ASHLEY MX-508 Stereo Microphone-Line Mixer Instruction Manual

ASHLEY MX-508 Stereo Microphone-Line Mixer

Product Information

MX-508 Stereo Microphone/Line Mixer

The MX-508 Stereo Microphone/Line Mixer is a compact rack-mount mixer that combines features, reliability, and sonic performance typically found in larger and more expensive mixing consoles. It features a universal 100-240VAC switching power supply and includes a 3.5mm front panel stereo line input jack.

Key Features

• Output mute switches
• Dual jack insert points
• Switchable +48V phantom power
• Front panel switching on each channel to select between mic or line input
•  Three-band equalization with fixed frequency low and highshelf, and tunable mid-range control
• Concentric level and pan control for each input channel
• Concentric pair of auxiliary sends for each input channel
• Ultra low-noise summing amplifiers for main and send outputs
• Two 10-segment LED arrays to monitor main or aux outputs
• Standard line level outputs on 1/4 connectors
• Stereo pre-fader line outputs on RCA connectors
• Transformer isolated 600 ohm outputs on XLR connectors
• Professional quality 16mm metal shaft potentiometers for greater accuracy and long life

Please note that the right to any claim against a public carrier can be forfeited if the carrier is not notified promptly and if the shipping carton and packing materials are not available for inspection by the carrier. It is advised to save all packing materials until the claim has been settled.

Product Usage Instructions

1. Introduction: Familiarize yourself with the features and functions of the MX-508 Stereo Microphone/Line Mixer as described in the product information above.
2. Unpacking: Carefully unpack the MX-508 Stereo Microphone/Line Mixer and ensure that all included accessories and components are present.
3. Power Connection: Connect the MX-508 to a power outlet using the provided universal 100-240VAC switching power supply.
4. Input Connections: Connect your microphones or line-level audio sources to the appropriate input channels on the MX-508. Use XLR connectors for microphones and 1/4″ connectors for line-level sources.
5. Channel Settings: Adjust the level, pan, and equalization settings for each input channel according to your requirements. Refer to the user manual for detailed instructions on adjusting these settings.
6. Auxiliary Sends: Utilize the concentric pair of auxiliary sends for each input channel to send signals to external effects processors or monitors. Set the send levels accordingly.
7. Main Output: Connect the main output of the MX-508 to your amplifier, recording device, or other audio equipment using the appropriate connectors (1/4″ or XLR).
8. Auxiliary Output: If needed, connect the auxiliary outputs of the MX-508 to external devices using RCA connectors.
9. Monitoring: Use the LED arrays to monitor the main or auxiliary outputs. Adjust the levels as required.
10. Operating Safety: Ensure that the MX-508 is properly earthed to prevent electrical hazards. Follow the safety guidelines provided in the user manual.
11. Cleaning and Maintenance: Regularly clean the MX-508 and its controls using a soft, dry cloth. Avoid using abrasive cleaners or solvents.

Important Safety Instructions

CAUTION

• Risk of Electric Shock
• Do Not Open

The lightning flash with the 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 sufficient 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 accompanying the device.

1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. To reduce the risk of fire 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 grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
11. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
12. Only use attachments/accessories specified by the manufacturer.
13. Use only with the cart, stand, tripod, bracket, or table specified 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 qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

FCC STATEMENT

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.

INTRODUCTION

Congratulations on your purchase of an Ashly MX- 508 stereo mixer. In one compact rack-mount package we have combined features, reliability, and sonic performance found only in larger and more expensive mixing consoles. This third generation mixer utilizes a universal 100-240VAC switching power supply, and adds a 3.5mm front panel stereo line input jack.

Other features include output mute switches, dual jack insert points, switchable +48V phantom power, and front panel switching on each channel selecting between mic or line input. Three-band equalization with a fixed frequency low and high shelf and a tunable mid-range control provides perfect true-reciprocal equalization curves. A concentric level and pan control combined with a concentric pair of auxiliary sends complete each input channel.

