Ashly LX-308B Line Mixer

8-Channel Stereo Line Mixer with 8 Stereo Inputs, Each with Individual Level and Balance Controls
Ashly LX-308B Line Mixer image 1
Ashly LX-308B Line Mixer image 1
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Ashly LX-308B Line Mixer
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A True Stereo Balanced Line Mixer!

The Ashly LX-308B Line Mixer can function as a true stereo 8-channel line level mixer, or can be used as a sixteen channel mono mixer. The LX-308B can be used on its own whenever stereo line level sources need to be combined. This low-profile, single-rackspace mixer is ideal for installations such as boardroom and conference room sound systems, multimedia applications, broadcast studios, and mobile/field units, as well as live sound and recording situations. It includes a universal switching power supply that allows you to use it anywhere. If you need maximum flexibility for your setup in a package that takes up minimal space, the Ashly LX-308B is the line mixer for you!

Ashly LX-308B Line Mixer at a Glance:
  • Inputs and meters
  • Outputs
  • Precise mixing control, rackmountable package

Inputs and meters
Each input of the LX-308B has a pair of balanced 1/4" TRS line input jacks, with level and pan controls on the front panel. All inputs may be used either balanced or unbalanced. Channels one and two are switchable for mic or line level to allow the use of microphones directly into those inputs without the need for separate preamplification. An input on/off switch with LED status indicator provides for convenient channel muting when needed. Two five-segment LED meters may be switched to indicate either input sums or Left and Right stereo output. Separate Left and Right clip indicators monitor all internal amplifiers to warn of any possible overload distortion. The LX-308B's power switch is now located on the back of the unit.

The LX-308B's servo-balanced Left and Right outputs are on 1/4" TRS phone jacks (all outputs may be used either balanced or unbalanced). Left and Right level controls, variable panning and stereo mute switch are found on the front panel, as is the overall level adjustment for the independent Mono summed output. Stereo headphones may be conveniently connected to the front of the mixer, and this output has its own level control. Pre-Master sub inputs and outputs may be used for linking the LX-308B to other mixers, such as the Ashly MM-508 eight input stereo microphone model.

Precise mixing control, rackmountable package
The LX-308B provides precise line-level mixing control in a single space rack-mountable package, with an inside rack depth of 8". Rugged, versatile, and backed by Ashly's exclusive Five Year Worry-Free Warranty, the LX-308B will provide years of reliable performance in applications demanding professional audio quality.

Ashly LX-308B Line Mixer Features:
  • Balanced inputs and outputs
  • Eight stereo or 16 mono balanced inputs
  • Individual left, right, and mono inputs
  • Channel 1 and 2 selectable mic or line inputs
  • Unity gain signal path throughout when all level controls are set at 12 o'clock
  • L and R level meters with clip indicators monitor all internal amplifiers
  • Individual channel mute switches
  • Stereo output mute switch
  • Stereo headphone output with level control
  • Pre-master sub inputs and outputs for linking multiple mixers
  • On/Off switches to all 8 inputs
  • Universal switching power supply; operates from 100 - 240VAC, 50/60Hz
  • Inside rack depth: 8"
The Ashly LX-308B offers flexible line-level and stereo mixing in a handy rackmountable package!

Additional Media

LX-308B Spec Sheet
LX-308B User Manual

Tech Specs

Type Analog
Channels 16 (8 stereo/16 mono)
Inputs - Mic Preamps 2 x 1/4"
Inputs - Line 16 x 1/4"
Inputs - Other 2 x 1/4" (Sub)
Outputs - Main 2 x TRS (Main), 1 x 1/4" (Mono)
Outputs - Other 2 x 1/4" (Sub)
Headphones 1 x 1/4"
Rackmountable Yes
Height 1.75"
Width 19"
Depth 7.6"
Weight 9 lbs.
Manufacturer Part Number LX-308B

Customer Reviews

Based on 6 reviews
Write your review

Great line mixer

I've used this Ashly as a keyboard, etc. mixer for about 8 years. It's clean, quiet, and totally reliable. I haven't ever used the first two channels' mic switch, so I don't know how well it works.

