Mark of the Unicorn UltraLite-mk3 FireWire User's Guide

UltraLite- mk3

User Guide for Windows

™

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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

1 2 5

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

57 6

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

1 2 3

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

(

live UltraLite-mk3 inputs here as well.

and output at any sample rate up to 96kHz.

plated, balanced +4dB TRS (tip/ring/sleeve) quarter-

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.

Device Setup in Cubase

7

8

CHAPTER

1 About the UltraLite-mk3

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

The UltraLite-mk3 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . .9

The UltraLite-mk3 Front Panel . . . . . . . . . . . . . . . . . . . . . . . 11

16-bit and 24-bit recording . . . . . . . . . . . . . . . . . . . . . . . . . . 11

CueMix FX 32-bit floating point mixing and effects . . 11

Host Audio Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

OVERVIEW

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:

Connection Input Output

Analog 24-bit 192 kHz on bal/unbal TRS 6 10

Mic preamps 24-bit 192 kHz on XLR/TRS
combo

SPDIF 24-bit 96kHz digital 2 2

Headphone output - 2

Total 10 14

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

2 Packing 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!

■ At least 256 MB (megabytes) of RAM (512 MB

or more is recommended)

■ Windows XP or Vista

■ A large hard drive (preferably at least 250 GB)

13

14

PACKING LIST AND WINDOWS SYSTEM REQUIREMENTS

CHAPTER

3 IMPORTANT! Run the UltraLite-mk3

Software Installer First

OVERVIEW

Install the UltraLite-mk3 software first! . . . . . . . . . . . . . . 15

Installing the UltraLite-mk3 software . . . . . . . . . . . . . . . . 15

MOTU Audio Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

ASIO MOTU Audio Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

The MOTU Audio WDM driver . . . . . . . . . . . . . . . . . . . . . . . 16

MOTU GSIF FireWire driver . . . . . . . . . . . . . . . . . . . . . . . . . . 16

MOTU MIDI Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

MOTU SMPTE Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

INSTALL THE ULTRALITE-MK3 SOFTWARE
FIRST!

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
component Purpose

MOTU Audio
Console

CueMix FX Gives 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

4 Installing 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.

Connect the UltraLite-mk3 interface . . . . . . . . . . . . . . . . . 18

Connect the UltraLite-mk3 to the computer.

Connect audio inputs and outputs . . . . . . . . . . . . . . . . . . 18

Make analog and digital connections as desired.

Connect MIDI gear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Connect a controller, synth or control surface.

Connecting and syncing S/PDIF devices . . . . . . . . . . . . . 21

Connect a DAT deck, effects processor or other
device with digital I/O, but be sure to make the
correct clock source settings.

Power options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Choose from among several convenient options.

A typical UltraLite-mk3 setup . . . . . . . . . . . . . . . . . . . . . . . . 23

An example setup for computer-based mixing/FX.

IMPORTANT NOTE BEFORE YOU BEGIN!

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.

Connecting multiple MOTU FireWire interfaces . . . . . 24

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 48V Pad Trim

Condenser mic On As needed As needed

Dynamic mic Off As needed As needed

Guitar Off n/a As 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 TRS Off n/a As needed

-10 dB Line level via XLR Off -36dB +12dB

+4 dB line level (XLR only) Off -36dB Zero

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.

Voltage Amperage

9 volts 1.33 amps

12 volts 1 amp

18 volts 0.66 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

5 MOTU Audio Console

OVERVIEW

MOTU Audio Console gives you access to basic
UltraLite-mk3 hardware settings, such as sample
rate, clock source and more.

Accessing the UltraLite-mk3 settings . . . . . . . . . . . . . . . . 27

‘General’ tab Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Samples Per Buffer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Wave support for legacy (MME) software . . . . . . . . . . . . 30

Enable Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

‘UltraLite-mk3’ tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Phones Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Main Out Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Return Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Disable Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

ACCESSING THE ULTRALITE-MK3 SETTINGS

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 list and 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

Disable Interface

You can disable an interface at any time with the
Disable interface option. 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).

MOTU AUDIO CONSOLE

31

32

MOTU AUDIO CONSOLE

CHAPTER

6 UltraLite-mk3 Front Panel Operation

OVERVIEW

The UltraLite-mk3 offers complete front-panel
programming via four rotary encoders and a 2x16
backlit LCD display. All UltraLite-mk3 settings can
be accessed via these front-panel controls.

Push-button rotary encoders . . . . . . . . . . . . . . . . . . . . . . . . 33

Power switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Mic/guitar inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Main out volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Multi-function LCD display . . . . . . . . . . . . . . . . . . . . . . . . . . 35

METER display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

AUDIO menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

SETUP menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

CUEMIX menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Inputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Outputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Mixes menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Reverb menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Stand-alone operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

PUSH-BUTTON ROTARY ENCODERS

All of the knobs on the UltraLite-mk3 front panel
are push-button digital rotary encoders. In many
cases, you can either push the knob or turn it to
make a setting or toggle the LCD display
(depending on the encoder and setting).

POWER SWITCH

Push the VOL knob to power on the
UltraLite-mk3. Push in and hold the VOL knob to
turn it off.

MIC/GUITAR INPUTS

The UltraLite-mk3 mic/guitar inputs are equipped
with many features to handle a wide variety of
recording situations.

For information about connections and settings,
see “Mic/instrument inputs” on page 18 in the
installation chapter.

For information about the many settings available
for the mic/guitar inputs, see:

■ “The Inputs tab” on page 66

■ “The channel settings section” on page 69

■ “The Channel tab” on page 70

■ “The EQ tab” on page 71

■ “The Dynamics tab” on page 77

Figure 6-1: The UltraLite-mk3 front panel mic/guitar inputs and phone jack.

33

PHONES

From the factory, the PHONES jack (Figure 6-1) is
a discrete output at 44.1/48 kHz, but it can mirror
any other output pair (digital or analog) or serve as
its own independent output.

When you turn the phone VOL knob, the LCD
display provides visual feedback:

Figure 6-2: The LCD provides feedback as you adjust Phone volume.

To view the current setting without changing it,
just push the knob (without turning it).

MAIN OUT VOLUME

Push the VOL knob twice to view and control the
volume of the main outs on the rear panel.

Figure 6-3: The LCD provides feedback as you adjust Phone volume.

The MASTER volume adjustment can be
programmed to control any combination of
outputs. See “The Monitor Group” on page 82 for
details.

34

The LCD is divided into four

sections that correspond to the

four knobs to the left.

Figure 6-4: The UltraLite-mk3 front panel controls.

When viewing CueMix settings

in the LCD, push the CHANNEL
knob to cycle among four main
mixer menus: MIX, IN (inputs),

OUT (outputs) and REVERB.
Turn it to choose a channel.

Turn the PAGE knob to view settings for

each channel. Push it to jump to the

next section or back to the beginning.

ULTRALITE-MK3 FRONT PANEL OPERATION

Push the PARAM knob to

cycle among three global

menus: METER, CUEMIX

(mixer) and SETUP.

Turn and/or push the
VALUE knob to adjust

the current setting.

MULTI-FUNCTION LCD DISPLAY

The LCD provides access to the many
UltraLite-mk3 settings, as well as visual feedback
of the current parameter being modified.

Parameter “zooming”

For many settings, the LCD temporarily “zooms
in” to display a long-throw meter and alpha­numeric display to give you precise, real-time
feedback as you adjust the setting. For example, if
you change the headphone volume, the LCD
displays a level meter and gain reduction reading
that updates as you turn the volume knob, as
shown in Figure 6-2 on page 34. After a brief time­out, the display returns to its previous state before
you turned the volume knob.

AUDIO MENU

To access the UltraLite-mk3 AUDIO menu, push
the PARAM knob until you see AU DI O displayed
in the LCD. This menu provides basic audio­related. Turn the PARAM knob to access each
setting. Each setting in the AUDIO menu has a
corresponding setting in the MOTU Audio
Console software, as shown below:

Audio menu item Where to find more information

Clock Source* “Clock Source” on page 28

Sample rate* “Sample Rate” on page 28

Phones Assign “Phones Assign” on page 30

Main Out Assign “Main Out Assign” on page 30

Return Assign “Return Assign” on page 30

Four global display modes

Push the PARAM knob to cycle the LCD among
four global display modes:

METER display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

AUDIO menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

SETUP menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

CUEMIX menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

METER DISPLAY

To access the METER display, push the PARAM
knob until you see METER displayed in the LCD.
The METER display (Figure 6-5) provides
comprehensive metering for each input and
output. The labels above and below the LCD
indicate the meters for each input and output pair,
including the S/PDIF input and output (labeled
DIG IN and DIG OUT, respectively).

Figure 6-5: METER mode.

* If the UltraLite-mk3 is currently connected to a computer, this
setting cannot be changed from the front-panel LCD. It must be
changed in MOTU Audio Console instead. Or, you can disconnect the
UltraLite-mk3 from the computer to change the Clock Source from
the front panel.

SETUP MENU

To access the UltraLite-mk3 SETUP menu, push
the PARAM knob until you see SETUP displayed in
the LCD. This menu provides basic features for
managing the UltraLite-mk3 hardware. Turn the
PARAM knob to access each setting. The first five
settings in the SETUP menu have corresponding
settings in the MOTU Audio Console software, as
shown below:

LCD Contrast

Turn the VALUE knob to adjust the LCD contrast.

Save/Name Preset

An UltraLite-mk3 preset holds all current
CueMix FX mix settings (everything in the
CUEMIX menu). SETUP menu parameters are not
included. Turn the VALUE knob to move from
character to character in the preset name. Turn
PAGE to change the currently flashing letter. Once
you’ve named the preset, push VALUE to save it,
turn it again to choose the desired preset slot you

ULTRALITE-MK3 FRONT PANEL OPERATION

35

wish to save it to (1-16), and the push again to
confirm the save. To cancel the save operation at
any time, turn the PARAM knob.

Load Preset

Turn VALUE to choose the preset you wish to load
(1-16) and push VALUE to load it.

MIDI Thru in standalone

Turn VALUE to enable (Y) or disable (N) the
UltraLite-mk3’s MIDI Thru feature when the it is
being operated stand-alone (not connected to a
computer via FireWire). When MIDI Thru is
enabled, the MIDI IN jack passes MIDI data
directly to the MIDI OUT jack. This allows you, for
example, to play a sound module connected to the
MIDI OUT from a keyboard controller connected
to the MIDI IN, without a computer connected.

CUEMIX MENU

To access the CUEMIX menu, push the PARAM
knob until you see CUEMIX displayed in the LCD.
This menu displays the settings for the
UltraLite-mk3 CueMix FX mixer.

CueMix mixer basics

It is much easier to navigate the CUEMIX menu in
the LCD if you have a general understanding of the
CueMix FX mixer. We strongly recommend that
you review chapter 11, “CueMix FX” (page 61)
before learning the LCD, especially “CueMix FX
basic operation” on page 63.

CUEMIX menu organization

Mixer settings are divided into four sub-menus,
which correspond to the Inputs, Mixes, Outputs
and Reverb tabs in the CueMix FX software:

All Notes Off

The All Notes Off setting sends a MIDI All Notes Off
message, as well as a MIDI note-off message for
every note on every MIDI channel. This stops any
stuck notes that are currently playing. Push VALUE
to send the All Notes Off MIDI data.

AutoSave Status

All of the parameters in the UltraLite-mk3 are
periodically saved automatically in its memory, so
that if you power down the unit, it will power back
up in the same state. AutoSave Status tells you the
current state of this process: Change Detected,
Saving… or Saved. If it says Saved, it is ready to be
powered down. If it says Change Detected or
Saving…, wait unt il it changes to Saved.

Factory Defaults

Push VALUE to restore the UltraLite-mk3
hardware to its factory default settings. Push
VALUE again to confirm, or turn PARAM to
cancel.

■ IN (inputs)

■ OUT (outputs)

■ MIX (Mixes)

■ REVERB (reverb processor)

Navigating the four main menus

To access the four main menus above, push the
CHANNEL knob repeatedly. Then turn the
CHANNEL knob to select the desired channel or
mix.

36

ULTRALITE-MK3 FRONT PANEL OPERATION

The IN (inputs) menu

Push the CHANNEL button repeatedly until you
see “I:” in the channel section of the LCD
(Figure 6-6). This is similar to accessing the Inputs
tab in CueMix FX console (“The Inputs tab” on
page 66).

“ I: ” Indicates

the IN (inputs)

menu.

Figure 6-6: The IN (inputs) menu.

The current

channel.

“Pages” are groups of

channel settings, such

as one band of EQ.

Access individual parameters

here, such as the frequency

setting for a band of EQ.

Change the value of the
current parameter here

Choosing a channel

Once you see the Inputs menu (Figure 6-6) in the
LCD, turn the CHANNEL knob to select the
desired input that you wish to edit. This is roughly
equivalent to specifying an input channel strip to
work with in the Inputs tab in CueMix FX software
(Figure 11-3 on page 66).

Choosing a setting to modify

Once you’ve selected an input channel, you can
access the various settings for that channel using
the PAGE knob and PARAMETER knobs.

Turn the PAGE knob to scroll through channel
settings such as individual bands of EQ, the
compres sor, reverb sends , etc . Pus h the PAGE k nob

to jump to the next “section” of parameters or to
jump back to the beginning of the list. This is
roughly the equivalent of moving through the
various channel controls in an individual input
channel strip in CueMix FX (Figure 11-3 on
page 66), as well as the settings in the Channel tab
(Figure 11-8 on page 70).

Turn the PARAMETER knob to scroll through
individual parameters, such as the frequency for
the current band of EQ. This is roughly equivalent
to the parameters in the EQ tab (Figure 11-10 on
page 71), Dynamics tab (Figure 11-21 on page 77)
and Reverb tab (Figure 11-23 on page 80) in the
CueMix FX software.

Adjusting the value of a parameter

Turn the VALUE knob to adjust the value of the
current PARAMETER. Some parameters have
default values. If so, push the VALUE knob to cycle
through them.

Inactive items

If a menu item is inac tive for som e reas on (pe rhaps
it doesn’t currently apply or it is disabled), it is
displayed in parentheses.

Copying and pasting

EQ, dynamics and Mix Assign settings allow you to
copy and paste settings between EQ bands and/or
channels. Push the VALUE knob to copy, scroll to
the other item and then push again to paste.

Summary of Inputs menu settings

For a summary of Inputs menu settings, see
“Inputs menu” on page 39.

ULTRALITE-MK3 FRONT PANEL OPERATION

37

The OUT (Outputs) menu

Push the CHANNEL button repeatedly until you
see “O:” in the channel section of the LCD
(Figure 6-7). This is similar to accessing the
Outputs tab in CueMix FX console (“The Outputs
tab” on page 68).

The MIX (Mixes) menu

Push the CHANNEL button repeatedly until you
see “MIX 1” (or “MIX 2”, etc.) in the channel
section of the LCD (Figure 6-8). This is similar to
accessing the Mixes tab in CueMix FX console
(“The Mixes tab” on page 64).

“ O: ” Indicates

the OUT

(outputs) menu.

Figure 6-7: The OUT (outputs) menu.

The current

channel.

“Pages” are groups of
channel settings, such

as one band of EQ.

Access individual parameters

here, such as the frequency

setting for a band of EQ.

Change the value of the
current parameter here

Choosing a channel

Once you see the Outputs menu (Figure 6-7) in the
LCD, turn the CHANNEL knob to select the
de sire d out put that you w ish to e dit. T his is ro ugh ly
equivalent to specifying an output channel strip to
work with in the Outputs tab in CueMix FX
software (Figure 11-6 on page 68).

Working with outputs in the LCD

Once you’ve selected an output channel, you can
access the various settings for that channel using
the PAGE knob and PARAMETER knobs. The
knobs function the same as described for inputs in
“Choosing a setting to modify” on page 37 and
“Adjusting the value of a parameter” on page 37.

Summary of Output menu settings

For a summary of Inputs menu settings, see
“Outputs menu” on page 40.

The current

mix bus.

Here, choose master fader

settings, reverb settings, and

individual input channels.

Figure 6-8: The MIX (Mixes) menu.

Access individual parameters

here, such as input channel

settings.

Change the value of the

current parameter here

Choosing a mix bus

Once you see the MIX menu (Figure 6-8) in the
LCD, turn the CHANNEL knob to select the
desired mix that you wish to edit. This is roughly
equivalent to choosing a mix in the Mixes tab in
CueMix FX software (Figure 11-2 on page 64).

Working with mix busses in the LCD

Once you’ve selected a mix, you can access the
various settings for that mix using the PAGE knob
and PARAMETER knobs. The knobs function the
same as described for inputs in “Choosing a setting
to modify” on page 37 and “Adjusting the value of a
parameter” on page 37. The PAGE knob scrolls
through the following mix bus settings:

■ MASTER — these are master fader settings,

such as the master fader output assignment, master
mute on/off, and the master fader volume. Access
them with the PARAMETER knob.

38

ULTRALITE-MK3 FRONT PANEL OPERATION

■ REVERB — these are the reverb send and return

controls for the bus master fader. Access them with
the PARAMETER knob.

