other mixes using the

<Previous>, <Next> , or <Select> functions at the top of this screen, or by simply pressing the Send button for any output

channel or FX group.

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 3 REAR PANEL FEATURES

3.1 Combo Jack Inputs, Channel 1-16

There are 16 mic/line channels that use a XLR-1/4 phone jack" combo connector. The female XLR connector is for a balanced
mic input, and the TRS (tip-ring-sleeve) phone jack is for balanced line level input. See the illustration for proper balanced or
unbalanced wiring of XLR and phone jacks. The mic preamp circuit is overridden when the phone jack is inserted. Avoid plugging
or unplugging connectors when the volume is turned up, as loud transient pops can result which may damage loudspeakers.

3.2 TRS Insert, Channel 1-8

Channels 1-8 are each equipped with a single TRS jack insert point
for use with external processors. Tip=send, and ring=return. The

outgoing signal is taken right after the analog trim control, and

the return signal goes directly to a D/A converter for routing to
the digital bus for DSP processing.

3.3 Channel 17-18, 19-20 Stereo Line Inputs

These inputs function as two stereo line level inputs (sec. 2.7) or
as four mono inputs. There is no adjustable preamp on these inputs,
so a strong input signal level (0dBu) is recommended. Plugging
in only the left inputs (channels 17 or 19) sends a mono signal to
both left and right inputs.

3.4 Tape Inputs

These two RCA inputs are controlled by the tape (21-22) level

control (sec. 2.8)

3.1 - Balanced and Unbalanced connector wiring

3.5 Main XLR Outputs*

The left and right main outputs on balanced XLR male connectors are controlled by the main volume control (sec. 2.13). They are
wired in parallel with the main phone jack outputs.

3.6 Main Phone Jack Outputs*

The left and right main outputs on TRS phone jack connectors are wired in parallel with the main XLR outputs.

3.7 Aux 1-4 Outputs*

These four phone jacks are pseudo-balanced outputs for aux1-4 (sec. 2.10). They have single-ended signal with balanced impedance.

* If plugging any digiMIX24 output into a powered speaker or other mixer input, phantom power must be turned off at that input.

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3.8 Subgroup 1-4 (or Aux 5-8) Outputs*

These four phone jacks are pseudo-balanced outputs for sub1-4, or can be switched over for use as aux5-8 (sec. 2.11)

* If plugging any digiMIX24 output into a powered speaker or other mixer input, phantom power must be turned off at that input.

3.9 Control Room Output

The balanced stereo control room outputs use the same signal as the main outputs, but with a separate volume control.

3.10 Tape Outputs

The main stereo bus is routed post-main-fader to the RCA tape outputs.

3.11 AC Inlet

This is used to connect the mixer to AC mains using the detachable AC cord provided with the unit.

3.12 Power Switch

This switch turns on power to the mixer. Turn-on time is about 15 seconds.

3.13 Ethernet Control Jack

The Ethernet jack is used for connecting the mixer to a network with wi for remote iPad control (sec. 9), or for using with

<digiMIX24 Preset Utility> software (sec. 6.2). For rmware update, Ashly recommends using the USB control jack, not Ethernet.

3.14 USB Control Jack

The USB Control jack is recommended for rmware update, and can be used instead of the Ethernet jack for connecting to a
computer running <digiMIX24 Preset utility>. A specic USB device driver may need to be installed on your computer (sec. 6.1).

3.15 Digital Audio Module Option

Ashly offers optional eld installable Dante-32 or multi-track USB-32 audio modules for the

rst remove the mixer from power, then remove the two screws holding the blank plate to the back panel option slot, then carefully
seat the Dante-32 or USB-32 module into the two card-edge guides on either side of the module slot as shown before nally press­ing the module fully into the internal card-edge connector. Re-fasten using the two screws. See section 7-8 for operating details.

digiMIX24

mixer. To install the module,

14

3.15 - Dante-32 or USB-32 installation on digiMIX24

 4 GETTING STARTED

Operating Manual - digiMIX24 Digital Mixer

4.1 Typical Application

The above illustration shows a typical band setup with instrument and vocal inputs, four separate monitor mixes, stereo main speakers,
and remote control from a laptop and iPad. Use the following procedure to safely and quickly set up the system.

1) Plug in all inputs, outputs, and speaker cables. Leave power ampliers turned down at rst.

2) One input at a time, set input trim controls so their loudest signal peaks are around 0dBu on the input meters (sec. 2.1)

3) Assign all desired inputs to the main output using the Assign button (sec. 2.38) or Sends button (sec. 2.45)

4) Select the main output and turn its level all the way down (sec. 2.3)

5)

6)

Turn up power ampliers, then slowly turn up the main fader or volume control (sec. 2.13) until reaching a comfortable level.

Verify that all inputs can be heard in the main speakers or use the solo function (sec. 2.19). Select an input before adjusting.

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Operating Manual - digiMIX24 Digital Mixer

7) Adjust PEQ (sec. 2.40), expander/gate (sec. 2.42), and compressor/limiter (sec. 2.43) on each input channel as needed. For
greater details and examples of how to use these functions, see sections 4.2, 4.4, and 4.5.

8) Assign the aux output(s) for all used input channels, adjusting their level to each monitor mix. (sec. 2.10, 2.38, or 2.45)

9) Use the master aux level controls to set each overall monitor level (sec. 2.10)

10) Apply effects to input channels if desired. See sections 2.12, 2.44, and 4.8 for details and examples.

11) Adjust GEQ graphic equalizer for main, aux, or subgroup outputs. (sec. 2.41)

12) To create a vocal or other subgroup, follow the instructions in section 2.11, then select the subgroup to adjust the group
level using the main fader.

13) To create a DCA level or mute group for all vocals or other groups, follow instruction in section 2.16, then select the DCA
group before using the main fader or mute button.

14) Save settings as scene presets, DSP channel presets,
FX presets, or GEQ presets (sec. 2.31).

4.2 PEQ Parametric EQ

Press the PEQ button to engage the parametric EQ for the
currently selected input channel, subgroup, main output, FX,
or aux output. The four lters EQ1-EQ4 can be shelving
or parametric, with additional hi-pass and low-pass lters.

Shelving Filters: EQ1-EQ4 can be set as tuneable shelving
lters, typically used as the high and low boost/cut controls.
Press the lter <Type> image on the touchscreen to toggle
between low shelf, high shelf, or parametric peak lter.

Parametric Filters can adjust frequency, bandwidth (Q),
and lter gain/cut. Think of one band of parametric EQ as a
single graphic equalizer fader where the frequency is variable,
and the bandwidth (Q) is also variable. The smaller the bandwidth, the less the audio signal on either side of the frequency center
is boost or cut, whereas a wider bandwidth produces a more audible change to the overall tone of a signal. In addition to basic
tone controls, parametric lters are ideal for eliminating problem feedback frequencies without greatly affecting the overall
sound. They are also useful for adding or removing a characteristic hot spot from microphones or for precisely compensating
for room resonance. It is well worth the time becoming procient with parametric EQ lters, as they offer the best solution to
many EQ problems.

HPF/LPF: The hi-pass and low-pass lters are cut only, with adjustable frequency and slope. There are 20 different lter types
to choose from including Butterworth, Bessel, and Linkwitz-Riley, with lter slopes ranging from 6db/oct to 48dB/oct. These
lters are typically used to limit bandwidth. A common application is to use an aux output to drive 70V transformer tapped
speakers that are not suited for signal below 80Hz. Set the HPF for that Aux output to 80Hz, then select the desired lter type.

Tone Control: The four EQ lters can be used as basic tone controls with tuneable frequencies, ie high, high-mid, low-mid,

and low. High and low typically use shelving lters. Press the <Flat EQ> button to restore all lters to 0dB gain, medium Q,
and default starting frequencies and lter types. A lower Q broadens the lter to have a much greater effect, while a higher Q
narrows the bandwidth and makes less of an overall difference when boost or cut.