Ultra low-noise summing amplifiers combine the channel signals for the main and send outputs. Two 10-segment LED arrays monitor main or aux outputs. Standard line level outputs on 1/4″ connectors, stereo pre-fader line outputs on RCA connectors, and transformer isolated 600 ohm outputs on XLR connectors are provided as standard equipment. Ashly still uses professional quality 16mm metal shaft potentiometers on all controls for greater accuracy and long life.

UNPACKING

As a part of our system of quality control, every Ashly product is carefully inspected before leaving the factory to ensure flawless 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 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 notified 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.

AC POWER REQUIREMENTS

The MX-508 mixer will perform normally from 100 to 240 volts AC, 50-60Hz. Use only properly grounded AC receptacles. To reduce the risk of ground loop hum, use a central point for system AC power distribution. Power consumption is less than 50 watts.

CONTROLS

1. Input Level (Gain)
   • This control sets the operating level of the Microphone preamp and Line Input. Best signal to noise ratio is obtained with higher gain settings. It is therefore desirable to set the Gain control as high as possible while still leaving enough headroom (typically 20dB) to prevent distortion.
2. Mic-Line Switch
   • This switch selects between the XLR microphone input or the 1/4″ line input jack as the signal source. It can also serve as a “channel mute” switch when selected to the unused input.
3. Channel Clip Indicator
   • This peak sensitive indicator monitors all level critical points in the input channel and illuminates if any of them reach levels 3 dB below clipping.
4. Equalization
   • Channel EQ consists of a high shelf control at 15KHz (middle of shelf), a sweepable mid control, and a 70Hz low shelf control. The mid control is sweepable from 140Hz to 8KHz with a bandwidth of approximately 1 octave.
5. Aux Sends
   • These are an additional pair of level controls to adjust the feed to monitors or effects units. Aux 1 is factory preset to prefader, pre-EQ, while Aux 2 is post-fader, post-EQ. Both Aux sends can be internally switched to pre or post fader/EQ.
   • Note: See section on changing factory configurations.
6. Level and Pan
   • This concentric pair of controls adjusts the level and stereo position of the channel.
7. Aux Master Sends
   • These two controls adjust the overall gain of the output stages for the Aux 1 and Aux 2 Send outputs.
8. Aux Master Returns With Pan
   • These two concentric level and pan controls adjust the returning signal from effects units or auxiliary inputs to the Main Left and Right outputs. Return 1 is stereo and return 2 is mono. If only the right connection to return 1 is made, this return will function as mono with pan.
9. Stereo Line In and Aux 1 Send
   • This control adjusts the back panel RCA and front panel 3.5mm Stereo Line In level to the Main Stereo outputs. The RCA and 3.5mm input jacks are electronically buffered and then summed together. The outer concentric control labeled “To Aux 1” sums the left and right Stereo Line inputs to a mono signal and then applies it to the Aux 1 Master group for use with monitors or effects. It is “prefader”, or independent of the stereo level control.
10. Output Meters
    • A pair of peak reading 10 segment LED meters are used to indicate output level. Green LED’s are used below 0 VU, yellow above 0 VU and red LED’s indicate clipping. 0 VU is equivalent to +4 dBu (1.228Vrms). This meter pair is switchable (with the headphone output) to either the Main Left and Right outputs or the Aux 1 and 2 outputs. The red clip LED’s will illuminate if the summing amplifiers are clipping even if the main output controls are off, in which case one or more inputs must be turned down. Note: The output meters are accurately calibrated to the transformerless output levels, but not necessarily the transformer-balanced outputs. See note on Transformer Balanced Outputs.
11. Main Output Level
    • These controls determine the level of both transformer-balanced and transformerless output stages for the Main Left and Right outputs.
12. Main Output Mutes
    • These switches turn off both the transformerbalanced outputs as well as the transformerless 1/4″ stereo outputs, and indicate the mute mode by lighting the red LED near the switch. The headphone and metering functions continue uninterrupted even though there is no signal on the mixer’s main outputs.
13. Phantom Power Switch
    • This front panel switch enables the 48 Volt phantom power supply for condenser microphones which can use this feature. One switch controls all the inputs. If you have a mix of condenser and dynamic microphones, the phantom power will not affect the operation of the dynamic mics.
14. Mono Output Level
    • This control adjusts the level of the summed mono output. It is completely independent of the Main Left and Right masters.
15. Headphones Level
    • This control adjusts the level of the designated output signal (Mains or Aux) to the headphone jack.
16. Meter/Phones Select
    • This switch selects either the Main Left/Right outputs or the Aux 1/Aux 2 outputs to the LED meters and the headphone jack.
17. Headphone Output
    • This front panel 1/4″ TRS connector feeds a standard set of stereo headphones. A selector switch that also controls the level meter allows monitoring the main or Aux outputs.

