MOTU UltraLite-mk3 Hybrid User Manual
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MOTU UltraLite-mk3 Hybrid User Manual

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UltraLite
mk3 Hybrid
™
User Guide for Mac
1280 Massachusetts Avenue
Cambridge, MA 02138
Business voice: (617) 576-2760
Business fax: (617) 576-3609
Web site: www.motu.com
Tech support: www.motu.com/support

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  • Page 1 UltraLite mk3 Hybrid ™ User Guide for Mac 1280 Massachusetts Avenue Cambridge, MA 02138 Business voice: (617) 576-2760 Business fax: (617) 576-3609 Web site: www.motu.com Tech support: www.motu.com/support...
  • Page 2 Authorization Number on the outside of the box below the shipping address. That license agreement is a contract, and clicking “Accept” binds you and MOTU to This warranty does not apply if the equipment has been damaged by accident, all its terms and conditions.

  • Page 3: Table Of Contents

    Contents Quick Reference: UltraLite-mk3 Hybrid Front Panel Quick Reference: UltraLite-mk3 Hybrid Rear Panel Quick Reference: MOTU Audio Setup About the UltraLite-mk3 Hybrid Packing List and Mac System Requirements Installing the UltraLite-mk3 Hybrid Hardware Installing the UltraLite-mk3 Hybrid Mac Software MOTU Audio Setup...

  • Page 7: Quick Reference: Motu Audio Setup

    UltraLite-mk3 only, back into the computer. Click the General tab to access these settings. Check this option if you would like the MOTU Audio Setup icon to appear in the application dock as soon as a MOTU FireWire interface is detected (switched on, plugged in, etc.)

  • Page 9: Overview

    About the UltraLite-mk3 Hybrid CHAPTER Overview ..........9 RCA S/PDIF digital I/O at sample rates up to ■...

  • Page 10: About The Ultralite-Mk3 Hybrid

    CueMix FX cross-platform mixing software with 10 inputs and 14 outputs ■ All UltraLite-mk3 inputs and outputs can be used attractive graphic mixing, graphic editing of simultaneously, for a total of 10 inputs and 14 parametric EQ and a convenient tabbed interface outputs when operating at sample rates up to for quick access to all features in one window.

  • Page 11: The Ultralite-Mk3 Front Panel

    All ten analog outputs and six quarter-inch analog The included MOTU SMPTE Console™ software inputs are on balanced TRS +4dB quarter-inch provides a complete set of tools for generating and jacks. All of these jacks can also accept unbalanced regenerating SMPTE time code, which allows you plugs.

  • Page 12: 16-Bit And 24-Bit Recording

    Headphone output and main volume control Effects include reverb, parametric EQ and The UltraLite-mk3 front panel provides a quarter- compression/limiting. The UltraLite-mk3’s Classic inch stereo headphone output jack and volume Reverb™ provides five different room types, three knob. The LCD display provides feedback as you frequency bands with adjustable crossover points, turn the knob.

  • Page 13: Digital Performer

    file-based operations, sample- accurate editing and placement of audio, and more. DIGITAL PERFORMER The UltraLite-mk3 system is fully integrated with MOTU’s award-winning Digital Performer audio sequencer software package. OTHER HOST AUDIO SOFTWARE The UltraLite-mk3 system includes a standard...
  • Page 14 A B O U T T H E U L T R A L I T E - M K 3 H Y B R I D...

  • Page 15: Packing List And Mac System Requirements

    If any of these items are not present in your two ways to register. UltraLite-mk3 box when you first open it, please Visit www.motu.com/registration to register on ■ immediately contact your dealer or MOTU. line One UltraLite-mk3 I/O rack unit ■ One 6-pin to 6-pin IEEE 1394 “FireWire” cable ■...
  • Page 16 P A C K I N G L I S T A N D M A C S Y S T E M R E Q U I R E M E N T S...
  • Page 17 A typical UltraLite-mk3 Hybrid setup ....25 An example setup for computer-based mixing/FX. Connecting multiple MOTU FireWire interfaces ..26 Connect additional UltraLites or other audio...