■ Individual channels — once you scroll past

MASTER and REVERB, the PAGE knob then
scrolls through all available inputs for the mix bus.
Once you choose an input, access its channel
settings using the PARAM knob and VALUE knob.

Summary of Mix menu settings

For a summary of Mix menu settings, see “Mixes
menu” on page 40.

The REVERB settings

Push the CHANNEL button repeatedly until you
see “REVERB” in the channel section of the LCD
(Fi gure 6-9 ). This is s imil ar to accessing t he Rever b
tab in CueMix FX (“The Reverb tab” on page 80).

☛ The REVERB processor is not available at

sample rates above 48 kHz. Therefore, when the
UltraLite-mk3 is operating at 88.2 kHz or higher,
the REVERB menu does not appear in the LCD.

Figure 6-9: The REVERB settings.

Once you’ve selected the REVERB menu, you can
access all settings using the PARAMETER and
VALUE knobs. The PAGE knob is not needed and
is therefore disabled when editing reverb settings.

Summary of Reverb menu settings

See “Reverb menu” on page 40 for a summary.

INPUTS MENU

CHANNEL PAGE PARAM

INPUTS
mic 1-2
Analog 1-2
Analog 3-4
etc.

INPUT PAIR

EQ
(global)

HPF
(High-pass)

LF
(Low w/shelf)

LMF
(Low-mid)

MF
(Mid)

HMF
(High-mid)

HF
(High w/shelf)

LPF
(Low-pass)

DYN
(Dynamics)

COMP
(Compressor)

LEVELER ENABLE

REVERB SEND

PHASE
L-R/M-S (stereo or M/S)
SWAP
WIDTH
TRIM

ENABLE
COPY
PASTE
RESET

ENABLE
SLOPE
FREQ

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
SLOPE
FREQ

ENABLE
COPY
PASTE
RESET

ENABLE
MODE
THRESH
RATIO
ATTACK
RELEASE
TRIM

MODE
REDUCE
MAKEUP

SEND PAN (mono only)

ULTRALITE-MK3 FRONT PANEL OPERATION

39

OUTPUTS MENU MIXES MENU

CHANNEL PAGE PARAM

OUTPUTS
Main
Analog 1-2
Analog 3-4, etc.

EQ
(global)

HPF
(High-pass)

LF
(Low w/shelf)

LMF
(Low-mid)

MF
(Mid)

HMF
(High-mid)

HF
(High w/shelf)

LPF
(Low-pass)

DYN
(Dynamics)

COMP
(Compressor)

LEVELER ENABLE

REVERB SEND

MASTER MONITOR

ENABLE
COPY
PASTE
RESET

ENABLE
SLOPE
FREQ

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
TYPE
FREQ
GAIN
WIDTH

ENABLE
SLOPE
FREQ

ENABLE
COPY
PASTE
RESET

ENABLE
MODE
THRESH
RATIO
ATTACK
RELEASE
TRIM

MODE
REDUCE
MAKEUP

SEND PAN

TALKBACK
LSNBACK

CHANNEL PAGE PARAM

MIXES
Mix 1
Mix 2
etc.

MASTER ASSIGN

REVERB SEND

ANALOG 1
ANALOG 2
etc.
(if mono)

ANALOG 3-4
ANALOG 5-6
etc.
(if stereo)

SP (S/PDIF) MUTE

MUTE
FADER
COPY
PASTE
RESET

RETURN

MUTE
SOLO
(BAL/WID) - n/a
PAN
FADER

MUTE
SOLO
BAL/WID
BAL
FADER

SOLO
BAL/WID
BAL
FADER

REVERB MENU

CHANNEL PAGE PARAM

REVERB --- ENABLE

TIME
PREDELAY
WIDTH
CUT Hz
CUT dB
ROOM
REFSIZE
REF LEV
LO %
MID %
HI %
LO XOVR
HI XOVR
SPLIT

STAND-ALONE OPERATION

All settings, including all mix settings and global
settings, are saved in the UltraLite-mk3’s memory,
and they remain in effect even when the
UltraLite-mk3 is not connected to a computer.
This allows you to use the UltraLite-mk3 as a
stand-alone 8-bus mixer. You can make
adjustments to any setting at any time from the
front panel.

40

ULTRALITE-MK3 FRONT PANEL OPERATION

CHAPTER

7 Cubase, Nuendo, Live and Other

ASIO Software

OVERVIEW

The UltraLite-mk3 includes an ASIO driver that
provides multi-channel I/O and sample-accurate
synchronization with Steinberg’s Cubase family of
digital audio sequencers, including Cubase and
Nuen do.

What is ASIO? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Run MOTU Audio Console . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Choosing the MOTU ASIO driver. . . . . . . . . . . . . . . . . . . . . 43

Direct monitoring. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Other System dialog settings . . . . . . . . . . . . . . . . . . . . . . . . 44

Viewing and managing UltraLite-mk3 inputs. . . . . . . . 44

Viewing and managing UltraLite-mk3 outputs . . . . . . 45

Changing UltraLite-mk3 settings . . . . . . . . . . . . . . . . . . . . 45

Processing live inputs with host-based VST plug-ins. 45

Working with CueMix FX mixing and effects. . . . . . . . . 45

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

MIDI I/O via the UltraLite-mk3 MIDI ports . . . . . . . . . . . . 45

24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

WHAT IS ASIO?

ASIO is an acronym for Audio Streaming Input and
Output. The ASIO MOTU FireWire Audio driver

allows the UltraLite-mk3 to provide multi-channel
audio input and output for any audio application
that supports ASIO drivers.

If your audio software doesn’t support ASIO

If your host audio software does not support ASIO,
but instead supports WDM (or legacy Wave) audio
drivers, refer to the next chapter.

PREPARATION

To make sure that everything is ready for Cubase,
install Cubase first (if you haven’t already done so),
and then see these chapters before proceeding:

■ chapter 3, “IMPORTANT! Run the

UltraLite-mk3 Software Installer First” (page 15)

■ chapter 4, “Installing the UltraLite-mk3

Hardware” (page 17).

RUN MOTU AUDIO CONSOLE

Before you run Cubase, launch MOTU Audio
Console to configure your UltraLite-mk3
hardware. MOTU Audio Console lets you
configure your audio interface, and it lets you
enable the desired inputs and outputs. Only
enabled inputs and outputs will be available to
Cubase, so this is an important step. For complete
details regarding MOTU Audio Console, see
chapter 5, “MOTU Audio Console” (page 27).

Attention: Other software users

The UltraLite-mk3 ASIO driver also provides
multi-channel I/O with any ASIO-compatible
audio software. Cubase is used for the examples in
this chapter. However, the basic procedures are the
same and can be easily applied to any ASIO­compatible software. Just follow the general
descriptions at the beginning of each main section
in this chapter. Consult your software
documentation for details about each topic, if
necessary.

41

If you do not have any digital audio connections to
your UltraLite-mk3 (you are using the analog
inputs and outputs only), and you will not be
slaving Cubase to external SMPTE time code,
choose Internal.

If you have a S/PDIF digital audio device
connected to the UltraLite-mk3, see “Connecting
and syncing S/PDIF devices” on page 21.

If you are slaving the UltraLite-mk3 and Cubase to
SMPTE time code via the UltraLite-mk3 itself,
choose SMPTE and follow the directions in
“Resolving Cubase or Nuendo to SMPTE time
code” on page 91.

☛ If you are using an ASIO host application

other than Cubase or Nuendo, it must support the
ASIO 2.0 sample-accurate positioning protocol in
order to support the UltraLite-mk3’s direct SMPTE
sync (and sample-accurate sync) feature.

Figure 7-1: MOTU Audio Console gives you access to all of the settings
in the UltraLite-mk3 hardware, including the clock source and
sample rate.

For complete details about the UltraLite-mk3
settings, see chapter 5, “MOTU Audio Console”
(page 27). The following sections provide a brief
explanation of each UltraLite-mk3 setting for use
with Cubase.

Sample rate

Choose the desired overall sample rate for the
UltraLite-mk3 system and Cubase. Newly recorded
audio in Cubase will have this sample rate.

Clock Source

This setting is very important because it
determines which audio clock the UltraLite-mk3
will follow.

42

Samples Per Buffer

The Samples Per Buffer setting can be used to
reduce the delay — or monitoring latency — that
you hear when live audio is patched through your
UltraLite-mk3 hardware and Cubase. For example,
you might have MIDI instruments, samplers,
microphones, and so on connected to the analog
inputs of the UltraLite-mk3. If so, you will often be
mixing their live input with audio material
recorded in Cubase. See chapter 10, “Reducing
Monitoring Latency” (page 55) for complete
details.

Phones

This UltraLite-mk3 setting lets you choose what
you’ll hear from the headphone jack. For example,
if you choose Main Out 1-2, the headphones wil l
duplicate the main outs. Or you can choose any
other output pair. If you choose Phones 1-2, this
setting makes the headphone jack serve as its own

CUBASE, NUENDO, LIVE AND OTHER ASIO SOFTWARE

independent output pair. As a result, you’ll see
Phones 1-2 as an additional audio destination in
Cubase or Nuendo’s audio output menus.

Main Out Assign

Use the Main Out Assign setting to determine what
audio you will hear on the TRS main outs of the
UltraLite-mk3. If you would like to treat them as
their own separate output pair, choose Main Outs.

Live

In Ableton Live, access the preferences window and
click the Aud io tab. Choose ASIO from the Driver
Ty p e menu. Choose the MOTU Audio ASIO from
the Audio Dev ice menu as shown below in
Figure 7-3. To enable or disable UltraLite-mk3
input or output channels, click the Input Config or
Output Config buttons. To access MOTU Audio
Console, click the Hardware Setup button.

CHOOSING THE MOTU ASIO DRIVER

Once you’ve made the preparations described so
far in this chapter, you’re ready to run your audio
software and enable the MOTU ASIO Driver.
Check the audio system or audio hardware
configuration window in your software. There will
be a menu there that lets you choose among
various ASIO drivers that may be in your system.
Choose the MOTU ASIO Driver from this menu.

Nuendo, Cubase and V-Stack

To activate the UltraLite-mk3 driver in Nuendo or
Cubase SX, go to the Device Setup window, click
VST Audio System and choose MOTU Audio ASIO
from the ASIO Driver menu (Figure 7-2). Make the
other settings in the dialog as need for your system
and synchronization scenario.

For information about the Buffer Size setting, see
“Adjusting the audio I/O buffer” on page 57.

Figure 7-3: Enabling the UltraLite-mk3 in Live.

Figure 7-2: Activating the UltraLite-mk3 ASIO driver in Nuendo and
Cubase.

CUBASE, NUENDO, LIVE AND OTHER ASIO SOFTWARE

43

Sound Forge

To act ivate th e MOT U Audio A SIO d river in Sound
Forge, go to the Preferences window, click the

Aud io tab, and then choose MOTU Audio from the
Audio device type menu as shown below.

OTHER SYSTEM DIALOG SETTINGS

Consult your Cubase or Nuendo documentation
for details about the rest of the settings in this
dialog.

VIEWING AND MANAGING ULTRALITE-MK3
INPUTS

Once you’ve chosen the MOTU ASIO Driver in
Device Setup as explained earlier in “Choosing the
MOTU ASIO driver” on page 43, click MOTU
Audio ASIO in the left-hand list to see the
UltraLite-mk3 inputs in the port list on the right
(Figure 7-5). To activate an UltraLite-mk3 output,
create a bus in the VST Connections window and
assign the desired output to it.

Figure 7-4: Enabling the UltraLite-mk3 driver in Sound Forge.

DIRECT MONITORING

The Direct Monitoring option (Figure 7-5) allows
you to monitor inputs directly in the
UltraLite-mk3 hardware with no drain on your
computer and near zero latency. When you enable
this option, Cubase uses the UltraLite-mk3’s
CueMix FX monitoring features whenever you use
Cubase’s monitoring features. For further
information, see “Controlling CueMix FX from
within Cubase or Nuendo” on page 59.

44

Figure 7-5: Creating UltraLite-mk3 inputs in Nuendo or Cubase.

Return Assign

In the VST Inputs list, you’ll see an UltraLite-mk3
input pair called Return 1-2. This is a stereo feed
from the UltraLite-mk3 that matches the output of
one of its output pairs. Use the Return Assign menu
in MOTU Audio Console to choose which output
pair you would like to hear on this return. This can
be used, for example, to record back a final stereo
mix that includes effects processing from the
UltraLite-mk3 DSP (such as the Leveler) for
reference and archiving purposes.

CUBASE, NUENDO, LIVE AND OTHER ASIO SOFTWARE

☛ Warning: the Return inputs can cause

feedback loops! DO NOT assign this input to a
track that shares the same UltraLite-mk3 output
pair as the returns.

Reverb return

The UltraLite-mk3 also supplies a return to your
host software that carries the output of its reverb
processor. This return can be used for any purpose
you wish.

VIEWING AND MANAGING ULTRALITE-MK3
OUTPUTS

To view and manage UltraLite-mk3 outputs, scroll
down below the inputs to see them (Figure 7-6).

PROCESSING LIVE INPUTS WITH HOST­BASED VST PLUG-INS

If you patch a live input (such as MIDI synthesizer)
through a VST plug-in effect in Cubase, you might
hear a slight delay. There are several ways to reduce
this delay. For details, see chapter 10, “Reducing
Monitoring Latency” (page 55).

WORKING WITH CUEMIX FX MIXING AND
EFFECTS

The UltraLite-mk3 provides powerful external
mixing, EQ, compression and reverb, which you
can operate hand-in-hand with your host
software’s complete mixing environment. For
example, the UltraLite-mk3 can serve as a monitor
mixer routing channels to musicians, or it can
serve as an integrated extension of your Cubase/
Nuendo mixing environment. If you program an
UltraLite-mk3 mixing and processing
configuration that goes hand in hand with your
Cubase/Nuendo project, be sure to use the file save
features in CueMix FX to save the UltraLite-mk3
settings as a file in your Cubase/Nuendo project
folder for instant recall of all settings. See
chapter 11, “CueMix FX” (page 61) for complete
details.

Figure 7-6: Working with UltraLite-mk3 outputs in Nuendo or
Cubase.

The “Phones 1-2” output

If you’ve chosen to treat the UltraLite-mk3
headphones as an independent output, you’ll see
Phones 1-2 as a UltraLite-mk3 output destination.
Audio tracks assigned to this output pair will be
heard on the headphone jack only. For further
explanation, see “Phones” on page 42.

CHANGING ULTRALITE-MK3 SETTINGS

To change the UltraLite-mk3 settings at any time,
go to the Device Setup window in Nuendo or
Cubase and click the Control Panel button, as
shown in Figure 7-6 on page 45. Be sure to click the
Reset button after making any changes.

CUBASE, NUENDO, LIVE AND OTHER ASIO SOFTWARE

SYNCHRONIZATION

Together, Cubase (or Nuendo) and the
UltraLite-mk3 have the ability to resolve directly to
SMPTE time code, without an additional time
code synchronizer. See “Syncing to SMPTE time
code” on page 92.

MIDI I/O VIA THE ULTRALITE-MK3 MIDI
PORTS

Once you’ve run the UltraLite-mk3 software
installer as explained in “Installing the
UltraLite-mk3 software” on page 15, the
UltraLite-mk3 MIDI ports will appear as a MIDI
input source and output destination in your host
software’s MIDI input and output menus.

45

24-BIT OPERATION

Your UltraLite-mk3 hardware fully supports
Cubase and Nuendo’s 24-bit recording capabilities.
Simply enable 24-bit operation as instructed in
your Cubase or Nuendo manual. The
UltraLite-mk3 always supplies a 24-bit data
stream, and when you enable 24-bit operation in
Cubase or Nuendo, it simply uses all 24-bits
supplied by the UltraLite-mk3 hardware.

46

CUBASE, NUENDO, LIVE AND OTHER ASIO SOFTWARE

CHAPTER

8 SONAR and other WDM Software

OVERVIEW

The UltraLite-mk3 WDM driver provides
standard multi-channel input and output for
WDM-compatible audio software running under
Windows XP.

WDM and Wave driver compatibility. . . . . . . . . . . . . . . . . 47

Installing the MOTU Audio WDM driver. . . . . . . . . . . . . . 47

Enabling Wave (MME) compatibility . . . . . . . . . . . . . . . . . 47

Making settings in MOTU Audio Console . . . . . . . . . . . . 47

Enabling the MOTU Audio WDM driver . . . . . . . . . . . . . . 48

Working with UltraLite-mk3 inputs and outputs. . . . . 49

Changing UltraLite-mk3 settings . . . . . . . . . . . . . . . . . . . . 50

Reducing delay when monitoring live inputs . . . . . . . . 50

Processing live inputs with host-based VST plug-ins. 50

Working with CueMix FX mixing and effects. . . . . . . . . 50

MIDI I/O via the UltraLite-mk3 MIDI ports . . . . . . . . . . . . 50

24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

WDM AND WAVE DRIVER COMPATIBILITY

WDM is an acronym for Windows Driver Model.
The MOTU WDM Driver allows the
UltraLite-mk3 to provide multi-channel audio
input and output for any audio application that
supports WDM audio drivers.