Notch EQ for Feedback Control: To eliminate a feedback problem on a live mic input, set the PEQ at and turn up the mi­crophone level until it is on the edge of feedback. Then using the frequency control, sweep a narrower bandwidth (higher Q)
lter through a problem feedback area, with just a slight amount of gain on that lter, until nding the exact frequency causing
feedback. Once the feedback frequency has been identied, reduce the lter's gain until feedback is gone. Adjust the bandwidth
(Q) as narrow as possible while still eliminating feedback. Repeat with additional lters and frequencies as necessary. Finding
the problem frequency is relatively easy, but nding the best combination of minimal cut and bandwidth takes a little practice.

Figure 4.2: PEQ Parametric EQ Screen

Notch EQ for Room Resonance: To reduce excess reverberation or boominess in a room, use the parametric lter on the main
or aux outputs. With music playing through the speakers, engage a PEQ lter on the output, then sweep the lter's frequency
with a slight boost and medium Q until you hear a disproportionate increase in the boominess of the music. This frequency is a
room resonance, and can be notched to compensate. Adjust the bandwidth and cut only as little as necessary to x the problem.

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4.3 GEQ Graphic EQ

The 31-band GEQ graphic equalizer is available on the Main,

Aux, or Sub outputs only, not with any input or FX channels.

Adjust GEQ lters by selecting and dragging them up and

down on the touchscreen, or use the

tons and

frequency, and the up/down buttons or Adjust Parameter
knob can be used to adjust lter boost and cut.

The GEQ is engaged when the <On> button on the touch­screen is solid green. To bypass the GEQ, press the <On>
touchscreen button again or press the EQ Bypass button
found at the right of the screen.

Adjust Parameter knob. The left/right buttons select

up/down/left/right but-

To return all lters to 0dB, press the touchscreen <Flat EQ>
button, or press the Flat button to the right of the screen.

Up to 48 different GEQ lter curves can be saved and recalled. Current GEQ lter settings can be copied to another output,
subgroup, or aux using the touchscreen or panel <Copy> button.

Figure 4.3: GEQ Graphic EQ Screen

4.4 Expander/Gate

A noise gate is typically used to eliminate unwanted, low

level noise from an individual input, allowing only the
louder signals to pass. An expander is used to increase the
dynamic range of a signal by lowering the quietest signals.

Threshold is the input signal level above which the gate opens
up and input signal is allowed to pass through unchanged.

Attack sets the amount of time from when the input signal

reaches threshold to when the gate actually opens up. A me­dium attack time helps the gating action sound more natural.

Release sets the time the gate remains open after signal

level falls back below threshold.

Ratio determines how much the input signal gets attenuated
when the gate is closed. Innite ratio completely silences the input when its signal is below the threshold, while a lower ratio
allow some signal to pass through at all times.

When used as a downward expander, the idea is to extend the signal's dynamic range by taking the quieter signals and lower­ing their level even further. The lower the ratio control, the
more signal below threshold will pass through. The higher
the ratio, the greater the dynamic range will be between
softest and loudest signals. An innite ratio silences all
signal below the threshold.

Figure 4.4: Expander/Gate Screen

4.5 Compressor/Limiter

This compressor/limiter has adjustable gain, threshold, at­tack time, release time, and ratio. The controls will only
work when the ON button is pressed. The green bar above
the ON button indicates when gain reduction is occurring.
Press the <Flat> button to clear and return all compressor/
limiter parameters to their default settings.

Threshold - This sets the input level above which gain
reduction is used to compress the signal. Threshold range
is from -30dB to +20dB.

Figure 4.5: Compressor/Limiter Screen

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Operating Manual - digiMIX24 Digital Mixer

Attack Time - The rate at which gain reduction occurs to the input signal when it exceeds threshold, from 10ms to 150ms.

Release Time - The rate at which gain reduction ends once the signal falls back down below threshold, from 10ms to 1000ms.

Ratio - This sets the amount of gain reduction applied to the signal above the threshold point. Ratio is from 1:1 to innite.

Post Gain - The post gain control adjusts the compressor/limiter output level to make up for any loss of overall level due to gain

reduction. It is typically used to match the level of compressed output with the original un-compressed input level, allowing an
easy way to compare signal with and without compression.

Compression occurs when any signal above threshold has its gain reduced by the ratio settings. For example, a ratio of 4:1 means that as
input signal increases above the threshold by 4dB, its output signal only increases by 1dB. The higher the ratio, the more gain reduction
occurs. Use a compressor to minimize vocal peaks or instrument transients, or to reduce the dynamic range of a signal.

A limiter is a compressor with innite ratio. The input signal cannot exceed the threshold at all. A limiter is primarily used on outputs for

speaker protection or setting maximum SPL, whereas the compressor is more natural sounding and typically used on microphone inputs.

4.6 Input Channel and Subgroup Stereo Linking

The following examples show how channel stereo linking, subgroup stereo linking, and the pan and adjust control work together.

4.6a - Stereo Channel Linked Only: In this example, Ch01 and Ch02 have been stereo linked.

1) Ch1-2 are linked and assigned to the Main output only, not to Sub1 or Sub2. The Adjust knob
controls the level of both channels together to the main output.

2) Because the two channels are stereo linked, they are initially panned full left and full right, but
can still have their individual stereo position adjusted using the pan control when either channel
is selected. Their signal is routed to the main stereo output.

3) In the Long Faders mode example (shown), the selected channel in a linked channel pair is
indicated with an orange bar below the pan bar. In short fader mixer mode (not shown), the
selected channel fader on the left side of the touchscreen combines the two linked channels into
one fader, with a pan bar for each channel indicated separately above and below the fader. In
either mode, the two channels are linked but their pan can be individually adjusted.

4.6b - Sub1/Sub2 Link Only:

1) Ch01 has been assigned to the linked Sub1-2 mix, but not to the main mix.

2) When Ch01 is selected, the pan control will adjust the stereo position of Ch01 to the main mix, but
since Ch01 is only assigned to Sub1-2 and not to the main mix, the pan control will have no effect.

3) To pan Ch01 to the linked Sub1-2 mix, rst press the Sub1 Send button. In the resulting screen,
make sure Ch01 is selected, then use the Pan control to adjust Ch01 pan to Sub1-2. The Ch01
pan settings to Sub1-2 will be remembered after exiting the Sub1 Sends screen, and will remain
unaffected even if Ch01 pan settings are changed later from mixer mode.

4)

To enable or disable Sub1-2 routing to the main mix, press the Sends button below the touchscreen,

then press the Main select button to open and congure routing of signals to the main output.

When enabled (On), the linked subgroup is routed to the main output mix as well as the Sub1-2

output jacks. When disabled (Off), the linked subgroup is routed only to the Sub1-2 output jacks.

In this example Sub1-2 are stereo linked, but Ch01 is not linked,

Figure 4.6a: Channel 1 and 2

are stereo linked

5) When Sub1-2 are rst linked,
stereo position to the main mix individually adjusted with the Pan control when either Sub1 or
Sub2 is selected. Note that the Pan control applied to linked Sub1-2 only affects the signal if
Sub1-2 are enabled to the main mix (see step 4 above).

they are initially panned full left and full right, but can have their

Figure 4.6b: Channel 1 and 2 are not linked,

channel 1 assigned to Sub1 or Sub2,

Sub1 and Sub2 are stereo linked

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Operating Manual - digiMIX24 Digital Mixer

4.6c - Channel 1 and 2 Linked, plus Sub1/Sub2 Linked:

1) In this example Ch1-2 are linked and Sub1-2 are also linked. Ch1-2 are assigned to Sub1-2 but not
to the main outputs. The Adjust knob (or motorized fader) controls the level of the two linked input
channels when either channel is selected. The Adjust knob, motorized fader, or Sub1-2 level knob control
the level of Sub1-2 whenever Sub1-2 are selected.

2) Congure the Main Sends screen so that Sub1-2 are enabled (On) as previously detailed in section

4.6b, line 4. This allows subgroup panning to the main mix.

3) When Ch1-2 become stereo linked, they are initially panned full left (to Sub1 mix bus) and full right
(to Sub2 mix bus), but can still be panned independently to the main mix as long as they have been
enabled to Main from within the Main Sends screen.

4.7 Input Channel Linking, Aux Send Linking, and the Pan Control

The following examples show how input channel and aux stereo linking work together with
the Pan control using typical Assign and Aux Send applications.

