Ashly digiMIX18 User 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
2018 Ashly Audio, Inc. • All rights reserved worldwide
Operating Manual
18 Channel Digital Mixer

Operating Manual - digiMIX18 Digital Mixer
2
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.
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. 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 grounding-
type plug. A polarized plug has two blades with one wider than the
other. A grounding type plug has two blades and a third ground-
ing 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 ob-
jects have fallen into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has been dropped.
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.

3
Operating Manual - digiMIX18 Digital Mixer
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..
Table of Contents
1 Introduction and Important digiMIX tips. . . . . . . . . . . . . . . . . . . 4
2 MixerControls .......................................6
3 RearPanelFeatures..................................12
4 GettingStarted......................................14
5 SystemFunctions....................................20
6 Other Mixer Functions (Firmware Update, Preset Backup/Restore,
Factory Reset, EZ-Mode, Automixer, Crossfade) ..................22
7 Digital Audio Options (Dante-3018, USB-3018). . . . . . . . . . . . . 25
8 RackEarInstallation .................................27
9 iPadRemoteControl..................................28
10 Troubleshooting....................................29
11 Specications ......................................30
12 Dimensions........................................32
13 BlockDiagram .....................................33
14 Warranty .........................................34

Operating Manual - digiMIX18 Digital Mixer
4
 1 INTRODUCTION
Thank you for purchasing the Ashly digiMIX18 digital and networkable 18 input x 12 bus mixer.
With 16 high performance discrete mic/line preampliers, assignable auto-mixer, two line-level inputs, assignable cross-fade mode,
DSP processing with parametric and graphic EQ, compressor/limiter, expander/gate, delay, invert polarity, two built in stereo ef-
fects buses, eight aux buses, six DCA groups, sensitive LED metering, preset control, password security, iPad®remote control via
network connection, and much more, the compact and powerful digiMIX18 offers all the right tools to manage your sound job
with condence. The digiMIX18 also comes with racks-ears that allow the mixer to be installed in a standard 19" equipment rack.
In order to thoroughly understand the features of the digiMIX18, please read this entire manual as you explore the controls,
touchscreen, and remote control capabilities of your mixer.
Standard Features
• 16 low noise mic/line preamps with Neutrik Combo jacks, dedicated trim controls, +48V phantom power, phase invert
• Rack ears included for mounting to standard 19" equipment rack
• Automixer (gain sharing), individually assignable to input channels 1-16
• Stereo line-level input on 1/4" jacks
• Cross-fade mode for panning between any two assigned channels
• TRS inserts on channels 1-8
• 8 aux sends, assignable pre/post
• 6 DCA for fader or mute groups
• 2 stereo effects buses (FX) with fully editable reverbs, delay with tap tempo, tremolo, anger, and chorus.
• 7 inch color LCD touch screen for graphical viewing, assign, and setup
• Wired network interface for iPad remote control using Ashly digiMIX18 app, available free on the App Store®
• EZ-Mode for secure, simplied touchscreen or iPad®control
• 100mm precision Alps®motorized fader
• Pan control
• High resolution delay (0.2mS) on every main L/R output, input1-18, aux1-8, or FX1-2
• Expander/noise gate on every input and FX channel
• Compressor/limiter on every input, output, and FX channel
• 4-band parametric/shelving EQ lters plus HPF/LPF on every input, output, and FX channel
• 31-band graphic EQ on main L/R and aux1-8 outputs
• Stereo link available on inputs 1-16 and aux1-8 outputs
• Solo/PFL on every input, main L/R output, aux1-8, or FX1-2
• Stereo main L/R output on XLR and 1/4" phone jacks 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
• 24-bit A/D and D/A converters, 32-bit DSP processing, 48KHz sampling rate
• Password security
• Utility programs for Windows® and Mac® for preset backup/restore and rmware update
• Internal 100-240VAC universal power supply
• Safety/compliance: cTUVus, CE, FCC, RoHs
Optional Features
• Dante-3018 network audio interface, eld installable
• USB-3018 multi-track audio interface, eld installable

