About the Mark of the Unicorn License Agreement and
Limited Warranty on Software
TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the
terms and conditions of the “click-wrap” license agreement presented to you when
you install the software. Using the software or this documentation indicates your
acceptance of the terms and conditions of that license agreement.
Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
Both the program and the documentation are protected under applicable copyright,
trademark, and trade-secret laws. Your right to use the program and the
documentation are limited to the terms and conditions described in the license
agreement.
Reminder of the terms of your license
This summary is not your license agreement, just a reminder of its terms. The actual
license can be read and printed by running the installation program for the software.
That license agreement is a contract, and clicking “Accept” binds you and MOTU to
all its terms and conditions. In the event anything contained in this summary is
incomplete or in conflict with the actual click-wrap license agreement, the terms of the
click-wrap agreement prevail.
YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer
the program from one computer to another provided that the program is used on only
one computer at a time and that you remove any copies of the program from the
computer from which the program is being transferred; (c) make copies of the
program solely for backup purposes. You must reproduce and include the copyright
notice on a label on any backup copy.
YOU MAY NOT: (a) distribute copies of the program or the documentation to others;
(b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of
the program in a computer service business, network, time-sharing, multiple CPU or
multiple user arrangement without the prior written consent of MOTU; (d) translate,
adapt, reverse engineer, decompile, disassemble, or otherwise alter the program or
related documentation without the prior written consent of MOTU.
MOTU warrants to the original licensee that the disk(s) on which the program is
recorded be free from defects in materials and workmanship under normal use for a
period of ninety (90) days from the date of purchase as evidenced by a copy of your
receipt. If failure of the disk has resulted from accident, abuse or misapplication of the
product, then MOTU shall have no responsibility to replace the disk(s) under this
Limited Warranty.
THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF,
AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH
EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE
LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE
LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO
EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE
LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING
BUT NOT LIMITED TO LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR
DATA BEING RENDERED INACCURATE, OR LOSSES SUSTAINED BY THIRD
PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF
SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS
WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW
THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL
DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.
Update Policy
In order to be eligible to obtain updates of the program, you must complete and return
the attached Mark of the Unicorn Purchaser Registration Card to MOTU.
Mark of the Unicorn, Inc. and S&S Research (“MOTU/S&S”) warrant this equipment
against defects in materials and workmanship for a period of TWO (2) YEARS from
the date of original retail purchase. This warranty applies only to hardware products;
MOTU software is licensed and warranted pursuant to separate written statements.
If you discover a defect, first write or call Mark of the Unicorn at (617) 576-2760 to
obtain a Return Merchandise Authorization Number. No service will be performed on
any product returned without prior authorization. MOTU will, at its option, repair or
replace the product at no charge to you, provided you return it during the warranty
period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280
Massachusetts Avenue, MA 02138. You must use the product’s original packing
material for in shipment, and insure the shipment for the value of the product. Please
include your name, address, telephone number, a description of the problem, and
the original, dated bill of sale with the returned unit and print the Return Merchandise
Authorization Number on the outside of the box below the shipping address.
This warranty does not apply if the equipment has been damaged by accident,
abuse, misuse, or misapplication; has been modified without the written permission
of MOTU, or if the product serial number has been removed or defaced.
ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO NINETY (90) DAYS FROM THE DATE OF THE
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.
THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE
AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED.
No MOTU/S&S dealer, agent, or employee is authorized to make any modification,
extension, or addition to this warranty.
MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF
WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,
DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT
AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
MOTU/S&S PRODUCTS.
Some states do not allow the exclusion or limitation of implied warranties or liability for
incidental or consequential damages, so the above limitation or exclusion may not
apply to you. This warranty gives you specific legal rights, and you may have other
rights which vary from state to state.
MOTU, Mark of the Unicorn and the unicorn silhouette logo are registered
trademarks of Mark of the Unicorn, Inc.
This equipment has been type 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 a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instruction manual,
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 interference to radio
or television equipment reception, which can be determined by turning the equipment off and on, the
user is encouraged to try to correct the interference by any combination of the following measures:
• Relocate or reorient the receiving antenna
• Increase the separation between the equipment and the receiver
• Plug the equipment into an outlet on a circuit different from that to which the receiver is connected
If necessary, you can consult a dealer or experienced radio/television technician for additional
assistance.
PLEASE NOTE: only equipment certified to comply with Class B (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
cables in order to comply with the Class B FCC limits on RF emissions.
WARNING: changes or modifications to this unit not expressly approved by the party
responsible for compliance could void the user's authority to operate the equipment.
Contents
Quick Reference: UltraLite-mk3 Front Panel
5
6
Quick Reference: UltraLite-mk3 Rear Panel
Quick Reference: MOTU Audio Console
7
About the UltraLite-mk3
9
Packing List and Windows System Requirements
13
15
IMPORTANT! Run the UltraLite-mk3 Software Installer First
Installing the UltraLite-mk3 Hardware
17
27
MOTU Audio Console
UltraLite-mk3 Front Panel Operation
33
Cubase, Nuendo, Live and Other ASIO Software
41
SONAR and other WDM Software
47
GigaStudio and GSIF
51
55
Reducing Monitoring Latency
CueMix FX
61
89
MOTU SMPTE Console
Performance Tips & Troubleshooting
93
III
IV
56
SETUP mode lets you access general settings. Use the
PARAMETER knob to browse settings, and use the VALUE
knob to adjust them.
From the factory, its output matches the main outs on
the rear panel. But it can be programmed to mirror any
other output pair (digital or analog). It can even be
programmed to serve as its own independent output.
Use the volume knob above to control its level.
power for condenser microphones. Up is on; down is off.
The pad switches are three-way switches: down turns off
the pad; the middle position provides an -18 dB pad; the
board CueMix FX mixer. Use the CHANNEL knob to
choose the input, output or mix you wish to edit. Push it
to switch among inputs, outputs and busses, then turn it
up position provides a -36 dB pad.
to choose the desired channel or bus. Use the PAGE,
PARAM and VALUE knobs to access the settings for the
chosen channel.
6. This is a standard quarter-inch stereo headphone jack.
a stereo output of your choice. The four knobs to the right
of the LCD correspond directly to the four labeled
sections of the LCD. Push the PARAMETER knob repeat-
edly to cycle through the three main LCD display modes:
METER, CUEMIX and SETUP.
METER mode provides level meters for each input and
4
3
7. The 48V phantom power switches provide phantom
output. The labels above and below the LCD refer to all of
the UltraLite-mk3’s inputs and outputs (both analog and
digital).
CUEMIX mode lets you program the UltraLite-mk3’s on-
Quick Reference: UltraLite-mk3 Front Panel
0
the current volume setting in the LCD display; push it
again to control the UltraLite-mk3’s MASTER VOLUME
setting. From the factory, MASTER VOLUME controls the
(TRS) MAIN OUTS 1-2 on the rear panel, but MASTER
VOLUME can be programmed to control any combination
of outputs. See “The Monitor Group” on page 82 for
details.