  • Page 18: Installing The Ultralite-Mk3 Hybrid Hardware

    ☛ CONNECT THE ULTRALITE-MK3 INTERFACE You can connect the UltraLite-mk3 to an Your UltraLite-mk3 Hybrid audio interface is 800Mbit “FireWire B” port using a 9-pin to 6-pin equipped with both a FireWire A (400 Mbit/sec) FireWire B cable (not shown). However, the connector and a hi-speed USB2 (480 Mbit/sec) UltraLite-mk3 will still operate at its specified connector, and you can use either port to connect...
  • Page 19 1.1 and 2.0 devices on separate busses, if possible. For details, refer to the tech support database at www.motu.com. 1 Before you begin, make sure your computer and the UltraLite-mk3 are switched off.

  • Page 20: Connect Audio Inputs And Outputs

    fine-tuned adjustments in precise 1dB can use either the front panel LCD or the included increments. You can also adjust trim in the MOTU CueMix FX software to adjust the input trim. To CueMix FX software. See “Input trim” on page 73.

  • Page 21: Connect Midi Gear

    adjust these trims using CueMix FX, see “Input Separate main outs The main outputs operate as an independent pair trim” on page 73. To adjust the trims using the (they don’t share signal with any other output front panel LCD: pair).

  • Page 22: Connecting And Syncing S/Pdif Devices

    One-way MIDI connections CONNECTING AND SYNCING S/PDIF DEVICES MIDI devices that do not receive MIDI data, such DAT decks and other devices with S/PDIF digital as a dedicated keyboard controller, guitar I/O will sync to the UltraLite-mk3 in via the controller, or drum pad, only need Connection B S/PDIF connection itself.

  • Page 23: Power Options

    POWER OPTIONS chain should also have their own power supply. In The UltraLite-mk3 can draw power from two general, bus-powered FireWire devices should not possible sources: be daisy-chained. 1. the computer via FireWire, or FireWire adapter products must be powered If you are using a FireWire adapter (a third-party 2.
  • Page 24 Bus power from a battery-powered laptop does it use? The answer is: the source that is The laptop is being powered by its own battery, and currently supplying the greatest voltage. But in the UltraLite-mk3 is being powered by its FireWire practice, it doesn’t really matter because the only connection to the computer.

  • Page 25: A Typical Ultralite-Mk3 Hybrid Setup

    A TYPICAL ULTRALITE-MK3 HYBRID SETUP latency monitoring to listen to what you are Here is a typical UltraLite-mk3 studio setup. This recording via the main outs, headphone outs, or rig can be operated without an external mixer. All any other output pair. You can control monitoring mixing and processing can be done in the either from the front panel or from the included computer with audio software.

  • Page 26: Connecting Multiple Motu Firewire Interfaces

    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).
  • Page 27 Connecting other MOTU FireWire interfaces UltraLite-mk3 and other FireWire devices to it. All You can add an original MOTU 828 to the end of a FireWire daisy chain (because the 828 has only one interfaces will remain resolved to each other via the master interface.
  • Page 28 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.

  • Page 29: Installing The Ultralite-Mk3 Hybrid Mac Software

    More specifically, MOTU SMPTE Console ....... 31 we use Core Audio to refer to Mac OS X’s standard...
  • Page 30 CoreMIDI and Audio MIDI Setup CoreMIDI is the “under-the-hood” portion of Mac OS X that handles MIDI services for MIDI hardware and software. CoreMIDI provides many universal MIDI system management features, including MIDI communication between your UltraLite-mk3 FireWire interface and all CoreMIDI compatible software.
  • Page 31 SMPTE time code, and to generate SMPTE for striping, regenerating or slaving other devices to the computer. For details, see chapter 12, “MOTU Figure 4-3: Connecting devices to the UltraLite-mk3. In this example, a controller keyboard is connected to the UltraLite-mk3’s MIDI IN, and SMPTE Console”...
  • Page 32 I N S T A L L I N G T H E U L T R A L I T E - M K 3 H Y B R I D M A C S O F T W A R E...

  • Page 33: Accessing The Ultralite-Mk3 Settings

    Default Stereo Input/Output......35 menu. Then click the MOTU Audio ASIO item in Phones..........36 the list and click the Control Panel button.

