UltraLite-mk5 ™

User Guide

1280 Massachusetts Avenue

Cambridge, MA 02138
Business voice: (617) 576-2760
Business fax: (617) 576-3609
Title Page Web site: www.motu.com
Tech support: www.motu.com/support
SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS FOR THE UltraLite-mk5 (“PRODUCT”)
CAUTION! READ THIS SAFETY GUIDE BEFORE YOU BEGIN INSTALLATION OR OPERATION. FAILURE TO COMPLY WITH SAFETY
INSTRUCTIONS COULD RESULT IN BODILY INJURY OR EQUIPMENT DAMAGE.
HAZARDOUS VOLAGES: CONTACT MAY CAUSE ELECTRIC SHOCK OR BURN. TURN OFF UNIT BEFORE SERVICING.
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE.
CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING
TO QUALIFIED SERVICE PERSONNEL.
IMPORTANT SAFEGUARDS
1. Read these instructions. All the safety and operating instructions should be read before operating the product.
2. Keep these instructions. These safety instructions and the product owner’s manual should be retained for future reference.
3. Heed all warnings. All warnings on the product and in the owner’s manual should be adhered to.
4. Follow all Instructions. All operating and use instructions should be followed.
5. Do not use the product near water.
6. Cleaning - Unplug the product from the computer and clean only with a dry cloth. Do not use liquid or aerosol cleaners.
7. Ventilation - Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8. Heat - Do not install the product near any heat sources such as radiators, heat registers, stoves, or another apparatus (including an amplifier) that produces heat.
9. Overloading - Do not overload wall outlets and extension cords as this can result in a risk of fire or electrical shock.
10. Power supply cord - Protect the product power supply cord from being walked on or pinched by items placed upon or against them.
11. Power switch - Install the product so that the power switch can be accessed and operated at all times.
12. Disconnect - The main power supply plug is considered to be the disconnect device for the product and shall remain readily operable.
13. Accessories - Only use attachments/accessories specified by the manufacturer.
14. Surge protection - Unplug the product during lightning storms or when unused for long periods of time.
15. Servicing - Refer all servicing to qualified service personnel. Servicing is required when the product has been damaged in any way, such as when a power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the product, the product has been exposed to rain or moisture, does not operate normally, or has been dropped.
16. Power Sources - Refer to the manufacturer’s operating instructions for power requirements.
17. Installation - Do not install the product in an unventilated rack, or directly above heat-producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed
below.
18. Power amplifiers- Never attach audio power amplifier outputs directly to any of the unit’s connectors.
19. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part.
Unauthorized substitutions may result in fire, electric shock or other hazards.
20. Safety Check - Upon completion of any service or repairs to this MOTU product, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.
ENVIRONMENT, HEAT AND VENTILATION
Operating Temperature: 10°C to 40°C (50°F to 104°). The product should be situated away from heat sources or other equipment that produces heat. When installing the product in a rack or any other
location, be sure there is adequate space around the product to ensure proper ventilation. Improper ventilation will cause overheating and can damage the unit.
TO REDUCE THE RISK OF ELECTRICAL SHOCK OR FIRE
Do not handle the power cord with wet hands. Do not pull on the cord of the power supply when disconnecting it from an AC wall outlet.
Grasp it by the power supply unit. Do not expose this apparatus to rain or moisture. Do not place objects containing liquids on it.
DC INPUT
10 - 24V DC • 1.0A max

This equipment has been type tested and found to comply with the limits for a class B digital
device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable
protection against harmful interference in a residential installation. This equipment generates,
uses, and can radiate radio frequency energy and, if not installed and used in accordance with the
instruction manual, may cause harmful interference to radio communications. However, there is
no guarantee that interference will not occur in a particular installation. If this equipment does
cause interference to radio or television equipment reception, which can be determined by
turning the equipment off and on, the user is encouraged to try to correct the interference by any
combination of the following measures:
• Relocate or reorient the receiving antenna
• Increase the separation between the equipment and the receiver
• Plug the equipment into an outlet on a circuit different from that to which the receiver is
connected
If necessary, you can consult a dealer or experienced radio/television technician for additional
assistance.
PLEASE NOTE: only equipment certified to comply with Class B (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
cables in order to comply with the Class B FCC limits on RF emissions.
WARNING: changes or modifications to this unit not expressly approved by the
party responsible for compliance could void the user's authority to operate the
equipment.
Contents

Part 1: Getting Started

7 Quick Start Guide

8 A Typical UltraLite-mk5 Setup
9 UltraLite-mk5 Front Panel
10 UltraLite-mk5 Rear Panel
11 About the UltraLite-mk5
15 Packing List and System Requirements
17 Software Installation
21 Hardware Installation