UltraLite-mk3; press and hold to turn it off. The
UltraLite-mk3 is powered by its FireWire connection to
the computer. It is recommended that you always power
off the UltraLite-mk3 before unplugging the FireWire
cable.
of the UltraLite-mk3’s inputs and outputs. It also gives
you access to the UltraLite-mk3’s built-in mixer and
other settings. There are eight independent stereo mix
7
125
cable with a quarter-inch plug. Both the low-impedance
XLR jack and the high-impedance TRS jack are equipped
with 24 dB of front-panel trim adjustment, along with
1. This XLR/TRS combo jack accepts either a mic cable or a
4. When power is off, push the VOL knob to power on the
zero, -18 dB or -36 dB of cut (pad). The XLR (mic) input
can be supplied with 48V phantom power via the Mic 1
front-panel switch.
2. These two Precision Digital Trim™ knobs provide 24 dB
of trim adjustment in 1 dB increments for the front and
rear panel Mic/Instrument inputs. Both have preamps,
so you can plug in just about anything: a microphone, a
guitar or even a synth. For +4 dB signals, use the rear
panel TRS inputs. Use the trim knob, three-way pad
switch and input level meter in the LCD to calibrate the
5. The multi-purpose backlit LCD provides metering for all
input signal level.
3. Turn the VOL knob to control the headphone volume. The
LCD provides visual feedback for the headphone volume
busses. Each mixes all inputs (or any subset you wish) to
setting as you turn the knob. Push the knob once to view
Use the
4
discharge, which can harm the electrical compo-
nents in the UltraLite-mk3 or your computer.
second FireWire port to daisy-chain up to four MOTU
FireWire audio interfaces to a single FireWire bus. You
can also connect other FireWire devices. Keep in mind
that the UltraLite-mk3 uses more FireWire bus
bandwidth when it operates at higher sample rates,
which will limit the number of devices you can daisy
chain on a single FireWire bus. For details, see see
“Connecting multiple MOTU FireWire interfaces” on
page 24.
with either tip-positive or tip-negative polarity.
8. This jack accepts any standard 10-24V DC power supply
576
Important note: it is best to turn off
analog inputs (3 through 8) are gold-plated, balanced
TRS (tip/ring/sleeve) quarter-inch connectors that can
also accept an unbalanced plug. They do not have micro-
phone preamps, so they are best used for synthesizers,
drum machines, effects processors, and other instru-
ments with line level signals (either -10 dB or +4 dB).
These inputs are also equipped with the UltraLite-mk3’s
Precision Digital Trim™ feature: digitally controlled
analog trims that let you adjust input level in 1 dB incre-
ments from either front panel LCD or the included
CueMix FX software. The trim can be adjusted over a
range of -96 to +22 dB.
the standard 1394 FireWire A cable provided with your
UltraLite-mk3.
the UltraLite-mk3 when plugging in the FireWire
6. Equipped with 24-bit 192 kHz converters, these six
7. Connect the UltraLite-mk3 to the computer here using
cable, as this avoids the possibility of static
Quick Reference: UltraLite-mk3 Rear Panel
0
). You can also use CueMix FX to monitor
cable with a quarter-inch plug. Both the low-impedance
XLR jack and the high-impedance TRS jack are equipped
with 24dB of front-panel trim adjustment. The XLR (mic)
input can be supplied with 48V phantom power via the
Mic 2 front-panel switch. The Mic 2 three-way pad switch
provides zero (down), -18dB (middle) and -36dB (up)
pad settings for the XLR (mic) input as well.
4. This XLR/TRS combo jack accepts either a mic cable or a
123
8
Connect the UltraLite-mk3’s MIDI OUT port to the MIDI IN
port on the other device. Conversely, connect the
UltraLite-mk3’s MIDI IN port to the MIDI OUT port on the
other device. You can connect different devices to each
1. Connect a MIDI device here using standard MIDI cables.
port, such as a controller device to the IN port and a
UltraLite-mk3’s main outputs. You can connect them to a
5. These two balanced, quar ter-inch jacks serve as the
sound module to the OUT port. You can also daisy-chain
MIDI devices, but be sure to manage their MIDI channels
(so that they don’t receive or transmit on the same
channel).
Main Out 1-2
set of powered studio monitors and then control the
volume from the front panel volume knob. To hear disk
tracks in your audio software on these main outs, assign
the disk tracks (and master fader) to these main outs
inch connectors that can also accept an unbalanced plug.
They are equipped with 24-bit, 128x oversampling
2. These jacks provide stereo, 24-bit S/PDIF digital input
3. The UltraLite-mk3’s eight analog outputs are gold-
converters.
Quick Reference: MOTU Audio Console
CHAPTER
Click the tabs to access general MOTU
Determines the clock source for your
UltraLite-mk3. If you’re just using the
analog ins and outs, set this to Internal.
The other settings are for digital transfers
via S/PDIF or synchronization to time code
or other audio devices.
Check this option if the audio software
you are using with the UltraLite-mk3
does not support Windows WDM drivers
and instead only supports legacy MME
(Wave) drivers. When checked, this
option makes all of the UltraLite-mk3
inputs and outputs available to legacy
Wave-driver compatible audio software.
interface settings or settings specific
to the UltraLite-mk3 (or other
connected interface).
Choose the global sample rate
for the system here.
Choosing a smaller setting here reduces
the delay you may hear when listening to
live input that you are running through
effects plug-ins in your software. But
lower settings also increase the strain on
your computer. For details, see “Samples
Per Buffer” on page 29.
This option should always be left on
(checked). There are only a few rare cases
in which you would want to turn it off. For
details, refer to the MOTU tech support
database at www.motu.com.
This menu lets you choose what you will
hear from the PHONES jack. To mirror the
main outs, choose Main Out 1-2. Or you can
mirror any other output pair. To hear the
phones as their own independent output,
choose Phones 1-2.
Choose the output pair you would like the
main outs to mirror, or choose Main Outs to
operate them as their own independent pair.
How to access these settings
There are several ways to access these settings:
■ From the Windows Start menu, choose
Programs>MOTU>MOTU Audio Console.
■ From within Cubase, go to the Device Setup
window, click the MOTU Audio ASIO list item and
and click the Control Panel button.
■ From within other applications, refer to their
documentation.
Click the UltraLite-mk3 tab
to access these settings.
The UltraLite-mk3 driver provides a stereo
return back to the computer. This return
feeds the signal on any UltraLite-mk3
output pair directly back to the computer,
where you can record, process, monitor or
otherwise use it. This is a great way to
“bounce” full mixes, complete with live
audio routed through the UltraLite-mk3
only, back into the computer.
The UltraLite-mk3 is a FireWire audio interface for
Mac and Windows with on-board effects and
mixing that offers 10 inputs and 14 outputs at any
standard sample rates up to 96 kHz. Both analog
and digital I/O are offered at sample rates up to 96
kHz, and analog recording and playback is offered
at rates up to 192 kHz. All inputs and outputs can
be accessed simultaneously. The UltraLite-mk3 is
housed in a sturdy, compact half-rack enclosure
that connects directly to a computer via a standard
IEEE 1394 FireWire™ cable.