  • Page 34: Motu Audio Setup

    The following sections briefly discuss each clock source setting. Figure 5-1: MOTU Audio Setup gives you access to all of the settings in the UltraLite-mk3 hardware. M O T U A U D I O S E T U P...

  • Page 35: Default Stereo Input/Output

    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 112and chapter 12, “MOTU SMPTE Console” (page 109). Built-in Audio Choose this setting to resolve the UltraLite-mk3 to your Mac’s built-in audio.

  • Page 36: Phones

    Choose becomes available Main Out 1-2 if you’d like the headphone output to Check this option if you would like the MOTU match the main outs. Choose Phones if you would Audio Setup icon to appear in the application dock...

  • Page 37: Enable Pedal

    Figure 5-4: UltraLite-mk3 channel names as they appear in Digital Performer. Enable Pedal This setting applies to other MOTU FireWire audio interfaces, but it does not apply to the UltraLite-mk3. M O T U A U D I O S E T U P...
  • Page 38 M O T U A U D I O S E T U P...

  • Page 39: Ultralite-Mk3 Hybrid Front Panel Operation

    UltraLite-mk3 Hybrid CHAPTER Front Panel Operation OVERVIEW POWER SWITCH The UltraLite-mk3 offers complete front-panel Push the VOL knob to power on the programming via four rotary encoders and a 2x16 UltraLite-mk3. Push in and hold the VOL knob to backlit LCD display. All UltraLite-mk3 settings can turn it off.

  • Page 40: Main Out Volume

    PHONES MAIN OUT VOLUME From the factory, the PHONES jack (Figure 6-1) is Push the VOL knob twice to view and control the a discrete output at 44.1/48 kHz, but it can mirror volume of the main outs on the rear panel. any other output pair (digital or analog) or serve as its own independent output.

  • Page 41: Multi-Function Lcd Display

    Push the PARAM knob to cycle the LCD among setting cannot be changed from the front-panel LCD. It must be four global display modes: changed in MOTU Audio Setup instead. Or, you can disconnect the UltraLite-mk3 from the computer to change the Clock Source from the front panel.

  • Page 42: Cuemix Menu

    wish to save it to (1-16), and the push again to CUEMIX MENU To access the CUEMIX menu, push the PARAM confirm the save. To cancel the save operation at knob until you see CUEMIX displayed in the LCD. any time, turn the PARAM knob. This menu displays the settings for the Load Preset UltraLite-mk3 CueMix FX mixer.
  • Page 43 The IN (inputs) menu channel strip in CueMix FX (Figure 11-3 on Push the CHANNEL button repeatedly until you page 72), as well as the settings in the Channel tab see “I:” in the channel section of the LCD (Figure 11-8 on page 76). (Figure 6-6).
  • Page 44 The OUT (Outputs) menu The MIX (Mixes) menu Push the CHANNEL button repeatedly until you Push the CHANNEL button repeatedly until you see “O:” in the channel section of the LCD see “MIX 1” (or “MIX 2”, etc.) in the channel (Figure 6-7).

  • Page 45: Inputs Menu

    REVERB — these are the reverb send and return INPUTS MENU ■ controls for the bus master fader. Access them with CHANNEL PAGE PARAM the PARAMETER knob. INPUTS INPUT PAIR mic 1-2 PHASE Individual channels — once you scroll past ■...

  • Page 46: Outputs Menu

    OUTPUTS MENU MIXES MENU CHANNEL PAGE PARAM CHANNEL PAGE PARAM OUTPUTS ENABLE MIXES MASTER ASSIGN Main (global) COPY Mix 1 MUTE Analog 1-2 PASTE Mix 2 FADER Analog 3-4, etc. RESET etc. COPY PASTE ENABLE RESET (High-pass) SLOPE FREQ REVERB SEND RETURN ENABLE...