5
Operating Manual - digiMIX18 Digital Mixer
10 Tips Before Getting Started:
► Channel Selection - Each input, output, and FX channel has its own select button for quick access.
Changing the fader or other settings affects the currently selected channel.
► Channel Assignment - Input channels must be assigned or sent to main L/R, aux1-8, or FX1-2 mixes
using the assign or send buttons. Channel assignments are stored in the working preset, and also saved
in a scene preset. (sec. 2.31)
► 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 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 and restored between the mixer and a computer using the digiMIX18 Preset Utility
software. (sec. 6.2)
► Ethernet/USB Control Jacks (rear panel) - Use these jacks with the utility programs to update mixer
firmware or backup/restore presets with a computer. Ashly recommends using only the USB connection
for firmware update. digiMIX18 Firmware Utility and digiMIX18 Preset Utility programs are available
for both Windows and MAC. (sec. 6.1 and 6.2)
For wireless remote control of the mixer, connect the Ethernet jack to a network with Wi-Fi and use an
iPad running the Ashly digiMIX app, available free on the App Store. (sec. 9)
► 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. (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 digiMIX18 app on a connected iPad. (sec. 5.4)
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 digiMIX18. If more than one digiMIX18 is
discovered, a drop-down list of all available mixer IP addresses is displayed on start-up. The iPad app and
mixer touchscreen will both display a solid green box in the upper left corner when successfully connected.
► Using the Touchscreen - There are two different top-level mixer touchscreen modes, Mixer mode
and Long Fader mode. A button on the mixer (or iPad app) toggles between the two modes. Mixer Mode
shows all inputs and outputs, also showing a long fader for main L/R output on the right and another
long fader on the left for the currently selected channel. Alternately in Long Faders mode, groups of
eight channels are displayed, all with long faders.
In either 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 - Edit channel names by first selecting a channel, then press the Fader Name
button found below the touchscreen.

Operating Manual - digiMIX18 Digital Mixer
6
 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 set-
ting 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 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, main L/R output, aux1-8, and FX1-2 have 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 Ch17-18 Stereo Line Input
This level control and select button always control ch17-18 stereo line level inputs. Ch17-18 are always stereo linked and can
be assigned or sent to main L/R, aux1-8, and FX1-2 . Using the left (mono) input sends signal to both channels.
2.5 Control 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.
2.6 Headphones Level Control
Plug headphones in the front or back of the mixer for monitoring the main L/R outputs or the selected solo channels. Use the
Headphones Level control to adjust volume.
2.7 Solo/Meters Button
Press this button to toggle the main L/R output LED bars between indicating main L/R signal level, or stereo solo level.
2.8 Lock/Unlock Button
Press this button to lock/unlock the mixer with a password. Passwords are up to four characters and are case sensitive. (sec 5.4)