CONNECTIONS AND CABLES

The MX-508 mixer is fitted with five types of audio connectors: 3-pin XLR type male (stereo outputs), 3-pin XLR type female (mic inputs), tip-ring-sleeve (TRS) phone jack, 3.5mm TRS phone jack (front panel stereo line in), and RCA jack. Certain 1/4″ jack connections use an unbalanced mono plug, which is also shown.

Two-conductor (twisted pair) shielded cable is best forall XLR type connections. Belden No. 8412, or its equivalent, is an excellent cable due to its heavy construction. This type of cable should be used for all portable applications. Snake cables containing multiple shielded pairs must be handled very carefully because the leads tend to be fragile, and a broken conductor is difficult to repair. If low level and high level lines (e.g., microphones and mixer line outputs), or if either of these lines and speaker cables are run parallel for long distances, crosstalk may be significant.

In fact, the crosstalk (signal leakage between cables) can cause an electronic feedback loop, oscillation, and possibly damage to the equipment. To minimize crosstalk, physically separate low level (microphone) cables from speaker cables by the greatest feasible distance. At any point where cables meet, run low level cables perpendicular to high level or speaker cables. If low and high level or speaker cables must be run parallel and in close proximity to one another, they should be bundled separately.

Microphone Input

The microphone input is an active balanced type with a nominal impedance of 1200 ohms. Its noise performance is best with a 200 ohm microphone. The Mic input connector is a standard 3-pin XLR female with the shield on pin 1, the (+) in-phase connection on pin 2, and the (-) out-of-phase connection on pin 3.

Input Pad

The Pad is a 20dB attenuation switch on the rear panel for use with the XLR microphone input. It has no effect on the line input. It should normally be left in the “out” position for best signal to noise ratio and should only be used when the input is being overdriven with the Gain control at its minimum setting.

Line Input

The line input is a standard 1/4″ TRS active balanced connection, with a balanced input impedance of 20KΩ. It will accommodate a wide range of input levels.

Channel Send And Return Patch

A channel patch point allows a device such as graphic equalizer, noise gate, compressor/limiter, remote level controller, or direct out recording device to be used on individual channels. The MX-508 has separate send and return jacks, both using balanced signals for low noise. Use the send jack to feed the input of the device to be inserted, and use the return jack for the output of the inserted device. Single jack TRS insert is not available. If using the send jack as a Direct Line Output (pre EQ), use either a standard mono plug (tip- sleeve) or stereo (tip-ring sleeve). The TRS plug gives the best noise performance into a balanced input.

Aux Send Outputs

The Aux Outputs are used to drive monitors, effects processors, recording devices, or any function which requires isolated level control from the main outputs. They are pseudo balanced 1/4″ tip-ring-sleeve.

Aux Return Inputs

The return inputs are 1/4″ unbalanced. Return 1 is stereo with a left and right input, while Return 2 is mono. To use return 1 as mono, connect only to the Right return 1 input.

Stereo Line In – Stereo Line Out

The stereo line inputs on RCA connectors (and the 3.5mm front panel jack) have a nominal operating level of -10dBu to match most consumer audio players. The stereo line outputs are -10dBu “pre-master”, so they are not affected by the settings of the Main output controls.