  • Page 47: Digital Performer

    UltraLite-mk3 settings, open MOTU Audio Setup. clock source, but to access all of the UltraLite-mk3 For complete details about the UltraLite-mk3 settings, open MOTU Audio Setup, as shown in settings, see chapter 5, “MOTU Audio Setup” Figure 5-1 on page 34.
  • Page 48 S/PDIF devices” on page 22. one of its output pairs. Use the Return Assign menu in MOTU Audio Setup to choose which output pair If you are slaving the UltraLite-mk3 and Digital you would like to hear on this return. This can be Performer to SMPTE time code via the used, for example, to record back a final stereo mix...

  • Page 49: Working With Ultralite-Mk3 Inputs And Outputs

    “Reducing Monitoring Latency” (page 61). WORKING WITH ULTRALITE-MK3 INPUTS AND OUTPUTS WORKING WITH CUEMIX FX MIXING AND Once you’ve enabled the MOTU FireWire Audio EFFECTS driver as explained earlier in “The UltraLite-mk3 The UltraLite-mk3 provides powerful external settings” on page 47, UltraLite-mk3 audio inputs mixing, EQ, compression and reverb, which you and outputs will appear in Digital Performer’s...
  • Page 50 D I G I T A L P E R F O R M E R...

  • Page 51: Audiodesk

    For complete details about the UltraLite-mk3 clock source, but to access all of the UltraLite-mk3 settings, see chapter 5, “MOTU Audio Setup” settings, open MOTU Audio Setup, as shown in (page 33). The following sections provide a brief Figure 5-1 on page 34.
  • Page 52 Use the Return Assign menu in If you are slaving the UltraLite-mk3 and MOTU Audio Setup to choose which output pair AudioDesk to SMPTE time code via the you would like to hear on this return. This can be UltraLite-mk3 itself, choose SMPTE and follow the used, for example, to record back a final stereo mix...
  • Page 53 EQ, compression and reverb, which you WORKING WITH ULTRALITE-MK3 INPUTS AND OUTPUTS can operate hand-in-hand with AudioDesk’s Once you’ve enabled the MOTU FireWire Audio complete mixing environment. For example, the driver as explained earlier in “The UltraLite-mk3 UltraLite-mk3 can serve as a monitor mixer settings”...
  • Page 54 Digital Performer, which offers pretty much all of the same features as AudioDesk, along with powerful, state-of-the-art MIDI sequencing. Talk to your authorized MOTU dealer for details about upgrading from AudioDesk to Digital Performer. A U D I O D E S K...

  • Page 55: Installing The Ultralite-Mk3 Mac Os X Drivers

    Preparing MIDI input and output ....55 Run MOTU Audio Setup ......55 Choosing the MOTU FireWire Core Audio driver .

  • Page 56: Other Mac Os X Software

    UltraLite-mk3 that matches the signal of one of its output pairs. Use the Return Assign menu in MOTU Audio Setup 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...
  • Page 57 Live In Soundtrack Pro, access the preferences window, In Ableton Live, access the preferences window and click the Recording tab and choose MOTU click the Audio tab. Choose CoreAudio from the UltraLite-mk3 from the Input and Monitor menu as Driver Type menu. Choose the MOTU UltraLite-mk3 from the Input Audio Device and shown below in Figure 9-3.

  • Page 58: Working With Ultralite-Mk3 Inputs And Outputs

    For other audio applications, the procedure is window, choose Audio preferences from the menu similar to that shown above. Consult your owner’s and choose MOTU UltraLite-mk3 from the Audio manual for further information. Output menu as shown below in Figure 9-6. For...

  • Page 59: Number Of Channels

    Outputs are listed in this order: several ways to reduce this delay. For details, see chapter 10, “Reducing Monitoring Latency” Output Channels List position (page 61). Main WORKING WITH CUEMIX FX MIXING AND Analog 3-10 EFFECTS SPDIF 11-12 The UltraLite-mk3 provides powerful external mixing, EQ, compression and reverb, which you Phones 13-14...
  • Page 60 O T H E R M A C O S X S O F T W A R E...
  • Page 61 Reducing Monitoring Latency CHAPTER OVERVIEW It is important to note that monitoring delay has no Monitoring latency is that slight delay you hear effect on when audio data is recorded to disk or when you run an input signal through your host played back from disk.