The UltraLite-mk3 offers the following main
features:
■ Bus-powered operation
■ Six 24-bit analog quarter-inch (TRS) inputs
■ Ten 24-bit analog quarter-inch (TRS) outputs
■ MIDI I/O
■ On-board SMPTE synchronization
■ Headphone jack with volume control
■ Front panel volume control of the Main Outs (or
any programmable combination of outputs)
■ CueMix™ FX no-latency mixing, monitoring
and effects processing
■ Front-panel LCD programming for the mixer
and all other settings
■ Extensive front panel metering and status LEDs
■ Stand-alone operation
■ Mac and Windows drivers for multi-channel
operation and across-the-board compatibility with
any audio software on current Mac and Windows
systems
With a variety of I/O formats, mic preamps and
no-latency mixing and processing of live input, the
UltraLite-mk3 is a complete, portable “studio in a
box” when used with a Mac or Windows computer.
THE ULTRALITE-MK3 REAR PANEL
The rear panel has the following connectors:
■ Two combo XLR/TRS mic/guitar inputs with
preamps, 48V phantom power, three-way pad
switch , and Precision Digital Trim™ preamp gain
adjustment
■ Operation on all analog I/O at standard sample
rates up to 192 kHz
■ Digitally controlled analog trim for all analog
inputs
■ RCA S/PDIF digital I/O at sample rates up to
96 kHz
■ Ten gold-plated, balanced +4dB quarter-inch
(TRS) analog outputs (with 24-bit 192 kHz
converters)
■ Six gold-plated, balanced quarter-inch (TRS)
analog inputs (with 24-bit 192 kHz converters)
■ One combo XLR/TRS mic/instrument input
■ RCA S/PDIF in/out
■ MIDI IN and MIDI OUT jacks
■ Two 1394 FireWire jacks
9
■ DC power jack
10 inputs and 14 outputs
All UltraLite-mk3 inputs and outputs can be used
simultaneously, for a total of 10 inputs and 14
outputs when operating at sample rates up to
96 kHz:
ConnectionInputOutput
Analog 24-bit 192 kHz on bal/unbal TRS610
Mic preamps 24-bit 192 kHz on XLR/TRS
combo
SPDIF 24-bit 96kHz digital22
Headphone output-2
Total1014
2-
All inputs and outputs are discrete and can be
active simultaneously.
The headphone outputs can operate as an
independent output pair, or they can mirror any
other UltraLite-mk3 output pair, such as the main
outs.
Mic/guitar inputs with preamps
The two mic/instrument inputs (front panel and
rear panel) are equipped with preamps and
“combo” XLR/TRS jacks, which accept lowimpedance XLR microphone inputs or highimpedance quarter-inch guitar/instruments
inputs. Individual switches supply 48 volt phantom
power to each mic input. A three-way pad switch
provides zero, -18 dB or -36 dB of attenuation. The
Precision Digital Trim™ knobs on the front panel
for each mic/instrument input provide 24 dB of
adjustment in precise 1 dB increments.
Analog
All six quarter-inch analog inputs are equipped
with 24-bit 192 kHz A/D converters. All eight
analog outputs have 24-bit 192 kHz D/A
converters. All audio is carried to the computer in a
24-bit data stream.
All ten analog outputs and six quarter-inch analog
inputs are on balanced TRS +4dB quarter-inch
jacks. All of these jacks can also accept unbalanced
plugs.
Precision Digital Trim™
All of the UltraLite-mk3’s analog inputs are
equipped with digitally controlled analog trims
that allow adjustments in 1 dB increments. The
mic/guitar input trims can be adjusted using frontpanel digital rotary encoders that provide feedback
in the front panel LCD with 24 dB of adjustment.
All analog inputs, including six rear-panel TRS
analog inputs, can be trimmed using the front
panel LCD or using the UltraLite-mk3’s included
CueMix FX control software for Mac and
Windows. This allows you to fine-tune trim
settings for synths, effects modules and a wide
variety of analog inputs for optimum levels.
Different trim configurations can then be saved as
files on disk for instant recall.
S/PDIF
The UltraLite-mk3 rear panel provides RCA “coax”
S/PDIF input and output.
MIDI I/O
The UltraLite-mk3’s standard MIDI IN and MIDI
OUT jacks supply 16 channels of MIDI I/O to and
from the computer via the UltraLite-mk3’s
FireWire connection.
On-board SMPTE synchronization
The UltraLite-mk3 can resolve directly to SMPTE
time code via any analog input, without a separate
sy nchron izer. It ca n also gene rate time cod e vi a any
analog output. The UltraLite-mk3 provides a
DSP-driven phase-lock engine with sophisticated
filtering that provides fast lockup times and subframe accuracy.
The included MOTU SMPTE Console™ software
provides a complete set of tools for generating and
regenerating SMPTE time code, which allows you
10
ABOUT THE ULTRALITE-MK3
to slave other devices to the computer. Like
CueMix FX, the synchronization features are
cross-platform and compatible with any audio
sequencer software that supports the ASIO2
sample-accurate sync protocol.
1394 FireWire
The two 1394 FireWire jacks accept a standard
IEEE 1394 FireWire cable to connect the
UltraLite-mk3 to a FireWire-equipped Mac or
Windows computer. The UltraLite-mk3 has the
ability to power itself from its FireWire connection
to the computer.
control the volume of the main out jacks on the rear
panel. It can alternately be configured to control
any combination of outputs.
Programmable backlit LCD display
Any UltraLite-mk3 setting, including the powerful
CueMix FX on-board 16-bus mixer with effects,
can be accessed directly from the front panel using
the four rotary encoders and the 2x16 backlit LCD
display.
The LCD also provides activity metering for all
UltraLite-mk3 inputs and outputs.
The second jack can be used to daisy chain
multiple interfaces — up to four MOTU FireWire
int erfac es — o n a sin gle FireWire bus. It c an als o be
used to connect other FireWire devices without the
need for a FireWire hub. Keep in mind, however,
that the UltraLite-mk3 uses more FireWire bus
bandwidth when it operates at higher sample rates.
These operating configurations will limit the
number of devices you can daisy chain on a single
FireWire bus.
Power supply
If you do not want the UltraLite-mk3 to draw
power from the computer, and AC power is
available, you can power the UltraLite-mk3 from
any standard 10-18V, 12 watt DC power supply
with any polarity (tip positive or negative).
THE ULTRALITE-MK3 FRONT PANEL
Mic/instrument input
See “Mic/guitar inputs with preamps” on page 10.
48V phantom power and pad switch
See “Mic/guitar inputs with preamps” on page 10.
Headphone output and main volume control
The UltraLite-mk3 front panel provides a quarterinch stereo headphone output jack and volume
knob. The LCD display provides feedback as you
turn the knob. The VOL knob can be used to
16-BIT AND 24-BIT RECORDING
The UltraLite-mk3 system handles all data with a
24-bit signal path, regardless of the I/O format. You
can record and play back 16-bit or 24-bit audio files
at any supported sample rate via any of the
UltraLite-mk3’s analog or digital inputs and
out puts. 24- bit audio files can be recorded w ith any
compatible host application that supports 24-bit
recording.