7
Operating Manual - digiMIX18 Digital Mixer
2.9 Sends Mixer
Press this button to open the sends mixer overview screen, where the mixer's main L/R, aux1-8, and FX1-2 channel assignments
or send levels can be quickly viewed and changed.
2.10 Aux Faders
Press this button when any aux1-8 output is selected to view current aux1-8 fader position. The aux1-8 fader position will be
displayed on the ch1-8 input LED bars. The main L/R fader position will also be displayed on the main L/R out LED bars.
2.11 EZ Mode
Press this button to enter the mixer's EZ-Mode. EZ-Mode provides a simple and secure user interface for a non-technical person
to adjust basic mixer functions with ease, locking out most other mixer controls. See sec 6.4 for details.
2.12 Aux1-8 Select and Send Buttons
Aux outputs are typically used for secondary mixes such as monitors, video
feed, assistive listening devices, subwoofers, etc. Aux outputs can be stereo
linked as 1-2, 3-4, 5-6, or 7-8.
Press an aux1-8 select button to give that aux output the focus in the mixer.
Press an aux1-8 send button to quickly view and adjust the level of all chan-
nels currently available for sending to that aux output.
Adjust any channel's level to aux1-8 by rst tapping the desired channel in
an aux1-8 sends screen to select it, then use the parameter adjust fader on
the touchscreen or adjust parameter knob on the mixer to set the level sent
to that aux.
Channel sends to aux1-8 can be selected as pre or post-fader, the default is
pre-fader.
2.13 FX1-2 Select and Send Button
This mixer has built in stereo effects including reverbs, delay, chorus, anger,
tremolo, and several combinations. Press the FX Editor button below the
touchscreen to create and save up to 104 different custom effects, or use the
defaults. Only two effects can be used on the mixer at a time. See section 4.8
for more details on effects.
Press the FX1 or FX2 select button to give that FX the focus in the mixer.
Press the FX1 or FX2 send button to quickly view and adjust the level of all
channels currently available for sending to that FX.
Adjust any channel's level to the FX by rst tapping the desired channel from within the FX sends window, then use the parameter
adjust fader on the touchscreen or adjust parameter knob on the mixer to adjust the level sent to that FX.
Channel sends to FX1-2 can be selected as pre or post-fader, the default is post-fader.
Each FX bus must additionally be routed to the main L/R or aux1-8 outputs as desired. To assign an FX to the main L/R output,
select the FX, then press the assign button, then tap the <Main> button on the touchscreen so that it turns blue. To send an FX to an
aux1-8 output from the assign window, tap any aux1-8 level control, then use the parameter adjust control to set the aux send level.
2.14 FX Mute
Press this button to mute FX1 and FX2. This is useful for comparing sound with and without effects.
2.15 Main Select and Volume Control
Press the <Main> select button to give the main L/R outputs the focus in the mixer. This level control always adjusts the signal level
to the main L/R outputs. When main L/R is selected, the volume control works together with the motorized fader and touchscreen.

Operating Manual - digiMIX18 Digital Mixer
8
2.16 DCA Set and Clear Button
Digital controlled ampliers (DCA1-6) are used to combine multiple inputs, aux, or
FX outputs into one mix group for uni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 buttons on the mixer or touchscreen, then tap individual channels
on the mixer screen to select them for that DCA group. Selected channels turn purple
on the screen. When nished, press the DCA Set button once again to save settings.
Whenever a DCA button is then selected and lit, the fader will control all channels
assigned to that DCA. Channels can be assigned to more than one DCA groups.
To clear a DCA group, rst select the DCA, then press the DCA set button so it ashes,
then press the DCA clear button, conrm the action by tapping "Yes" on the touchscreen
prompt, then nally press DCA set once more.
2.17 DCA1-6 Buttons
These six buttons are used to select a pre-dened DCA group for fader, mute, or solo
control. If the DCA group is not yet dened, a touchscreen message prompts for a
response before proceeding further.
2.18 Motorized Fader
This is the primary level control for all inputs, main L/R and aux1-8 outputs, effects master, and DCA control. Press the <Select>
button on any input, output, or DCA, 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).
2.19 Solo Button
Use the solo button for listening to one or more isolated signals in the headphones.
Select an input, output, FX, or DCA group, then press the solo button to include
that signal in the solo bus. The default solo setting is post-fader, meaning the
solo signal level depends on the solo channel's fader position.
Press the solo clear button to clear all selected solo channels. With no channels
selected for solo, the headphone output defaults to the main L/R output, post
fader. Solo status can also be viewed and set from the touchscreen display.
The solo feature is in stereo, so that any stereo linked channels or FX are heard
in stereo.
2.20 PFL Button
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
Press this button to clear all solo selections and return the headphone output
to main L/R.
2.22 Mute Button
The mute button is used to silence the selected input, output, aux, FX, or DCA
group. Mute status can also be seen or controlled using the touchscreen display.

