Ashly digiMix24 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
2016-2018 Ashly Audio, Inc. • All rights reserved worldwide
Operating Manual
24 Channel Digital Mixer
*This owner's manual corresponds to digiMIX24 mixers with rmware version v5.0 or higher installed.

Operating Manual - digiMIX24 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 - digiMIX24 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 digiMIX24 tips. . . . . . . . . . . . . . . . . 4
2 MixerControls .......................................6
3 RearPanelFeatures..................................13
4 GettingStarted......................................15
5 SystemFunctions....................................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 iPadControl........................................28
10 Troubleshooting....................................29
11 Specications ......................................30
12 Dimensions........................................32
13 BlockDiagram .....................................33
14 Warranty .........................................34

Operating Manual - digiMIX24 Digital Mixer
4
 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 con-
nection, 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

5
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)

Operating Manual - digiMIX24 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 (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.

7
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 motor-
ized 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 chan-
nel, 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 chan-
nels 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.

Operating Manual - digiMIX24 Digital Mixer
8
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).

9
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.

Operating Manual - digiMIX24 Digital Mixer
10
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) 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 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 se-
lected 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.

11
Operating Manual - digiMIX24 Digital Mixer
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 as-
signed. 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.

Operating Manual - digiMIX24 Digital Mixer
12
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. Channel DSP settings can be saved or loaded
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 shelv-
ing 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 EQ Bypass button (sec. 2.25), or the touchscreen ON button to compare signal with and without PEQ. Press the Flat but-
ton (sec. 2.28) or the touchscreen Flat EQ button to return all PEQ lters to their 0dB gain and default starting parameters
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.

13
Operating Manual - digiMIX24 Digital Mixer
 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)
3.5 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.
3.1 - Balanced and Unbalanced connector wiring

Operating Manual - digiMIX24 Digital Mixer
14
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 digiMIX24 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-32 or USB-32 module into the two card-edge guides on either side of the module slot as shown before nally press-
ing the module fully into the internal card-edge connector. Re-fasten using the two screws. See section 7-8 for operating details.
3.15 - Dante-32 or USB-32 installation on digiMIX24

15
Operating Manual - digiMIX24 Digital Mixer
 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 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) Turn up power ampliers, then slowly turn up the main fader or volume control (sec. 2.13) 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.

Operating Manual - digiMIX24 Digital Mixer
16
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 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
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.
Figure 4.2: PEQ Parametric EQ Screen

17
Operating Manual - digiMIX24 Digital Mixer
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 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 another output,
subgroup, or aux 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.
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
Figure 4.4: Expander/Gate Screen
Figure 4.3: GEQ Graphic EQ Screen

Operating Manual - digiMIX24 Digital Mixer
18
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: In this example Sub1-2 are stereo linked, but Ch01 is not linked,
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.
5) When Sub1-2 are rst linked, they are initially panned full left and full right, but can have their
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).
Figure 4.6a: Channel 1 and 2
are stereo linked
Figure 4.6b: Channel 1 and 2 are not linked,
channel 1 assigned to Sub1 or Sub2,
Sub1 and Sub2 are stereo linked

19
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 an control adjusts the currently
selected Ch01 or Ch02 to the main 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.
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.
Figure 4.6c: Channel 1 and 2 linked,
Sub1 and Sub2 are also linked
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

Operating Manual - digiMIX24 Digital Mixer
20
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 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 Screen