4.7a - No Linking, Ch01 sent to Aux1

In this example there is no stereo linking. Ch01 is assigned to Aux1 but not to the main mix. The Pan control will only have an effect
if Ch01 gets assigned to the main mix.

4.7b -

Ch1-2 Linked, sent to Aux1 and Main

In this example Ch1-2 are linked and
assigned to Aux1 and also to the main mix.

1) The channel fader is now named Ch1-2.

2) The Pan bars appear for both Ch1-2,
initially panned full left and full right.

3) The orange bar shows the currently
selected channel, either Ch01 or Ch02.

4) The p
selected Ch01 or Ch02 to the main mix.

4.7c -

In this example, Aux1-2 are linked. Ch01
is sent to Aux1-2 and also assigned to Main.

1) In either the Ch01 Assign or Aux1-2
Sends screens, the Pan control fades Ch01
between Main L/R when Ch01 is selected.

2) ► TIP: In the Main Sends screen (not
shown) if you enable Aux1-2 to Mains, you
can select and separately pan Aux1 or Aux2
to Main L/R.

4.7d - Ch1-2 Linked and Aux1-2 Linked

In this example, Ch1-2 and Aux1-2 are

both linked, and can both be enabled

or disabled for routing to the Main mix,
offering greater exibility.

1) In the Ch1-2 Assign screen, the Pan
control fades the selected Ch01 or Ch02
input between Main L/R (if enabled to Main).

2) In the Aux1-2 Assign screen, the Pan
control fades the selected Ch01 or Ch02
input signal between Aux1 and Aux2.

3) ► TIP: In the Main Sends screen (not
shown) if you enable Aux1-2 to Mains,
you can select and separately pan Aux1 or

Aux2 to Main L/R.

an control adjusts the currently

Aux1-2 Linked, Ch01 not linked

Figure 4.7b: Ch1-2 are linked, sent to Aux1, assigned to Main mix

Figure 4.7c: Aux1-2 are linked, Ch01 sent to Aux1-2 and assigned to Main mix

Figure 4.7d: Ch1-2 Linked, Aux1-2 also linked, both can be routed to Main mix

Figure 4.7a: No Linking, Ch01 sent to Aux1 only

Figure 4.6c: Channel 1 and 2 linked,

Sub1 and Sub2 are also linked

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Operating Manual - digiMIX24 Digital Mixer

4.8 FX (Effects)

This mixer includes 12 different effects and effect combinations.
Only two effects can be used at one time. Up to 104 different
effects can be created, saved, and loaded as FX presets (sec.

2.31).

Press the FX1 or FX2 button to open the FX editor window, then
choose an effect type, edit its parameters, then save.

The next step is to send the desired signal level from input

channels to the FX1 or FX2 bus (sec. 2.12).

Lastly, select and assign FX1 or FX2 to aux, subgroup, or main

outputs as desired (sec. 2.12). Press either FX mute button to

silence its effect. All available effects are listed in the table
below.

All effects are in stereo, meaning they will synthesize a stereo effect

even when driven by a mono send signal.

FX Presets Description Parameters

Reverb - Hall Simulate an acoustic space of a large hall

Reverb - Room

Reverb - Plate

Delay Echo of the input signal Time; Decay; Brightness; Wet/Dry Out

ST Delay Stereo Echo

Tremolo

Flanger

Chorus

Delay + Reverb Delay with room reverb

ST Delay + Reverb Stereo delay with room reverb

Chorus + Tremolo Chorus with Tremolo

Chorus + Reverb Chorus with room reverb

Simulate a studio room with many early

reections

Simulate the transducer's sound like classic

bright vocal plate

L Time; R Time; L Decay; R Decay; Brightness;

Modulation of signal without any pitch or

phase shift

Adds a sweeping, swooshing "jet plane"

sound using phase shift with delayed

feedback

Creates the illusion of several vocals or

instruments from a single input source

Pre-Delay; Reverb Decay; Room Size; Brightness;

Diffusion; Delay L/R Time; Delay L/R Feedback;

Feedback; Sweep Width; Mod Freq; Tremolo Depth;

ness; Diffusion; Chorus Feedback; Sweep Width;

Figure 4.8: FX Screen

Pre-Delay; Decay; Room Size; Brightness;

Diffusion; Wet-Dry Out

Pre-Delay; Decay; Room Size; Brightness;

Diffusion; Wet-Dry Out

Pre-Delay; Decay; Room Size; Brightness;

Diffusion; Wet-Dry Out

Wet/Dry Out

Depth; Mod Freq; Wet-Dry Out

Feedback; Sweep Width; Mod Freq;

Wet-Dry Out

Feedback; Sweep Width; Mod Freq;

Wet-Dry Out

Pre-Delay; Reverb Decay; Room Size; Bright­ness; Diffusion; Delay Time; Delay Feedback;

Delay Bright; Wet-Dry Out

Delay Bright; Wet-Dry Out

Tremolo Freq; Wet-Dry Out

Pre-Delay; Reverb Decay; Room Size; Bright-

Mod Frequency; Wet-Dry Out

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Operating Manual - digiMIX24 Digital Mixer

 5 SYSTEM FUNCTIONS

5.1 LCD Brightness

Drag the LCD brightness control bar to adjust LCD intensity.

5.2 Fader Calibration

Press <Fader Calibration> to adjust automatic fader speed
up or down, then press Save/Exit.

5.3 Restore Default (Scene) Settings

Press this button to return all faders and EQ to zero, and remove
all DCA groups, channel, and FX assignments. This command
will not erase the password or any mixer presets.

5.4 Aux/Sub Mode

Press this button to switch Sub 1-4 outputs to function instead
as Aux 5-8 outputs.

Figure 5: System Screen

5.5 Password Settings

Press the "Password Settings" button to enter a new password, delete the current password, or reset the password. The same pass­word is always used for both system and EZ-Mode, as well as for the "Ashly digiMIX24" iPad app when connected to the mixer.
Entering a password is only the rst step when making security changes, you must still lock or unlock features using that password.

To enter a password for the rst time, press System>Password Settings. A keyboard appears with two empty text boxes labeled

"New Password" and "Conrm Password". A solid orange bar appears below the active text box. With the "New Password" text box

active, type in a one to four character password using upper case (ABC.), lower case (abc.), or numerals/symbols (.?123). Pass-
words are case sensitive. Select and re-enter the password into the "Conrm Password" box and press "Enter" on the keyboard.

The password is now stored in the mixer for system use as well as for EZ-Mode.

To Delete or Reset an existing password, press System>Password Settings. If a password is already stored in the mixer, the two

text boxes say "Delete Password" and "Reset Password".

To delete the password, make sure the "Delete Password" box is active with the orange bar beneath it and press "Enter". The screen

prompts for the current password to be entered into both text boxes, press enter, and the password is permanently erased from memory.

To reset the current password, press System>Password, make sure the "Reset Password" text box is active with the orange bar be-

neath it, and press "Enter". Type the current password in the "Enter Password" box, then select and type the new password into the

"New Password" box and press "Enter". A blue screen pops up saying "Password Reset Successfully". Press "ok" to conrm the reset.

►

TIP: If the password has been forgotten, press and hold the <System + Clear> buttons for three seconds or until the screen

blinks. This clears the existing password.

5.6 Lock/Unlock

Press the "Lock/Unlock" button to lock out mixer functions. If there is currently no password saved in the mixer, the screen prompts
for a new password in the "New Password" and "Conrm Password" text boxes. After entering the new password, press "Enter",
and the mixer becomes locked. Attempting to move any control will prompt the user for the password before allowing changes.

If there is already a password in the mixer when you press "Lock/Unlock", the screen prompts for the current password, type it in
and press "Enter" and the mixer will become locked.

The only controls that cannot be locked out are the power switch and the analog input trim controls.

5.7 System Shortcuts

Shortcuts are available in the system screen for specic mixer functions. Most shortcut functions are also available using control
buttons, however EZ-Mode, Automix Assign, Crossfade Mode, and Digital Out Pre/Post DSP are only accessible from the system
screen. See sec. 6.4 for complete EZ-Mode, Automixer, and Crossfade details. See sec. 7 for digital output pre/post-DSP selection.