CUEMIX FX 32-BIT FLOATING POINT
MIXING AND EFFECTS
All UltraLite-mk3 inputs and outputs can be
routed to the on-board CueMix FX 16-bus (8
stereo) digital mixer driven by hardware-based
DSP with 32-bit floating point precision. The
mixer allows you to apply no-latency effects
processing to inputs, outputs or busses directly in
the UltraLite-mk3 hardware, independent of the
computer. Effects can even be applied when the
UltraLite-mk3 is operating stand-alone (without a
computer) as a complete portable mixer. Input
signals to the computer can be recorded wet, dry,
or dry with a wet monitor mix (for musicians
during recording, for example).
ABOUT THE ULTRALITE-MK3
11
Effects include reverb, parametric EQ and
compression/limiting. The UltraLite-mk3’s Classic
Reverb™ provides five different room types, three
frequency bands with adjustable crossover points,
shelf filtering and reverb lengths up to 60-seconds.
Two forms of compression are supplied: a standard
compressor with conventional threshold/ratio/
attack/release/gain controls and the Leveler™, an
accurate model of the legendary LA-2A optical
compressor, which provides vintage, musical
automatic gain control.
CueMix FX also provides 7-band parametric EQ
modeled after British analog console EQs,
featuring 4 filter styles (gain/Q profiles) to
effectively cover a wide range of audio material.
Low-pass and high-pass filters are also supplied
with slopes that range from 6 to 36 dB. The EQ
employs extremely high precision 64-bit floating
point processing.
The UltraLite-mk3’s flexible effects architecture
allows you to apply EQ and compression on every
input and output (a total of 24 channels), with
enough DSP resources for at least one band of
parametric EQ and compression on every channel
at 48 kHz. However, DSP resources are allocated
dynamically and a DSP meter in the CueMix FX
software (included) allows you to keep tabs on the
UltraLite-mk3’s processing resources. Each input,
output and mix bus provides a send to the Classic
Reverb processor, which then feeds reverb returns
to mix busses and outputs, with a selectable split
point between them to prevent send/return
feedback loops.
HOST AUDIO SOFTWARE
The UltraLite-mk3 system ships with standard
Windows drivers that allow you to record, edit,
play back and mix your UltraLite-mk3 projects
using your favorite Windows audio software.
12
ABOUT THE ULTRALITE-MK3
CHAPTER
2Packing List and Windows System
Requirements
PACKING LIST
The UltraLite-mk3 ships with the items listed
below. If any of these items are not present in your
UltraLite-mk3 box when you first open it, please
immediately contact your dealer or MOTU.
■ One UltraLite-mk3 I/O rack unit
■ One 6-pin to 6-pin IEEE 1394 “FireWire” cable
■ One set of removable rack ears
■ One UltraLite-mk3 Mac/Windows manual
■ One AudioDesk Manual
■ One cross-platform CD-ROM
■ Product registration card
WINDOWS SYSTEM REQUIREMENTS
The UltraLite-mk3 system requires the following
Windows system:
■ A 1 GHz Pentium-based PC compatible or faster
equipped with at least one FireWire port
■ A Pentium III processor or faster is
recommended
PLEASE REGISTER TODAY!
Please register your UltraLite-mk3 today. There are
two ways to register.
■ Visit www.motu.com/register
OR
■ Fill out and mail the included product
registration card
As a registered user, you will be eligible to receive
technical support and announcements about
product enhancements as soon as they become
available. Only registered users receive these
special update notices, so please register today!
Thank you for taking the time to register your new
MOTU products!
Before you connect the UltraLite-mk3 audio
interface to your computer and turn it on, insert
the UltraLite-mk3 software CD and run the
UltraLite-mk3 Software Installer. This ensures that
all the UltraLite-mk3 components are properly
installed in your system.
If Windows asks you to locate the drivers
If you’ve already connected the UltraLite-mk3 to
your computer and switched it on, Windows
probably issued an alert notifying you that the
UltraLite-mk3 requires drivers, followed by
another w indow a sking you to lo cate the d rivers on
disk. If this happens:
INSTALLING THE ULTRALITE-MK3
SOFTWARE
To install the UltraLite-mk3 software, insert the
MOTU Universal Audio Installer CD and follow
the directions it gives you on your computer
screen. The UltraLite-mk3 ships with the following
software and drivers for Windows XP and Vista:
Software
componentPurpose
MOTU Audio
Console
CueMix FXGives you complete control over the
MOTU ASIO
Driver
MOTU WDM
Driver
MOTU GSIF Driver Allows you to use your UltraLite-mk3
MOTU MIDI
Driver
Provides access to all of the settings in the
UltraLite-mk3 hardware.
896mk3’s CueMix FX on-board mixer,
which provides no-latency monitoring,
mixing and processing of live inputs
through your UltraLite-mk3.
Allows Cubase or other ASIO-compliant
software to do multi-channel input and
output with the UltraLite-mk3. Only
required if you are using Cubase or
another ASIO-dependent program.
Allows any WDM-driver compatible
audio software to do multichannel input
and output with the UltraLite-mk3.
with Tascam GigaStudio.
Provides MIDI input and output via the
UltraLite-mk3 MIDI ports.
1 Cancel the driver search.
2 Switch off the UltraLite-mk3.
3 Run the UltraLite-mk3 Software Installer as
instructed in the next section.
15
MOTU AUDIO CONSOLE
MOTU Audio Console (available in the Start
menu) gives you access to all of the settings in the
UltraLite-mk3, such as the clock source and
sample rate. For complete details, see chapter 11,
“CueMix FX” (page 61).
Figure 3-1: MOTU Audio Console gives you access to all of the settings
in the UltraLite-mk3 hardware.
ASIO MOTU AUDIO DRIVER
ASIO stands for Audio Streami ng Input and Output.
The ASIO MOTU FireWire driver allows the
UltraLite-mk3 to provide multi-channel input and
output for Steinberg’s Cubase and Nuendo
software, or any other audio application that
supports ASIO drivers.
The MOTU ASIO audio driver is only required if
you are using Cubase (or another audio program
that relies on the ASIO driver to support multichannel I/O with the UltraLite-mk3).
The MOTU ASIO audio driver is installed by the
UltraLite-mk3 Software Installer and properly
registered with Windows, so you don’t need to be
concerned about its installation or location.
For details about using Cubase and Nuendo with
the UltraLite-mk3, see chapter 7, “Cubase,
Nuendo, Live and Other ASIO Software” (page 41).
THE MOTU AUDIO WDM DRIVER
The MOTU Audio WDM driver provides standard
multi-channel input and output for audio
applications running under Windows XP or Vista.
See chapter 8, “SONAR and other WDM Software”
(page 47) for details.
The MOTU Audio installer CD installs the MOTU
Audio WDM driver into Windows for you.
MOTU GSIF FIREWIRE DRIVER
The MOTU GSIF Driver allows you to access the
UltraLite-mk3 as an audio interface for Tascam
GigaStudio and related products. The GSIF driver
features low-latency multi-channel performance.
MOTU MIDI DRIVER
This driver allows you to access the
UltraLite-mk3’s MIDI input and output ports. The
ports are published in Windows and are available
to all MIDI software.
