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CHOOSE
AN EFX PROCESSORS
A STUNNING
SOUND FROM ASHLEY
The
Protea 24.24M Matrix Processor uses modular expansion cards to provide
up to twenty-four channels of audio matrixing and processing. The
base unit offers a four-input/four-output configuration. Each input
and output expansion card has an individual DSP processor allowing
you to expand the base unit’s total inputs or outputs four
channels at a time. These cards are easily installed in the field
without the need to reprogram the device. Matrixing allows you to
route any input to any output and control individual levels once
they have been assigned. Fixed path architecture and extensive processing
power per channel will reduce the amount of time it takes to set
up your system. All programming is accomplished using Ashly’s
Protea System Software on a PC platform. No front panel controls
and multi-level software security assures you a tamperproof audio
system. Whether you are designing or installing a system for corporate
boardrooms, restaurants, courtrooms, houses of worship, left/center/right
theatres, auditoriums or conference centers, the Protea 24.24M will
more than satisfy your requirements for any zoned system requiring
input/output matrixing with signal processing.
The
24.24M Matrix Processor's firmware is supported by flash making
the device capable of field upgrades using Ashly Audio’s Protea
System Software. Reprogramming is simple and takes only minutes.
Input
channel processing blocks include Mic Preamp with Phantom Power,
Gain, Delay, fifteen EQ Filters, Gate, Autoleveler and Ducker. Inputs
may be configured as either mic or line level. Output channel processing
blocks consist of a Cross Point Mixer, HPF/LPF, Delay, fifteen EQ
Filters, Gain and Limiter. The cross point mixer in the output section
allows you to route any input to any output at any level and mute
any input at any output without affecting the true input configuration.
The HPF/LPF block offers Bessel, Butterworth and Linkwitz-Riley
filters with 12, 18, 24 and 48dB/ octave slopes.
There are so many other Ashly products
that will add so much to your sound. Call us and find out what product
is best for you
| Protea
4.24g |
 Full
control of the 4.24G is accomplished from the front panel in
an intuitive and
straight-forward layout. It's like using your old analog equalizer,
only with extra
features and benefits to simplify your audio chain requirements.
Housed in an
all-steel 2RU package, the 4.24G has all the audio processing
tools needed for
flawless equalization and sound control. In addition to 28 bands
of 1/3-octave EQ
are a programmable compressor/limiter for speaker protection
and programmable
delay of up to 1.364 seconds for time delay applications required
by speaker arrays
and clusters or monitor speakers. Individual, programmable 24dB/octave
high- and
low-pass filters allow you to zero in and fine tune the audio
spectrum you need to
work in. A large 240 x 64 fluorescent backlit display keeps
you constantly informed
of every parameter, function and utility, including metering
and user preferences.
The 4.24G may be controlled from a remote location using the
Protea 4.24RD |
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| PROTEA
4.24c |
 Four
Inputs and Eight Outputs coupled with a user interface so easy
you won't even need
the manual to set up your system, the Protea System II 4.24C
Digital Crossover/System
Processor has all the audio processing tools needed for precise
crossover and sound control.
Each input
allows you to control gain, delay and six parametric, low
or high shelf filters. In
addition to setting crossover frequencies, each output may
be assigned to any one or a
combination of inputs, allows you to program four parametric,
low or high shelf filters, delay
for time delay adjustments, output gain, reverse polarity
and a compressor/limiter for speaker
protection.
All
this in a one rack space with XLR input and output connections.
You may also program and
control the 4.24C with Ashly's Protea System Software (WindowsTM
95, 98, 2000, XP and NT
platforms), MIDI or SIA-Smaart software. In all, the Protea
4.24C is a powerful tool for use in
fixed installation and live sound applications.
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| clx51 |
 The
CLX Series compressor/limiters use an "infinite soft-knee"
characteristic and
timing based on compression ratio. This, combined with a dual
release time, allows
program density to increase as the input signal increases. The
result is a peak
controller with very low noise, smooth sound, and excellent
stereo tracking without
the usual "constricted" limiter sound. The CLX-51
and CLX-52 have many ways to
deal with any gain structure. The mechanical design is ready
for years of rugged
service and we back our quality with Ashly's exclusive Five
Year Worry-Free
Warranty. The CLX series is extremely useful for such diverse
applications as
loudspeaker protection, vocal level control, broadcast limiting,
musical instrument
sustain, special effects, and CD to cassette transfers. |
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| CLX52 |
 The
CLX Series compressor/limiters use an "infinite soft-knee"
characteristic and
timing based on compression ratio. This, combined with a dual
release time, allows
program density to increase as the input signal increases. The
result is a peak
controller with very low noise, smooth sound, and excellent
stereo tracking without
the usual "constricted" limiter sound. The CLX-51
and CLX-52 have many ways to
deal with any gain structure. The mechanical design is ready
for years of rugged
service and we back our quality with Ashly's exclusive Five
Year Worry-Free
Warranty. The CLX series is extremely useful for such diverse
applications as
loudspeaker protection, vocal level control, broadcast limiting,
musical instrument
sustain, special effects, and CD to cassette transfers. |
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| DPX
100 |
 The
DPX Series was created in response to our dealers, contractors
and users
requesting a simple solution requiring general EQ and comp/limiting.