Attention: Cakewalk users

Cakewalk SONAR is used for the WDM driver
setup examples in this chapter.

Attention: other software users

SONAR is used for the WDM driver setup
examples in this chapter. However, the basic
procedures are the same and can be easily applied
to any WDM-compatible software. Consult your
software documentation for details, if necessary.

INSTALLING THE MOTU AUDIO WDM
DRIVER

The MOTU Audio Installer CD installs the MOTU
WDM driver into Windows for you. That’s pretty
much all the preparation you need. See chapter 3,
“IMPORTANT! Run the UltraLite-mk3 Software
Installer First” (page 15).

ENABLING WAVE (MME) COMPATIBILITY

If your host audio software does not support
Windows WDM drivers, enable Wave driver
compatibility in the MOTU WDM Driver so that
all of the UltraLite-mk3’s inputs and outputs show
up in your software. For details, see “Wave support
for legacy (MME) software” on page 30.

☛ If your host audio software does support

WDM audio drivers, don’t enable Wave driver
compatibility.

MAKING SETTINGS IN MOTU AUDIO
CONSOLE

Before you run your audio software, launch MOTU
Audio Console to configure your UltraLite-mk3
hardware. MOTU Audio Console lets you choose
the audio clock source, sample rate, buffer size and
other hardware settings. For details, see chapter 5,
“MOTU Audio Console” (page 27). The following
sections provide a brief explanation of each
UltraLite-mk3 setting for use with SONAR.

47

Figure 8-1: MOTU Audio Console gives you access to all of the settings
in the UltraLite-mk3 hardware, including the clock source, sample
rate and headphone output assignment.

Samples Per Buffer

The Samples Per Buffer setting can be used to
reduce the delay — or monitoring latency — that
you hear when live audio is patched through your
UltraLite-mk3 hardware and SONAR. For
example, you might have MIDI instruments,
samplers, microphones, and so on connected to
the analog inputs of the UltraLite-mk3. If so, you
will often be mixing their live input with audio
material recorded in SONAR. See chapter 10,
“Reducing Monitoring Latency” (page 55) for
complete details.

Phones

This UltraLite-mk3 setting lets you choose what
you’ll hear from the headphone jack. For example,
if you choose Main Out 1-2, the headphones wil l
duplicate the main outs. Or you can choose any
other output pair. If you choose Phones, this set tin g
makes the headphone jack serve as its own
independent output pair. As a result, you’ll see
Phones 1-2 as an additional audio destination in
SONAR’s audio output menus.

Sample rate

Choose the desired overall sample rate for the
UltraLite-mk3 system and SONAR. Newly
recorded audio in SONAR will have this sample
rate.

Clock Source

This setting is very important because it
determines which audio clock the UltraLite-mk3
will follow.

If you do not have any digital audio connections to
your UltraLite-mk3 (you are using the analog
inputs and outputs only), and you will not be
slaving SONAR to external SMPTE time code,
choose Internal.

If you have a S/PDIF digital audio device
connected to the UltraLite-mk3, see “Connecting
and syncing S/PDIF devices” on page 21.

48

Main Out Assign

Use the Main Out Assign setting to determine what
audio you will hear on the XLR main outs of the
UltraLite-mk3. If you would like to treat them as
their own separate output pair, choose Main Outs.

ENABLING THE MOTU AUDIO WDM DRIVER

Once you’ve made the preparations described so
far in this chapter, you’re ready to run your audio
software and enable the MOTU Audio WDM
driver. Check the audio system or audio hardware
configuration window in your software.

Enabling the MOTU Audio WDM driver in
SONAR

To activate the MOTU Audio WDM driver in
SONAR:

1 Choose Aud io from the Options menu.

2 Click the Drivers tab.

SONAR AND OTHER WDM SOFTWARE

3 Check the UltraLite-mk3 inputs and outputs
that you wish to use and uncheck the ones you
don’t as shown in Figure 8-2.

Figure 8-2: Activating the MOTU Audio WDM driver in SONAR by
highlighting UltraLite-mk3 inputs and outputs.

Enabling the MOTU ASIO driver in SONAR

As an alternative to the UltraLite-mk3’s WDM
driver, you can use the UltraLite-mk3’s ASIO
driver. Note, however, that you can only use one
audio interface at a time under ASIO. Go to the
Advanced tab and choose ASIO from the Driver
Mode menu:

Other audio settings in SONAR

There are a few other settings in SONAR that
impact UltraLite-mk3 operation:

1 In the Audio Options window, click the General
tab.

2 Choose any UltraLite-mk3 input and output for
recording and playback timing as shown below in
Figure 8-4. It doesn’t matter which ones.

Figure 8-4: Make sure you have chosen an UltraLite-mk3 input and
output for the playback and recording timing master settings.

3 In the General tab, click the Wave Profiler
button and run the Wave Profiler.

Figure 8-3: Enabling the ASIO driver instead of the WDM driver.

SONAR AND OTHER WDM SOFTWARE

This process chooses the optimum settings for the
UltraLite-mk3 hardware.

WORKING WITH ULTRALITE-MK3 INPUTS
AND OUTPUTS

Once you’ve enabled the UltraLite-mk3 inputs and
output, UltraLite-mk3 audio inputs and outputs
will appear in your host software’s input/output
menus, and you can set them up and use them as
any standard audio input and output.

Return Assign

In SONAR, you’ll see an UltraLite-mk3 input pair
called Return 1-2. This is a stereo feed from the
UltraLite-mk3 that matches the output of one of its

49

output pairs. Use the Return Assign menu in
MOTU Audio Console to choose which output
pair you would like to hear on this return. This can
be used, for example, to record back a final stereo
mix that includes effects processing from the
UltraLite-mk3 DSP (such as the Leveler) for
reference and archiving purposes.

PROCESSING LIVE INPUTS WITH HOST­BASED VST PLUG-INS

If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in SONAR, you might hear
a slight delay. There are several ways to reduce this
delay. For details, see chapter 10, “Reducing
Monitoring Latency” (page 55).

☛ Warning: the Return inputs can cause

feedback loops! DO NOT assign this input to a
track that shares the same UltraLite-mk3 output
pair as the returns.

Reverb return

The UltraLite-mk3 also supplies a return to your
host software that carries the output of its reverb
processor. This return can be used for any purpose
you wish.

The “Phones 1-2” output

If you’ve chosen to treat the UltraLite-mk3
headphones as an independent output, you’ll see
Phones 1-2 as a n Ultr aLi te- mk3 output d est inati on.
Audio tracks assigned to this output pair will be
heard on the headphone jack only. For further
explanation, see “Phones Assign” on page 30.

CHANGING ULTRALITE-MK3 SETTINGS

You can change the UltraLite-mk3 settings at any
time by accessing MOTU Audio Console.

REDUCING DELAY WHEN MONITORING
LIVE INPUTS

If you have live audio inputs connected to the
UltraLite-mk3, such as MIDI synthesizers,
samplers, microphones or other live instruments,
you might hear a slight delay when their audio is
being monitored through your UltraLite-mk3
hardware and your host audio program. There are
several ways to reduce — and eliminate — this
audible monitoring delay. For details, see
chapter 10, “Reducing Monitoring Latency”
(page 55).

WORKING WITH CUEMIX FX MIXING AND
EFFECTS

The UltraLite-mk3 provides powerful external
mixing, EQ, compression and reverb, which you
can operate hand-in-hand with your host
software’s complete mixing environment. For
example, the UltraLite-mk3 can serve as a monitor
mixer routing channels to musicians, or it can
serve as an integrated extension of your SONAR
mixing environment. If you program an
UltraLite-mk3 mixing and processing
configuration that goes hand in hand with your
SONAR project, be sure to use the file save features
in CueMix FX to save the UltraLite-mk3 settings as
a file in your SONAR project folder for instant
recall of all settings. See chapter 11, “CueMix FX”
(page 61) for complete details.

MIDI I/O VIA THE ULTRALITE-MK3 MIDI
PORTS

Once you’ve run the UltraLite-mk3 software
installer as explained in “Installing the
UltraLite-mk3 software” on page 15, the
UltraLite-mk3 MIDI ports will appear as a MIDI
input source and output destination in your
WDM-compatible software’s MIDI input and
output menus.

24-BIT OPERATION

Your UltraLite-mk3 hardware fully supports 24-bit
recording in any audio software that supports it.
Simply enable 24-bit operation as instructed by the
software. The UltraLite-mk3 system always
supplies the software with a 24-bit data stream, and
when you e nable 24-bit oper ation , it simply uses all
24-bits supplied by the UltraLite-mk3 hardware.

50

SONAR AND OTHER WDM SOFTWARE

CHAPTER

9 GigaStudio and GSIF

OVERVIEW

The UltraLite-mk3 includes a GSIF driver that
provides multi-channel I/O with Tascam’s
GigaStudio family of virtual sampler products.

What is GSIF? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Run MOTU Audio Console . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Choosing the MOTU GSIF driver . . . . . . . . . . . . . . . . . . . . . 52

Enabling UltraLite-mk3 outputs & inputs . . . . . . . . . . . . 52

Changing UltraLite-mk3 settings . . . . . . . . . . . . . . . . . . . . 52

MIDI I/O via the UltraLite-mk3 MIDI ports . . . . . . . . . . . . 52

Processing live inputs with host-based VST plug-ins. 53

Working with CueMix FX mixing and effects. . . . . . . . . 53

24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

WHAT IS GSIF?

GSIF is an acronym for Giga Sampler Interface. The
MOTU Audio driver allows the UltraLite-mk3 to
provide multi-channel audio input and output for
the Tascam GigaStudio family of products.

PREPARATION

Install GigaStudio first (if you haven’t already done
so), and then see these chapters before proceeding:

■ chapter 3, “IMPORTANT! Run the

UltraLite-mk3 Software Installer First” (page 15)

■ chapter 4, “Installing the UltraLite-mk3

Hardware” (page 17).

RUN MOTU AUDIO CONSOLE

Before you run GigaStudio, launch MOTU Audio
Console to configure your UltraLite-mk3
hardware. MOTU Audio Console lets you
configure your audio interface. For complete
details, see chapter 5, “MOTU Audio Console”
(page 27).

Figure 9-1: MOTU Audio Console gives you access to all of the settings
in the UltraLite-mk3 hardware, including the clock source, sample
rate and headphone output assignment.

Sample rate

Choose the desired overall sample rate for the
UltraLite-mk3 system and GigaStudio. This should
match the sample rate at which you intend to
operate GigaStudio.

Clock Source

This setting is very important because it
determines which audio clock the UltraLite-mk3
will follow.

If you do not have any digital audio connections to
your UltraLite-mk3 (you are using the analog
inputs and outputs only), choose Internal.

51

If you have a S/PDIF digital audio device
connected to the UltraLite-mk3, see “Connecting
and syncing S/PDIF devices” on page 21.

Samples Per Buffer

The Samples Per Buffer setting can be used to
reduce the delay — or latency — that you hear
when playing GigaStudio from your MIDI
controller or MIDI sequencer. In general, you have
better timing accuracy with lower buffer settings,
but the trade-off is that lower buffer settings
require the computer that is running GigaStudio
(with the UltraLite-mk3) to work harder. So in
general, you want to keep the buffer size a low as
possible while still maintaining the performance
you need from GigaStudio.

Phones

This UltraLite-mk3 setting lets you choose what
you’ll hear from the headphone jack. For example,
if you choose Main Out 1-2, the headphones wil l
duplicate the main outs. Or you can choose any
other output pair. If you choose Phones, this set tin g
makes the headphone jack serve as its own
independent output pair. As a result, you’ll see
Phones 1-2 as an additional audio destination in
GigaStudio’s audio output menus.

CHOOSING THE MOTU GSIF DRIVER

Once you’ve made the preparations described so
far in this chapter, you’re ready to run GigaStudio
and enable the MOTU GSIF driver. To activate the
UltraLite-mk3 GSIF driver, go to the File menu,
choose System Settings and click the Hardware tab.
In the Hardware Adapter section, choose MOTU
Aud io from the menu.

Figure 9-2: Activating the UltraLite-mk3 GSIF driver in GigaStudio.

ENABLING ULTRALITE-MK3 OUTPUTS &
INPUTS

To enable UltraLite-mk3 inputs and outputs for use
with GigaStudio, click in the Enable column to put
a check mark next to each input and output you
wish to use.

Main Out Assign

Use the Main Out Assign setting to determine what
audio you will hear on the TRS main outs of the
UltraLite-mk3. If you would like to treat them as
their own separate output pair, choose Main Outs.

52

CHANGING ULTRALITE-MK3 SETTINGS

To change the UltraLite-mk3 settings at any time,
run MOTU Audio Console (Figure 9-1 on
page 51).

MIDI I/O VIA THE ULTRALITE-MK3 MIDI
PORTS

Use the MIDI Port Configuration section
(Figure 9-2) as instructed in your GigaStudio
manual to use the UltraLite-mk3’s MIDI ports w ith
GigaStudio.

GIGASTUDIO AND GSIF

PROCESSING LIVE INPUTS WITH HOST­BASED VST PLUG-INS

If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in GigaStudio, you might
hear a slight delay. There are several ways to reduce
this delay. For details, see chapter 10, “Reducing
Monitoring Latency” (page 55).

UltraLite-mk3 mixing and processing
configuration that goes hand in hand with your
GigaStudio project, be sure to use the file save
features in CueMix FX to save the UltraLite-mk3
settings as a file in your GigaStudio project folder
for instant recall of all settings. See chapter 11,
“CueMix FX” (page 61) for complete details.

WORKING WITH CUEMIX FX MIXING AND
EFFECTS

The UltraLite-mk3 provides powerful external
mixing, EQ, compression and reverb, which you
can operate hand-in-hand with your host
software’s complete mixing environment. For
example, the UltraLite-mk3 can serve as a monitor
mixer routing channels to musicians, or it can
se rv e as an in teg rat ed e xte nsio n of you r Gi ga Stu dio
mixing environment. If you program an

24-BIT OPERATION

Your UltraLite-mk3 hardware fully supports
GigaStudio 24-bit operation. Simply enable 24-bit
operation in the Hardware Adapter section
(Figure 9-2). The UltraLite-mk3 always supplies a
24-bit data stream, and when you enable 24-bit
operation, it simply uses all 24-bits supplied by the
UltraLite-mk3 hardware.

GIGASTUDIO AND GSIF

53

54

GIGASTUDIO AND GSIF

CHAPTER

10 Reducing Monitoring Latency

OVERVIEW

Monitoring latency is that slight delay you hear
when you run an input signal through your host
audio software. For example, you might hear it
when you drive a live mic input signal through an
amp modeling plug-in running in your audio
sequencer.

This delay is caused by the amount of time it takes
for audio to make the entire round trip through
your computer, from when it first enters an
UltraLite-mk3 input, passes through the
UltraLite-mk3 hardware into the computer,
through your host audio software, and then back
out to an UltraLite-mk3 output.

If you don’t need to process a live input with
plug-ins, the easiest way to avoid monitoring
latency is to use the UltraLite-mk3’s CueMix FX
digital mixer to patch the input directly to your
monitor outs via the UltraLite-mk3 audio
hardware. The UltraLite-mk3 even provides effects
processing (EQ, compression and reverb), which
can be applied on input, output, or even at the
bussing stage, just like a conventional mixer. For
details, see “CueMix FX hardware monitoring” on
page 58.

It is i mpor tant to note th at monitor ing delay has no
effect on when audio data is recorded to disk or
played back from disk. Actual recording and
playback is extremely precise.

Monitoring live input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Adjusting the audio I/O buffer . . . . . . . . . . . . . . . . . . . . . . . 57

Lower latency versus higher CPU overhead . . . . . . . . . . 58

Transport responsiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Effects processing and automated mixing . . . . . . . . . . . 58

CueMix FX hardware monitoring. . . . . . . . . . . . . . . . . . . . . 58

Two methods for controlling CueMix FX . . . . . . . . . . . . . 58

Using CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Controlling CueMix FX from your audio software . . . . 59

If you do need to process a live input with plug-ins,
or if you are playing virtual instruments live
through your UltraLite-mk3 audio hardware, you
can significantly reduce latency — and even make
it completely inaudible, regardless of what host
audio application software you use. This chapter
explains how.

55

MONITORING LIVE INPUT

There are two ways to monitor live audio input
wit h an Ul tra Lite -mk 3: 1) t hrou gh t he comp uter or

2) via the Ultralite-mk3’s CueMix FX hardware
mixer. Figure 10-1 below shows method 1, which
allows you to add effects processing such as reverb
and guitar amp effects via plug-ins in your audio
software. See the next section, “Adjusting the audio
I/O buffer” for details about how to reduce — and
possibly eliminate — the audible monitoring delay
that the computer introduces.

Figure 10-2 shows how to use CueMix FX
hardware-based monitoring, which lets you hear
what you are recording with no monitoring delay
and no computer-based effects processing.
Instead, input is routed directly to an output, either
with or without UltraLite-mk3-based effects
processing (EQ, compression or reverb). See

1. Live input (from mic, guitar, etc.)
enters the MOTU interface.

“CueMix FX hardware monitoring” later in this
chapter for details on how to use CueMix FX with
your audio software, or with the included CueMix
FX software.