CUEMIX FX
This program provides a mixing console that gives
you control over the UltraLite-mk3’s no-latency
CueMix FX on-board mixing and effects
processing. For details, see chapter 11, “CueMix
FX” (page 61).
MOTU SMPTE CONSOLE
The MOTU SMPTE Console software provides a
complete set of tools for resolving the
UltraLite-mk3 to SMPTE time code, and to
generate SMPTE for striping, regenerating or
slaving other devices to the computer. For details,
see chapter 12, “MOTU SMPTE Console”
(page 89).
16
IMPORTANT! RUN THE ULTRALITE-MK3 SOFTWARE INSTALLER FIRST
CHAPTER
4Installing the UltraLite-mk3
Hardware
OVERVIEW
Here’s an overview for installing the
UltraLite-mk3:
Important note before you begin! . . . . . . . . . . . . . . . . . . . 17
Take these precautions to prevent damage to your
computer, the UltraLite-mk3 and other
equipment.
Before you begin installing the UltraLite-mk3 (or
any bus-powered device), take these important
precautionary measures to avoid damaging the
sensitive electrical components in your computer,
the UltraLite-mk3 or other devices being
connected:
■ Tu rn o ff the co mp u te r.
■ Turn off the UltraLite-mk3 (push and hold the
VOL k nob.
■ Turn off the power of any other devices.
■ Touch the metal casing of the UltraLite-mk3 to
discharge any static electricity that you may be
carrying just before the installation.
After you have made all of the necessary
connections, as described in this chapter, turn on
the devices in this sequence:
1. Turn on the computer.
2. Turn on the UltraLite-mk3.
3. Turn on other devices connected to the
UltraLite-mk3.
Connect additional UltraLites or other audio
interfaces.
17
CONNECT THE ULTRALITE-MK3 INTERFACE
1 Make sure your computer and the
UltraLite-mk3 are switched off.
CONNECT AUDIO INPUTS AND OUTPUTS
The UltraLite-mk3 audio interface has the
following audio input and output connectors:
2 Plug one end of the UltraLite-mk3 FireWire
cable (included) into the FireWire socket on the
computer as shown below in Figure 4-1.
3 Plug the other end of the FireWire cable into the
UltraLite-mk3 I/O as shown below in Figure 4-1.
■ 10 balanced quarter-inch analog outputs
■ 6 balanced quarter-inch analog inputs
■ 2 XLR/quarter-inch “combo” analog inputs with
preamps
■ 1 pair of RCA S/PDIF in and out
Here are a few things you should keep in mind as
you are making these connections to other devices.
Mic/instrument inputs
Connect a microphone, guitar, instrument or other
analog input to the XLR/TRS combo jack with
either a standard mic cable or a balanced cable with
a quarter-inch plug.
☛ Do not connect a +4 (line level) XLR cable to
the front-panel inputs (because of the preamps).
Use a rear-panel quarter-inch input instead.
Phantom power
If you are connecting a condenser microphone or
other device that requires phantom power, move
the 48V phantom power switch on the front panel
to the up position (enabled).
Figure 4-1: Connecting the UltraLite-mk3 to the computer.
☛ Make absolute sure to align the flat side of the
FireWire plug properly with the flat side of the
FireWire socket on the UltraLite-mk3. If you
attempt to force the plug into the socket the wrong
way, you can damage the UltraLite-mk3.
18
Tr i m
Both the low-impedance XLR jack and the highimpedance TRS jack are equipped with 24dB of
trim control. Use the digital trim knobs on the
front panel to adjust the input level as needed for
each input. The LCD provides visual feedback as
you turn the trim knob. The UltraLite-mk3’s input
trims are digital controlled, so they allow you to
make fine-tuned adjustments in precise 1dB
increments. You can also adjust trim in the MOTU
CueMix FX software. See “Input trim” on page 67.
INSTALLING THE ULTRALITE-MK3 HARDWARE
Three-way pad
The XLR jack is equipped with a three-way pad, so
“hot” signals are best connected via an XLR cable
so that you can use the pad switch. Since the pad is
not available on the TRS jack, hot signals
connected via the TRS jack will probably overdrive
the input. The independent three-way pad switch
for each input provides zero (down), -18 dB
(middle) and -36 dB (up) pad settings for the XLR
jack. When combined with the 24 dB digital trim,
the full gain range is 60 dB. This is the difference
between the minimum (trim at zero + pad at
-36 dB) and maximum (trim at +24 dB + pad at
zero) gain settings.
Combo jack summary
Use these general guidelines for the 48V phantom
power, pad and trim settings on the two combo
input jacks:
Input 48VPadTrim
Condenser micOnAs neededAs needed
Dynamic micOffAs neededAs needed
GuitarOffn/aAs needed
CueMix FX software to adjust the input trim. To
adjust these trims using CueMix FX, see “Input
trim” on page 67. To adjust the trims using the
front panel LCD:
1 Push the PARAM knob repeatedly until you see
CUEMIX in the LCD display.
2 Push the CHANNEL knob repeatedly until you
see “I:” (which stands for Input) in the CHANNEL
section of the LCD (Figure 4-2).
3 Turn the CHANNEL KNOB until you see the
desired analog input or input pair. For example,
analog inputs 1-2 appear as “I:An 1-2”
(Figure 4-2), which means Input analog 1-2.
4 From the factory, analog inputs are grouped in
stereo pairs (1-2, 3-4, etc.) If you need to split a pair
to program it as two individual mono inputs, turn
the PARAM knob until you see PAIR in the
parameter section of the LCD (Figure 4-2). Turn
the VALUE knob to choose MONO. Then turn the
CHANNEL knob again to select the desired input.
-10 dB Line level via TRSOffn/aAs needed
-10 dB Line level via XLROff-36dB+12dB
+4 dB line level (XLR only) Off-36dBZero
Quarter-inch analog
The quarter-inch analog inputs (3-8) and outputs
(1-8 plus main out) are balanced (TRS) connectors
that can also accept an unbalanced plug.
The quarter-inch outputs are calibrated to produce
a +4 dBu line level output signal.
Quarter-inch analog input trims
The quarter-inch inputs are calibrated to
accommodate either +4 or -10 dBu signals and are
equipped with digitally controlled analog trims
that provide +22 dB of gain and -96 dB of cut. You
can use either the front panel LCD or the included
INSTALLING THE ULTRALITE-MK3 HARDWARE
Figure 4-2: The settings for analog inputs 1 and 2 (as a pair).
5 After splitting the stereo pair, if necessary, turn
the PARAM knob until you see the TRIM
parameter in the LCD (Figure 4-3):
Figure 4-3: Setting the input trim for a TRS analog input pair.
6 Turn the VALUE knob to adjust the trim.
19
Separate main outs
The main outputs operate as an independent pair
(they don’t share signal with any other output
pair). In a standard studio configuration, the main
outs are intended for a pair of studio monitors, but
they can also be used as regular outputs for any
purpose. Their reference level is +4dB. Main out
volume is controlled by the VOL knob on the front
panel: push it repeatedly until you see MASTER
and then turn it to adjust the master volume
output. This knob can be programmed to control
any combination of outputs you wish.