9
Operating Manual - digiMIX18 Digital Mixer
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. The button is lit when showing the current fader positions.
2.24 Pan Control
The pan control is dedicated to fading signals from left to right in the main L/R mix. It is also used for Crossfade mode (sec. 6.6)
to quickly fade between any two assigned channels. Its stereo position for the selected channel is displayed on the touchscreen.
2.25 Bypass Button
Press the bypass button from within the PEQ, GEQ, Exp/Gate, or Comp/Lim DSP function to disable that function for the currently
selected channel. This is useful for comparing signal with and without individual DSP processing elements. Pressing the bypass
button from the Channel screen turns only the PEQ function on and off.
2.26 Mixer/Long Faders Select Button
This button toggles between the two mixer displays, one showing every mixer input and output (mixer mode), the other showing
groups of eight channels with longer faders (long fader mode). Channel names are shown in long fader mode. To edit a channel
name, press the fader name button below the touchscreen, then use the pop-up touchscreen keyboard to enter a name.
If Crossfade mode is active (sec. 6.6), pressing this button will toggle through both mixer display modes, as well as 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
also work together with other controls depending on the currently active function.
2.28 Flat Button
Press this button to atten the PEQ, GEQ, Exp/Gate, or Comp/Lim 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 answer. For
example, after pressing the at button when the touchscreen asks "Reset EQ curve to at?", you can tap "Yes" on the touchscreen
or press the Enter button.
The second function is to manually set an FX delay time to match the beat of the music, also referred to 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 end of the desired
delay time. Maximum tap delay is 1200ms.
2.30 System Buttons
The system button opens the touchscreen display to a variety of utility controls including EZ-mode (sec. 6.4), cross-fade mode (sec.
6.6), automix channel assign (sec. 6.5), LCD brightness, fader speed calibration, password/security functions, restore default settings,
and more. The up/down/left/right buttons are used to select and adjust controls shown on the touchscreen, their purpose depends on
the currently active function. For example, with the GEQ function active, 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 may be easier to use the system buttons.
2.31 Load, Copy, Save Buttons
There are four different types of user presets that can be saved/loaded on the digiMIX18.
1) Scene - Scene presets are the most inclusive, capturing all audio settings in the mixer. Up to 24 scene presets are available.
2) DSP Channel - The DSP channel preset is used on input, output, and aux channels. 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 used to save/load graphic equalizer settings, which are only used on outputs.

Operating Manual - digiMIX18 Digital Mixer
10
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, the currently selected
channel will be 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 the 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.
2.32 The Touchscreen Display
Most mixer functions can be adjusted
using either the touchscreen or the
buttons/knobs. Some functions can only
be adjusted using the touchscreen.
Level and fader controls are adjusted
by either 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, or aux1-8 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 L/R 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 bright green when the mixer is connected to the iPad app or
digiMIX utility app on a computer. It turns black when the 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 Assign to Main
This button is used to assign the currently selected input channel or FX1-2 to the main L/R mix, and becomes lit when assigned. As-
signment status can also be edited using the touchscreen Assign window (sec. 2.39), or the Sends Mixer button (sec. 2.9).
2.34 Fader Name
Press this button to name the currently selected input or output channel using the pop-up touchscreen QWERTY keyboard.