If the material you are recording is suitable, there is
a third way to monitor live input: use both methods
(Figure 10-1 and Figure 10-2) at the same time. For
example, you could route guitar to both the
computer (for an amp model effect) and mix that
processed signal on the main outs with dry guitar
from CueMix FX — or perhaps with a touch of
UltraLite-mk3 Classic Reverb.

3. Mic signal is
‘patched thru’ back to
the audio interface

2. Mic signal goes immedi­ately to the computer (dry,
with no effects processing).

PC

Figure 10-1: There are two ways to monitor live audio inputs with an UltraLite-mk3: 1) through the computer or 2) via CueMix FX hardware
monitoring. This diagram shows method 1 (through the computer). When using this method, use your host software’s buffer setting to reduce
the slight delay you hear when monitoring the live input, but don’t lower it too much, or your computer might get sluggish.

with reverb or other
plug-in effects, if any.

4. Mic signal (with plug-in
processing, if any) is routed
to the main outs (or other
outputs that you’ve specified
in the software).

56

REDUCING MONITORING LATENCY

ADJUSTING THE AUDIO I/O BUFFER

A buffer is a small amount of computer memory
used to hold data. For audio interfaces like the
UltraLite-mk3, buffers are used for the process of
transferring audio data in and out of the computer.
The size of the buffers determines how much delay
you hear when monitoring live inputs through
your audio software: larger buffers produce more
delay; smaller buffers produce less.

Buffer size adjustment is made in MOTU Audio
Console, as shown in Figure 10-3 via the Samples
Per Buffer setting.

Figure 10-3: Lowering the ‘Samples Per Buffer ’ setting in MOTU Audio
Console reduces patch thru latency. But doing so increases the
processing load on your computer, so keep an eye on the Perfor­mance Monitor in your host audio software.

1. Live input (from mic, guitar, etc.)
enters the MOTU interface.

3. Mic signal is mixed with the
main outs, and you can
control the volume (relative
to the rest of the mix) with
the mic’s fader in CueMix FX.

Figure 10-2: This diagram shows the signal flow when using CueMix FX no-latency monitoring. Notice that this method does not process the
live input with plug-ins in your audio software. Instead, you can apply UltraLite-mk3 effects, such as the reverb, EQ and/or compression.

REDUCING MONITORING LATENCY

2. CueMix FX immediately patches the live
mic signal directly to the main outs (or
other output), completely bypassing the
computer. This signal could be dry, or with
UltraLite-mk3 effects processing, such as
EQ, compression or Classic Reverb.

57

Lower latency versus higher CPU overhead

The buffer setting has a large impact on the
following things:

■ Patch thru latency

■ The load on your computer’s CPU

■ Possible distortion at the smallest settings

■ How responsive the transport controls are in

your audio software

The buffer setting presents you with a trade-off
between the processing power of your computer
and the delay of live audio as it is being patched
through your software. If you reduce the size, 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 buffer size, you reduce the load on
your computer, freeing up bandwidth for effects,
mixing and other real-time operations.

If you are at a point in your recording project where
you are not currently working with live, patched­thru material (e.g. you’re not recording vocals), or
if you have a way of externally processing inputs,
choose a higher buffer size. Depending on your
computer’s CPU speed, you might find that settings
in the middle work best (256 to 1024).

Transport responsiveness

Buffer size also impacts how quickly your audio
software will respond when you begin playback,
although not by amounts that are very noticeable.
Lowering the buffer size will make your software
respond faster; raising the buffer size will make it a
little bit slower, but barely enough to notice.

Effects processing and automated mixing

Reducing latency with the buffer size setting has
another benefit: it lets you route live inputs through
the real-time effects processing and mix
automation of your audio software.

CUEMIX FX HARDWARE MONITORING

The UltraLite-mk3 has a more direct method of
patching audio through the system. This method is
called CueMix FX. When enabled, CueMix
activates hardware patch-thru in the
UltraLite-mk3 itself. CueMix FX has two
important benefits:

■ First, it completely eliminates the patch thru

delay (reducing it to a small number of samples —
about the same amount as one of today’s digital
mixers).

■ Secondly, CueMix FX imposes no strain on the

computer.

The trade-off, however, is that CueMix FX
bypasses your host audio software. Instead, live
audio inputs are patched directly through to
outputs in the UltraLite-mk3 itself and are mixed
with disk tracks playing back from your audio
software. This means that you cannot apply
plug-ins, mix automation, or other real-time
effects that your audio software provides. But for
inputs that don’t need these types of features,
CueMix DSP is the way to go.

On the other hand, if you really need to use the
mixing and processing provided by your audio
software, you should not use CueMix FX. Instead,
reduce latency with the buffer setting (as explained
earlier in this chapter).

TWO METHODS FOR CONTROLLING
CUEMIX FX

There are two ways to control CueMix FX:

■ With CueMix FX

■ From within your host audio software (if it

supports direct hardware monitoring)

You can even use both methods simultaneously.

58

REDUCING MONITORING LATENCY

Using CueMix FX

If your host audio software does not suppor t direct
hardware monitoring, you run CueMix FX side­by-side with your audio software and manage your
monitor mix in CueMix FX.

mixes you’ve set up in CueMix FX. For example, if
your host application routes audio to an output
pair that is already being used in CueMix FX for an
entirely separate mix bus, both audio streams will
simply be merged to the output.

CueMix FX allows you to create up to eight
separate UltraLite-mk3 monitor mixes, or any
other desired routing configurations. These
routings are independent of your host audio
software. For complete details, see chapter 11,
“CueMix FX” (page 61).

Controlling CueMix FX from your audio
software

Some ASIO-compatible audio applications, such as
Cubase and Nuendo, allow you to control
CueMix FX monitoring from within the
application (without the need to use CueMix FX).
In most cases, this support consists of patching an
UltraLite-mk3 input directly to an output when
you record-arm a track. Exactly how this is
handled depends on the application.

CueMix FX routings that are made via host
applications are made “under the hood”, which
means that you won’t see them in CueMix FX.
However, CueMix FX connections made inside
your host audio software dovetail with any other

Controlling CueMix FX from within Cubase or
Nuendo

To turn on CueMix in Cubase SX or Nuendo,
enable the Direct Monitoring check box in the
Device Setup window (Figure 7-2 on page 43).

Other ASIO 2.0-compatible host software

If your ASIO-compatible host audio software
supports ASIO’s direct monitoring feature, consult
your software documentation to learn how to
enable this feature. Once enabled, it should work
similarly as described for Cubase (as explained in
the previous section).

Using CueMix FX with WDM- or Wave­compatible software

Run CueMix FX (chapter 11, “CueMix FX”
(page 61)) and use it to route live inputs directly to
outputs, control their volume and panning, etc. If
necessary, you can save your CueMix Console
setup with your project file.

REDUCING MONITORING LATENCY

59

60

REDUCING MONITORING LATENCY

CHAPTER

11 CueMix FX

OVERVIEW

CueMix FX is a cross-platform software
application that provides graphic, on-screen
control for the UltraLite-mk3’s flexible CueMix FX
on-board mixer and effects processing.

CueMix FX can be used independently of host
audio software, or together with it. CueMix
dovetails with the direct monitoring features of
your host audio software, allowing you to
seemlessly mix in both environments.

For information about programming the
UltraLite-mk3’s on-board mixing and effects using
the front panel LCD, see chapter 11, “CueMix FX”
(page 61).

A 16-bus mixer with EQ, compression and reverb. . . . 61

Advantages over host-based mixing and processing 62

CueMix FX installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

CueMix FX basic operation . . . . . . . . . . . . . . . . . . . . . . . . . . 63

The Mixes tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

The Inputs tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

The Outputs tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

The channel settings section. . . . . . . . . . . . . . . . . . . . . . . . . 69

The Monitor Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

DSP meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Solo light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Talkback and listenback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

File menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Edit menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Devices menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Configurations menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Talkback menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Phones menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Control Surfaces menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

A 16-BUS MIXER WITH EQ, COMPRESSION
AND REVERB

All UltraLite-mk3 inputs and outputs can be
routed to the on-board CueMix FX 16-bus (8
stereo bus) digital mixer driven by hardware-based
DSP with 32-bit floating point precision.

The CueMix FX mixer allows you to apply no­latency 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).

Effects include:

■ Classic Reverb with tail lengths up to 60 seconds

■ 7-band parametric EQ modeled after British

analog console EQs

■ A standard compressor with conventional

threshold/ratio/attack/release/gain controls

■ The Leveler™, an accurate model of the

legendary LA-2A optical compressor, which
provides vintage, musical automatic gain control

The UltraLite-mk3’s flexible effects architecture
allows you to apply EQ and compression on every
input and output (a total of 58 channels), with
enough DSP resources for at least one band of
parametric EQ and compression on every channel
at 48 kHz. DSP resources are allocated dynamically
and a DSP meter in the CueMix FX software allows
you to keep tabs on the UltraLite-mk3’s processing
resources.

61

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.

ADVANTAGES OVER HOST-BASED MIXING
AND PROCESSING

CueMix FX prov ides several major advantages over
mixing and processing in your host audio software:

■ CueMix has no buffer latency. Thanks to the

UltraLite-mk3’s DSP chip, CueMix provides the
same throughput performance as a digital mixer.

■ CueMix mixing and effects processing imposes

no processor drain on the computer’s CPU.

■ CueMix routing can be maintained

independently of individual software applications
or projects.

■ CueMix routing can operate without the

computer, allowing the UltraLite-mk3 to operate as
a portable, stand-alone mixer with effects.

CUEMIX FX INSTALLATION

CueMix FX is installed with the rest of your
UltraLite-mk3 software.

62

Solo
light

Tabs for inputs,

mix busses and

outputs

into mono

channels

UltraLite-mk3

inputs

Inputs grouped as

stereo pairs

Mix bus
master

fader

Tabs for channel strip settings,
including EQ and dynamics, as
well as global settings such as

the meter bridge and reverb

Channel

focus

Channel
scroll
bar

DSP

resources

Figure 11-1: CueMix FX is a virtual mixer that gives you control over the UltraLite-mk3’s on-board mixing features.

Mix bus

meter

menu

Mic inputs Inputs split

Channel
settings

processor.

Monitoring/

talkback

section

Monitor

group

metering

CUEMIX FX

CUEMIX FX BASIC OPERATION

Here is a brief overview of the CueMix FX mixer.

Eight stereo mix busses

CueMix provides eight stereo mix busses: Bus 1,
Bus 2, Bus 3, and so on. Each mix bus can take any
number of inputs and mix them down to any
UltraLite-mk3 output pair that you choose. For
example, Bus 1 could go to the headphones, Bus 2
could go to the main outs, Bus 3 could go to a piece
of outboard gear connected to analog outputs 7-8,
etc.

processor. These settings are applied to the signal
before it goes anywhere else (to a mix bus or the
computer).

Output channels

The Outputs tab (Figure 11-6 on page 68) gives you
access to settings for each UltraLite-mk3 output
pair, including EQ, dynamics processing and
send/return controls for feeding and returning the
output signal to/from the UltraLite-mk3’s global
reverb processor. These settings are applied to the
signal just before it is sent to the output.

Many inputs to one output pair

It might be useful to think of each mix bus as some
nu mbe r of input s al l mix ed d own to a ste reo outp ut
pair. CueMix FX lets you choose which inputs to
include in the mix, and it lets you specify the level,
pan and other input-specific mix controls for each
input being fed into the mix.

Viewing one mix bus at a time

CueMix FX displays one mix bus at a time in the
Mixes tab (Figure 11-2 on page 64). To select which
mix you are viewing, choose it from the mix bus
menu (Figure 11-2). The mix name appears above
the mix bus master fader (Figure 11-2), where you
can click the name to change it.

Each mix bus is independent

Each mix bus has its own settings. Settings for one
bus will not affect another. For example, if an input
is used for one bus, it will still be available for other
busses. In addition, inputs can have a different
volume, pan, mute and solo setting in each bus.

Input channels

The Inputs tab (Figure 11-3 on page 66) gives you
access to settings for individual UltraLite-mk3
inputs (or input pairs), such as phase, trim, EQ and
dynamics processing. Each input also includes a
send to the UltraLite-mk3’s global reverb

Channel focus and settings

Click the focus button for a channel (Figure 11-1)
to view channel-spe cific parameters in the Channel
Settings section of the CueMix FX window
(Figure 11-1). Separate tabs are provided for
channel-specific settings (channel strip, EQ and
dynamics), plus the global meter bridge and reverb
processor.

Global reverb processor

The UltraLite-mk3 has a global reverb module
(Figure 11-23 on page 80). Once it has been
activated, you can feed signals to the reverb
processor from various points in the
UltraLite-mk3 mix matrix via input sends, bus
sends and output sends. Stereo output from the
reverb processor can then be fed back to mix
busses or output pairs using reverb returns.

Other features

CueMix offers many additional features, discussed
in this chapter, such as talkback/listenback,
extensive metering, graphic editing of certain
effects parameters, monitor grouping and more.

Widening the CueMix FX window

To view more input faders at once, drag the right­hand edge of the window to the right.

CUEMIX FX

63

THE MIXES TAB

Click the Mixes tab (Figure 11-2) to gain access to
the UltraLite-mk3’s eight stereo mix busses. The
Mixes tab displays one mix bus at a time.

Viewing a mix

Choose the mix you wish to view from the mix bus
menu (in the Mixes tab itself, as shown in
Figure 11-2). The menu shows all mixes by name,
followed by the UltraLite-mk3 output pair to
which each bus master fader is currently assigned,
if any.

Naming a mix

Click the mix name at the top of the mix bus master
fader (Figure 11-2) to edit the name.

Assigning a mix bus output

Choose the desired output pair for the mix bus
from the bus output menu (Figure 11-2). The bus
output menu displays all current available
(enabled) UltraLite-mk3 output pairs. If a bus is
already assigned to an output pair, the bus name
appears next to the output pair name to indicate
that the output pair is already taken by a bus. Only
one bus can be assigned to any given output pair. If
you choose an output already assigned to another
bus, that bus output will become disabled.

Bus fader

The bus fader (Figure 11-2) controls the overall
level of the mix (its volume on its stereo output).
Use the individual input faders to the left to control
individual input levels.

Input name

Channel focus

Input pan section

Input fader

Input mute/solo

Input level meter

Scroll bar for input

channels

Mixes

Mix bus

tab

Mic inputs Inputs grouped as

menu

UltraLite-mk3

stereo pairs

inputs

Mix bus 1

master

fader

Bus name

Bus output

Bus Reverb
send/return

Bus fader

Bus mute

Bus level meter

64

Figure 11-2: The Mixes tab.

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Bus mute

The bus mute button (Figure 11-2) disables
(silences) the mix.

Bus level meter

The bus level meter, which is post-fader, shows you
the output for the mix’s output.

Bus reverb send/return

The bus reverb send (Figure 11-2) feeds the output
of the mix bus, pre-fader, to the UltraLite-mk3’s
global reverb processor, where it is merged with
any other signals being fed to the reverb. The
reverb’s output can then be fed back into the mixer
at various return points, including the bus return
(discussed below).

The bus reverb return (Figure 11-2) feeds the
output of the UltraLite-mk3’s global reverb
processor into the mix bus, pre-fader. This includes
any other signals currently being fed to the reverb.
The bus reverb return is disabled (grayed out)
when the reverb Split Point is set to Output to
eliminate the possibility for feedback loops created
by reverb send/return loops. See “Split point” on
page 81.

Input section

The horizontally scrolling area in the Mix tab to the
left of the master fader (Figure 11-2) displays
channel strips for all currently enabled
UltraLite-mk3 inputs.

Input channel focus

Click the channel focus button (Figure 11-3) to
view and edit parameters in the channel settings
section of the CueMix FX window (Figure 11-7 on
page 69). Clicking the mix bus master fader focus
button brings the assigned output into focus, if
there is one.

Input pan section

The input pan knob (Figure 11-2) pans the input
across the bus stereo outputs. If the input itself is
grouped as a stereo pair (in the Inputs tab), two
forms of panning control are provided:

Balance

Balance works like the balance knob on some
radios: turn it left and the right channel dims, turn
it right and left channel dims. But the left channel
always stays left and the right channel stays right.

Width

Widt h spreads the left and right channels across the
stereo image, depending on the knob position.
Maximum value (turning the pan knob all the way
up) maintains the original stereo image: the left
channel goes entirely left and right goes entirely
right, without attenuation. The minimum value
(turning the knob all the way down) creates a
mono effect: equal amounts of left and right are
combined and sent to both outputs. In between,
the left out is a mixture of the left input and some of
the right input (and vice-versa) with the effect of
narrowing the field.

Input fader and mute/solo

To add an input to a mix, or remove it, click its
Mute button. To solo it, use its Solo button. Use the
input fader (Figure 11-2) to adjust the level for the
input in the mix. Note that an input can have
different level, pan, mute and solo settings for
different mixes. Input channel level meters are
post-fader.