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Operating Manual - digiMIX24 Digital Mixer

5.8 Other System Functions

Device Name - Press and hold the "Device Name" text box in the upper right hand corner of the system screen to bring up the

keyboard, then type in the desired name for the mixer and press "Enter". The default name is "digiMIX24".

Current Scene - This displays the name of the scene loaded from memory onto the mixer. If no scene has been loaded, the current
scene name is "Default".

Selected Channel - This displays the name of the DSP channel preset loaded from memory onto the currently selected input, FX,
aux, subgroup, or main output channel. If no DSP channel has been loaded, the selected channel name is "Default".

FX1 & FX2 - This displays the name of the FX channel preset loaded from memory onto FX1 and FX2. If no FX preset has been
loaded, the FX1 or FX2 name is "Default".

Firmware versions - The four currently loaded mixer DSP and micro-controller rmware versions are shown in the lower left
corner of the System touchscreen. These are the internal programs that run the mixer. Newer versions may become available on
the Ashly website, and may be required in order to use the latest features. To update rmware, see section 6.1.

 6 OTHER MIXER FUNCTIONS

6.1

Firmware Update (Important: Remove Dante or USB module before running rmware update, also

be sure to backup mixer presets if you wish to save them)

A rmware update may be occasionally released to x bugs or update/add features. Press the mixer's System button to view the

currently installed rmware (see gure 5), then refer to the ashly website for the latest digiMIX24 rmware version.

Windows: Download and install <digiMIX24 Firmware

Utility> le bundle from the Ashly website Software/digiMIX
Downloads section. Once installed, there will be a root folder
called <digiMIX24 Firmware Utility> containing an executable
le named <digiMIX24 Firmware Utility.exe>, plus a sub­folder called <Lib> (see gure 6.1a). Click on the executable
le to run the utility, but rst review the entire procedure below.

MAC: Download the le <digiMIX24 Firmware Utility.dmg> from the Ashly website Software/digiMIX Downloads section, and install.

►

TIP:

To use Ethernet for a rmware update, network communications must be 100% reliable and uninterrupted. If there

Figure 6.1a: digiMIX24 Firmware Utility

les (Windows)

is any data interruption during the update, the mixer may be rendered inoperable and require factory service. Because
of this, Ashly strongly recommends using the USB data connection instead of Ethernet for rmware update.

►

TIP :

If using USB for a computer connection to your mixer, you may rst need to download and install the appropriate Windows or

MAC USB Control Port driver on your computer, located in the Ashly website's Software/digiMIX downloads section.

Firmware Update Procedure:

►

TIP: backup mixer presets rst, see sec. 6.2 for <digiMIX24 Preset Utility>, or sec. 9.1f for iPad backup/restore.

1) To update rmware, rst
software, connect the mixer's USB Control jack to your
computer using a USB printer cable.

2)

Next, press and hold the mixer's <System> button while

powering on the mixer. Blue text will appear on the mixer
touchscreen indicating that the mixer is ready to program.

remove the Dante-32 or USB-32 option if installed. Before powering up the mixer or running the

3)

Launch the <digiMIX24 Firmware Utility> program on
your computer. The digiMIX24 serial port will automatically
appear when the program discovers the mixer (see gure

6.1b). If the port is not showing, check connections or verify
that the USB device driver is properly installed. Note: There

can only be one digiMIX24 connected to your computer

during rmware update.

22

Figure 6.1b: digiMIX24 Firmware Utility

Operating Manual - digiMIX24 Digital Mixer

4)

Once the COM port is displayed in the software utility, click
the "Connect" button. The status box will turn green to indicate
communication is established between the mixer and computer.

5) Click the "Update Firmware" button, then on the next screen
click "Program" (see gure 6.1c). The status bar will begin to
show progress. Do not turn off the mixer or interrupt the

procedure until the entire process is complete. The entire

update takes about ve minutes.

6) When the update is complete, the mixer will automatically
perform a factory reset, erasing all mixer presets. Exit the
software.

6.2 digiMIX24 Preset Utility

The digiMIX24 uses a separate utility program to bulk-copy all

mixer presets to a computer or from computer back to mixer.
Download the Win or Mac version of <digiMIX24 Preset
Utility> from the Ashly website

section

. Note: Unlike rmware update, USB or

connection can be used for preset backup/restore.

Software/digiMIX downloads

Ethernet data

Figure 6.1c: Firmware Update

Windows: Download and install <digiMIX24 Preset Utility>

file bundle from the Ashly website Software/digiMIX
downloads section. Once installed there will be a root folder
called <digiMIX24 Preset Utility> containing an executable
le named <digiMIX24 Preset Utility.exe> and a sub-folder
called <LIB>. Click on the executable le to run the program.

The preset le will be saved in Windows as a *.ept le.

MAC: Download the le <digiMIX24 Preset Utility.zip> from
the Ashly website Software/digiMIX Downloads section, and
install. The preset will be saved on a MAC as a *.mprt le.

Note: When restoring all preset les from computer to mixer, all preset les on the mixer will be overwritten.

When the preset le transfer is complete, exit the software.

Figure 6.2: digiMIX24 Preset Utility

6.3 Factory Reset

For factory reset, press and hold all three <Load + Save + Enter> buttons during power-up, then press "yes" when prompted.

Note: This will erase all presets and working settings currently stored on the mixer. It will also unlock the mixer if locked,

but preserves the previous password in memory.

23

Operating Manual - digiMIX24 Digital Mixer

6.4 EZ-MODE

EZ-Mode offers a simplied and secure user control interface for a
non-technical person to control the mixer with the same ease of use
as if they were operating lighting dimmers.

►

TIP:

All signal routing, levels, EQ, FX, DCA groups, and Aux sends

must be congured ahead of time on the mixer before using EZ-Mode.

►

TIP:

DCA and Aux groups must rst be named on the mixer in

order to be easily identied in EZ Mode.

To access EZ-Mode, press the System button, then press the touch­screen EZ-Mode button in the shortcut section.

There are two EZ-Mode mixers types as shown below. Select the EZ­Mode mixer you want to use, then press <Go To EZ Mixer>.

EZ-Mode Mixer #1: (see gure 6.3b) This mixer includes faders for DCA groups 1-4, Aux outputs 1-4, and Stereo Main output
level with on/off switch for each fader. DCA groups must rst be dened before using EZ-Mode (sec. 2.16)

EZ-Mode Mixer #2: (see gure 6.3c) This mixer includes faders for DCA groups 1-6, USB Stereo input, Tape/CD input, Aux
outputs 1-8, and Stereo Main output level, with on/off switch for each fader. To use EZ mixer #2, DCA groups must rst be

dened and named, and Sub 1-4 outputs must be congured to function as Aux 5-8 (sec. 5.4).

Figure 6.4a: EZ-Mode Main Screen

Figure 6.4b EZ-Mode Mixer #1

EZ-Mode Icon Menu: (see gure 6.3d) In either EZ mixer, an icon can be assigned
to each fader to quickly identify its function. Press and hold the grey box above each
fader to view and select an icon from the pop-up icon table.

EZ-Mode Password: (see gure 6.3a) A password can be used in EZ-Mode to prevent
access to the main mixer section while still allowing EZ-Mode control. The EZ-Mode
password is always the same as the mixer's password (sec. 5.5).

Additionally, the password can be used to independently lock EZ-Mode faders or

fader icons. The <EZ-Mode Password>, <Lock Icons>, and <Lock Faders> buttons
turn red when activated.

EZ-Mode is also offered on the Ashly digiMIX24 app for iPad for remote mixer
control using a local wireless network connection (sec. 9). If a password is to be used
on the digiMIX24 iPad app, it must rst be entered into the mixer.

►

TIP:

Only one iPad at a time can be used to control the digiMIX24.

Figure 6.4c: EZ-Mode Mixer #2

Figure 6.4d: EZ-Mode Icon Menu

24

Operating Manual - digiMIX24 Digital Mixer

6.5 Automixer Assign

The automixer is used to automate the mixing of multiple

speech (not music) microphones to follow the dynamic nature
of speech dialog and attenuate idle microphones. From the
System screen, press the Automix Assign button to assign inputs
to the automixer.