S/PDIF
If you make a S/PDIF digital audio connection to
another device, be sure to review the digital audio
clocking issues, as explained in “Connecting and
syncing S/PDIF devices” on page 21.
The UltraLite-mk3 on-board mixer also supplies
12dB of digital trim adjustment for the S/PDIF
input pair, which can be adjusted from CueMix FX
(“Input trim” on page 67) or the front panel (using
the same procedure as explained earlier for
“Quarter-inch analog input trims” on page 19.
CONNECT MIDI GEAR
Connect your MIDI device’s MIDI IN jack to the
UltraLite-mk3’s MIDI OUT jack (Connection A
below). Conversely, connect the MIDI device’s
MIDI OUT jack to the UltraLite-mk3’s MIDI IN
jack (Connection B).
One-way MIDI connections
MIDI devices that do not receive MIDI data, such
as a dedicated keyboard controller, guitar
controller, or drum pad, only need Connection B
shown in Figure 4-4. Similarly, devices that never
send data, such as a sound module, only need
Connection A. Make both connections for any
device that needs to both send and receive MIDI
data.
Connecting additional gear with MIDI THRUs
If you need to connect several pieces of MIDI gear,
run a MIDI cable from the MIDI THRU of a device
already connected to the UltraLite-mk3 to the
MIDI IN on the additional device as shown below
in Figure 4-5. The two devices then share the
UltraLite-mk3’s MIDI OUT port. This means that
they share the same set of 16 MIDI channels, too,
so try to do this with devices that receive on only
one MIDI channel (such as effects modules) so
their receive channels don’t conflict with one
another.
UltraLite-mk3
rear panel
MIDI
OUT
MIDI
MIDI Device
IN
MIDI
THRU
MIDI
cable
UltraLite-mk3
rear panel
MIDI
OUT
Connection A
MIDI Device
Figure 4-4: Connecting a MIDI device to the UltraLite-mk3.
MIDI
cables
MIDI INMIDI
OUT
20
MIDI
IN
Connection B
MIDI IN
Additional device
Figure 4-5: Connecting additional devices with MIDI THRU ports.
MIDI Thru when operating stand-alone
The UltraLite-mk3 has a MIDI Thru feature for
stand-alone operation. See “MIDI Thru in
standalone” on page 36.
INSTALLING THE ULTRALITE-MK3 HARDWARE
CONNECTING AND SYNCING S/PDIF
DEVICES
DAT decks and other devices with S/PDIF digital
I/O will sync to the UltraLite-mk3 in via the
S/PDIF connection itself. Just connect it to the
UltraLite-mk3 via the S/PDIF connectors. When
the device records a digital audio signal (from the
UltraLite-mk3), it will simply synchronize to the
clock provided by the digital audio input.
On the other hand, when you transfer audio from
the S/PDIF device into the UltraLite-mk3, you’ll
have to slave the UltraLite-mk3 to its S/PDIF input.
UltraLite-mk3
S/PDIF
S/PDIF
S/PDIF device
UltraLite-mk3
Clock Source setting =
S/PDIF (when transferring from the
other device to the UltraLite-mk3)
Figure 4-6: The setup for synchronizing a S/PDIF device with the
UltraLite-mk3. Sync is achieved via the digital I/O connection itself. In
this case, you have to choose S/PDIF as the UltraLite-mk3’s clock
source when recording from the other device.
UltraLite-mk3
Clock Source setting =
Internal (when transferring from the
UltraLite-mk3 to the other device)
POWER OPTIONS
The UltraLite-mk3 can draw power from two
possible sources: the computer (via FireWire) or a
DC power supply.
Bus power requirements
The UltraLite-mk3 draws all the power it needs
from the FireWire bus connection to the computer.
However, the FireWire connection to the computer
must meet all of the requirements discussed below.
6-pin FireWire connectors
The UltraLite-mk3 can only draw power over the
FireWire bus from a 6-pin to 6-pin cable, or a 6-pin
to 9-pin (FireWire B) cable. It cannot draw power
from a FireWire cable with a 4-pin connector, as
shown below:
YES
✓
NO
✗
6-pin FireWire
Figure 4-7: 4-pin FireWire connectors cannot be used for bus power.
When operating under bus power, daisy-chaining
is not recommended
The UltraLite-mk3 can be daisy-chained with
other FireWire devices from a single FireWire
connection to the computer. However, if the
UltraLite-mk3 is operating under bus power, this is
not recommended. If you need to daisy chain the
UltraLite-mk3 with other devices on the same
FireWire bus, power the UltraLite-mk3 with the
included power adaptor. The other devices on the
chain should also have their own power supply. In
general, bus-powered FireWire devices should not
be daisy-chained.
FireWire adapter products must be powered
If you are using a FireWire adapter (a third-party
product that supplies one or more FireWire ports
to your computer), it must have direct access to a
power supply:
■ PCI FireWire cards — If you plan to connect the
UltraLite-mk3 to a PCI card and run the
UltraLite-mk3 under bus power, the PCI card must
have a direct connection to the power supply
harness inside your computer. This is the same
power supply harness to which you connect
internal hard drives, CD/DVD drives, etc.
4-pin FireWire
INSTALLING THE ULTRALITE-MK3 HARDWARE
21
■ PCMCIA or ExpressCard slot adapters — If you
plan to connect the UltraLite-mk3 to a PC card
FireWire adapter (inserted in the PC card slot in
your laptop), it must provide a 6-pin connection
and it must also have its own power supply. Most
commonly, these types of products have a DC
power adapter. As you can see, however, this
situation does not allow for remote battery
operation, as the PC card adapter requires AC.
any standard 8-18 volt, 12 watt DC power supply
with any polarity (tip positive or negative), and
amperage as shown below.
VoltageAmperage
9 volts1.33 amps
12 volts1 amp
18 volts0.66 amps
Examples of bus- powered operation
Here are a few typical examples of bus-powered
UltraLite-mk3 operation:
Bus power from a desktop computer
Your desktop computer is running off of its usual
AC power connection, and the UltraLite-mk3
draws power from the FireWire cable connected to
the computer. There are no limits to running time.
Bus power from an AC-powered laptop
This scenario is identical to the desktop situation
described above: the laptop is powered by AC, the
UltraLite-mk3 is powered via the FireWire bus and
there are no limits to running time.
Bus power from a battery-powered laptop
The laptop is being powered by its own battery, and
the UltraLite-mk3 is being powered by its FireWire
connection to the computer. So the laptop battery
is supplying power to both the laptop and the
UltraLite-mk3. This is the most compact and
portable operating scenario. Running time is
determined by the capacity of the laptop battery.
For extended recording sessions, bring extra, fully
charged laptop batteries.
DC power supply
If you do not want the UltraLite-mk3 to draw
power from the computer, and AC power is
available, you can power the UltraLite-mk3 from
Bus power versus DC power
When you connect a DC power supply, the
UltraLite-mk3 could draw power from either
FireWire or the DC power supply. So which source
does it use? The answer is: the source that is
currently supplying the greatest voltage. But in
practice, it doesn’t really matter because the only
situation in which you need to be concerned about
the UltraLite-mk3’s power draw is when you are
operating it with a battery-powered laptop. And in
this situation, the only available power is from
FireWire. In all other situations, the computer has
its own power, so it doesn’t matter if the
UltraLite-mk3 is drawing power from FireWire.