  • Page 62: Reducing Monitoring Latency

    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. 3. Mic signal is ‘patched thru’ back to the audio interface with reverb or other 2.
  • Page 63 Digital Performer or AudioDesk manual for information about the Host Buffer Multiplier setting. 1. Live input (from mic, guitar, etc.) enters the MOTU interface. 3. Mic signal is mixed with the 2. CueMix FX immediately patches the live main outs, and you can...
  • Page 64 How responsive the transport controls are in ■ AudioDesk, Digital Performer or other 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.
  • Page 65 Effects processing and automated mixing From within your host audio software (if it ■ Reducing latency with the buffer size setting has supports direct hardware monitoring) another benefit: it lets you route live inputs through You can even use both methods simultaneously. the real-time effects processing and mix automation of your audio software.
  • Page 66 Controlling CueMix FX from within AudioDesk 3 From the Studio menu, choose Audio Patch or Digital Performer Thru, and choose any monitoring mode except Off. To turn on CueMix FX in AudioDesk and Digital Performer: Once enabled, CueMix FX monitoring is tied with Digital Performer or AudioDesk’s Audio Patch 1 From the Setup menu, choose Configure Audio Thru feature: when you record-enable a track, the...

  • Page 67: Cuemix Fx

    CueMix FX CHAPTER OVERVIEW A 16-BUS MIXER WITH EQ, COMPRESSION AND REVERB CueMix FX is a cross-platform software All UltraLite-mk3 inputs and outputs can be application that provides graphic, on-screen routed to the on-board CueMix FX 16-bus (8 control for the UltraLite-mk3’s flexible CueMix FX stereo bus) digital mixer driven by hardware-based on-board mixer and effects processing.

  • Page 68: Advantages Over Host-Based Mixing And Processing

    Each input, output and mix bus provides a send to CueMix mixing and effects processing imposes ■ the Classic Reverb processor, which then feeds no processor drain on the computer’s CPU. reverb returns to mix busses and outputs, with a CueMix routing can be maintained ■...

  • Page 69: Cuemix Fx Basic Operation

    CUEMIX FX BASIC OPERATION processor. These settings are applied to the signal Here is a brief overview of the CueMix FX mixer. before it goes anywhere else (to a mix bus or the computer). Eight stereo mix busses CueMix provides eight stereo mix busses: Bus 1, Output channels Bus 2, Bus 3, and so on.

  • Page 70: The Mixes Tab

    THE MIXES TAB Assigning a mix bus output Click the Mixes tab (Figure 11-2) to gain access to Choose the desired output pair for the mix bus from the bus output menu (Figure 11-2). The bus the UltraLite-mk3’s eight stereo mix busses. The output menu displays all current available Mixes tab displays one mix bus at a time.
  • Page 71 Bus mute page 76). Clicking the mix bus master fader focus The bus mute button (Figure 11-2) disables button brings the assigned output into focus, if (silences) the mix. there is one. Bus level meter Input pan section The bus level meter, which is post-fader, shows you The input pan knob (Figure 11-2) pans the input the output for the mix’s output.

  • Page 72: The Inputs Tab

    THE INPUTS TAB only exception to this is the reverb send, which The UltraLite-mk3 provides many features for simply splits the input signal and feeds a copy of it managing analog and digital input signals. Some of to the UltraLite-mk3’s reverb processor. these features, such as the UltraLite-mk3’s digitally Signal flows from top to bottom controlled analog trims, are implemented in the...
  • Page 73 Mono/stereo pairing settings among neighboring channels, or perhaps Click the Mono button (Figure 11-3) if you would even applying the same setting across all inputs. like an input to be treated as a mono channel. If you However, for more detailed editing of EQ and would like to work with it as one channel of a compression settings for an input channel, you can linked stereo pair, click the Stereo button.

  • Page 74: The Outputs Tab

    then be fed back into a mix or output pair. The send Compressor Compressor Compressor graph meter selector occurs after all other settings in the input channel strip (phase invert, EQ, compression, etc.) 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.
  • Page 75 Output reverb send/return Both the send and return occur after EQ and The output reverb send (Figure 11-6) feeds the dynamics processing, but before listenback and signal for the output to the UltraLite-mk3’s global talkback. reverb processor, where it is merged with any other Talkback/Listenback signals being fed to the reverb.