Ashly Auto Mixer Technology

The automixer function is a "gain-sharing" type which

automatically makes smooth gain transitions on all assigned
automixer input channels to achieve a constant total system

gain. This gain-sharing method of automixing has been found
to be superior to gating automixers.

Input channels 1-16 can be individually enabled for the automix. Enabled inputs must all be assigned to the same output (sec.

2.38). Channels which are enabled for automix will contribute to the automatic adjustment of other automix channel gains.

Likewise, their channel level will be dynamically affected by the signal level present on other automix channels. Manual mixer
channels (those not enabled for automix) can still be mixed in with automix channels, controlled by their fader setting. The

fader on automix channels still controls the input level before automatic mixing takes place so that more of the system gain can

be applied to one channel versus another.

Automixer Setup

6.5: Automix Assign

The following procedure is recommended for setting up most multi-microphone speech applications. The live mixing environment must

already be set up, with all mics wired to the mixer, assigned in the digiMIX24 to the main outputs, placed where they will be used, mic input
gain controls set properly, and ampliers/speakers all set up.

1) Start with all mixer faders off. From the System menu, press the shortcut button for <Automix Assign>.

2) Assign the desired input channels to the automixer. Make sure the <Automix Active> button is pressed.

3) Select one of the assigned main speech channels, or one which is centrally located. Slowly increase the fader for this one channel
just until feedback starts, then lower the fader 3 dB to stay comfortably below feedback. This sets the total automixer system gain.

4) Now select and increase the other assigned input channel faders to the same position as the rst channel used in step 3. The
system will not feedback because the automixer will slowly attenuate the active channels as more channels are turned-on to
maintain a constant total system gain as set in step 3.

5) During the speech event, individual channel faders can still be raised or lowered to adjust for the weakness or strength of the
respective talkers even while the automixer is active.

6.6 Crossfade Mode

Crossfade Mode allows the operator to easily fade back and forth
between two assigned channels (or two stereo linked channel pairs)
using either the Pan control or touchscreen crossfader control.

Crossfade Mode setup:

1) From the system menu, press the shortcut button for Crossfade
Mode.

2) Assign <Source A> and <Source B> channels.

3) Press the <Crossfade Active> button.

4) Crossfade Mode is now operating. The pan/touchscreen
control will fade between the two assigned source channels.

5) To return to mixer mode, press the touchscreen <Mixer Mode> button, or toggle through mixer and crossfade modes using
the Mixer/Long Faders button next to the pan control.

When operating in normal mixer mode, the pan or touchscreen crossfade control always fades the selected channel right or left

as expected. When in crossfade mode with crossfade active, the control only fades between the two assigned source signals.

6.6: Crossfade Mode

25

Operating Manual - digiMIX24 Digital Mixer

 7 DIGITAL AUDIO

There are two optional

di gital audio modules
a v a i l a b l e f o r t h e

digiMIX24, Dante-32 and
USB-32. These options
allow for digital inputs to
channels 1-24, and digital

outputs from channels

1-20, aux1-4, sub1-4

(aux5-8), main L/R, and
solo L/R. Digital output

from input channels 1-16

can be set pre or post­DSP in the System screen.

Digital audio channel

map ping is inte rnall y
fixed in the mixer and

cannot be changed.

Digital input and output

channels are individually
en a bl e d, an d s ig n al

level is adjustable from

+10dB to -70dB. Press a

channel's On/Off button
to enable/disable digital

audio for that channel,
and use the parameter

adjust knob on the mixer
or touchscreen to adjust
level on the selected channel.

7b: digiMIX24 Digital Output Assign and Mapping

7a: digiMIX24 Digital Input Assign and Mapping

Digital inputs 1-24 are always pre-DSP and pre-fader. See the Block Diagram for details.

Digital outputs from input channels 1-16 can be group-selected pre/post DSP from the mixer's System screen. Whether pre or post
DSP, digital outputs from Mic channels 1-16 are always pre-fader and pre-mute. Note: the mixer will not allow d

be used simultaneously for the same Mic input channel if digital outputs are set post DSP.

Digital outputs from Line inputs 17-20 are always post-DSP, but pre-fader and pre-mute.

Digital outputs from aux1-4, sub1-4 (aux5-8), main L/R, and solo L/R are always post-DSP and post-fader.

igital in and out to

7.1 Dante-32 Option

Dante®, created by Audinate®, is an Ethernet based digital AV network
technology that uses existing network infrastructure for delivery of high
performance, high channel count audio signals.

With the optional Dante-32 module installed, the digiMIX24 can be integrated

into a Dante digital audio network. The Dante-32 resolution & sampling rate
is 24bit / 48KHZ. The Dante-32 module can be eld installed and is sold and
shipped separately from the mixer along with installation instructions.

Dante-32 Module

26

Operating Manual - digiMIX24 Digital Mixer

7.1a Dante Controller:

digiMIX24 to receive and transmit audio with other Dante devices.
Conguration of Dante audio streams requires the use of Dante
Controller. This free software from Audinate is available for both

Windows® and Mac®. Dante Controller uses a simple matrix (see

gure 7.1a) to connect Dante audio transmitters with receivers.

The Dante-32 provides access for up to 24 digital audio input

channels and 32 digital audio output channels on the digiMIX24.

Any Dante transmitter channel can be assigned to one or more

Dante-32 receiver channels, but each Dante receiver channel can
have only one transmitter as its input source.

The Dante-32 resolution & sampling rate is 24bit / 48KHZ.

Dante-32 modules are compatible with AES67.

Dante latency can be observed and congured for individual
Dante devices within the Dante Controller Network Status tab.

Total system latency adopts the slowest latency found among all

devices linked in the transmitter/receiver stream.

Note that when the Dante-32 module is installed, it must always

be the master clock.

The Dante-32 module allows the

7.1b Dante Virtual Soundcard (not shown): The

Dante Virtual Soundcard, purchased separately from Audinate,
allows a Windows or Mac computer to act as a Dante audio
source. Any sound the computer generates (background music,
announcements, VoIP sessions, etc.) can be routed to a Dante receiver
via the Dante controller.

NOTE: The Dante Virtual Soundcard audio stream may not automatically start up after digiMIX24 is powered on. If this happens,
cycle the mixer power again or restart the Dante audio stream.

7.1a: Dante Controller

 8 DIGITAL AUDIO with USB-32 (optional)

Digital audio workstations (DAW) often use multitrack USB audio streams for I/O. The USB-32 module provides the digiMIX24 with
up to 32 digital outputs and 24 inputs.
mixer, or refer to the block diagram in section 13.

The USB-32 resolution & sampling rate is 24bit / 48KHZ.

Typical applications include multitrack recording from the mixer to a USB

audio device, or playback of pre-recorded music from a USB audio device. One
particularly useful application is to record a band live onto a multi-track DAW, then
play it back through the mixer later for a "virtual" soundcheck before the musicians
arrive. Visit the Ashly website knowledge base to review the Ashly application
note digiMIX-AN-2 for virtual soundcheck details.

8.1 USB-32 Device Driver - Purchase the USB-32 audio interface module from an Ashly dealer and install in the

mixer as instructed in section 3.15. An ASIO device driver is required for Windows computers but is not required for Mac.

The USB multi-channel ASIO Windows device driver can be downloaded from the Ashly website Software >

section. Install the device driver on the PC before connecting it to the
device in the audio software's device list.

►

TIP: Detailed USB multichannel device driver installation and virtual soundcheck instructions are found in the Ashly application

note <digiMIX AN-2>, available in the Ashly website's digiMIX page Knowledge Base.

8.2 DAW Hardware Conguration -

knowledge of your specic DAW hardware and software for proper conguration of channel mapping, recording, and playback properties.

See section 7 for details on how digital input and output channels are routed within the

USB-32 Module

digiMIX24

digiMIX Downloads

digiMIX24

The digiMIX24 cannot re-congure it's internal channel mapping. You must have a working

. The device driver will appear as an "ASIO" type

27

Operating Manual - digiMIX24 Digital Mixer

 9 iPAD REMOTE CONTROL

A free remote control iPad app called "Ashly digiMIX24" is available from the iTunes
App Store. Most mixer touchscreen controls are duplicated on the app for wireless

remote control of the mixer, including EZ-Mode. Note: The digiMIX24 does not

provide its own Wi-Fi signal, so an existing network with Wi-Fi must be available
for the iPad. Only one iPad at a time can be used to control the digiMIX24.