Transformer Balanced Outputs

The transformer outputs use male XLR type connectors and provide total isolation for 600 ohm lines. Pin 1 is ground, pin 2 is (+), and pin 3 is (-). These outputs are controlled by the Left and Right Master levels, with a nominal operating level of +4dBu.

Note: The transformer-balanced outputs are designed to drive up to +24dBu into 600 ohm loads. Because of the nature of an output transformer, the output level increases as the impedance of the terminating load becomes higher than 600 ohms. Whereas a “direct-coupled” output stage like that of the transformerless outputs will not change as the load changes, any transformer used in an audio path is affected by its termination impedance.

Since line level inputs on audio devices are typically 10KΩ or higher, expect a slight increase (2.5dB) in output level when driving high impedance inputs with the transformer outputs. The output meters will remain accurately calibrated to the levels present on the transformerless outputs, regardless of the load on the transformer outputs.

Transformerless Outputs

• These outputs are also controlled by the left and right master. They are 1/4″ servo-balanced TRS jacks with a nominal operating level of +4dBu into any load.

Sub Outputs

• These outputs are generally used to feed another mixer’s Sub Inputs for expanded input capacity. The Main left and right submaster outputs use unbalanced (mono) 1/4″ connectors.
• The Aux submaster outputs use 1/4″ TRS connectors with Aux 1 on the tip and Aux 2 on the ring.

Mono Output

• This output is a function of the Mono Level Control, which is a pre-Master summed output from the left and right mix busses.
• Like the main outputs, it is pseudo-balanced with a nominal level of +4dBu.

Sub Inputs

These inputs are useful for linking together two or more mixers for expanded input capacity, and include Main left, Main right, and Aux 1/Aux 2. Signal to the Sub Inputs is taken from the Sub Outputs of another mixer, with a nominal level of +4dBu. The Aux submaster input requires Aux 1 on the tip and Aux 2 on the ring.

CHANGING FACTORY CONFIGURATIONS

Changing the Aux Pre/Post Assignment

The MX-508 is shipped from the factory with Aux 1 assigned Pre-Fader/EQ, and Aux 2 Post-Fader/EQ. Each channel’s Aux Send controls may be independently configured for either pre or post fader/EQ operation with a minimum of tools and no soldering. To make this change, refer the following procedure to a qualified service technician:

Unplug the unit’s AC power cord from the outlet. Remove the bottom cover which is fastened by seven 6-32 screws. Locate the 3 pin headers labeled Send 1 and Send 2 near the front of each input channel circuit board (see diagram). Remove the shunt bar from the factory installed position indicated on the circuit board legend and place the shunt on the other position of the 3 pin header.

TYPICAL APPLICATIONS

The following information will help you make the most of your new mixer:

Small Sound Reinforcement System

The MX-508 can be used to mix typical sound sources that might be found in a small club, school theater or similar environment. Six of the input channels are used for microphones for live vocal or instrumental pickup. The remaining two channels are used for playback from a stereo source, such as might be used during intermission, for backup, for special recorded effects, etc. Power amplifier(s) (or any additional outboard equipment) is fed from the transformer balanced Output connectors.

Meeting Room or Church Using Remote Control

The MX-508 can be interfaced with an Ashly VCM-88C eight-channel remote level controller, allowing a full-featured mixer to be operated from a distance by a non-technical person. Once initially set up, the RD-8C desktop remote controller can be located far away from the main audio equipment rack using a single balanced XLR cable, allowing for simplified sound system operation using a limited number of knobs, lights, and buttons.

Location Recording or Broadcast Mixing

The MX-508 can be used to mix sources typically found in location recording or broadcast situations (mostly microphones). The Stereo Line Out jacks can feed a portable recorder, and the recorder’s line output is brought back to the Stereo Line In connectors for monitoring. For live remote broadcast applications the Mono Out connector can feed a suitable TELCO or internet interface.