11
Operating Manual - digiMIX18 Digital Mixer
2.35 Stereo Link
The stereo link button is used to link two adjacent input channels 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,
i.e. 1-2, 3-4, aux1-2, aux3-4, 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 vari-
ous ways that stereo linking and panning operate when routed to main L/R or when using linked aux outputs, see section 4.7.
2.36 Digital In/Out
The optional Dante-3018 or USB-3018 digital 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. See section 7 for complete details.
2.37 Automix
Press this button to individually assign inputs 1-16 for automix, and to enable the automixer. See section for complete details.
2.38 48VDC Phantom Power
Press the 48VDC button to assign +48V phantom power to any of input channels 1-16.
2.39 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 assign window. Inputs can be assigned or sent to main L/R, aux1-8, and FX1-2.
Assigned outputs appear blue when selected. Signal level sent to aux1-8 and FX1-2 buses must be adjusted individually using
the touchscreen 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.
2.40 Channel
Press the channel button to view and access all DSP settings for the currently selected input, main L/R, FX1-2, or aux1-8 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. Main L/R and aux1-8 outputs do not have expander/gate function. Channel DSP settings can be saved
or loaded as a DSP channel preset (sec. 2.31).
2.41 PEQ
Press the PEQ button to engage the 6-band EQ for the currently selected input, main L/R, FX1-2, or aux1-8 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.
Press the Bypass button (sec. 2.25), or the touchscreen ON button to compare signal with and without PEQ. Press the Flat
button (sec. 2.28) or the touchscreen Flat EQ button to return all PEQ lters to their 0dB gain and default starting parameters
2.42 GEQ
The GEQ 31-band graphic equalizer is only available on the main L/R and aux1-8 outputs. It is not available on inputs or FX1-2.
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 Bypass button (sec. 2.25), or the touchscreen ON button to compare signal with and without GEQ. Press the at
button (sec. 2.28) or the touchscreen at EQ button to return all GEQ lters to 0dB.
2.43 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 4.4 for tips on using an expander/gate.

Operating Manual - digiMIX18 Digital Mixer
12
2.44 Comp/Lim
Press the Comp/Lim button to engage the compressor/limiter function on a selected input, main L/R, FX1-2, or aux1-8 output. Use
this feature to reduce the dynamic range of a signal (compressor) or to limit how loud a signal can go (limiter). Touchscreen con-
trols include on/off, threshold, attack time, release time, ratio, and post gain. See section 4.5 for tips on using a compressor/limiter.
2.45 FX Editor
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).
 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 ana-
log 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 Stereo Line Inputs
These inputs function as a stereo line level input (sec. 2.4) . There is no adjustable preamp on these inputs, so a strong input signal
level (0dBu) is recommended. Plugging in only the left input (channel 17) sends a mono signal to both left and right inputs.
3.4 Main L/R XLR Outputs*
The left and right main outputs on balanced XLR male connectors are controlled by the <Main> volume control (sec. 2.15). They
are wired in parallel with the main L/R phone jack outputs.
3.5 Main L/R Phone Jack Outputs*
The main L/R outputs on TRS phone jack connectors are wired in parallel with the main L/R XLR outputs.
3.1 - Balanced and Unbalanced connector wiring

13
Operating Manual - digiMIX18 Digital Mixer
3.6 Aux1-8 Outputs*
These eight phone jacks are pseudo-balanced outputs for aux1-8 (sec. 2.12). They have single-ended signal with balanced impedance.
* If plugging a digiMIX18 output into a powered speaker or other mixer input, phantom power must be turned off on that input.
3.7 Control Room Output
The balanced stereo control room outputs use the same signal as the main L/R outputs, but with a separate volume control.
3.8 Headphone Jack
There is a stereo headphone jack on the front and back of the mixer, controlled by the headphones level control.
3.9 AC Inlet
This is used to connect the mixer to AC mains using the detachable AC cord provided with the unit.
3.10 Power Switch
This switch turns on power to the mixer. Turn-on time is about 15 seconds.
3.11 Ethernet Control Jack
The Ethernet jack is used for connecting the mixer to a network for remote iPad control (sec. 9), or for using the "digiMIX18
Preset Utility" software (sec. 6.2). Ashly recommends using the USB control jack for the rmware update software.
3.12 USB Control Jack
The USB Control jack (recommended for rmware update) is an alternative to the Ethernet jack for "digiMIX18 Firmware Utility"
and "digiMIX18 Preset Utility" software. A specic USB device driver may need to be installed on your computer rst (sec. 6.1).
3.13 Digital Audio Module Option
Ashly offers optional eld installable Dante-3018 or multi-track USB-3018 audio modules for the digiMIX18 mixer. To install
the module, 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-3018 or USB-3018 module into the two card-edge guides on either side of the module slot as shown
below before nally pressing the module fully into the internal card-edge connector. Re-fasten using the two screws. See section
7 for operating details.
3.15 - Dante-3018 or USB-3018 installation on digiMIX18