If any solo button on the current (active) bus is
enabled, the Solo Light (Figure 11-1) will
illuminate.

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65

THE INPUTS TAB

The UltraLite-mk3 provides many features for
managing analog and digital input signals. Some of
these features, such as the UltraLite-mk3’s digitally
controlled analog trims, are implemented in the
analog domain; others are implemented in the
digital domain as DSP applied to the digital signal
(after the A/D converter on analog inputs). Click
the Inputs tab (Figure 11-3) to access and control
all of these input channel settings for each
UltraLite-mk3 input or input pair.

Signal flows from top to bottom

Settings in each Input tab channel strip are
generally applied to the signal in order from top to
bottom. Input channel signal flow is as follows:
trim, phase, stereo versus M/S decoding, width,
L/R swap, EQ, dynamics and reverb send.

Input channel focus

Click the channel focus button (Figure 11-3) to
view and edit parameters in the channel settings
section of the window (Figure 11-7 on page 69).

Input tab settings are global

Except for the reverb send, all settings you make in
the Input tab are applied to the input signal before
it goes anywhere else (to a mix bus or the
computer). For example, if you apply EQ and
compression to the input signal, you will record the
processed version of the signal in your host audio
software running on the computer. If you need to
record a completely unprocessed input signal, do
not apply any changes to it in the Input tab. The
only exception to this is the reverb send, which
simply splits the input signal and feeds a copy of it
to the UltraLite-mk3’s reverb processor.

Inputs tab

Input name

Channel focus

Mono/stereo paring

Invert phase

Input trim

EQ/dynamics graph

Mono/stereo pairing

Click the Mono button (Figure 11-3) if you would
li ke an inp ut to be treate d as a mono chann el. If you
would like to work with it as one channel of a
linked stereo pair, click the Stereo button. Inputs
are grouped in odd/even pairs (mic 1-2, Analog
1-2, 3-4, etc.) Stereo pairs appear as a single
channel strip in the CueMix FX mixer (in all tabs).

Invert phase

The Phase button (Figure 11-3) inverts the phase of
the input signal. For stereo pairs, you can invert the
phase for the left and right channels independently.

EQ band selectors

EQ/dynamics controls

66

EQ/dynamics

enable/disable

Reverb send

Input scroll bar

Figure 11-3: The Inputs tab.

LP/HP filter selector
Compressor selector

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Input trim

All UltraLite-mk3 inputs, both analog and digital,
offer continuously variable input trim. In all cases,
trim level can be controlled digitally in 1 dB
increments. This includes the digitally controlled
analog trims on the two mic/guitar inputs and the
six quarter-inch analog inputs on the back panel.
Here is a summary of input trim ranges for each
type of UltraLite-mk3 input:

Input

Mic/Guitar 0 dB 24 dB 24 dB

TRS analog inputs -96 dB +22 dB 118 dB

S/PDIF (RCA) 0 dB +12 dB 12 dB

Trim
cut

Trim
boost

Trim
Range

Once you adjust the trim levels, you can save them
as a file on disk for future instant recall. See “Saving
and loading hardware presets” on page 84 and
“Configurations menu” on page 85.

Input EQ and dynamics

The UltraLite-mk3 lets you apply 7-band
parametric EQ and dynamics processing (DSP) to
any input, analog or digital.

The controls in the EQ/Compression section of the
Inputs tab (Figure 11-3) let you edit EQ and
compression settings within the context of the
channel strip. This is ideal when you are comparing
settings among neighboring channels, or perhaps
even applying the same setting across all inputs.
However, for more detailed editing of EQ and
compression settings for an input channel, you can
click its Focus button and view the settings in the
Channel Section of the CueMix FX window
(Figure 11-1). This section even provides graphical
editing of EQ curves and the compressor graph,
allowing you to click and drag directly on the
graphic. For details see “The channel settings
section” on page 69.

The EQ/Dynamics graph

The EQ/Dynamics graph for each input channel
strip (Figure 11-3) provides a thumbnail view of
the EQ curves or Compressor graph for the
channel. This graphic is for display purposes only;
it cannot be edited directly. To change the EQ
settings in this graph, use the two or three knobs
below, as explained in the following sections. If,
however, you would like to edit the EQ curves
graphically, you can do so in the EQ tab
(Figure 11-10 on page 71).

EQ/Dynamics selectors

The EQ/Dynamics selector buttons along the
right-hand edge of the EQ/Dynamics section
(Figure 11-3) allow you to choose what you are
viewing and editing in the EQ/Dynamics section.

Orange
Green
Blue
Red

Yellow
White
Black

Figure 11-4: The EQ/Dynamics selectors.

EQ band selectors

LP/HP filter selector
Compressor selector

Colored knobs

Click the selector (Figure 11-4) for the desired EQ
band, low-pass (LP) filter, high pass (HP) filter or
compressor to view it across all channels.

Compressor

graph

Compressor

meter

Compressor

selector

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Figure 11-5: The Compressor controls.

67

☛ Shortcut: hold down the option key while

clicking an EQ selector button to show just that
band of EQ in the graphs. Click any selector again
to return to viewing all bands.

Using the EQ/Dynamics knobs

Once you have chosen the desired EQ band, or the
compressor, you can modify its settings using the
two or three knobs below the graph. The knobs
match the color of the currently selected effect, to
help remind you of which effect you are currently
editing.

compressor settings, even when the effect is
currently disabled. (You just won’t hear the result
until you enable it.)

Reverb send

The input reverb send (Figure 11-3) feeds the input
signal to the UltraLite-mk3’s global reverb
processor, where it is merged with any other signals
being fed to the reverb. The reverb’s output can
then be fed back into a mix or output pair. The send
occurs after all other settings in the input channel
strip (phase invert, EQ, compression, etc.)

☛ Important: before you can modify the settings

of an EQ band using the three knobs below the
graph, the EQ band must be enabled. This is done
in the EQ tab (Figure 11-10), as explained in
“Enabling EQ” on page 72.

EQ/Dynamics enable/disable buttons

Click the EQ or Dynamics button at the bottom of
the input channel (Figure 11-3) to toggle the effect
on or off. Note that you can program EQ and

Outputs tab

Output name

Channel focus

EQ/Dynamics graph

EQ/Dynamics controls

EQ/Dynamics

enable/disable

Output reverb

send/return

THE OUTPUTS TAB

The Outputs tab (Figure 11-6) lets you apply EQ,
dynamics and reverb to any output pair, just before
the signal leaves the UltraLite-mk3. This is
processing that occurs at the very end of the signal
flow, after everything else (host based effects,
UltraLite-mk3 input or bus processing, mixing,
and so on). Processing is done in the digital
domain, just before the signal goes analog through

EQ band selectors

LP/HP filter selector
Compressor selector

Talkback/listenback

Monitor group assign

68

enable/disable

Figure 11-6: The Outputs tab.

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the D/A converter. Output tab processing is
applied to the entire output mix (all signals being
mixed to the output from various sources).

Signal flows from top to bottom

Settings in each Output tab channel strip are
applied to the signal in order from top to bottom.
For example, EQ occurs before Dynamics, which is
applied before the reverb send and return.

Output channel focus

Click the channel focus button (Figure 11-6) to
view and edit parameters in the channel settings
section of the CueMix FX window (Figure 11-7 on
page 69).

Output EQ and Dynamics

The EQ/Dynamics section in the Outputs tab
(Figure 11-6) works identically to the EQ/
Dynamics section for the Inputs tab (Figure 11-3).
See “Input EQ and dynamics” on page 67.

Output reverb send/return

The output reverb send (Figure 11-6) feeds the
signal for the output to the UltraLite-mk3’s global
reverb processor, where it is merged with any other
signals being fed to the reverb. The reverb’s output
can then be fed back into the mixer at various
return points, including the same output from
which it was sent (discussed below). The output
reverb send is disabled (grayed out) when the
reverb Split Point is set to Mix to eliminate the
possibility for feedback loops created by reverb
send/return loops. See “Split point” on page 81.

Talkback/Listenback

Click the Ta l k ba c k or Listenback buttons
(Figure 11-6) to toggle whether the output pair is
included in the Talkback or Listenback group. See
“Talkback and listenback” on page 83.

Monitor group assign

Click the Monitor buttons (Figure 11-6) to toggle
whether the output pair is included in the Monitor
group. See “The Monitor Group” on page 82.

THE CHANNEL SETTINGS SECTION

The channel settings section in the CueMix FX
window (Figure 11-1) displays three tabs for
Channel, EQ and Dynamics settings for the
channel with the current focus. There are also two
global tabs: the Meter Bridge and the Reverb
Processor, as shown below.

The output reverb return (Figure 11-6) feeds the
output of the UltraLite-mk3’s global reverb
processor directly to the output. This includes any
other signals currently being fed to the reverb.

Both the send and return occur after EQ and
dynamics processing, but before listenback and
talkback.

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Tabs for the channel that

currently has the focus

Figure 11-7: The Channel Settings section.

Tabs for the global meter

bridge and reverb processor

69

The Channel tab

The Channel tab (Figure 11-8) displays settings for
input channels. Click any focus button in the
Inputs tab to view the Channel tab settings for the
channel.

The Widt h knob (Figure 11-8) provides control
over the stereo imaging, going from a full stereo
image to mono (both channels panned equally).
See “Width” on page 65.

The Swap L/R button (Figure 11-8) lets you switch
the left and right channels.

Ta l kb ac k s e ct ion

Click the Ta l k ba c k or Listenback button
(Figure 11-8) to toggle whether the input is the
Talkback or Listenback input. Only one input can
be the talkback input, and only one input can be
the listenback input. See “Talkback and listenback”
on page 83.

Reverb section

The Send in the reverb section (Figure 11-8) is the
same control as the reverb send in the Input tab
channel strip (Figure 11-3). See “Reverb send” on
page 68. If the input is currently not grouped as a
stereo pair in the Input tab (it is operating as a
mono input), use the reverb Pan knob
(Figure 11-8) to pan the mono signal for the stereo
reverb processor.

Figure 11-8: The Channel tab.

Signal flow

Settings in the Channel tab occur just before the
EQ, dynamics and reverb sends in the Input tab
channel strip (Figure 11-3 on page 66). Input
channel signal flow is as follows: trim, phase, stereo
versus M/S decoding, width, L/R swap, EQ,
dynamics and reverb send.

Stereo settings

Inputs t hat have be en grou ped a s ste reo p airs in the
Inputs tab (Figure 11-3) provide two stereo modes
(Figure 11-8): Normal and M/S. M/S mode
provides decoding for a mid-side microphone
configuration.

70

Input meter and bus activity LEDs

When the Channel tab is active (Figure 11-8), the
display above the tab provides a horizontal level
meter and eight bus activity LEDs (Figure 11-9).

Bus
activity
LEDs

Figure 11-9: Input meter and bus activity LEDs.

The input level meter (Figure 11-9) is the same as
the input meters in the Meters tab (Figure 11-22 on
page 80) with the Pre FX button engaged, which
shows the input level on the physical input itself,
be fore any pro ce ssi ng of any ki nd o cc urs wi th in t he

CUEMIX FX

UltraLite-mk3. This meter gives you the most
accurate reading of the actual signal level hitting
the input, regardless of any other settings.

The Bus Activity LEDs (Figure 11-9) show you
which mix busses the input signal is being fed to.
For example, LED #6 will glow under the following
conditions: the input is unmuted in mix bus 6, its
fader is up, and there is signal activity from the
input going into the mix bus.

The EQ tab

The EQ tab (Figure 11-10) displays the EQ settings
for the input or output channel that currently has
the focus. Click any focus button in the Inputs or
Outputs tab to view the EQ tab settings for the
channel.

Vintage EQ

Inspired by legendary British large console EQs,
the UltraLite-mk3 Vintage EQ section
(Figure 11-10) gives you the look, feel and sound of
the most sought-after classic equalizers. Five bands
of center frequency parametric EQ filtering are
provided, each with four EQ types that provide
current popular EQ styles and vintage analog EQ
st yle s a li k e . Two ba nds in cl ud e s he lf fil te rin g. Tw o
additional bands of variable slope low pass and
high pass filtering are provided. The filter response
display provides comprehensive control and visual
feedback of the EQ curve being applied. With
64-bit floating point processing, the UltraLite-mk3
Vintage EQ has been carefully crafted and
meticulously engineered to produce musical
results in a wide variety of applications.

Filter response
display

Filter curve toggle
Parameter display

EQ tab

EQ filter

EQ Filter types

Shelf filter

High-pass filter

Slope

High-pass frequency

Q handles
(red lines)

Filter

handle

Composite

curve

(white line)

Individual

filter curve

(colored area)

Vertical scale

Filter enable/disable

Low-pass filter

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Figure 11-10: The EQ tab.

71

Enabling EQ

Each input and output channel has a global EQ
enable/disable button (Figure 11-3 and

Figure 11-6). This button enables or disables all
bands of EQ for the channel. In addition, each
individual band of EQ has a Filter enable/disable
switch (Figure 11-10), allowing you to enable as
few or as many bands as needed for each individual
channel.

Slope: Lets you choose the slope (fall off ) charac-

teristics of the low pass and high pass filter.

Q handle: Drag the Q handle lines to graphically

adjust the Q setting for the currently selected filter.
To select the filter, click its filter handle.

Filter handle: Drag this handle to graphically

adjust the filter’s boost/cut and/or frequency.

Vintage EQ Quick reference

Filter response display: Shows the response curve

for the current settings.

Vertical scale: Lets you zoom the vertical scale of

the filter response display.

Parameter display: Shows the precise numbers of

the parameter you are adjusting (or hovering over
with the arrow cursor). The labels (frequency, gain,
etc.) match the color of the filter being displayed.
When a filter handle is not selected and when the
cursor is not hovering over the display, the
parameter display shows the name of the current
channel being edited (the channel that currently
has the focus), as shown below:

The name of the
channel being
EQ’d.

Figure 11-11: When a filter handle is not selected and when the
cursor is not hovering over the display, the parameter display shows
the name of the current channel being edited (the channel that
currently has the focus).

EQ filter: one of five center bands of EQ that can be

independently enabled and programmed.

Filter t ype: Le ts you choos e fr om on e of four o r five

EQ styles for each independent band of EQ.

Low/High Pass filter: Bo th a low pa ss a nd h ig h pa ss

filter are supplied with six different slope settings.

Composite curve (white line): shows the overall

response curve of the current settings in the
window.

Individual filter curve: Each filter has a color

(indicated by its knobs). When filter curves are
being displayed (the filter curve option is turned
on), each individual filter’s response curve is
displayed in the filter’s color.

Filter curve toggle: Shows/hides the colored filter

curves in the display.

Filter enable/disable: Turns the filter on or off.

How the vintage EQ works

The Vintage EQ operates like a standard EQ filter,
but with much more sophisticated processing
algorithms “under the hood”. There are five bands
of EQ, each with their own unique knob color, plus
additional low pass and high pass filters. Each filter
can be set to any center frequency you wish.

Each filter can be independently turned on or off
with the enable/disable button (Figure 11-10).
Each filter can be set to one of four different filter
types (I, II, III or IV). The two top-most filters
(orange and green) provide an extra low and high
shelf setting, in addition to the four standard band
settings. The additional low pass and high pass
filt ers (low er left ) have gray cutof f frequen cy knobs
and six settings for slope (in octaves/dB).

72

CUEMIX FX

Frequency response display

The frequency response display at the top of the
window displays the response curve of the current
settings in the window. The (horizontal) frequency
range is from 10 hertz to 20 KHz. The (vertical)
amplitude scale is in dB and is adjustable between 3
and 24 dB using the vertical scale buttons
(Figure 11-10).

Showing and hiding filter curves

To view a filter in the display, turn on the filter. The
shape of the filter, according to its current settings,
is shaded in the same color as the filter’s knob(s).
Use the filter curve toggle (Figure 11-10) to show or
hide them in the display.

Adjusting filters in the display

Each filter has a handle, displayed as shown below
in Figure 11-12 (in the filter’s color), for adjusting
its boost/cut and/or frequency:

Filter handle

Filter Q
(red line)

Figure 11-12: Drag the filter handle to adjust its frequency and/or
boost/cut. Drag the Filter Q handles to adjust the Q.

For the EQ filters, when you click the handle, you’ll
also see lines on either side for adjusting the Q
parameter, as shown above.

EQ filters

The EQ filters have three parameters:

Control unit range

Gain dB -20.00 to +20.00

Frequency Hertz 20 Hz to 20 kHz

Q n/a - see note below 0.01 to 3.00

CUEMIX FX

Q

The Q setting does not have a unit of measurement.
Rather, it is the ratio of the filter’s center frequency
to the bandwidth of the filter. In addition, the
actual Q value for the EQ curve being applied is
dependent on three factors: the gain setting, the
filter style, and the Q setting.

Filter types

Each filter can be independently set to one of four
different filter types: I, II, III and IV. These, and the
additional shelf filters for the LMF and HMF band,
are discussed in the section “EQ filter styles”.

Returning to zero (or nominal frequency)

To return a knob to zero, or it’s nominal frequency,
double-click it.