Submixer In Larger Sound System:

The MX-508 can be used to provide a drum mix to the main mixer without tying channels on the main console. Up to eight mics can be “pre-mixed” in stereo, with all drum-specific gating, compression, and effects controlled directly by the drummer. Either the main OUTPUT or the SUB OUT connectors can be used to feed the mixed drum signal to the main mixer. If there is significant distance between the MX-508 and the “master” mixer, use the balanced or transformer- balanced Main outputs for long cable runs.

TROUBLESHOOTING TIPS

No Sound

Check the AC power. Is the power switch LED on and illuminated? Check the level meters. If they are operating, either the problem is between the mixer and the later components in the system, or else the Output Mute switches are pressed. If there is no meter activity, check to see you really have an input signal and that it is on the desired channel, or check to see that the meter select switch is set to Left/Right. Check that you have the master gain controls at the desired operating level and that the output mute switches are out.

Distorted Sound

Something is being overdriven in the signal path. If the clip indicators are active, reduce the channel gain controls and/or press in the pad switch on the rear panel. If the level meters are constantly in the red, reduce the Master gain and increase the gain of components following the mixer. There are many gain adjustments in the mixer itself and probably several others in other system components which makes it possible to overdrive an input section and then incorrectly try to reduce the gain of the output section.

The best way to approach setting gains is to establish the operating level of input stages first by setting their gain as high as possible but leaving about 20dB of headroom for loud peaks, then move on to set the master gain to produce a good meter reading. Proceed to set the gain of equalizers, limiters, crossovers, and amplifiers following the mixer in the same manner, always working toward the later stages of the system.

Excessive Noise

If the noise is in the form of his, the problem is usually due to an input stage set up for low gain and then compensating by increasing the master gain. Check that the Pad switch is not enabled unnecessarily. Turn up the channel gain controls and reduce the master gain.

Excessive hum

This is usually caused by “ground loops” in the system wiring. A complex sound system with many sources separated by significant distance and using several power outlets has many opportunities for this problem to occur. If possible, feed everything in the system from one power source with a common ground. Use balanced input and output connections between widely separated components. If you need help, get in touch with your Ashly dealer or call an Ashly technical service representative at 1-800-828-6308.

SPECIFICATIONS

(0dBu = 0.775V)