  • Page 76: The Channel Settings Section

    THE CHANNEL SETTINGS SECTION The Channel tab The Channel tab (Figure 11-8) displays settings for The channel settings section in the CueMix FX input channels. Click any focus button in the window (Figure 11-1) displays three tabs for Inputs tab to view the Channel tab settings for the Channel, EQ and Dynamics settings for the channel.
  • Page 77 Stereo settings mono input), use the reverb Pan knob Inputs that have been grouped as stereo pairs in the (Figure 11-8) to pan the mono signal for the stereo Inputs tab (Figure 11-3) provide two stereo modes reverb processor. (Figure 11-8): Normal and M/S. M/S mode Input meter and bus activity LEDs provides decoding for a mid-side microphone When the Channel tab is active (Figure 11-8), the...
  • Page 78 The EQ tab display provides comprehensive control and visual The EQ tab (Figure 11-10) displays the EQ settings feedback of the EQ curve being applied. With for the input or output channel that currently has 64-bit floating point processing, the UltraLite-mk3 the focus.
  • Page 79 Composite curve (white line): shows the overall Vintage EQ Quick reference Filter response display: Shows the response curve response curve of the current settings in the for the current settings. window. Vertical scale: Lets you zoom the vertical scale of Individual filter curve: Each filter has a color the filter response display.
  • Page 80 Adjusting filters in the display FFT curve 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 Figure 11-13: FFT display. (red line) The FFT curve is post-filter. Therefore, the FFT shows the results of the EQ filter(s) being applied.
  • Page 81 Using the full window filter display The info box Choose Show Full Window Analysis from the Filter The Show Info Box item in the full graph display display options menu (Figure 11-10) to fill the options menu (Figure 11-16) lets you display the entire CueMix FX window with the filter EQ coordinates of any EQ filter point as you drag it in display for detailed inspection and adjustment of...
  • Page 82 EQ filters The following sections describe the character of The EQ filters have three parameters: each type of EQ filter and their suggested applications. In the illustrations for each filter style Control unit range (Figure 11-18 through Figure 11-21), the settings Gain -20.00 to +20.00 for the three example curves are the same for the...
  • Page 83 Type II Type III Figure 11-19: Type II EQ filter style. Figure 11-20: Type III EQ filter style. The Type II EQ filter produces constant Q response The Type III EQ filter increases Q as boost is during boost or cut. The Type II style emulates applied.
  • Page 84 Type IV Shelf filters Figure 11-21: Type IV EQ filter style. The Type IV 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.
  • Page 85 response corresponds to a second order shelf, still Overshoot tends to produce more of what one with no overshoot. This is the same response as would expect to hear when applying shelving and conventional parametric EQs. In some situations, is therefore considered to be more musical than this form of accurate, clean shelving can sound shelving without overshoot.
  • Page 86 The Dynamics tab Compressor The Compressor (Figure 11-26) lowers the level of The Dynamics tab (Figure 11-26) displays the Dynamics processing settings for the input or the input when it is above the threshold. The output channel that currently has the focus. Click amount of attenuation is determined by the Ratio any focus button in the Inputs or Outputs tab to and the input level.
  • Page 87 Output level Automatic gain control using light The Output Level meter (Figure 11-26) displays the The the Automatic Gain Control (AGC) circuit of peaks of the output signal. Trim is applied before the LA-2A uses a vintage opto-coupler known by the Output Level meter.
  • Page 88 It is precisely this self-adjusting behavior that The Meters tab The Meters tab (Figure 11-27) serves as a makes optical compressors the tool of choice for comprehensive meter bridge for all inputs, outputs smoothing out vocals, bass guitar and full- and mix busses in the UltraLite-mk3.
  • Page 89 displaying an input meter). Click Pre to view levels Routing inputs, busses and outputs to the reverb processor before any input channel processing besides trim; The reverb processor is a single, independent unit click Post to view levels after all channel processing that provides stereo reverb.