EQ filter styles

EQ is one of the most widely used processing tools
and can be applied to many different situations,
from minor corrective tasks to highly creative
applications. Over the years, many EQs have been
engineered for specific applications or to achieve a
certain sound. The Vintage EQ has been designed
to be flexible enough to cover a broad range of
applications. To that end, several different filter
types are supplied, varying mostly in the way they
handle the dynamic interaction between Gain and
Q. This crucial relationship has been modeled to
emulate the smooth and musical character of
classic analog EQ circuits, in which the Gain/Q
dependency was dictated by the actual circuit
design and electrical components used.

The following sections describe the character of
each type of EQ filter and their suggested
applications. In the illustrations for each filter style
(Figure 11-13 through Figure 11-16), the settings
for the three example curves are the same for the
purpose of comparison:

■ Frequency = 1.00 kHz

■ Q = 1

■ Gain = +3, +10 and +20 dB

73

Typ e I

Typ e II

Figure 11-13: Type I EQ filter style.

The Typ e I EQ filter has the least amount of Gain/Q
interaction, providing the most precision and
control of all the EQ filter types. Even small
ad justm ent s in gain o r reduct ion pro duce relat ivel y
high Q. This EQ style is best for situations that call
for precise EQ adjustments requiring the
maximum amount of individual parameter
control. For more general shaping (e.g. full mixes)
or subtle control (e.g. vocals), the other styles
discussed in the following sections might be more
appropriate. This filter type is the most similar to a
standard parametric EQ.

Figure 11-14: Type II EQ filter style.

The Typ e I I EQ filter produces const ant Q response
during boost or cut. The Type II style emulates
several classic legacy EQs and produces good
results for resonance control on drums and
percussion because it provides relatively high Q
values with more extreme gain or cut settings.

74

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Type III

Typ e IV

Figure 11-15: Type III EQ filter style.

The Type III EQ filter increases Q as boost is
applied. Therefore, lower amounts of boost
provide a softer, “wider” EQ effect (since the
affected frequency range widens), while higher
boost tends to sound louder and more “up front”,
due to the increase in Q as the gain is increased.
The more gentle Q curve at lower settings is well
suited for overall EQ fills and more subtle
corrections in instrument and vocal sources.
Boosting or cutting by small amounts will seem to
produce the effect that your ear expects, without
the need to adjust Q. As a result, this filter style, and
similar EQs with this characteristic behavior, are
often referred to as being more “musical”. More
specifically, this style emulates the classic Neve
EQs, their modern derivatives and later SSL G
series EQs. Many current popular outboard
“boutique” EQs exhibit this same gain/Q
relationship.

CUEMIX FX

Figure 11-16: Type IV EQ filter style.

The Typ e I V EQ filter is a more extreme form of the
Type III filter. It exhibits a high degree of
interaction between Q and gain in order to
maintain as closely as possible an equal amount of
area under the response curve as gain is adjusted.
Type IV is the most ge ntle of the four EQ st yles and
is ideal for large scale EQ adjustments, especially
on sub-mixes and complete mixes. This EQ style is
also ideal for any applications where subtle changes
in the overall character of the sound are desired.
For example, it can be used for mastering
applications, such as the overall adjustments that
must often be applied to entire tracks to match
other tracks on the album.

75

Shelf filters

response corresponds to a second order shelf, still
with no overshoot. This is the same response as
conventional parametric EQs. In some situations,
this form of accurate, clean shelving can sound
harsh, especially when compared to legacy analog
EQs. To soften the results, the overshoot is
increased as Q is increased, as shown Figure 11-17
for Q values of 1.00, 2.00 and 3.00. This overshoot
region produces a boost in frequencies just above
the cutoff, which compensates in a smooth, more
pleasing fashion for the perceived drop in low
frequencies being cut.

Conversely, when shelving boost is being applied,
overshoot cuts frequencies just above the cutoff to
again compensate in a smooth and pleasing fashion
for the perceived boost in low frequencies:

Figure 11-17: Shelf filter Q parameter overshoot.

When two top-most bands in the EQ tab are set to
their shelf filter setting (Figure 11-10), the Q
parameter controls the amount of overshoot
applied to the response curve, as illustrated in
Figure 11-17. When Q = 0.01 (the lowest setting),
normal shelving is applied with no overshoot. This
produces the response provided by a first order
shelf. When Q = 1.0 (the default setting), the

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Figure 11-18: Overshoot when low shelf boost is applied.

Overshoot is also applied to high shelf boost and
cut:

Figure 11-19: Overshoot when high shelf cut and boost is applied.

CUEMIX FX

Overshoot tends to produce more of what one
would expect to hear when applying shelving and
is therefore considered to be more musical than
shelving without overshoot. This effect, which has
gained tremendous popularity among audio
engineers, was first made popular in original Neve
series EQs and later in the SSL G series.

At maximum the maximum Q setting of 3.00, the
overshoot peaks at half the total boosted (or cut)
gain. For example, with a maximum gain setting of
+20dB, the loss in the overshoot region is -10 dB.

Overshoot curves are symmetrical for both cut and
boost.

The Dynamics tab

The Dynamics tab (Figure 11-21) displays the
Dynamics processing settings for the input or
output channel that currently has the focus. Click
any focus button in the Inputs or Outputs tab to
view the Dynamics tab settings for the channel.

Input

Output

Gain

level

meter

level

meter

reduction

meter

Threshold

Tri m

Dynamics tab

Low pass and high pass filters

The Vintage EQ low and high pass filters are similar
to those found in most conventional parametric
EQs (which usually have a fixed slope of 12 dB per
octave), except that Vintage EQ provides six
different slope (roll off) settings: 6, 12, 18, 24, 30
and 36 dB per octave. This control over the shape
of the “knee” gives you a great deal flexibility and
control for a wide variety of applications.

Slope = 6

Slope = 18

Slope = 36

Compressor
enable/disable

Leveler
enable/disable

Figure 11-21: The Dynamics tab.

Enabling Dynamics

Each input and output channel has a global
Dynamics enable/disable button (Figure 11-3 and
Figure 11-6). This button enables or disables all
dynamics processing for the channel. In addition,
the Dynamics tab has two different dynamics
processors, the Compressor and Leveler, which can
be individually enabled or disabled (Figure 11-21)
for the channel.

Figure 11-20: The low pass filter with three example slope settings.

CUEMIX FX

77

Compressor

The Compressor (Figure 11-21) lowers the level of
the input when it is above the threshold. The
amount of attenuation is determined by the Ratio
and the input level. If the input is 6 dB above the
Threshold and the Ratio is 3:1, then the output will
be 2 dB above the Threshold. When the input level
goes above the threshold, the attenuation is added
gradually to reduce distortion. The rate at which
the attenuation is added is determined by the
Attack parameter. Likewise, when the input level
falls below the Threshold, the attenuation is
removed gradually. The rate at which the
attenuation is removed is determined by the
Release parameter. Long Release times may cause
the audio to drop out briefly when a soft passage
follows a loud passage. Short Release times may
cause the attenuation to pump when the average
input level quickly fluctuates above and below the
Threshold.

These sorts of issues can be addressed by applying
the Leveler instead.

Graphic adjustment of the Threshold

The Threshold can be adjusted by turning the
Threshold knob or by dragging the Threshold line
directly in the compressor graph (Figure 11-21).

Input level meter

The Input Level meter (Figure 11-21) shows the
level of the input signal before it enters the
compressor. It shows either the peak level or the
RMS level, depending on which mode is currently
chosen.

Gain reduction (GR) meter

The Gain reduction (GR) level meter
(Figure 11-21) displays the current amount of
attenuation applied by the compressor.

Output level

The Output Level meter (Figure 11-21) displays the
peaks of the output signal. Trim is applied before
the Output Level meter.

Peak/RMS modes

In RMS mode the compressor uses RMS values (a
computational method for determining overall
loudness) to measure the input level. In Peak mode,
the compressor uses signal peaks to determine the
input level. RMS mode will let peaks through
because the detector sidechain is only looking at
the average signal level. Peak mode will react to
br ief pea ks. Pea k mo de is gen erall y used for d rums,
percussion and other source material with strong
transients, while RMS mode is mostly used for
everything else.

The input meters show either the peak level or the
RMS level, depending on the mode.

Leveler

The Leveler™ (Figure 11-21) provides an accurate
model of the legendary Teletronix™ LA-2A®
optical compressor, known for its unique and
highly sought-after Automatic Gain Control
(AGC) characteristics. The UltraLite-mk3 Leveler
faithfully models the LA-2A using the on-board
DSP with 32-bit floating point precision.

A model of an optical compressor

The simplest description of an optical leveling
amplifier device is a light shining on a photore­sistor. The intensity of the light source is
proportional to the audio signal, and the resistance
of the photoresistor is in turn inversely
proportional to the intensity of the light. Photore­sistors respond quite quickly to increases in light
intensity, yet return to their dark resistance very
slowly. Thus, incorporation of the photoresistor
into an attenuator followed by an amplifier which
provides make-up gain produces a signal which
maintains a constant overall loudness.

78

CUEMIX FX

Automatic gain control using light

The the Automatic Gain Control (AGC) circuit of
the LA-2A uses a vintage opto-coupler known by
its model number (T4). The T4 contains an
electroluminescent panel (ELP) and photoresistor
mounted so that the emission of the panel
modulates the resistance. An ELP consists of a thin
layer of phosphorescent material sandwiched
between two insulated electrodes to form a
capacitor. Making one of the electrodes
transparent allows the light to escape. These
devices are essentially glow-in-the-dark paint on a
piece of foil covered by metalized glass or plastic,
and are the same devices used in low-power night
lights. Unfortunately, these devices need high
voltages to operate, and are best driven by tube
circuits which can supply voltage swings of several
hundred volts.

Response characteristics

Once the light has faded away, the photoresistor
then decays back to its dark state. The shape of the
decay curve varies depending on how bright the
light was, and how long the light lasted. A general
rule of thumb is that the louder the program, the
slower the release. Typically, the release can take up
to and over one minute. One thing to keep in mind
when using these types of devices is that the typical
concepts of compression ratio, attack, release, and
threshold do not apply. The light intensity is
determined by the highly non-linear interactions
of the input signal, AGC circuit, and ELP, and thus
exhibit a strong program dependence that is
impossible to describe without the mind-numbing
mathematics of statistical mechanics. The actual
results, however, can be almost mystical: even
when you feed the same material (a loop perhaps)
through the Leveler twice, you’ll often see a new
response the second time through a loop, complete
with unique attack times, release times and
compression ratios. Furthermore, two different
input signals with the same RMS levels may be
leveled in a drastically different manner.

It is precisely this self-adjusting behavior that
makes optical compressors the tool of choice for
smoothing out vocals, bass guitar and full­program mixes without destroying perceived
dynamics.

Compressor/Limit buttons

The Comp and Limit buttons (Figure 11-21) model
the original LA-2A Limit/Compress mode switch.
The effect is very subtle, with the Limit option
behaving only slightly more like a limiter than a
compressor. The switch increases the level of the
input to the AGC model and runs the attenuator at
a slightly lower level. The Leveler then responds
more strongly to transients, but otherwise still
behaves like a leveling amplifier.

Gain Reduction

Gain Reduction (Figure 11-21) sets the strength of
the signal sent to the AGC model.

Makeup Gain

Makeup gain (Figure 11-21) amplifies the output
signal to make up for gain reduction.

Enabling or disabling the Leveler

The Leveler models the LA-2A so closely, it also
models the time it takes for an actual LA-2A to
“warm up” after it is turned on. Therefore, when
you enable the Leveler, give it a moment to “settle”
before you begin processing signals with it.

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79

The Meters tab

The Meters tab (Figure 11-22) serves as a
comprehensive meter bridge for all inputs, outputs
and mix busses in the UltraLite-mk3. This tab gives
you a “bird’s-eye” view of all signal activity in the
UltraLite-mk3; it is ideal for confirming your signal
routing programming and for troubleshooting.

Bus activity LEDs
(inputs only)

displaying an input meter). Click Pre to view levels
before any input channel processing besides trim;

click Post to view levels after all channel processing
(EQ, compression, M/S decoding, L/R swap, etc.)

The Reverb tab

The Reverb tab (Figure 11-23) provides access to
the UltraLite-mk3’s single, global reverb processor,
which provides high-fidelity reverberation and
graphic control over its parameters.

Channel meter
display

Meters tab

Pre/post
processing
switch

Figure 11-22: The Meters tab.

Channel meter display

The channel meter display (Figure 11-22) provides
a long-throw meter for the input or output that
currently has the focus in the Input/Output tabs.

Low band

(yellow)

Figure 11-23: The Reverb tab.

Mid band reverb

time handle

High band

(purple)

Crossover
handle

Reverb
enable/disable

Bus activity LEDs (inputs only)

The Bus activity LEDs (Figure 11-22) are present
only for inputs. See “Input meter and bus activity
LEDs” on page 70.

Pre/post processing switch

The pre/post processing switch (Figure 11-22)
affects all input meters (and the meter in the
channel meter display above the tab, if this area is

80

Enabling reverb

Use the enable/disable button (Figure 11-23) to
turn the reverb processor on or off. Since reverb
uses considerable DSP resources, it is best to leave
it off when you are not using it.

CUEMIX FX

Routing inputs, busses and outputs to the
reverb processor

The reverb processor is a single, independent unit
that provides stereo reverb. You can route multiple
signals to it from various points (sends) in the
CueMix FX mixer, but all incoming signals to the
reverb processor are merged and processed
together. The resulting stereo output from the
reverb can then be inserted into a mix bus or
output using stereo returns.

Output

When the Split Point is set to Output, the sends in
Output tab become active and the returns in the
Mix bus tab gray out. This allows you to send from
inputs, mixes and outputs and return to outputs.

Primary controls

The Primary Controls section (Figure 11-23) in the
Reverb tab provides the following basic parameters
for programming the reverb.

Reverb sends

The following signals can be sent to the reverb
processor via their corresponding sends (discussed
earlier in this chapter):

■ Mono or stereo inputs (Figure 11-3 on page 66)

■ Mix bus output (Figure 11-2 on page 64)

■ Outputs (Figure 11-6 on page 68)

Reverb returns

The stereo output from the reverb processor can be
sent to the following destinations via their
corresponding returns (discussed earlier in this
chapter):

■ Mix bus outputs

■ Outputs

■ The computer (via the Reverb Return bus)

Split point

The Split Point (Figure 11-23) prevents feedback
loops that woul d be cau sed by a signa l being sent to
the reverb processor and then returned to the same
signal path.

Mix

When the Split Point is set to Mix, the returns in the
Mix bus tab become active and the sends in the
Output tab gray out. This allows you to send from
inputs and mixes and return to mixes and outputs.

Reverb Time

Reverb time determines the length of decay, or tail,
of the reverb. This is a global setting for the reverb
processor. You can further refine the tails by
independently setting the reverb time of three
separate frequency bands, as discussed below in
the Reverb Design section.

PreDelay

PreDelay is the amount of time before you hear the
very first reflections. If you are in a large room, it
takes a while before the first reflections return.
PreDelay is useful for clarifying the original sound.
For example, with vocals, the reflections won’t start
until after the initial sound of a word has been
sung.

Shelf Filter

The Shelf Filter is a low-pass filter that controls the
high frequency characteristics of the overall effect.
Frequency sets the cutoff frequency for the filter
and Cut sets the amount of signal attenuation
applied by the filter.

Early reflections

Initial reflections give a space its unique sound.
The shape of the room, the angles of the walls, even
furniture in the room will produce a series of Initial
Reflections. Think of the early reflections and
room type as the “flavor” of the reverb. You can
choose between several types of rooms. These are
acoustic models for simulating these different

CUEMIX FX

81

types of spaces. The Size and Level parameters let
you control the size of the room and the strength of
the initial reflections.

☛ Here’s a tip: try using initial reflections

without any subsequent reverb (turn the reverb
time down as far as it will go). You’ll hear
interesting and unusual effects.

Reverb design

The Reverb Design section allows you to
independently control the reverb time for three
separate frequency bands (Low, Mid and High)
with adjustable cross-over points between them
(Low and High). The reverb time for each band is
specified in percent of the overall reverb time in the
Primary Controls section at the top of the tab.

You can edit these parameters graphically by
dragging the handles in the graphic display
(Figure 11-23).

Widt h does what its name implies: if you turn this
control all the way up, the result is maximum stereo
imaging. A position of 12 o’clock produces
essentially a mono image. Turning the control all
the way down completely swaps the stereo image.

THE MONITOR GROUP

The monitor group is a set of UltraLite-mk3 outputs
that can be controlled with the master Monitor
Level knob in upper right corner of the CueMix FX
mixer window (Figure 11-24), as well as the
MASTER VOL knob on the UltraLite-mk3 front
panel.

Monitor
group
presets
menu

Figure 11-24: Monitor group volume control from CueMix FX and the
front panel MASTER VOL knob.

Assigning outputs to the monitor group

Any combination of outputs can be assigned to the
monitor group. To include an output pair in the
monitor group, click its Monitor button in the
Outputs tab (Figure 11-6 on page 68).