IMPORTANT:

digiMIX24 for iPad Ver. 5.0 or later can only be

used with a digiMIX24 mixer running rmware update V5.0 or
later. See sec. 6.1 for rmware update details.

9.1 iPad Setup steps

9.1a -

Congure the iPad Wi-Fi to be on the same network subnet as the mixer

9.1b - Download, install and launch the Ashly digiMIX24 app with the mixer
turned on and connected to the network.

9.1c - On startup, the digiMIX24 app displays a device list of IP
addresses(mixer names) for any mixer(s) on the network. Select
an IP address and press <Connect>.

9.1d - In the resulting mixer display, a green box in the upper left
corner indicates that the app is connected to a live mixer. It turns
grey if the connection is lost. If it is grey, press the box to return
to the Device List used in step 9.1c. When connected, the iPad
always displays the same screen as the mixer. Changes to either
device will result in an identical change to the other device. The
fader on the left side of this screen always controls the currently
selected channel, or channel pair if two channels are stereo linked.

9.1e - To access the Assign, Channel, PEQ, Expander/Gate, or
Compressor/Limiter control screens for the currently selected
channel, press the "PEQ BOX" as shown in the upper left corner
of the mixer screen in the illustration to the right.

► TIP: If two channels are stereo linked, tapping the fader on

the left side of this screen alternately toggles between the two

linked channels, offering the ability to select and pan either

channel separately from within the Assign or Channel screens.

9.1f -

To backup/restore presets, access EZ Mode or other system
functions from the iPad app control surface, press the <System> but­ton while in any of the control screens mentioned above in step 9.1e.

9.1d & 9.1e) digiMIX24 app Mixer Mode Display

9.1c) digiMIX24 app IP address selection

9.2 iPad EZ Mode

EZ Mode offers two different congurations for simplied remote
control of the mixer's DCA groups, Aux master outputs, Subgroup
outputs, USB or Tape input levels, or Main output level. The two
EZ Mode mixers on the iPad app are the same as on the digiMIX24.
See section 6.4 for complete EZ Mode details. To use EZ Mode
on the iPad, go to the system page as described above in step 9.1f
and press the EZ Mode button.

9.3 iPad EZ-Mode Password Protection

EZ-Mode will always use the same four-character password as

the mixer (sec. 5.5). The password must initially be entered on
the mixer, then can be used on the iPad to lock EZ-Mode faders

or fader icons. Passwords are case sensitive.

28

9.2: digiMIX24 app EZ-Mode

Operating Manual - digiMIX24 Digital Mixer

 10 TROUBLESHOOTING

10.1 No sound

Is the mic/line input cable plugged in and wired properly? If the mic is a condenser mic, is phantom power on? Is there activity
on the input LED meter? Is the input muted or its fader turned down? Is the input assigned or sent to the proper output? Is the
output turned down or muted? Are the power amps off or their level controls turned down? Is the input assigned to a subgroup or
DCA which is muted or turned down? Are the HPF or LPF lters properly set in the PEQ section to allow the desired passband?
Is the noise gate engaged and its threshold set so high that it always shuts off the signal?

10.2 Distorted sound

Is the input LED Clip light on? If so, turn down the input source or reduce the input trim control until the input LED signal
peaks between 0-4 on the input meter bar. If there is still distortion, is the input fader too high? Is the Comp/Limiter engaged
and its gain control set too high? Does a PEQ or GEQ lter have too much boost?

10.3 Excessive hiss

Hiss is caused by insufcient gain on the input stages and too much gain in the output stage. Be sure to have a strong input
signal, adjusting the input trim control so the signal peaks are between 0 and 4 on the input LED meter bar.

10.4 Control does nothing

Is the desired input, output, or FX selected? If an expander/gate or comp/limiter control does not work, is the function turned
ON? If the PEQ or GEQ controls do nothing, is the function turned on or is the EQ Bypass button lit up?

10.5 No sound in headphones when using solo button

Are the headphones turned down? If the PFL button is pressed, is there sufcient input signal? PFL means "pre-fader listen",

so the position of that channel's fader will not affect solo. If PFL is off, is the channel fader still turned down? If the input is
assigned to a DCA or subgroup, is the DCA or subgroup still turned down or muted?

10.6 FX not working

Three things are necessary for an FX to work properly.

1) FX must be properly dened. Press FX1 or FX2 to dene, edit, or load an effect. Make sure the <Wet-Dry> mix control is properly set.

2) Inputs must have their signal sent to the FX1 or FX2 bus. Select an input and use the <Assign> function to send pre or post­fader signal to the FX bus using the touchscreen FX1 or FX2 controls.

3) FX1 and FX2 must be assigned to main, subgroup, or aux outputs. Select the FX1 or FX2. then press the Assign button to
send it to the main, subgroup, or aux outputs.

10.7 iPad digiMIX24 app troubleshooting

1) There are no IP addresses in my Device List. Is the mixer turned on and properly connected to the same network that the

wi router is connected to? Is the iPad's wi turned on? The iPad app may have timed out, so refresh the device list by rst
pressing "Demo", then press the small grey box in the upper left corner of the resulting mixer screen to return to the startup
page. This causes the app to re-discover all online mixers and display their IP address.

2) The app won't control the mixer. Is there more than one instance of the iPad app open? Is there more than one mixer on the
network? Several mixers can be connected to the same network for remote iPad control, however the digiMIX24 app can only
connect to one mixer at a time. Make sure you are connected to the right mixer. On start-up, the digiMIX24 app discovers and
lists all available mixers by their IP address/mixer name. Select a mixer from the Device List and press "Connect" to control that
mixer. Once connected, both the app and the mixer's touchscreen show a green box in the upper left corner. A grey box means
the connection has been lost. To control a different mixer, the app must rst be closed and then re-launched.

3) Can I use more than on iPad on one mixer? No, only one iPad at a time can be used with a mixer. If a second iPad connects
with that mixer, it takes over control. The last iPad connected always has control.

4) The iPad app connects to the mixer, but doesn't work and shows the error message "Warning: Recall current scene
has failed, continue?": This can mean that the iPad app is connected to a mixer running older rmware. The mixer rmware

must be updated to at least v5.0 to use with iPad app v5.0 or higher. ???

29

Operating Manual - digiMIX24 Digital Mixer

 11 SPECIFICATIONS 0dBu = 0.775Vrms

Microphone Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Class-A discrete balanced, 6.8k Ohm input impedance

Frequency response to main output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Hz ~ 20kHz +0.5/-1.0dB

Distortion (THD&N) to main output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.01% at 0dBu, 20Hz ~ 20kHz

Equivalent input noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-126dBu, unweighted, 20Hz ~ 20kHz, 150 Ohm source

Gain (trim) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0 dB ~ +50dB

Maximum input level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +20dBu

Phantom power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +48VDC, +0/-4V, assignable to channels 1-16

Line input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Balanced, 75k Ohm input impedance

Frequency response to main output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Hz ~ 20kHz at 0dBu, 0/-1.5dB

Distortion (THD&N) to main output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.01% at 0dBu, 20Hz ~ 20kHz

Gain (trim) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-20dB ~ +30dB

Maximum input level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +20dBu

TRS Insert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Unbalanced, tip = send, ring = return

Maximum output level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +20dBu, 120 Ohm source impedance

Maximum input level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +20dBu, 5.0k Ohm input impedance

Stereo Line Inputs 17~18, 19~20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Balanced (2 stereo pair), 27k Ohm input impedance

Frequency response to main output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Hz ~ 20kHz, ±0.5dB

Distortion (THD&N) to main output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.01% at 0dBu, 20Hz ~ 20kHz

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-∞ ~ +10dB

Maximum input level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +20dBu

Tape L/R input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Unbalanced RCA, 10k Ohm input impedance

Frequency response to main output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Hz ~ 20kHz, ±0.5dB

Distortion(THD&N) to main output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.01% at 0dBu, 20Hz ~ 20kHz