Operating Manual - digiMIX18 Digital Mixer
14
 4 GETTING STARTED
4.1 Typical Application
The above illustration shows a typical band setup with instrument and vocal inputs, four separate monitor mixes, stereo main L/R 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 L/R output using the Sends Mixer button (sec. 2.9), or the Assign button (sec. 2.39).
4) Select the main L/R output and turn its level all the way down (sec. 2.3)
5) Turn up power ampliers, then slowly turn up the <Main> fader or volume control (sec. 2.15) until reaching a comfortable level.
6) Verify that all inputs can be heard in the main speakers or use the solo function (sec. 2.19). Select an input before adjusting.

15
Operating Manual - digiMIX18 Digital Mixer
7) Adjust PEQ (sec. 2.41), expander/gate (sec. 2.43), and compressor/limiter (sec. 2.44) 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) Congure the aux1-8 output(s) for all used input channels, adjusting their level to each monitor mix. (sec. 2.12)
9) Apply effects to input channels if desired. See sections 2.13, 2.45, and 4.8 for FX details and examples.
10) Adjust GEQ graphic equalizer for main L/R or aux1-8 outputs. (sec. 2.42)
11) 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 fader or mute button.
12) 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, main L/R output, FX1-2,
or aux1-8 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 mi-
crophone 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.
Notch EQ for Room Resonance: To reduce excess reverberation or boominess in a room, use the parametric lter on the main L/R
or aux1-8 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.
Figure 4.2: PEQ Parametric EQ Screen

Operating Manual - digiMIX18 Digital Mixer
16
4.3 GEQ Graphic EQ
The 31-band GEQ graphic equalizer is only available for
main L/R and aux1-8 outputs, not on inputs or FX1-2.
Adjust GEQ lters by selecting and dragging them up and
down on the touchscreen, or use the up/down/left/right but-
tons and Adjust Parameter knob. The left/right buttons select
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 touch-
screen 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.
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 main L/R or aux1-8
outputs using the touchscreen or panel <Copy> button.
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 me-
dium 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 lower-
ing 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.
4.5 Compressor/Limiter
This compressor/limiter has adjustable gain, threshold, at-
tack 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.
Figure 4.5: Compressor/Limiter Screen
Figure 4.4: Expander/Gate Screen
Figure 4.3: GEQ Graphic EQ Screen

17
Operating Manual - digiMIX18 Digital Mixer
Threshold - This sets the input level above which gain reduction is used to compress the signal. Threshold range is from -30dB
to +20dB.
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 Stereo Linking
The following examples show how input channel stereo linking
and the pan and adjust control work together.
Long Fader Mode: In the rst example (gure 4.6a), ch01
and ch02 have been stereo linked and assigned to the main
L/R output. The fader controls the level of both channels
together to main L/R output.
Because the two channels are stereo linked, they are initially
panned full left and full right as shown, but can still have
their stereo position adjusted separately using the pan control
when either channel is selected. Tap either linked fader
on the touchscreen to select it for individual pan control.
The currently selected channel in a linked channel pair is
indicated by an orange bar appearing below the pan LED
bar as shown.
Mixer Mode: Use mixer mode instead of long fader mode for
quicker access to all channels. In mixer mode, the currently
selected input or output channel fader is always along the
left side of this screen. In the mixer mode example(gure
4.6b), ch01 and ch02 are stereo linked, and the fader along the
left side of the screen controls both ch01 and ch02 together.
To select one of the stereo linked channels for individual pan,
tap the combined channel fader to toggle between them. An
orange bar appears below either pan LED bar to indicate the
currently selected channel within the linked channel pair.
Figure 4.6a: Ch1-2 stereo linked, Long Fader mode
Figure 4.6b: Ch1-2 stereo linked, Mixer mode