• INPUT IMPEDANCE
  • Mic input (balanced) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.2k Ohm
  • Line input (balanced) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20k Ohm
• DISTORTION
  • THD at +4 dBu output, 20Hz-20KHz . . . . . . . . . . . . . . . . . . . . . . . <0.05%
  • THD at +20dBu output, 30Hz-10KHz . . . . . . . . . . . . . . . . . . . . . . . <0.05%
  • IMD (SMPTE) at +20dBu output . . . . . . . . . . . . . . . . . . . . . . . . . . <0.05%
• HUM & NOISE (20Hz-20KHz at max preamp gain)
  • equivalent input hum and noise . . . . . . . . . . . . . . . . . . . . . . . . . . . <-128dBu
  • residual output noise, TRS outputs,
  • all levels at minimum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-100dBu
  • residual output noise, XLR outputs, . . . . . . . . . . . . . . . . . . . . . . . . <-90dBu
  • Master Level at nominal,
  • all Ch. Level controls at min . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-80dBu
  • Master Level and one Ch. Level at nom. . . . . . . . . . . . . . . . . . . . . . <-68dBu
  • Aux 1 or 2 Out, Aux Master at nominal
  • and all Ch. Aux at min, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-88dBu
  • Aux 1 or 2 Out, Aux Master and
  • one Ch. Aux at nom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-68dBu
• FREQUENCY RESPONSE
  • 20Hz-20KHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +0.5/-1.0dB
  • 50Hz-10KHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +0/-0.5dB
• MAXIMUM INPUT LEVEL
  • Mic input (with pad) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +22.3dBu
  • Line input +23dBu
• MAXIMUM OUTPUT LEVEL
  • Transformer output . . . . . . . . . . +24.2dBu @600 Ohm (+26.7dBu no load)
  • Line output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +23dBu, RCA +13.5dBu
• MAXIMUM VOLTAGE GAIN (±2dB)
• MASTER
  • Mic Input to Master Output, 600 ohm load . . . . . . . . . . . . . . . . . . . . . 84dB
  • Line Input to Master Output, 600 ohm load . . . . . . . . . . . . . . . . . . . . . 30dB
• AUX SENDS
  • Mic Input to Aux Master Output, pre ch. level . . . . . . . . . . . . . . . . . . . 80dB
  • Mic Input to Aux Master 2 Output, post ch. level . . . . . . . . . . . . . . . . 95dB
  • SUB Input to Master Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12dB
  • AUX RETURNS 1 or 2 to Master Output . . . . . . . . . . . . . . . . . . . . . . 30dB
  • Stereo Line In to Master Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27dB
• EQUALIZATION
  • Low . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±12dB at 70Hz, shelving
  • Mid . . . . . . . . . . . . . . . . . . . . . . . . . . . ±12dB peaking, 140Hz-8KHz
  • High . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±12dB at 15KHz, shelving
• CROSSTALK
  • adjacent inputs, 20Hz-20KHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-65dB
  • Mic Input to Master Output, 1KHz . . . . . . . . . . . . . . . . . . . . . . . . . <-65dB
  • Mic Input to Master Output, 20KHz . . . . . . . . . . . . . . . . . . . . . . . . . <-55dB
• VU METERS
  • Selectable to Main or Aux Outputs . . . . . . . . . . . . . . . . . . . . . 0VU = +4dBu
  • -21 VU to +6 VU
• PEAK INDICATORS
  • Peak Clip indicator on each input channel and left and right outputs, illuminates 3dB below clipping
• PHANTOM POWER
  • +48 VDC applied to all Mic Inputs, switchable on front panel. Maximum total current draw = 80mA. Maximum single channel current draw = 14mA. Gradual power-up and down to eliminate “pops”.
• WEIGHT
  • Unit weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14.7 lbs. (6.68kg)
  • Shipping weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 lbs. (8.63kg)
• DIMENSIONS
  • 19″ x 5.25″ x 9.4″ (483mm x 133mm x 239mm)
• POWER REQUIREMENTS
  • 100-240 VAC, 50-60 Hz, 30 watts

*unless otherwise stated, specification conditions are: 150Ω source, maximum preamp gain, all other controls set at nominal, XLR outputs into 600Ω or greater.

MX-508 Block Diagram

LIMITED WARRANTY

LIMITED WARRANTY (USA ONLY)

(Other countries please contact your respective distributor or dealer.)

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

ASHLY AUDIO, INC. warrants to the owner of this product that it will be free from defects in workmanship and materials for a period of FIVE years from the original date of purchase. ASHLY AUDIO INC. will without charge, repair or replace at its discretion, any defective product or component parts upon prepaid delivery of the product to the ASHLY AUDIO, INC. factory service department, accompanied with a proof of original-date-of-purchase in the form of a valid sales receipt. This warranty gives you specific legal rights, and you may also have other rights, which vary from state to state.

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

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

OBTAINING WARRANTY SERVICE

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

1. Return the product to ASHLY AUDIO, INC. freight prepaid, with a written statement describing the defect and application that the product is used in. ASHLY AUDIO, INC. will examine the product and perform any necessary service, including replacement of defective parts, at no further cost to you.
2. Ship your product to:
   • ASHLY AUDIO, INC.
   • Attention: Service Department 847 Holt Road
   • Webster, NY 14580-9103

Contact

ASHLY AUDIO INC

• 847 Holt Road Webster, NY 14580-9103, USA
• Phone: 585-872-0010
• Fax: 585-872-0739
• Toll Free:  800-828-6308
• ashly.com

©2014 by Ashly Audio Corporation, a division of Jam Industries Ltd. All rights reserved worldwide.
All features, specifications, and graphical representations are subject to change or improvement without notice.

References

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