Two products have
been developed, the DPX-100 Graphic Equalizer & Compressor/Limiter
and DPX-200
Parametric Equalizer & Compressor/Limiter.
Using proven circuitry from our popular MQX and PQX series equalizers
and combining
these features with our CLX series compressor/limiters provides
two tools no audio system
should be without. By combining the features and benefits of
two processors into one unit,
the result is two powerful tools providing a simple solution
to everyday audio applications.
The
EQ section of the DPX-100 is a 15-band, constant Q, 2/3 octave,
ISO center, precision
wein bridge filter design. Other EQ features are: frequency
range from 25Hz to 16KHz,
selectable 15dB or 6dB range, 25mm faders with 'center off'
position, EQ in/out switch,
signal present and clip LEDs and switchable 18dB/octave -20Hz
high pass filter.
Two separate inputs are available in the DPX-200; a microphone
preamp with input pad
and a line input. An input select switch and input level control
are located on the front
panel. The EQ section consists of 4 bands of filtering; two
full-bandwidth parametric EQs
as well as a low-shelf and high-shelf filter. Other EQ features
are: in/out switching for
each filter, cut and boost of 15dB, signal present and clip
LEDs, and master EQ level control.
The
compressor/limiter section uses peak detection circuitry and
has individual controls
for gain, threshold, ratio, attack, release and output level.
More compressor/limiter features
include: in/out switch, 11-stage LED gain reduction meter,
selectable 11-stage LED input/output
level meter, and a detector patch point for frequency-selective
limiting or ducking.
Additional features of the DPX-100 and DPX-200 are: the equalizer
section and
compressor/limiter may be used independently or chained together
in series, balanced
XLR and ¼" inputs and outputs, extremely low noise
and distortion, internal power supply
and Ashly's five-year worry-free warranty.
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| DPX200 |
 The
DPX Series was created in response to our dealers, contractors
and users
requesting a simple solution requiring general EQ and comp/limiting.
Two products have
been developed, the DPX-100 Graphic Equalizer & Compressor/Limiter
and DPX-200
Parametric Equalizer & Compressor/Limiter.
Using proven circuitry from our popular MQX and PQX series equalizers
and combining
these features with our CLX series compressor/limiters provides
two tools no audio system
should be without. By combining the features and benefits of
two processors into one unit,
the result is two powerful tools providing a simple solution
to everyday audio applications.
The
EQ section of the DPX-100 is a 15-band, constant Q, 2/3 octave,
ISO center, precision
wein bridge filter design. Other EQ features are: frequency
range from 25Hz to 16KHz,
selectable 15dB or 6dB range, 25mm faders with 'center off'
position, EQ in/out switch,
signal present and clip LEDs and switchable 18dB/octave -20Hz
high pass filter.
Two separate inputs are available in the DPX-200; a microphone
preamp with input pad
and a line input. An input select switch and input level control
are located on the front
panel. The EQ section consists of 4 bands of filtering; two
full-bandwidth parametric EQs
as well as a low-shelf and high-shelf filter. Other EQ features
are: in/out switching for
each filter, cut and boost of 15dB, signal present and clip
LEDs, and master EQ level control.
The
compressor/limiter section uses peak detection circuitry and
has individual controls
for gain, threshold, ratio, attack, release and output level.
More compressor/limiter features
include: in/out switch, 11-stage LED gain reduction meter,
selectable 11-stage LED input/output
level meter, and a detector patch point for frequency-selective
limiting or ducking.
Additional features of the DPX-100 and DPX-200 are: the equalizer
section and
compressor/limiter may be used independently or chained together
in series, balanced
XLR and ¼" inputs and outputs, extremely low noise
and distortion, internal power supply
and Ashly's five-year worry-free warranty.
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| GQX1502 |
 The
GQX-Series is available in three different configurations: the
GQX-1502 features two channels of fifteen-band 2/3 octave
equalization and a switchable high-pass filter. The GQX-3101
is a single-channel thirty-one band model, while the GQX-3102
features two channels of 1/3 octave EQ. Both the third-octave
models offer tunable high-pass filter circuits from 8Hz to 200Hz
and 10-segment, two color LED meter displays, referencing 0
VU
to +4dBu. Each model in the GQX-Series features switch-selectable
cut or boost of either 6dB or 15dB, and carry the same Five
Year
Worry-Free Warranty offered on all commercial sound products
from Ashly.