First review I've felt the need to post

First of all, I'm only not giving this unit 5/5 because there's not much to be 'blown away' by when a unit like this does what it's supposed to do. Having said that, this is a vast upgrade from my previous mixing solution. The majority of my mixing is done in the computer these days, so I had all my external gear, plus the output of my internal RME card going through a patchbay into a Tascam TM-D1000 with a MOTU 2408 Mkii providing the extra 8 digital channels via TDIF. Outdated technology, I know. My main issue for switching was due to the amount of noise coming from both the Tascam and the MOTU, which after a while really started to grate at me. After only using the Ashly for about 2 hours, the difference is huge. Every channel is clear and clean and even on ramping the stereo outs to the max, there is very little noise/hum/buzz/etc overall. $569 is a good price for a solid unit like this. It took me a while to settle on the LX-308B, due to looking at more expensive and also cheaper options, but I feel I made the right choice for my setup and what I wanted to spend.
Music background: Music Producer / Record Label Owner

Undoubtably better than what you have

I'm a professional house of worship keyboardist with a 5-unit live midi rig (RD-700 + four other modules/keyboards), so I need something to mix down all my keyboards into one stereo feed for the house feed. I know most people use a cheap (small-format) Be******r mixer to combine all their stereo keyboards, and I confess I too did that for some years. But you never realize how much life those things suck out of your sound until you get something of good professional quality like this Ashly. Maybe the average end user can't tell the difference, but when you're using the same sounds all the time you'll be able to tell a difference in them when you change to this mixer. I've owned one for about ten years and I still love it. The Ashly has more than enough inputs, handy on/off, panning (good for correcting those patches that just lean to one side...). The tone is extremely transparent, the noise level is way quieter than the built-in mixers on Roland amplifiers I've used before, and the TRS ins and outs are perfect for keyboard rigs. I use a TRS to XLR cable to pipe the feed directly into a snake, but I still like the TRS on the unit because it's easier to plug/unplug in the back of a crowded rack. I've also plugged a Line 6 Pod into one of the channels when I had to switch between instruments, which worked great. Live Tip: I set the "stereo" output to go to house, and send the "buss" output to my in-ear mixer. That way when I need to audition a sound, I just press the "stereo output mute" button (with handy red indicator light) which mutes the send to the house but not my in-ears. I love the sound quality, the simple, small form factor, and the ease of use, and the high headroom/high gain potential, but beware the high output levels of the buss sends, anything in the yellow on my meters (with stereo output knob at 12 o'clock) clips the Soundcraft and Yamaha house/monitor boards. The only thing I wish it had is a little routing flexibility, so I could put my monitor mix in channel 8, route it only to the front headphone output, and use that as my monitor feed - then I could get rid of this blankety-blank Be******r board I'm using for my in-ears.... That's the only reason I can't give this review 5 stars! But even without the routing, it's an almost perfect feature set for a live keyboardist. My first unit of ten years was severely damaged in a tornado, so I'm back for another. Guess that answers the "would you buy another one" question! Disclaimer: In my rig I use a fadermaster and a MIDI footpedal to control individual fade outs, swells, etc., by MIDI. I highly recommend doing that (or using a controller keyboard with similar functions) instead of trying to control each keyboard live with knobs on this unit, they are not really meant for changing levels smoothly, though I suppose you could do one at a time pretty smooth. I think the knobs have more friction, to make sure you keep your preset levels. Which for my purposes is great!
Music background: Pro Musician/Engineer


We are primarily a MIDI based studio with a lot of rack and other synths and keyboards. I have two of the Ashley LX-308B units (probably going to add a third) chained together. All I/O is TRS and balanced. There is not to much too them - simple operation, transparent sound, mute button (lit) and a pan pot. Made in the US and worth the money. A really nice solution for high level devices. joel in Dallas
Music background: Project Studio Musician / Engineer

Great mixer, pots get noisy

We bought two of these to mix the audio in a 13-station computer-music lab, and they've been wonderful. Easy to install, easy to use, reliable, they sound great, and they're flexible enough that we've never had any trouble no matter what speakers or amps we connect them to. I would give it a 5 rating, except that after a couple of years the controls started to get very noisy. They weren't difficult to clean--pull the top off and spray the pots with de-oxidizer--but it did mean pulling our whole rig apart to get them out. I would have expected that the pots would hold out longer than this--I have a rotary-control mixer from TOA that's over 30 years old and has never had problems with noise.
Music background: PhD in music and engineering
See also: Ashly, Ashly Line Mixers