Turning off the UltraLite-mk3
To turn on the UltraLite-mk3, push the VOL knob.
To turn it off, push and hold the VOL knob. When
the UltraLite-mk3 is turned off, it is really in a sort
of “sleep” mode, where it still draws just enough
power to detect the power switch (a digital
encoder) when the UltraLite-mk3 is turned back
on. But the amount of power that the
UltraLite-mk3 draws when it is turned off is so
small that it has very little practical impact. If you
are running a laptop under battery power, and you
are in a situation where you are not using the
UltraLite-mk3 and you need every last bit of laptop
battery power, unplug the UltraLite-mk3 entirely
from the computer.
22
INSTALLING THE ULTRALITE-MK3 HARDWARE
A TYPICAL ULTRALITE-MK3 SETUP
Here is a typical UltraLite-mk3 studio setup. This
rig can be operated without an external mixer. All
mixing and processing can be done in the
computer with audio software. During recording,
you can use the UltraLite-mk3’s CueMix™ FX no-
latency monitoring to listen to what you are
recording via the main outs, headphone outs, or
any other output pair. You can control monitoring
either from the front panel or from the included
CueMix FX software.
UltraLite-mk3
rear panel
FireWire
MIDI IN
MIDI OUT
synthesizer
mic
quarter-inch
analog outs
headphones
Analog outputs (sends, stage
monitors, surround monitors, etc.)
Analog
returns
guitars (with or
without an amp)
PC
S/PDIF
DAT deck
Figure 4-8: A typical UltraLite-mk3 studio setup.
INSTALLING THE ULTRALITE-MK3 HARDWARE
Compressor, reverb or other
analog outboard gear
monitors
23
CONNECTING MULTIPLE MOTU FIREWIRE
INTERFACES
You can daisy-chain up to four MOTU FireWire
interfaces on a single FireWire bus, with the
restrictions described in the following sections.
Most computers have only one built-in FireWire
bus (even if it supplies multiple FireWire sockets).
Connect them as follows:
PC
FireWire
FireWire
FireWire
Multiple interfaces in MOTU Audio Console
MOTU Audio Console displays the settings for one
interface at a time. To view the settings for an
interface, click its tab as shown below in
Figure 4-10.
FireWire
FireWire
etc.
Figure 4-9: Connecting multiple UltraLite-mk3’s (or other MOTU
Audio interfaces) to a computer.
Multiple interfaces cannot be bus-powered
Do not run the UltraLite-mk3 under bus power
when connecting it with other devices to the same
FireWire bus. See “Power options” and “Bus power
requirements” on page 21.
24
Figure 4-10: To view the settings for an interface, click its tab.
Synchronizing multiple interfaces
All connected MOTU FireWire interfaces get their
clock from whatever you choose from the Clock Source menu in the General tab in MOTU Audio
Console. When you connect multiple MOTU
FireWire interfaces, all of their respective sync
sources are displayed in the menu as shown below
in Figure 4-11.
INSTALLING THE ULTRALITE-MK3 HARDWARE
Figure 4-11: All MOTU FireWire audio interfaces get their clock from a
single master sync source on any connected UltraLite-mk3 (or other
MOTU FireWire interface). After you choose a source from this menu,
the entire system, including all connected UltraLites, synchronizes to
it.
Each FireWire interface in the system gets its clock
from the computer (unless it is the master clock
itself).
Connecting other MOTU FireWire interfaces
You can add an original MOTU 828 to the end of a
FireWire daisy chain (because the 828 has only one
FireWire port), or you can mix and match multiple
UltraLites with other MOTU FireWire interfaces
using a standard FireWire hub. You can also add
828mkIIs, 828mk3s, 896HDs, 896mk3s, Travelers
and UltraLites, which have two FireWire ports
convenient for daisy-chaining. Up to four
interfaces can be combined on one FireWire bus.
Operating multiple FireWire interfaces at high
sample rates
Four MOTU FireWire interfaces can operate at
44.1 or 48kHz on a single FireWire bus, although
you may have to disable optical banks (on
in ter face s tha t ha ve t hem ) to con se rve Fir eWi re b us
bandwidth. At the 2x samples rates (88.2 or 96kHz)
and 4x sample rates (176.4 and 192kHz), you can
operate no more than two FireWire interfaces on a
single FireWire bus.
Adding additional interfaces with a second
FireWire bus
Third-party FireWire bus expansion products in
the form of a cardbus (“PC card”) adaptor,
ExpressCard adaptor or PCI card allow you to add
a second FireWire bus to your computer. In may be
possible to add additional MOTU FireWire
interfaces connected to such a third-party product,
depending on the performance of the product and
the performance of your host computer.
Managing the IDs of multiple interfaces
Multiple UltraLite-mk3 interfaces are identified by
number (#1, #2, #3, etc.) Interfaces are ID’d (given
a number) by the order in which they are first
powered up after being connected. This
information is stored in the MOTU Audio
preferences file. Once ID’d, they retain the same
number regardless of the order in which they are
powered up. You can disable an interface at any
time with the Disable interface option shown in
Figure 4-10 on page 24. Doing so frees up the
FireWire bandwidth required by the interface
without turning it off. Switching off an interface
accomplishes the same thing. To get MOTU Audio
Console to forget about an interface entirely, you’ll
see a Forget button in MOTU Audio Console. Just
click the Forget button and MOTU Audio Console
will no longer consider the interface to be present
but off line (turned off).
INSTALLING THE ULTRALITE-MK3 HARDWARE
25
26
INSTALLING THE ULTRALITE-MK3 HARDWARE
CHAPTER
5MOTU Audio Console
OVERVIEW
MOTU Audio Console gives you access to basic
UltraLite-mk3 hardware settings, such as sample
rate, clock source and more.
There are several ways to access MOTU Audio
Console settings:
■ From the Windows Start menu, choose
Programs>MOTU>MOTU Audio Console
■ In Cubase or Nuendo, open the Device Setup
window, click VST Audio System and choose
MOTU Audio ASIO from the Master ASIO Driver menu as shown below. Then click the MOTU Audio
ASIO item in the listand click the Control Panel
button.
■ From within other ASIO-compatible programs,
refer to their documentation.
■ From the front panel LCD (see chapter 6,
“UltraLite-mk3 Front Panel Operation” (page 33)).
General tab settings
The General tab provides settings that apply
globally to all connected MOTU FireWire
interfaces.
UltraLite-mk3 tab settings
The UltraLite-mk3 tab provides settings that apply
to a specific UltraLite-mk3 interface. If you have
several UltraLites (or other MOTU FireWire audio
interfaces) connected, you’ll see a separate tab for
each one.
27
‘GENERAL’ TAB SETTINGS
Sample Rate
Choose the desired Sample Rate for recording and
playback. The UltraLite-mk3 can operate at 44.1
(the standard rate for compact disc audio), 48,
88.2, 96, 176.4 or 192KHz. If you have a S/PDIF
device connected to the UltraLite-mk3, make sure
that it matches the UltraLite-mk3’s sample rate.