  • Page 90: The Monitor Group

    Output types of spaces. The Size and Level parameters let When the Split Point is set to Output, the sends in you control the size of the room and the strength of Output tab become active and the returns in the the initial reflections.

  • Page 91: Dsp Meter

    Assigning outputs to the monitor group EQ on a stereo channel requires approximately Any combination of outputs can be assigned to the twice the DSP resources as the same EQ on a mono monitor group. To include an output pair in the channel.
  • Page 92 only occurs when talkback or listenback is Control room engaged. Audio playing back from disk (your host Talkback software) is not affected. Main outs Talk dim Outs (front panel mic input) Live room Headphone distribution amp Listenback Listen dim Figure 11-30: Typical hardware setup for Talkback and Listenback. Figure 11-31: The Talkback/Listenback controls.

  • Page 93: Shortcuts

    The Mix1 return includes computer File menu item Shift key Applies your action to all inputs or all out- puts in the mix. applies to other MOTU interfaces products and has no effect on the UltraLite-mk3. Command key Applies your action to the stereo input pair, even when it is currently configured as mono.

  • Page 94: Devices Menu

    DEVICES MENU OSCILLOSCOPE If you are working with more than one MOTU The Oscilloscope (Figure 11-33) graphs the audio interface product, this menu displays all amplitude of an audio signal over time. interfaces that are currently on line. Choose any...
  • Page 95 Horizontal controls (time axis) The Horizontal controls (Figure 11-35) configure Pause button the value range of the x-axis (time). Click and drag View menu the values up or down to set them, or double-click to return to the default value. There are two modes for the controls: Zoom/Offset Figure 11-34: View controls Min/Max.
  • Page 96 In Min/Max mode, Min and Max set the smallest response to specific conditions in the signal. The and largest displayed amplitude. Trigger section defines that criteria and how the graph will display the events that match. Waveform Recognition The Waveform Recognition option searches Trigger indicator through new audio data looking for a waveform Trigger menu...
  • Page 97 Enabling the Magnitude check box tells the trigger Trigger indicator The Trigger indicator (Figure 11-37 on page 96) to look for both positive and negative Level values, displays the state of the trigger, and also provides a regardless of whether the Level value is positive or way to manually interact with it.
  • Page 98 Viewing transients such as drum hits To adjust the left and right edges of the If you loop a snare hit or other similar transient measurement area, click and drag the blue bars in audio clip and feed it through the oscilloscope, you the graph, or click and drag the blue numbers in can more or less “freeze”...
  • Page 99 If you are building a synth patch on a synthesizer Monitoring control voltage output from Volta (or forming similar highly periodic audio MOTU’s Volta instrument plug-in for Mac OS X material), you can run the audio signal through the turns your audio interface into a control voltage...

  • Page 100: X-Y Plot

    X-Y PLOT The higher the meter, the higher the correlation The X-Y Plot window (Figure 11-40) graphs the between the two channels. Below are a few amplitude of a stereo audio signal on a two- examples: dimensional grid. Situation Meter X-Y Plot graph Mathematical level...
  • Page 101 ☛ Choosing a channel pair to display Line mode is significantly more CPU intensive The X-Y Plot follows the currently focused audio than Scatter. You can reduce Line mode CPU input or output. If you focus a mono channel (e.g. overhead on the X-Y Plot by reducing the Length Analog 3), its corresponding stereo pair will be parameter (described below).
  • Page 102 In Min/Max mode, Min and Max let you scale the Using the X-Y Plot The X-Y Plot helps you “see” the width of the stereo grid by moving the -1.0 and +1.0 points along the field of a mix. It also helps you determine if a mix axis.