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-∞ ~ +10dB

Maximum input level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +20dBu

USB 2-Track I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .USB type B connector, 16-bit, 48kHz sample rate

Frequency response to main output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Hz ~ 20kHz, ±0.5dB

Distortion(THD&N) to main output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.02% at 0dBu, 20Hz ~ 20kHz

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-∞ ~ +10dB

Maximum input/output level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .+15dBu = full scale digital

Maximum Output levels (source impedance)

Main outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Balanced XLR and TRS phone jack, +20dBu (240 Ohm)

AUX 1~4 outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pseudo-Balanced TRS phone jack, +20dBu (240 Ohm)

SUB 1~4 outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pseudo-Balanced TRS phone jack, +20dBu (240 Ohm)

Tape outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Unbalanced RCA, +10dBu (1k Ohm)

Control room outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pseudo-Balanced TRS phone jack, +20dBu (240 Ohm)

Residual output noise (one mic input assigned at 0dB). . . . . . . . . . . . . . . -90dBu

Residual output noise (all 16 mic inputs assigned at 0dB) . . . . . . . . . . . . -82dBu

Residual output noise (all 24 inputs assigned at 0dB). . . . . . . . . . . . . . . . -80dBu

Crosstalk

Adjacent channels (1kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -82dB

Noise (bus noise, adjacent channels 20Hz ~ 20kHz). . . . . . . . . . . . . . . . .-70dB

Channel DSP Functions:

Polarity Invert (Inputs, subgroups, main, aux, FX). . . . . . . . . . . . . . . . . Per channel, On/Off

Delay Time (Inputs, subgroups, main, aux, FX). . . . . . . . . . . . . . . . . . . . Per channel, 0-300ms in 0.2 ms increments

Noise Gate/Expander. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inputs, FX

Threshold range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-84dB ~ 0dBFS

Attack time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.5mS ~ 200mS

Release time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10mS ~ 1,000mS

Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:1 ~ ∞

30

Operating Manual - digiMIX24 Digital Mixer

Compressor/Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Inputs, subgroups, main, aux, FX

Threshold range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-50dB ~ 0dBFS

Attack time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10mS ~ 150mS

Release time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10mS ~ 1,000mS

Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:1 ~ ∞

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0dB ~ +24dB

PEQ (parametric EQ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inputs, subgroups, main, aux, FX

EQ1, EQ2, EQ3, EQ4 lter type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Parametric, low shelf, high shelf

Parametric lters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20.6Hz ~ 20kHz, Q 0.4 ~ 24, boost/cut ±24dB

Shelving lters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20.6Hz ~ 20kHz, boost/cut ±24dB

HPF and LPF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20.6Hz ~ 20kHz, 20 lter types

HPF and LPF lter types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bypass, Butterworth (BW) 6dB/oct, Bessel (BS) 6dB/oct,

BW 12dB/oct, BS 12dB/oct, Linkowitz/Riley (LR) 12dB/oct,
BW 18dB/oct, BS 18dB/oct, BW 24dB/oct, BS 24dB/oct,
LR 24dB/oct, BW 30dB/oct, BS 30dB/oct, BW 36dB/oct,
BS 36dB/oct, LR 36dB/oct, BW 42dB/oct, BS 42dB/oct,
BW 48dB/oct, BS 48dB/oct, LR 48dB/oct

GEQ (graphic EQ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Main, aux, subgroup outputs

Filter type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 band, constant Q, boost/cut ±24dB

FX (effects) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FX input Sends from all 24 inputs,

FX output Assigns to main output, subgroups, aux

Effect types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

See chart in section 4.6 for complete effects details

Reverbs (3), delay (1200ms), tremolo, ange, chorus, combinations

Automixer (system screen). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gain-sharing type, individual assignment of channels 1-16

Crossfade mode (system screen) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Stereo link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inputs, subgroups, aux

DCA groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 groups, level, mute, solo

Preset types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scene (24), DSP channel (48), FX (104), GEQ (48)

A-D converter dynamic range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110dB, unweighted

Internal processor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32-bit oating point

D-A converter dynamic range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106dB, unweighted

ADC/DAC bit depth and sampling rate . . . . . . . . . . . . . . . . . . . . . . . . . . .32-bit / 48kHz

Optional digital audio modules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dante-32, USB-32 (sold separately, eld installable)

Dante-32 bit depth and sampling rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24bit / 48kHz, (AES67 compatible)

USB-32 bit depth and sampling rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24bit / 48kHz

Software/Utilities/Drivers (available on Ashly website) . . . . . . . . . . . . . website location: Software > digiMIX Firmware and Downloads

Remote mixer control app for iPad® . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <Ashly digiMIX24> app, free on iTunes App Store

Firmware update utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preset backup/restore utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <digiMIX24 Preset Utility> Windows or Mac

USB device drivers for connecting digiMIX24 utilities (if required) . . .Available

ASIO driver (required if using USB-32 option w Windows) . . . . . . . . . .

AC mains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100-240VAC 50/60Hz, 120W max

Operating free-air temperature range. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41°F ~ 113°F (5°C ~ 45°C)

Storage temperature range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -4°F ~ 140°F (-20°C ~ 60°C)

Unit dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20.2"L x 5.65"W x 14.0"H (51.2cm x 14.4cm x 35.6cm)

Shipping dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22.4"L x 8.15"W x 17.1"H (57.0cm x 20.7cm x 43.4cm)

Unit weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.6 lbs (8.0kg)

Shipping weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20.7 lbs (9.4kg)

Dante-32 shipping weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.42 lbs (0.19kg)

Dante-32 shipping dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.02"L x 1.85"W x 7.09"H (15.3cm x 4.70cm x 18.0cm)

USB-32 shipping weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.47 lbs (0.21kg)

USB-32 shipping dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.02"L x 1.85"W x 7.09"H (15.3cm x 4.70cm x 18.0cm)

Compliance/safety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .cTUVus, CE, FCC, RoHs

Limited warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 year (3 year on touchscreen and motorized fader)

Use pan control to fade between any two assigned inputs, outputs, or FX

<digiMIX24 Firmware Utility> for Windows or Mac

for Windows or Mac

Available for Windows, not required for Mac

31

Operating Manual - digiMIX24 Digital Mixer

 12 DIMENSIONS

32

Operating Manual - digiMIX24 Digital Mixer

GAIN

LINE -20dB~+30dB

MIC 0dB~+50dB

MIC 1-8

PHANTOM

POWER

+48V

MIC IN

(+20dBu max)

LINE IN

(+20dBu max)

INSERT

LINE17-20 L(MONO)/R

LEFT (MONO)

RIGHT

(+20dBu max)

TAPE IN 21-22 (L&R)

LEFT

RIGHT

USB

2-TRACK

INPUT

23-24

231

3c

4d

2b

1a

5e

3c

4d

2b

1a

5e

3c

4d

2b

1a

5e

3c

4d

2b

1a

5e

+

­+-+

-

A/D

A/D

A/D

Channel 17-20 DSP

Channel 21-22 DSP

Channel 23-24 DSP

MUTE

MUTE

FADE

PAN

ASSIGN

POST

AUX1~4

FX1~2

LEFT

RIGHT

SUB1

SUB2

SUB3

SUB4

SOLO L

SOLO R

AUX1~4

PFL

MAIN L/R BUS (2)

SUB 1-4 BUS (4)

AUX 1-4 BUS (4)

SOLO L/R BUS (2)

FX ½ BUS (2)

FX1~2

PRE

DIGITAL OUTPUTS

Ch 17-20

MUTE

FADE PAN

ASSIGN

POST

AUX1~4

FX1~2

LEFT

RIGHT

SUB1

SUB2

SUB3

SUB4

SOLO L

SOLO R

AUX1~4

SOLO

PFL

FX1~2

PRE

ASSIGN

FADE

LEFT

RIGHT

SUB1

SUB2

SUB3

SUB4

SOLO L/R

POST

PRE

PAN

AUX 1~4

FX1~2

PFL

SOLO

ASSIGN

FADE

LEFT

RIGHT

SUB1

SUB2

SUB3

SUB4

SOLO L/R

POST

PRE

PAN

AUX 1~4

FX1~2

PFL

SOLO

MAIN L/R BUS (2)