Operating Manual - digiMIX18 Digital Mixer
18
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 L/R mix. The Pan control will only
have an effect if Ch01 gets assigned to
the main L/R 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 an control adjusts the currently
selected Ch01 or Ch02 to the main L/R mix.
4.7c - Aux1-2 Linked, Ch01 not linked
In this example, Aux1-2 are linked. Ch01
is sent to Aux1-2 and also assigned to
main L/R.
1) In either of the Ch01 Assign or Aux1-2
Sends screens, the pan control fades Ch01
between main L/R when Ch01 is selected.
► TIP: If in the <Sends Mixer> screen for
main L/R (not shown) you enable Aux1-2 to
main L/R, 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 L/R 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.
► TIP: If in the <Sends Mixer> screen for main L/R (not shown) you enable Aux1-2 to main L/R, you can select and separately pan
Aux1 or Aux2 to main L/R.
Figure 4.7a: No Linking, Ch01 sent to Aux1 only
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

19
Operating Manual - digiMIX18 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 FX Editor button to open the editor window, then
choose an effect type, edit its parameters, and save.
The next step is to send the desired signal level from each input
channel to the FX1 or FX2 bus (sec. 2.13).
Lastly, select and assign FX1 or FX2 to main L/R or aux1-8
outputs as desired (sec. 2.39). Press the FX mute button to
silence both FX1 and FX2 effects. 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 signal.
FX Presets Description Parameters
Reverb - Hall Simulate the acoustic space of a large hall Pre-Delay; Decay; Room Size; Brightness;
Diffusion; Wet-Dry Out
Reverb - Room Simulate a studio room with many early
reections
Pre-Delay; Decay; Room Size; Brightness;
Diffusion; Wet-Dry Out
Reverb - Plate Simulate the transducer's sound like classic
bright vocal plate
Pre-Delay; Decay; Room Size; Brightness;
Diffusion; Wet-Dry Out
Delay Echo of the input signal Time; Decay; Brightness; Wet/Dry Out
ST Delay Stereo Echo L Time; R Time; L Decay; R Decay; Brightness;
Wet/Dry Out
Tremolo Modulation of signal without any pitch or
phase shift Depth; Mod Freq; Wet-Dry Out
Flanger
Adds a sweeping, swooshing "jet plane"
sound using phase shift with delayed
feedback
Feedback; Sweep Width; Mod Freq;
Wet-Dry Out
Chorus Creates the illusion of several vocals or
instruments from a single input source
Feedback; Sweep Width; Mod Freq;
Wet-Dry Out
Delay + Reverb Delay with room reverb
Pre-Delay; Reverb Decay; Room Size; Bright-
ness; Diffusion; Delay Time; Delay Feedback;
Delay Bright; Wet-Dry Out
ST Delay + Reverb Stereo delay with room reverb
Pre-Delay; Reverb Decay; Room Size; Brightness;
Diffusion; Delay L/R Time; Delay L/R Feedback;
Delay Bright; Wet-Dry Out
Chorus + Tremolo Chorus with Tremolo Feedback; Sweep Width; Mod Freq; Tremolo Depth;
Tremolo Freq; Wet-Dry Out
Chorus + Reverb Chorus with room reverb
Pre-Delay; Reverb Decay; Room Size; Bright-
ness; Diffusion; Chorus Feedback; Sweep Width;
Mod Frequency; Wet-Dry Out
Figure 4.8: FX Editor

Operating Manual - digiMIX18 Digital Mixer
20
 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 Settings
Press this button to return all faders and EQ to zero, and remove
all DCA group, input channel, aux1-8, and FX1-2 assignments.
This command will not erase the password or any mixer presets.
5.4 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 digiMIX" 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). Passwords
are case sensitive. Select and re-enter the password into the "Conrm Password" box and press "Enter" on the touchscreen 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 beneath
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.
5.5 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.
5.6 System Shortcuts
Shortcuts are available in the system screen for specic mixer functions. Most shortcut functions are also available using control
buttons, however Crossfade Mode is only accessible from the system screen. See section 6.4, 6.5, and 6.6 for complete EZ-Mode,
Automixer, and Crossfade details.
Figure 5: System Screen