Internal
Use the Internal setting when you want the
UltraLite-mk3 to operate under its own digital
audio clock. For example, you may be in a situation
where all you are doing is playing tracks off hard
disk in your digital audio software on the
computer. In a situation like this, you most often
don’t need to reference an external clock of any
kind.
☛ Mismatched sample rates cause distortion and
crackling. If you hear this sort of thing, check the
sample rate settings in your hardware and here in
MOTU Audio Console.
S/PDIF at 4x sample rates (176.4 or 192kHz)
At the 4x sample rates (176.4 or 192kHz), all analog
I/O remains active, but S/PDIF digital I/O is
disabled.
Clock Source
The Clock Source determines the digital audio
clock that the UltraLite-mk3 will use as its time
base. The following sections briefly discuss each
clock source setting.
Another example is transferring a mix to DAT. You
can operate the UltraLite-mk3 system on its
internal clock, and then slave the DAT deck to the
UltraLite-mk3 via the S/PDIF connection (usually
DAT decks slave to their S/PDIF input when you
choose the S/PDIF input as their record source).
If you would like help determining if this is the
proper clock setting for your situation, see
“Connecting and syncing S/PDIF devices” on
page 21.
Figure 5-1: MOTU Audio Console gives you access to all of the settings in the UltraLite-mk3 hardware.
28
MOTU AUDIO CONSOLE
S/PDIF
The S/PDIF clock source setting refers to the
S/PDIF RCA input jack on the UltraLite-mk3. This
setting allows the UltraLite-mk3 to slave to another
S/PDIF device.
Use this setting whenever you are recording input
from a DAT deck or other S/PDIF device into the
UltraLite-mk3. It is not necessary in the opposite
direction (when you are transferring from the
UltraLite-mk3 to the DAT machine).
For further details about this setting, see
“Connecting and syncing S/PDIF devices” on
page 21.
SMPTE
Choose this setting to resolve the UltraLite-mk3
directly to SMPTE time code (LTC) being received
via the UltraLite-mk3’s quarter-inch SMPTE input
jack. For details, see “Syncing to SMPTE time
code” on page 92and chapter 12, “MOTU SMPTE
Console” (page 89).
Samples Per Buffer
The Samples Per Buffer setting lets you reduce the
delay you hear when patching live audio through
your audio software. For example, you might have
a live microphone input that you would like to run
through a reverb plug-in that you are running in
your host audio software. When doing so, you may
hear or feel some “sponginess” (delay) between the
source and the processed signal. If so, don’t worry.
This effect only affects what you hear: it is not
present in what is actually recorded.
Yo u c a n u se Samples Per Buffer setting to reduce
this monitoring delay—and even make it
completely inaudible.
☛ If you don’t need to process an incoming live
signal with software plug-ins, you can monitor the
signal with no delay at all using CueMix FX, which
routes the signal directly to your speakers via
hardware. For details, see chapter 11, “CueMix FX”
(page 61).
Adjusting the Samples Per Buffer setting impacts
the following things:
■ The strain on your computer’s CPU
■ The delay you hear when routing a live signal
through your host audio software plug-ins
■ How responsive the transport controls are in
your software
This setting presents you with a trade-off between
the processing power of your computer and the
delay of live audio as it is being processed by
plug-ins. If you reduce the Samples Per Buffer, you
reduce patch thru latency, but significantly increase
the overall processing load on your computer,
leaving less CPU bandwidth for things like realtime effects processing. On the other hand, if you
increase the Samples Per Buffer, you reduce the load
on your computer, freeing up bandwidth for
effects, mixing and other real-time operations. But
don’t set the Samples Per Buffer too low, or it may
cause distortion in your audio.
If you don’t process live inputs with software
plug-ins, leave this setting at its default value of
1024 samples. If you do, try settings of 256 samples
or less, if your computer seems to be able to handle
them. If your host audio software has a processor
meter, check it. If it starts getting maxed out, or if
the computer seems sluggish, raise the Samples Per Buffer until performance returns to normal.
If you a re at a point in you r rec ordi ng pr oject whe re
you are not currently working with live, patchedthru material (e.g. you’re not recording vocals), or
if you have a way of externally monitoring input,
choose a higher Samples Per Buffer setting.
Depending on your computer’s CPU speed, you
might find that settings in the middle work best.
MOTU AUDIO CONSOLE
29
The Samples Per Buffer setting also impacts how
quickly your audio s oftware will respond when you
begin playback, although not by amounts that are
very noticeable. Lowering the Samples Per Buffer
will make your software respond faster; raising the
Samples Per Buffer will make it a little bit slower, but
barely enough to notice.
Monitoring live inputs without plug-in effects
As mentioned earlier, CueMix FX allows you to
monitor dry, unprocessed live inputs with no delay
at all. For complete details, see chapter 10,
“Reducing Monitoring Latency” (page 55).
Wave support for legacy (MME) software
Windows only exposes the first two channels of a
multi-channel WDM audio stream to applications
which use the legacy (MME) multimedia interface.
The Enable full Wave support for legacy (MME) software (less efficient) option forces the
UltraLite-mk3 multimedia driver to expose all
channels as stereo pairs, providing full MME
support.
If your host audio software does not directly
support WDM audio and instead only supports
legacy MME drivers, use this option to access
multiple UltraLite-mk3 input and output channels.
‘ULTRALITE-MK3’ TAB SETTINGS
Phones Assign
The Phones Assign setting lets you choose what you
will hear from the headphone jack. Choose
Main Out 1-2 if you’d like the headphone output to
match the main outs. Choose Phones if you would
like the headphones to serve as their own
independent output, which you can access as an
independent output destination in your host audio
software and as an output destination for the eight
on-board CueMix FX mix busses.
Main Out Assign
Choose Main Outs from the Main Out Assign menu
to treat the Main Outs as their own independent
output pair. Choose any other output pair to cause
the MAIN OUT jacks to mirror (duplicate) the
output pair you choose.
Return Assign
The Return As sign men u le ts y ou cho ose any pair of
UltraLite-mk3 audio outputs. The audio signal
from this output pair is then sent back to the
computer via the Stereo Return 1-2 bus. This stereo
return bus from the UltraLite-mk3 appears in your
host software alongside all other UltraLite-mk3
inputs, wherever your host software lists them.
If your host audio software does directly support
WDM audio, leave this option unchecked for
optimal performance.
This option is only available when the multimedia
driver has been installed, and it defaults to being
not checked.
Enable Pedal
This setting applies to other MOTU FireWire audio
interfaces, but it does not apply to the
UltraLite-mk3.
30
The UltraLite-mk3 stereo return bus can be used
for a variety of purposes. For example, you could
use it to send a final mix being played through the
UltraLite-mk3 back to the computer, where you
could record it for mastering or archiving
purposes.
As another example, you could use the stereo
return bus to capture tracks played from your host
software, along with live inputs being routed
directly through the UltraLite-mk3 hardware via
CueMix FX (with or without CueMix effects
processing on the live inputs).
MOTU AUDIO CONSOLE
Loading...
+ 67 hidden pages
You need points to download manuals.
1 point = 1 manual.
You can buy points or you can get point for every manual you upload.