SUB 1-4 BUS (4)

AUX 1-4 BUS (4)

SOLO L/R BUS (2)

FX ½ BUS (2)

LEFT

RIGHT

SOLO L

SOLO

SOLO R

MAIN L/R OUTPUT DSP

MUTE

FADE

DIGITAL OUTPUTS (L/R)

D/A

MAIN L/R

USB

2-TRACK

OUTPUT

MAIN LEFT OUTPUT

BALANCED

MAIN LEFT OUTPUT

BALANCED

231

3c

4d

2b

1a

5e

3c

4d

2b

1a

5e

231

MAIN RIGHT OUTPUT

BALANCED

MAIN RIGHT OUTPUT

BALANCED

LEFT

TAPE OUT (L&R)

RIGHT

3c

4d

2b

1a

5e

3c

4d

2b

1a

5e

3c

4d

2b

1a

5e

CTRL OUT L

CTRL OUT R

HEADPHONES OUT

FX1~FX2 DSP (Stereo)

(MAIN L/R automatically routed to solo bus when no solo button is pres sed)

SUB 1~4 OUTPUTS

(alt AUX 5~8)

3c

4d

2b

1a

5e

SUB 1~4 BUS

SUB OUTPUT DSP (alt AUX 5~8)

MUTE

FADE

DIGITAL OUTPUTS

SUB 1-4 (Alt Aux 5-8)

D/A

SUB 1~4

(alt AUX 5~8)

SOLO

PFL

(alt AUX 5~8)

AUX 1~4 OUTPUTS

3c

4d

2b

1a

5e

AUX 1~4 BUS

AUX 1~4 OUTPUT DSP

MUTE

DIGITAL OUTPUTS

(Aux 1-4)

D/A

AUX1~4

SOLO

PFL

SOLO L/R

D/A

SOLO L/R BUS

FX1~FX2 OUTPUT DSP (Stereo)

POST

PRE

ASSIGN

MAIN L/R BUS (S )tereo

SUB1 BUS

SUB2 BUS

SUB3 BUS

SUB4 BUS

AUX 1~4 BUS

MUTE

(Stereo)

FADE

(Stereo)

SOLO

(Stereo)

SOLO L/R BUS (Stereo)

GEQ

COMP/

LIM

PEQ

HPF/LPF

GEQ

COMP/

LIM

PEQ

HPF/LPF

GEQ

COMP/

LIM

PEQ

HPF/LPF

PFL

(Stereo)

INV

DELAY

(300mS)

INV

DELAY

(300mS)

INV

DELAY

(300mS)

EXP/

GATE

COMP/

LIM

INV

DELAY

(300mS)

PEQ

HPF/LPF

EXP/

GATE

COMP/

LIM

INV

DELAY

(300mS)

PEQ

HPF/LPF

EXP/

GATE

COMP/

LIM

INV

DELAY

(300mS)

PEQ

HPF/LPF

EXP/

GATE

COMP/

LIM

INV

DELAY

(300mS)

PEQ

HPF/LPF

LEVEL

(Stereo)

LEVEL

(Stereo)

(crossfade)

(crossfade)

(crossfade)

(crossfade)

(crossfade)

(crossfade)

FADE

(crossfade)

(crossfade)

(automix)

™

24

digi

MIX

DIGITAL IN

TO MIXER

(CH 1-24 ONLY)

OPTIONAL DANTE-32

OR USB-32 MODULE

ON

OFF

DIGITAL IN

LEVEL ADJUST (Touchscreen)

+10dB to -70dB, OFF

DIGITAL OUT

LEVEL ADJUST (Touchscreen)

+10dB to -70dB, OFF

DIGITAL OUT

FROM MIXER

(CH1-16 ONLY)

ON

OFF

PRE-DSP

(ALL)

POST-DSP

(ALL)

LEVEL ADJUST

+10dB to -70dB, OFF

DIGITAL OUT

FROM MIXER

(CH17-20,

)

Aux1-4, Sub 1-4,

Main L/R, Solo L/R

ON

OFF

INSERT

(Ch 1-8 Only)

DIGITAL INPUT (Ch 1-16)

(ON / OFF)

A/D

MIC/LINE INPUT 1-16 DSP

EXP/

GATE

COMP/

LIM

INV

DELAY

(300mS)

PEQ

HPF/LPF

DIGITAL OUTPUT (Ch 1-16)

*PRE/POST DSP, ON/OFF

OFF

ON

PRE POST

STEREO LINK

*NOTE: Ch 1-16 digital outputs can only be set PRE or POST DSP as a group.

Digital IN and OUT can not both be ON for same channel if digital output is POST DSP.

MUTE

32

32

32

32

STEREO LINK

DIGITAL OUTPUTS

DIGITAL INPUT (Ch 17-20)

(ON / OFF)

OFF

ON

DIGITAL INPUT (Ch 22)

(ON / OFF)

OFF

ON

DIGITAL INPUT (Ch 21)

(ON / OFF)

ON

OFF

DIGITAL INPUT (Ch 24)

(ON / OFF)

OFF

ON

DIGITAL INPUT (Ch 23)

(ON / OFF)

ON

OFF

DIGITAL OUTPUTS (Solo L/R)

Firmware v5.0

 13 BLOCK DIAGRAM

33

Operating Manual - digiMIX24 Digital Mixer

 14 Ashly Audio Inc. LIMITED WARRANTY (USA ONLY)

(For other countries, please contact your respective distributor or dealer from where the unit was rst purchased.)

For units purchased in the USA, warranty service for this unit shall be provided by ASHLY AUDIO, INC. in accor­dance with the following warranty statement.

ASHLY AUDIO, INC. warrants to the owner of this product that it will be free from defects in workmanship and mate­rials for a period of FIVE years from the original-date-of-purchase, with the exception of touch-screen displays and
motorized faders which are warrantied for THREE years from the original-date-of-purchase.

ASHLY AUDIO INC. will without charge, repair or replace at its discretion, any defective product or component parts
upon prepaid delivery of the product to the ASHLY AUDIO, INC. factory service department, accompanied with a

proof of original-date-of-purchase in the form of a valid sales receipt. This warranty gives you specic legal rights,

and you may also have other rights, which vary from state to state.

EXCLUSIONS: This warranty does not apply in the event of misuse, neglect, or as a result of unauthorized alterations
or repairs made to the product. This warranty is void if the serial number is altered, defaced, or removed. ASHLY
AUDIO, INC. reserves the right to make changes in design, or make additions to, or improvements upon, this product
without any obligation to install the same on products previously manufactured.

Any implied warranties, which may arise under the operation of state law, shall be effective only for FIVE years
(THREE years for touch-screen displays and motorized faders) from the original-date-of-purchase of the product.
ASHLY AUDIO, INC. shall be obligated to only correct defects in the product itself. ASHLY AUDIO, INC. is not li­able for any damage or injury, which may result from, or be incidental to, or a consequence of, such defects. Some
states do not allow limitations on how long an implied warranty lasts, or the exclusion, or limitation of incidental or
consequential damages, so the above limitations or exclusions may not apply to you.

OBTAINING WARRANTY SERVICE:

For warranty service in the United States, please follow this procedure:

1) Please return the product to ASHLY AUDIO, INC. freight prepaid, with a written statement describing the defect
and application that the product is used in. ASHLY AUDIO, INC. will examine the product and perform any necessary
service, including replacement of defective parts, at no further cost to you.

2) Please ship your product to:

ASHLY AUDIO, INC.

Attention: Service Department

847 Holt Road

Webster, NY 14580-9103

34

Operating Manual - digiMIX24 Digital Mixer

This page intenonally le blank

35

Operating Manual - digiMIX24 Digital Mixer

ASHLY AUDIO INC. 847 Holt Road Webster, NY 14580-9103 USA

Phone: [phone] Fax: [phone]

Toll Free [phone] www.ashly.com

2016-2018 Ashly Audio, Inc. All rights reserved worldwide.

Ashly Audio is a division of Jam Industries, Ltd.

All features, specications, and graphical representations are

subject to change or improvement without notice.

DM24 R05 0418