The GQX models are designed to be significantly quiet without
the
need for noise reduction to be built into the equalizer circuit.
Double-sided circuit boards with ground plane design are used
in the filter sections for improved RFI and electrostatic immunity.
Precision Wein-Bridge filters and carefully designed summing
amplifiers combine to provide extremely accurate response, low
noise, negligible distortion, and complete immunity to magnetic
fields. All filters exhibit true constant "Q" response
with no
broadening near the "flat" setting. High slew-rate
circuitry
throughout the signal path results in clean, quiet, transparent
sound. The faders used are a custom-manufactured metal-shaft
type, with molded saddle knobs, for the ultimate in reliability
and
smooth "feel". Ashly's unique "T-Beam" front
panel construction
eliminates interconnections between the faders and the filters,
resulting in a very rugged and rigid front panel.
Input and output connections include barrier strip terminals
and
1/4" TRS phone jacks, as well as standard locking XLR's.
Circuit
ground may be lifted from chassis ground via the barrier strip.
Ashly's servo-balanced output circuitry maintains unity gain
even
if pins 2 or 3 are connected directly to ground. Our transformer
and power supply design result in lower hum noise and even greater
line voltage range. In fact, these units still meet specifications
when voltage drops down to as low as 93 VAC, making them the
ideal choice when power stability presents a problem to the
installer.
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| GQX3101 |
 GQX
3101 |
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| GQX3102 |
 GQX3102 |
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| MQX
SERIES |
 Audio
engineers do not have to give up a lot just to save a little
rack space when
choosing an equalizer. At Ashly, we believe that engineers should
never have to
compromise their standards just for the sake of miniaturization.
We proudly offer
the MQX Series, featuring all the performance and great sound
of our legendary
GQX models in an uniquely compact package. 
The same exacting filter design and summing circuitry of the
GQX Series equalizers
are utilized, with each filter exhibiting true constant Q response.
The center detented
position of every fader acts as an on/off switch for its filter.
(to minimize any possible
degradation to signal noise levels) Even the faders themselves
put these MQX Series
models into a class all their own. Instead of the 20mm plastic
faders typically used
by the competition, Ashly has selected a custom-manufactured
25mm slide fader
device. The additional range and accuracy of this component
allow us to offer
up to +/-15 dB of boost or cut adjustment on each individual
filter. (an Ashly
exclusive in this class of product)
Housed in a rugged steel chassis, each model features balanced
inputs and outputs,
with full ground lift provisions. For those engineers looking
to avoid those pesky
"wall warts", you will be pleased to find that we
feature internal power supplies
in all Ashly products.
Of course, each MQX Series equalizer is covered by our exclusive
Five Year
Worry Free Warranty. Finally, a truly professional graphic equalizer
in a smaller
rack space package. When performance, value, and reliability
are the most
important considerations, the Ashly MQX Series offers the obvious
solution to
limited rack space equalization situations! |
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| MX206 |
 Designed
to be used by itself or as a supplement to larger mixing consoles,
the
MX-206 from Ashly provides superior audio performance in a single
rack-space
package. Equally at home in either fixed or portable installations,
the MX-206
may be used anywhere where additional microphone inputs are
needed. Typical
applications include live sound reinforcement, broadcast, recording,
and film/video
production.
The
Ashly MX-206 is a rack-mountable six input channel stereo
microphone mixer
offering up to 84 dB of gain for distant mic placements or
extremely low-level signals.
Ultra low-noise, studio-grade integrated mic preamps are utilized.
Each channel has
a switchable 20 dB pad, a three-position sensitivity switch
to handle microphones
with different input sensitivities, and 48 V phantom power
may be switched in for
use by condenser mics. Every input has its own peak LED indicator.
A separate Aux
In volume control adjusts line level sources, such as a CD
player or tape deck
connected to rear-panel RCA inputs. Since plenty of headroom
has been designed
into the MX-206, even the loudest signals can be handled without
distortion.
Output
is monitored via two 5-segment, multi-colored LED meters,
along with separate
Peak Clip Indicators. The transformer-isolated XLR balanced
mono output is capable
of driving +24dBu into 600 ohms, and a separate TRS 1/4"
output may be used either
balanced or unbalanced. An Aux output appears on RCA jacks.
The
MX-206 provides superior audio performance in a rugged and
durable package.
Backed by Ashly's exclusive Five Year Worry-Free Warranty,
the MX-206 is designed
to provide many years of trouble-free operation.
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| MX406 |
 The
MX-406 is a rack-mountable six-input, stereo microphone/line
mixer designed to be used in fixed or portable installations.
Each input will accept either microphone or line-level signals.