Monitor group presets menu

The monitor group presets menu (Figure 11-24)
provides several presets for commonly used
monitor groups:

Monitor group preset Output assignment

Main Outs Main Out 1-2

Stereo Analog Out 1-2

Quad Analog Out 1-4

5.1 Analog Out 1-6

7.1 Analog Out 1-8

If you program your own monitor output group,
the presets menu displays the word Custom.

Monitor group meters

The monitor group meters (Figure 11-1 on
page 62) show levels for any/all output pairs that
are currently included in the monitor group. The
wi dth of the meters s cale s prop ortionall y so t hat a ll
current monitor group outputs will fit within the
prescribed space for the meters. If many outputs
are included, then the meters will look fairly thin,
but they will all be included in the meter.

DSP METER

The DSP meter (Figure 11-1) shows how much of
the available DSP processing power is currently
being used by the UltraLite-mk3 for effects
processing. DSP resources are allocated in channel
order from the first input to the last output. If there
aren’t enough DSP resources for all effects to be
enabled on a channel, none of them are allocated
on that channel or any following channel.

82

CUEMIX FX

EQ on a stereo channel requires approximately
twice the DSP resources as the same EQ on a mono
channel. The Compressor (2.5 x 1 EQ band) and
Leveler (4 x 1 EQ band) require about the same
DSP resources for a mono or stereo channel.

Control room

Talkback
mic

SOLO LIGHT

The Solo light (Figure 11-1) illuminates when any
input in the current (active) mix bus is soloed
(even if it is currently scrolled off-screen).

TALKBACK AND LISTENBACK

CueMix FX provides Ta l k b a c k and Listenback
buttons. Talkback allows an eng ineer in the control
room to temporarily dim all audio and talk to
musicians in the live room. Conversely, Listenback
allows musicians to talk to the control room.

Hardware setup

Figure 11-25 below shows a typical hardware setup
for Talkback and Listenback. For Talkback, set up a
dedicated mic in your control room and connect it
to a mic input on your UltraLite-mk3. For
Listenback, set up a dedicated listenback mic in the
live room for the musicians and connect it to
another mic input. For talkback output, set up a
headphone distribution amp or set of speakers in
the live room, and connect it to a pair of outputs.
For example, you might connect a headphone
distribution amp to analog outputs 7-8 on your
UltraLite-mk3, as demonstrated below in
Figure 11-25.

Main

outs

Outs

(front panel

7-8

mic input)

Live room

Headphone distribution amp

Listenback
mic

Figure 11-25: Typical hardware setup for Talkback and Listenback.

Talkback / Listenback Mic Input

To configure the talkback mic in CueMix FX, go to
the Inputs tab (Figure 11-3 on page 66) and click
the Focus button for the input that the talkback mic
is connected to. Click the Channel tab (Figure 11-8
on page 70) and enable the Tal k button.

Repeat this procedure for the Listenback mic,
except click the Listen button in the Channel tab.

Talk / Listen output

To configure the talkback and listen back outputs,
go to the Outputs tab (Figure 11-6 on page 68) and
enable the Ta l k but ton for any out put p air on whi ch
you’d like to hear the talkback mic. Similarly,
enable the Listen button for any output pair on
which you’d like to hear the listenback mic.

CUEMIX FX

Talkback / Listenback Monitor Dim

Use the knobs next to the Talk and Listen buttons
(Figure 11-26) to determine the amount of
attenuation you would like to apply to all other
audio signals (besides the talkback/listenback
signal) when Talkback and/or Listenback is
engaged. To completely silence all other CueMix
audio, turn them all the way down. attenuation

83

only occurs when talkback or listenback is
engaged. Audio playing back from disk (your host
software) is not affected.

SHORTCUTS

Hold down the following general modifier keys as
shortcuts:

Shortcut Result

Shift key Applies your action to all inputs or all out-

puts in the mix.

Tal k d im

Listen dim

Figure 11-26: The Talkback/Listenback controls.

Engaging/disengaging Talkback and
Listenback

To engage Talk back or Listenback, press on the
Talk or Listen buttons (Figure 11-26) and then
release to disengage. Talkback and/or Listenback is
engaged for as long as you hold down the mouse
button. Alt-click to make the buttons “sticky” (stay
engaged until you click them again — so you don’t
have to hold down the mouse). Or use the Talkback
menu items.

If you would like to engage both Talkback and
Listenb ack at t he sa me time, en able th e Link button
(Figure 11-26).

Control key Applies your action to the stereo input pair,

Alt key Applies your action to all busses.

Shift-Alt Applies your action to all inputs and mixes.

Double-click Returns the control to its default value (pan

even when it is currently configured as mono.

center, unity gain, etc.)

Hold down the following modifier keys as
shortcuts for the EQ tab and controls:

Shortcut Result

Shift click Applies EQ button change to all input or out-

Alt-click Applies EQ enable button changes to all

Shift-Alt-click Applies EQ enable button changes to all

puts.

bands in that input or output.

bands and all inputs or outputs.

FILE MENU

Saving and loading hardware presets

The UltraLite-mk3 can store up to 16 presets in its
on-board memory. A preset includes of all
CueMix FX settings for all for mix busses, but it
excludes global settings like clock source and
sample rate.

Controlling Talkback and Listenback volume

To control the volume of the Talkback and/or
Listenback mics, adjust their input trim in CueMix
FX.

84

The Load Hardware Preset and Save Hardware
Preset commands in the CueMix FX file menu let
you name, save and load presets in the
UltraLite-mk3.

Peak/hold time

In CueMix FX, a peak indicator is a line
(representing a virtual LED) displayed in a level
meter that indicates the maximum signal level
registered by the meter. The Peak/hold time setting
(File menu) determines how long this indicator

CUEMIX FX

remains visible before it disappears (or begins to
drop). To disable peak/hold indicators altogether,
choose Off from this sub-menu.

Mix1 Return Includes Computer

The Mix1 return includes computer File menu item
ap pli es t o ot her MOT U inte rf ace s pr odu cts a nd h as
no effect on the UltraLite-mk3.

Hardware follows console stereo settings

This File menu item applies to other MOTU
interfaces products and has no effect on the
UltraLite-mk3.

EDIT MENU

Undo/Redo

CueMix FX supports multiple undo/redo. This
allows you to step backwards and forwards
through your actions in the software.

Copying & pasting (duplicating) entire mixes

To copy and paste the settings from one mix to
another:

1 Select the source mix (Figure 11-1) and choose
Copy from the Edit menu (or press control-C).

2 Choose the destination mix and choose Paste
from the Edit menu (or press control-V).

Clear Peaks

Choose Clear Peaks from the Edit menu to clear all
peak indicators in all CueMix FX meters.

DEVICES MENU

If you are working with more than one MOTU
audio interface product, this menu displays all
interfaces that are currently on line. Choose any
device from the menu to edit its settings using the
CueMix FX software.

except that it can be created and managed using the
Cue Mix FX s oft ware on your computer, co mple tely
independently of the UltraLite-mk3 hardware. The
commands in the Configurations menu let you
create, save, load, import, export and otherwise
manage as many configurations as you wish.

Here is a summary of Configurations menu
operations:

Configurations
Menu item What it does

Create New Lets you name and save a new configuration,

Save Overwrites the current configuration

Save To Same as Save above, except that it lets you first

Delete Lets you choose a configuration to perma-

Import Loads all configurations from a configuration

Export Saves all current configurations as a file on

Configuration
list

which appears at the bottom of the Configura­tions menu.

(checked in the list at the bottom of the menu)
with the current settings in CueMix FX.

choose the configuration you wish to save to
(instead of the current one).

nently remove from the menu.

file on disk.

disk.

Choose any configuration to load it. The cur­rent (last loaded or saved) configuration has a
check mark next to it.

Modifying a configuration

The name of the current configuration is displayed
in the CueM ix F X wi ndow tit le b ar. If you make a ny
changes to the settings in CueMix FX, an asterisk
appears i n front of the name to rem ind you th at the
current state of CueMix FX doesn’t match the saved
configuration. If you wish to update the saved
configuration with the new changes, use the Save
command. To save the current state of CueMix FX
to another configuration, use Save To. To save as a
new, separate configuration, use Create New.

CONFIGURATIONS MENU

A configuration is just like a hardware preset (a
“snapshot” of all settings in CueMix FX and
therefore the UltraLite-mk3 hardware itself ),

CUEMIX FX

Saving a CueMix FX configuration as a
hardware preset

To save a CueMix FX configuration as a hardware
preset:

85

1 Choose the configuration from the
Configurations menu to make it the current active
configuration.

2 Choose File menu> Save Hardware Preset.

CONTROL SURFACES MENU

CueMix FX can be controlled from an automated
control surface such as the Mackie Control™. Use
the commands in the Control Surfaces menu to
enable and configure this feature.

3 Type in a name, choose a preset slot and click
OK.

Saving a hardware preset as a CueMix FX
configuration

To save a hardware preset as a CueMix FX configu­ration:

1 Choose File menu> Load Hardware Preset to
make it the current active preset.

2 Choose Configuration menu> Create New (or
Save To) to save it as a configuration.

TALKBACK MENU

Choose the commands in the Talkback menu to
engage or disengage Talkback or Listenback.

PHONES MENU

The Phones menu allows you to choose what you
will hear on the headphone output, just like the
Phones setting in MOTU Audio Console. However,
this menu provides one extra option that is
exclusive to CueMix FX: Follow Active Mix. This
menu item, when checked, causes the headphone
output to mirror the output of the current mix
being viewed in CueMix FX. For example, if you
are currently viewing mix bus 3, the headphones
will mirror the mix bus 3 output (whatever it is
assigned to).

Application follows control surface

When checked, the Application follows control
surface menu command makes the CueMix FX

window scroll to the channel you are currently
adjusting with the control surface, if the channel is
not visible when you begin adjusting it. The same is
true for the bus tabs: if you adjust a control in a bus
that is not currently being displayed, CueMix FX
will jump to the appropriate tab to display the
control you are adjusting.

Share surfaces with other applications

When the Share surfaces with other applications
menu command is checked, CueMix FX releases
the control surface when you switch to another
application. This allows you to control your other
software with the control surface. Here’s a simple
way to understand this mode: the control surface
will always control the front-most application. Just
bring the desired application to the front (make it
the active application), and your control surface
will control it. When you’d like to make changes to
CueMix FX from the control surface, just bring
CueMix FX to the front (make it the active
application).

When this menu item is unchecked, your control
surface will affect CueMix FX all the time, even
wh en Cu eMix F X is n ot the front- most appli cati on.
In addition, you will not be able to control other
host audio software with the control surface at any
time (because CueMix FX retains control over it at
all times). This mode is useful when you do not
need to use the control surface with any other
software.

86

CUEMIX FX

CueMix Control Surfaces

CueMix FX includes support for the following
control surface products:

■ Mackie Control™

■ Mackie HUI™

■ Mackie Baby HUI™

Use the sub-menu commands in the CueMix
Control Surfaces menu item to turn on and

configure control surface support, as described
briefly below.

Enabled

Check this menu item to turn on control surface
operation of CueMix FX. Uncheck it to turn off
control surface support.

Configure…

Choose this menu item to configure your control
surface product. Launch the on-line help for
specific, detailed instructions on configuring
CueMix FX for operation with your control surface
product.

Figure 11-27: Refer to the extensive on-line help for details about
configuring CueMix FX for operation with your control surface
product.

CUEMIX FX

87

88

CUEMIX FX

CHAPTER

12 MOTU SMPTE Console

OVERVIEW

The UltraLite-mk3 can resolve directly to SMPTE
time code via any analog input, without a separate
synchronizer. The UltraLite-mk3 can also generate
time code via any analog output. The
UltraLite-mk3 provides a DSP-driven phase-lock
engine with sophisticated filtering that provides
fast lockup times and sub-frame accuracy. Direct
time code synchronization is supported by Cubase,
Nuendo and other audio sequencer software that
supports the ASIO2 sample-accurate sync
protocol.

MOTU SMPTE Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Clock/Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Reader section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Generator section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Resolving Cubase or Nuendo to SMPTE time code. . . 91

Syncing to SMPTE time code. . . . . . . . . . . . . . . . . . . . . . . . . 92

MOTU SMPTE SETUP

The included MOTU SMPTE Setup™ software
provides a comp lete set of tools to ge nerate SMPT E
for striping, regenerating or slaving other devices
to the computer.

CLOCK/ADDRESS

The Clock/Address menu (Figure 12-1) provides
the same global Clock Source setting as in MOTU
Audio Console (“Clock Source” on page 28), but it
includes additional information: each setting
shows both the clock and the address (time code or
sample location), separated by a forward slash ( / ).
To resolve the UltraLite-mk3 to SMPTE time code,
choose the SMPTE / SMPTE setting in the Clock/
Address menu. This means that the system will use
SMPTE as the clock (time base) and SMPTE as the
address.

FRAME RATE

This setting should be made to match the SMPTE
time code frame rate of the time code that the
system will be receiving. The UltraLite-mk3 can

The Reader section provides

settings for resolving to

SMPTE time code.

Figure 12-1: SMPTE Setup gives you access to your UltraLite-mk3’s on-board
SMPTE time code synchronization features.

The Generator section

provides settings for striping

SMPTE time code.

89

auto-detect and switch to the incoming frame rate,
except that it cannot distinguish between 30 fps
and 29.97 fps time code, or 23.976 and 24 fps time
code. So if you are working with either of these
rates, make sure you choose the correct rate from
this menu.

READER SECTION

The Reader section (on the left-hand side of the
window in Figure 12-1) provides settings for
synchronizing the UltraLite-mk3 to SMPTE time
code.

Status lights

The four status lights (Tach, Clock, Address and
Freewheel) give you feedback as follows.

Ta c h

The Tach light blinks once per second when the
UltraLite-mk3 has successfully achieved lockup to
SMPTE time code and SMPTE frame locations are
being read.

Clock

The Clock light glows continuously when the
UltraLite-mk3 has successfully achieved lockup to
an external time base, such as SMPTE time code or
the S/PDIF input.

Address

The Address light glows continuously when the
UltraLite-mk3 has successfully achieved lockup to
SMPTE time code.

Freewheel Address

Freewheeling occurs when there is a glitch or
drop-out in the incoming time code for some
reason. The UltraLite-mk3 can freewheel past the
drop-out and then resume lockup again as soon as
it receives readable time code. Choose the amount
of time you would like the UltraLite-mk3 to
freewheel before it gives up and stops altogether.

The UltraLite-mk3 cannot freewheel address
without clock. Therefore, the Freewheel Address
setting will always be lower than or equal to the
Freewheel Clock setting, and both menus will
update as needed, depending on what you choose.

Keep in mind that freewheeling causes the system
to keep g oin g for a s lo ng a s th e du rat ion you cho ose
from this menu, even when you stop time code
intentionally. Therefore, if you are starting and
stopping time code frequently (such as from the
transports of a video deck), shorter freewheel
times are better. On the other hand, if you are
doing a one-pass transfer from tape that has bad
time code, longer freewheel times will help you get
past the problems in the time code.

The ‘Infinite’ freewheel setting

The Infinite freewheel setting in the Freewheel
Address menu causes the UltraLite-mk3 to

freewheel indefinitely, until it receives readable
time code again. To make it stop, click the Stop
Freewheeling button.

Freewheel

The Freewheel light illuminates when the
UltraLite-mk3 is freewheeling address (time code),
clock or both. For details about Freewheeling, see
“Freewheel Address” and “Freewheel clock” below.

SMPTE source

Choose the analog input that is connected to the
time code source. This is the input that the
UltraLite-mk3 “listens” to for time code.

90

Freewheel clock

Freewheeling occurs when there is glitch or
drop-out in the incoming SMPTE time code for
some reason. The UltraLite-mk3 can freewheel
past the drop-out and then resume lockup again as
soon as it receives a stable, readable clock signal.

MOTU SMPTE CONSOLE

The UltraLite-mk3 cannot freewheel address
without clock. Therefore, the Freewheel Address
setting will always be lower than or equal to the
Freewheel Clock setting, and both menus will
update as needed, depending on what you choose.

The ‘Infinite’ freewheel setting

The Infinite freewheel setting in the Freewheel
Clock menu causes the UltraLite-mk3 to freewheel

indefinitely, until it receives readable time code
again. To make it stop, click the Stop Freewheeling
button.

Figure 12-2: Setting the time code start time.

Click here to edit
the start time, or
drag vertically on
the numbers.

MOTU

COMPANY

CONFIDENTIAL

Stop Freewheeling

The Stop Freewheeling button stops the system if it
is currently freewheeling.

GENERATOR SECTION

The Generator section (on the right-hand side of
the window in Figure 12-1) provides settings for
generating SMPTE time code.

Level

Turn the level knob to adjust the volume of the
SMPTE time code being generated by the
UltraLite-mk3. The level knob disappears when
the Destination is set to None.

Tach light

The Tach light blinks once per second when the
UltraLite-mk3 is generating SMPTE time code.

Destination

In the Destination menu, choose either SMPTE (to
generate time code) or None (to turn it off).

Stripe

Click this button to start or stop time code. To set
the start time, click directly on the SMPTE time
code display in the Generator section and type in
the desired start time. Or drag vertically on the
numbers.