  • Page 103: Phase Analysis

    PHASE ANALYSIS Choosing a channel pair to display The Phase Analysis window (Figure 11-46 on The Phase Analysis window follows the currently focused audio input or output. If you focus a mono page 103) graphs frequency versus phase channel (e.g. Analog 3), its corresponding stereo difference versus amplitude of a stereo signal on pair will be displayed (Analog 3–4).
  • Page 104 A/B (stereo audio channels) Linear is better for viewing high frequencies; The View section (Figure 11-47) displays the pair logarithmic is better for viewing low frequencies. of input or output audio channels you are viewing. Rectangular/Polar See “Choosing a channel pair to display” above. Choose either Rectangular or Polar from the menu Line/Scatter in the View section (Figure 11-47) to control how...
  • Page 105 Max delta theta Horizontal and vertical controls The Horizontal and Vertical controls Max delta theta (Figure 11-52) only affects Line (Figure 11-51) let you scale each axis of the grid view (see “Line/Scatter” on page 104) and sets the and offset its zero point. Click and drag the values maximum difference in frequency between plot up or down to set them, or double-click to return points in the line plot.

  • Page 106: Configurations Menu

    Checking for phase issues in stereo tracks outside the critical frequency range of the You can use the Phase Analysis window to check instrument being recorded, you can avoid phase the overall polarity of a stereo mix. Figure 11-54 is problems among the mic signals.

  • Page 107: Talkback Menu

    (last loaded or saved) configuration has a will hear on the headphone output, just like the check mark next to it. Phones setting in MOTU Audio Setup. However, this menu provides one extra option that is Modifying a configuration exclusive to CueMix FX: Follow Active Mix.
  • Page 108 Enabled that is not currently being displayed, CueMix FX Check this menu item to turn on control surface will jump to the appropriate tab to display the operation of CueMix FX. Uncheck it to turn off control you are adjusting. control surface support.

  • Page 109: Motu Smpte Console

    MOTU SMPTE Setup ....... . 109 shows both the clock and the address (time code or sample location), separated by a forward slash ( / ).

  • Page 110: Reader Section

    auto-detect and switch to the incoming frame rate, SMPTE source Choose the analog input that is connected to the except that it cannot distinguish between 30 fps time code source. This is the input that the and 29.97 fps time code, or 23.976 and 24 fps time UltraLite-mk3 “listens”...

  • Page 111: Generator Section

    External Sync command in the Studio menu is generate time code) or None (to turn it off). checked. Make sure the Clock Source setting in the MOTU Audio Setup window is set to SMPTE. Also, Stripe make sure that you’ve connected an LTC input Click this button to start or stop time code.

  • Page 112: Syncing To Smpte Time Code

    Digital Performer or other sample- accurate software. Launch the MOTU SMPTE Console to specify the time code frame rate and amount of freewheel. Also, confirm that the Clock Source/Address is SMPTE/SMPTE. Figure 12-3: Connections for synchronizing the UltraLite-mk3 directly to SMPTE time code.

  • Page 113: Troubleshooting

    If you continue to have difficulties, try motu.com, or fill out and mail the registration card repairing Mac OS X disk permissions using Disk included with your UltraLite-mk3. Doing so Utility.
  • Page 114 UltraLite-mk3 Development Team, The serial number of the UltraLite-mk3 system. ■ MOTU Inc., 1280 Massachusetts Avenue, This is printed on a sticker placed on the bottom of Cambridge, MA 02138. the UltraLite-mk3 unit. You must be able to supply this number to receive technical support.

  • Page 115: Index

    Index Symbols 192kHz operation talkback settings 91, 92 7, 34 Clock source Customer support +4dB analog input AudioDesk .kext SMPTE setting 23, 26, 27 Daisy-chaining 5, 6 Combo jacks Comp button -10dB analog input 22, 25 connecting Compressor 6, 11, 18, 19 1394 connector DC power supply enabling...
  • Page 116 61, 64, 68 Latency Frequency overview Launch console when hardware becomes Thru in standalone available Front panel Mid-side micing Launch MOTU Audio Setup when hard- LCD display Mix bus ware becomes available activity LEDs 77, 88 level meter contrast Gain...
  • Page 117 clock source Return Assign 7, 36 Main Outs Assign 48, 52 Main Outs Assign Digital Performer phones phones Mac OS X audio software Return Assign Return Assign Reverb reverb return reverb return design section sample rate sample rate early reflections Split Point 39, 46, 68 Output level (meter in Dynamics plug-in)
  • Page 118 Video sync Volume headphone Width reverb Width knob 5, 6 XLR/TRS jacks I N D E X...

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