If microphones are used, a -20dB pad switch is available. The
microphone input has an ultra low-noise studio-grade mic preamp
with up to 60dB of mic preamp gain. A three-position switch
allowing you to set input gain for -20, -40 and -60dB is located
on the front panel.
Each
input has bass and treble shelving filters with individual
control of each filter and a level and pan control. A separate
Aux input control adjusts line level sources, such as an external
processor, CD player or tape deck.
Additional
front panel controls include: Stereo Aux Input, Aux Master
Output, Left and Right Stereo Output and an On/Off Power switch.
A Mono/Phones output control allows you to adjust the mono
output and stereo headphone output. The Stereo headphone output
jack is located on the front panel.
Front
panel LED indicators include channel clip, Phantom power,
AC power and an 11-step LED output level meter.
Connections
on the rear panel include a combination 1/4” - XLR jack
for each input and an XLR transformer balanced mono output.
The balanced stereo output jacks are 1/4” TRS. Channel
inserts are 1/4” TRS. Left and right Aux In (return)
and Record Out are RCA type jacks. A switch turns the 48V
Phantom Power for use with condenser mics on and off.
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| MX508 |
 The
MX-508 is an eight-input stereo rackmountable mixer. Designed
for a multitude
of applications, the MX-508 has an extensive mix of features
for a small unit combined
with excellent sound and quiet performance.
The MX-508 features 84 dB of gain to ensure full output with
low-level or distant
microphones. Several years of research went into the microphone
preamp and the
result is a discrete circuit with better than -129 dBu Equivalent
Input Noise (EIN)
and very low distortion. Low and High Shelving EQ combined with
mid-band peaking
EQ tunable from 140Hz and 8 kHz make for a very flexible tone
control. Phantom power
of +48 VDC is provided for condenser microphones via a switch
on the front panel.
Precision input transformers are easily field-installable, and
each input has its own
20dB pad switch. Variable gain trim and Mic/Line selection switches
are also found
on each input channel. Rounding out the list of standard input
features are a Peak
Clip indicator, two Aux Sends (factory-set with one pre-EQ and
level and the other
post-EQ and level, these sends may be modified by a qualified
technician), In/Out
channel patching, Level and Pan controls, and both balanced
XLR Microphone and
TRS Line inputs.
Transformer-balanced Left and Right XLR outputs are standard,
as are balanced Left
and Right TRS 1/4" outs. There is also an independent Mono
output with its own front
panel level control, as well as a selectable Headphone output
with Level Control. There
are Pre-Master Sub In/Out patch points for linking other mixers,
such as the Ashly MM-106 six-input microphone mixer. Peak Clip
indicators are also provided for the Outputs, and the 10-Segment
LED Meters may be selected to monitor either Program Left and
Right or Aux 1 and 2. Maximum output level is +24dB into 600
ohms.
The MX-508 also has two Master Aux Sends and two panable Master
Aux Returns
(one stereo and the other mono). There is an additional stereo
RCA Tape/CD Input
with level control to the Mains or Aux 1. Stereo RCA Tape Outputs
are also provided.
The MX-508 combines traditional Ashly quality with internally
modular construction in
a package offering outstanding value and reliability. As with
all Ashly products, the MX-508 is backed by the Company's exclusive
Five Year Worry-Free Warranty. |
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| PQX
SERIES |
 Ashly
presents the PQX series parametric equalizers. Like graphic
equalizers,
parametrics allow you to boost or cut selected frequencies.
However, parametric
equalizers also allow exact adjustment of the frequency and
bandwidth of each
band, resulting in very precise control of frequency response.
The amplitude,
center frequency, and bandwidth are the "parameters"
for each equalizer band
and the term "Parametric" refers to the ability to
adjust all of these characteristics
independently
The Ashly PQX series equalizers are a third generation design
including many
refinements on our original PQ models. Lower noise, greater
headroom, additional
filters, full 20Hz -20KHz range on all parametric filters and
additional connector
types are the result.
The heart of the PQX equalizers is a unique bandpass filter
circuit. Basically a
"state-variable" type, this filter is trimmed and
optimized to provide excellent
transient response and a wide range of frequency and bandwidth
adjustment.
Each filter can be tuned over a 100:1 frequency range (about
6.6 octaves) and
a 70:1 bandwidth range with no more than a 2 dB amplitude error
at center frequency. 
At its sharpest setting, the filter has a "Q" of about
35 and generates a response curve
with 3 dB points only 1/20 octave apart, making feedback control
possible with no
audible side effects. Each filter is placed in the feedback
loop of a summing amplifier
to produce the desired frequency response. Since a separate
summing amplifier is used
for each band, no interaction between bands occurs. After twenty
years of refinement,
the Ashly parametrics are the most powerful equalization tool
available. They especially
excel in control of resonance and feedback yet also provide
smoother broadband tone
shaping than Graphic equalizers. |
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