Regenerate

This option, when enabled, causes the generator to
generate time code whenever the UltraLite-mk3 is
receiving SMPTE time code.

RESOLVING CUBASE OR NUENDO TO
SMPTE TIME CODE

To resolve your UltraLite-mk3 and Cubase or
Nuendo directly to SMPTE time code with no
additional synchronization devices, use the setup
shown in Figure 12-3 on page 92. Make sure the
Clock Source setting in the MOTU Audio Console
window is set to SMPTE. Also, make sure that
you’ve connected an LTC input signal to an
UltraLite-mk3 analog input, and that you’ve
specified that input in the SMPTE Setup.

MOTU SMPTE CONSOLE

91

SYNCING TO SMPTE TIME CODE

The UltraLite-mk3 system can resolve directly to
SMPTE time code. It can also generate time code,
under its own clock or while slaving to time code.
Therefore, the UltraLite-mk3 can act both as an
audio interface and as a SMPTE time code
synchronizer to which you can slave other devices.
You can use the UltraLite-mk3 to slave your audio
software to time code as well, as long as your
software supports sample-accurate sync, which is
the means by which the software follows the
UltraLite-mk3. The accuracy may not be sample­accurate, but in most cases it will be very close.

Choose SMPTE as the clock source in MOTU
Audio Setup. This setting can also be made in
the MOTU SMPTE Console (shown below).

SMPTE time code
source

Use this setup if you have:

✓ A SMPTE time code source, such as a multitrack tape deck.

An UltraLite-mk3 by itself, OR with another slaved device

✓

(such as a digital mixer).

✓ Host software that supports sample-accurate sync.

This setup provides:

✓ Continuous sync to SMPTE time code.

✓ Sub-frame timing accuracy.

✓ Transport control from the SMPTE time code source.

audio cable bearing LTC
(Longitudinal Time Code)

Any analog input
quarter-inch jack

UltraLite-mk3 interface

FireWire cab le

Windows computer running Cubase or

other sample-accurate ASIO software

Figure 12-3: Connections for synchronizing the UltraLite-mk3
directly to SMPTE time code.

92

In Cubase, go to the Synchronization window and
choose ASIO Audio Device as the Timecode Base.

Launch the MOTU SMPTE Console and specify the SMPTE Source,
which is the interface receiving the SMPTE time code. Also,
confirm that the Clock Source/Address is SMPTE/SMPTE.

MOTU SMPTE CONSOLE

CHAPTER

13 Performance Tips & Troubleshooting

Things seems like they are working fine, but the
UltraLite-mk3 then just drops off line, and the
computer can’t see it anymore on the FireWire bus.

This is a common symptom when the problem is
that the UltraLite-mk3 is not getting enough
power. Check the power source for the
UltraLite-mk3. Make sure that the power
connection meets the requirements outlined in
“Bus power requirements” on page 21.

Why does the start sound not play through the
UltraLite-mk3?

The UltraLite-mk3 will only playback audio at a
sampling rate of 44.1, 48, 88.2. 96. 176.4 or
192 kHz.

The computer freezes when it starts up

If the computer is unable to boot up, it may be a
conflict with the WDM Driver. As soon as the
computer boots up, Windows will try and initialize
the WDM Driver. If this fails, your computer will
hang. To determine if the WDM Driver is the
problem, boot up in Safe Mode or remove the
MOTU Audio software with the Add/Remove
Programs Control Panel then restart. Reinstall the
UltraLite-mk3 software and choose only to install
the MOTU ASIO driver, not the WDM Driver.
Restart again.

‘New hardware detected’ window

If you connect your UltraLite-mk3 before running
the UltraLite-mk3 Software Installer CD, Windows
will prompt you that new hardware has been
detected. Cancel this, and run the UltraLite-mk3
Software Installer, rather than allowing Windows
to locate the drivers.

UltraLite-mk3 inputs and outputs are not
available in SONAR

Make sure that the inputs and/or outputs that you
want to use are enabled in SONAR.

Sound Forge and ‘Smooth Scroll’

If the Smooth Scroll option under the Options
menu is turned on, you may experience clicks and
pops or other anomalies in the audio playback.
This gets worse as you zoom in more to the
waveform while playing. For the best quality
playback, turn this option off.

Clicks and pops due to hard drive problems

If you have checked your clock settings sync cable
connections and you are still getting clicks and
pops in your audio, you may have a drive related
problem. Set the UltraLite-mk3 Clock Source to
Internal and try recording just using the analog
inputs and outputs of the UltraLite-mk3. If you
encounter the same artifacts you may want try
using another drive in your computer. Clicks and
pops can also occur when the drive is severely
fragmented or the disk drivers are outdated.

If you are using a FireWire drive on the same bus as
the UltraLite-mk3, it could be that the FireWire
bus is overloaded (too many devices on the same
bus). Try removing all devices except the
UltraLite-mk3.

Connecting or powering gear during operation

It is not recommended that you connect/
disconnect, or power on/off devices connected to
the UltraLite-mk3 while recording or playing back
audio. Doing so may cause a brief glitch in the
audio.

Monitoring - how do I monitor inputs?

Please refer to the documentation for the audio
application that you are using. If your application
does not support input monitoring, you will need
to use the UltraLite-mk3’s hardware-based

93

CueMix FX monitoring feature. Please see
chapter 10, “Reducing Monitoring Latency”
(page 55).

Controlling monitoring latency

See chapter 10, “Reducing Monitoring Latency”
(page 55).

CUSTOMER SUPPORT

We are happy to provide customer support to our
registered users. If you haven’t already done so,
please take a moment to register on line at
motu.com, or fill out and mail the registration card
included with your 8pre. Doing so entitles you to
technical support and notices about new products
and software updates.

REPLACING DISKS

If your UltraLite-mk3 installer CD becomes
damaged and fails to provide you with fresh,
working copies of the program, our Customer
Support Department will be glad to replace it. You
can request a replacement disc by calling our
business office at [phone] and asking for the
customer service department. In the meantime,
you can download the latest drivers from
www.motu.com.

TECHNICAL SUPPOR T

If you are unable, with your dealer’s help, to solve
problems you encounter with the UltraLite-mk3
system, you may contact our technical support
department in one of the following ways:

■ Tech support hotline: [phone] (Monday

through Friday, 9 am to 6 pm EST)

■ Tech support 24-hour fax line: [phone]

■ Online support: www.motu.com/support

Please provide the following information to help us
solve your problem as quickly as possible:

■ The serial number of the UltraLite-mk3 system.

This is printed on a sticker placed on the bottom of
the UltraLite-mk3 itself. You must be able to supply
this number to receive technical support.

■ A brief explanation of the problem, including the

exact sequence of actions which cause it, and the
co ntent s of any er ror mes sag es whi ch a ppe ar on t he
screen.

■ The pages in the manual which refer to the parts

of the UltraLite-mk3 with which you are having
trouble.

■ The version of your computer’s operating

system.

We’re not able to solve every problem immediately,
but a quick call to us may yield a suggestion for a
problem which you might otherwise spend hours
trying to track down.

If you have features or ideas you would like to see
implemented, we’d like to hear from you. Please
write to the UltraLite-mk3 Development Team,
MOTU Inc., 1280 Massachusetts Avenue,
Cambridge, MA 02138.

94

PERFORMANCE TIPS & TROUBLESHOOTING

+4dB analog input 19

-10dB analog input 19
1394 connector 6, 11, 18
192kHz

operation

24-bit

48V phantom power 5
4-pin FireWire 21
6-pin FireWire 21
828

896mk3

A

Ableton Live 43
Activity meters 11
All Notes Off (LCD) 36
Analog inputs/outputs 6

Analog meters 11
Application follows control surface 86
ASIO 12, 15, 16, 41

Attack

Audio

Audio Setup software 27
AudioDesk

AutoSave Status 36

B

Balance 65
Balanced analog 19
Buffer Size 29, 57
Bus

Bus power 21

C

Channel tab 70

Clear Peaks 85
Clock

Clock source 7, 28

Combo jacks 5, 6
Comp button 79
Compressor 77, 78

Condenser mic input 5, 19
Configurations menu 85
Configure interface 24

INDEX

28

3rd party software
recording 11

connecting to UltraLite-mk3

connecting to UltraLite-mk3

making connections to 19
overview 10
trim 67

software

clock source

compressor

bit resolution

MOTU 828mk3 settings

activity LEDs
fader 64

examples 22
requirements 21

reverb settings 70

192kHz operation

SMPTE setting 29

enabling 77

50

42

78

28

7

70, 80

28

25

25

Connecting multiple UltraLite-mk3s 24
Control Surfaces menu 86
Controller

connecting
Converters 6
Copy/Paste 85
Cubase 12, 27

choosing the UltraLite-mk3 driver

20

43

clock source 42

Main Out Assign 43

phones 42

Return Assign 44

reverb return 45, 50

sample rate 42

synchronization 45
CueMix

menu
CueMix FX 58, 61-87

36

Application follows control surface

86

Configurations menu 85

control surfaces 87

Control Surfaces menu 86

Cubase/Nuendo 45

CueMix control surfaces 87

Devices menu 85

Edit menu 85

File menu 84

focus 63

GigaStudio 53

installation 62

Listenback explained 83

listenback settings 83

Mixer 33

output jacks 20

overview 61, 63

Phones menu 86

Share surfaces with other applica-

shortcuts 84

signal flow 66

SONAR 50

stand-alone operation 62

Talkback menu 86

talkback settings 83
Customer support 94

D

Daisy-chaining 21, 24, 25
DAT

connecting
DC power supply 22
Delay (latency) 55
Devices menu 85
Digital Performer

828mk3 settings
Direct Monitoring 44
Disable interface option 25, 31
Disable option 25
Disk

getting a replacement
Drivers

tions

21, 23

86

7

94

Legacy MME (Wave)

DSP

meter

62, 82

resources 62, 82
Dynamic mic 19
Dynamics

enabling

68, 77

graph 67

inputs 67

outputs 69

tab 77

E

Early reflections 81
Enable full Wave support 30
Enable Pedal 30
EQ

enabling

68, 72

filter types 73

frequency 73

gain 73

graph 67

inputs 67

outputs 69

Q 73

tab 71
Expansion 24

F

Factory defaults 36
Feedback loops 45, 50
File menu

Clear Peaks

Copy/Paste 85

Hardware Follows CueMix Stereo

Load Hardware Preset 84

Mix1 return includes computer 85

Peak/Hold Time 84

Save Hardware Preset 84

undo/redo 85
FireWire 11

6-pin vs. 4-pin 21

additional busses 25

connecting 18

connector 6

PC card adapters 22

PCI cards 21
Focus 63

Inputs tab 66

Mixes tab 65

Outputs tab 69
Follow Active Mix 86
Forget button 25, 31
Freewheel

address

clock 90

infinite 90, 91
Frequency

EQ
Front panel 33

LCD display 11

73

90

85

Settings

85

7

95

G

Gain

EQ

73

reduction 78

reduction (Leveler) 79
General tab 27
GigaStudio 51

clock source 51

Main Out Assign 52

sample rate 51
GR (gain reduction) 78
GSIF driver 12, 15, 16, 51
Guitar

connecting

H

Hardware Follows CueMix Stereo Settings

Hardware follows CueMix Stereo Settings

Hardware reset 36
Headphone jack 5, 11, 34
Headphones

connecting

controlling output 30
HUI 87

I

In menu (LCD) 37
Infinite freewheel 90, 91
Inputs

analog

pan 65

reverb send 68

S/PDIF 6

tab 66

trim 67
Installation

hardware

software 15
Internal (sync setting) 28
Invert phase 66

K

Keyboard controller

connecting

L

Laptop operation 22
Latency 29, 42, 48, 52, 55, 57, 58, 62

w/3rd party software 50
LCD

contrast
LCD display 5, 11, 35
Level meter

bus

monitor group 82
Leveler 77, 78
Limit button 79
Listenback

button (channel tab)

button (Outputs tab) 69

explained 83

19, 23

85

85

23

6

17

20

35

65

70

Live 43
Load Hardware Preset 84

M

M/S 70
Mackie Control 87
Main Out Assign 30

Cubase/Nuendo 43
GigaStudio 52
SONAR 48

Main outs

jacks

6

making connections to 20
volume 34

volume control 5, 11
Main volume 5, 11
Makeup gain 79
Master fader

mix busses
Master volume 34, 82
Metering 11
Meters

monitor group
Meters tab 80
Mic/guitar inputs 33

trim 67
Mic/instrument inputs 5, 6, 18

connecting 23

overview 10

phantom power 5
MIDI

connections

jacks 6

overview 10

Thru in standalone 36

Windows driver installation 16
Mid-side micing 70
Mix bus

activity LEDs

level meter 65

master fader 64

mute 65
Mix1 return includes computer 85
Mixes tab 64
MME driver 7
Monitor group 82

assigning outputs 82

assigning outputs to 69

level 82

meters 82

presets menu 82
Monitoring 56

thru main outs 20

w/3rd party software 50
Mono button 66
MOTU

Audio Setup software

Audio System

MOTU Audio

ASIO driver
MOTU Audio Console 27
MOTU Audio Setup 7

64

82

20

70, 80

bit resolution

16

27

28

MOTU SMPTE Setup 89
Multiple interfaces 24

N

Normal 70
Nuendo 12, 27

choosing the 8pre driver 43
clock source 42
Main Out Assign 43
Return Assign 44
reverb return 45, 50
sample rate 42
synchronization 45

O

Optimization 58
Output level (meter in Dynamics plug-in)

Outputs

P

Packing list 13
Pad 19
Paste 85
Patch thru

PCI

PCMCIA adapters 25
Peak mode 78
Peak/Hold Time 84
Performance 58
Phantom power 5, 11, 18, 19
Phase 66
Phones 5, 11, 34

Phones 1-2

Phones 1-2 output

Phones Assign 30
Polarity 22
Power supply 22

Power switch 22, 33
Pre/post FX buttons 70, 80
Precision Digital Trim 10
PreDelay 81
Presets

Q

Q 73

78

analog

6

dynamics 69
EQ 69
reverb send/return 69
signal flow 69
tab 68

latency

29, 58

FireWire adapters

Cubase 42
GigaStudio 52
menu 86
SONAR 48

SONAR

50

Cubase

45

jack 6

naming/saving in LCD

25

35

96

INDEX

R

Ratio

compressor
Regenerate 91
Registration 13
Release

Dynamics
Return Assign 30

Cubase/Nuendo 44

SONAR 49
Reverb 63

design section 82

early reflections 81

enabling/disabling 80

input sends 68

mix bus send/return 64, 65

outputs send/return 69

predelay 81

returns 81

routing to/from 81

send (channel tab) 70

sends 81

shelf filter 81

tab 80

time 81, 82

trim (channel tab) 70

width 82
Reverb return 81

Cubase 45, 50

Nuendo 45, 50
RMS mode 78

S

S/PDIF 6, 10

clock source setting 29

connection 20

meters 11

sync 21

trim 67
Sample rate 7, 28

192kHz operation 28
Samplers

connecting
Samples Per Buffer 29, 57
Samples per buffer 7, 29, 42, 48, 52
Save Hardware Preset 84
Setup menu (LCD) 35
Share surfaces with other applications 86

78

78

23

Shelf Filter 81
Shortcuts 84
Signal flow (CueMix FX mixer) 66
SMPTE

overview

89

Setup application 89
source setting 90

sync 89
SMPTE sync 92
Software installation 15
Solo

light
SONAR 12

Sony

Sound Forge 44
Sound module

Split Point 81
Stand-alone operation 33, 40, 62
Stereo button 66
Stereo settings (Channel tab) 70
Stop Freewheeling 90
Stripe button 91
Studio setup (example) 23
Swap L/R 70
Synchronization

Synths

System requirements

T

TACH

Talkback

65, 83

clock source 48

enabling the UltraLite-mk3 ASIO

Main Out Assign 48

Return Assign 49

sample rate 48

Sound Forge

connecting

Cubase

multiple interfaces 24

Nuendo 45

connecting

minimum

recommended computer 13

light (SMPTE Setup Console)

button (Channel tab)

button (Outputs tab) 69

45

20

23

13

driver

44

48

70

explained 83
menu 84, 86

settings 83
Tech support contact info 94
Technical support 94
Threshold

dynamics
Time code sync 89, 92
Tip positive/negative 22
Traveler

connecting to UltraLite-mk3
Trim 18, 67
Troubleshooting

EQ knobs don’t work

feedback loop 45, 50
TRS connectors 19
TRS/XLR jacks 5, 6

U

UltraLite-mk3

connecting multiple interfaces

expansion 24

installing 17

power switch 33

rear panel overview 9

SMPTE setting 29

software installation 15

summary of features 9

tab 27
Unbalanced analog 19
Undo/Redo 85
User def. (monitor group menu) 82

V

Video sync 89
Volume

headphone
V-stack 43

W

Wave driver 7, 16, 47
Width 65

reverb 82
Width knob 70

90

X

XLR/TRS jacks 5, 6

78

25

68

25

11

INDEX

97