Part 2: Using the UltraLite-mk5

29 Front Panel Operation

31 CueMix 5
45 Working with Host Audio Software

Part 3: Appendices

53 Troubleshooting
55 Audio Specifications
57 Half-rack Mounting Kit
59 Half-rack Coupler Kit
61 Index

iii
About the Mark of the Unicorn License Limited Warranty on Hardware
Agreement and Limited Warranty on Software Mark of the Unicorn, Inc. (“MOTU”) warrants this equipment against defects in
TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the terms and materials and workmanship under normal use for a period of TWO (2) YEARS from the
conditions of the “click-wrap”license agreement presented to you when you install date of original retail purchase. The Warranty Term begins on the date of purchase
the software. Using the software or this documentation indicates your acceptance of from an authorized MOTU reseller and applies solely to the original retail purchaser,
the terms and conditions of that license agreement. who must activate the warranty by creating a user account at motu.com to register
the product within 90 days of purchase. This warranty applies only to hardware
Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation. products; MOTU software is licensed and warranted pursuant to separate written
Both the program and the documentation are protected under applicable copyright, statements.
trademark, and trade-secret laws. Your right to use the program and the
documentation are limited to the terms and conditions described in the license If you discover a defect, first contact MOTU technical support by phone, email or web
agreement. (motu.com/support) to verify the warranty on your MOTU equipment and obtain a
Return Merchandise Authorization (RMA). No service will be performed on any
REMINDER OF THE TERMS OF YOUR LICENSE product returned without prior authorization. MOTU will, at its option, repair or
This summary is not your license agreement, just a reminder of its terms. The actual replace the product at no charge to you, provided you return it during the warranty
license can be read and printed by running the installation program for the software. period as instructed by MOTU, with transportation charges prepaid. If you purchased
That license agreement is a contract, and clicking “Accept”binds you and MOTU to all your equipment in any country other than the US or Canada, you will be instructed to
its terms and conditions. In the event anything contained in this summary is return the equipment to an authorized MOTU distributor or representative in the
incomplete or in conflict with the actual click-wrap license agreement, the terms of country of purchase. You must use the product’s original packing material for the
the click-wrap agreement prevail. shipment, and insure the shipment for the value of the product. Please include your
YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer name, address, phone number, email address, a description of the problem, and the
the program from one computer to another provided that the program is used on original, dated bill of sale with the returned unit; do NOT include additional
only one computer at a time and that you remove any copies of the program from the accessories such as cables, power supplies, manuals, etc. Please clearly print the
computer from which the program is being transferred; (c) make copies of the Return Merchandise Authorization Number on the outside of the box below the
program solely for backup purposes. You must reproduce and include the copyright shipping address. Repaired or replaced equipment will be returned to you via UPS
notice on a label on any backup copy. Ground prepaid. (Expedited shipping methods such as UPS next day, 2-day, and 3-day
services are available for an additional cost.) Repaired equipment will be warranted
YOU MAY NOT: (a) distribute copies of the program or the documentation to others; for a period equal to the remainder of the original Limited Warranty or for 90 days,
(b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of whichever is longer.
the program in a computer service business, network, time-sharing, multiple CPU or
multiple user arrangement without the prior written consent of MOTU; (d) translate, WARRANTY EXCLUSIONS: This warranty does not apply if the equipment has been
adapt, reverse engineer, decompile, disassemble, or otherwise alter the program or damaged by accident, abuse, misuse, or misapplication; has been modified without
related documentation without the prior written consent of MOTU. the written permission of MOTU; or if the product serial number has been removed or
defaced. The following examples, without limitation, are NOT covered by this
MOTU warrants to the original licensee that the disk(s) on which the program is hardware warranty:
recorded be free from defects in materials and workmanship under normal use for a
period of ninety (90) days from the date of purchase as evidenced by a copy of your • Equipment purchased through any reseller not directly authorized by MOTU or its authorized
receipt. If failure of the disk has resulted from accident, abuse or misapplication of the international distributors.
• “Used”equipment purchased from a third party.
product, then MOTU shall have no responsibility to replace the disk(s) under this • Equipment purchased in another country.
Limited Warranty. • Normal cosmetic and mechanical wear of the equipment.
• Equipment damaged by improper installation or connections.
THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF, AND YOU • Equipment damaged in transit to/from MOTU for warranty repair.
HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH EXPRESS AND IMPLIED, • Physically damaged equipment, including but not limited to water damage, cracks or dents,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY AND FITNESS missing or bent parts, burns or other damage caused by faulty or failed electric power
FOR A PARTICULAR PURPOSE. THE LIABILITY OF MOTU PURSUANT TO THIS LIMITED
WARRANTY SHALL BE LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY
IN NO EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE LIABLE AND FITNESS FOR A PARTICULAR PURPOSE, ARE LIMITED IN DURATION TO TWO (2)
FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING BUT NOT LIMITED TO YEARS FROM THE DATE OF THE ORIGINAL RETAIL PURCHASE OF THIS PRODUCT. THE
LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR DATA BEING RENDERED INACCURATE, WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE AND IN LIEU OF ALL
OR LOSSES SUSTAINED BY THIRD PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED. No MOTU dealer, agent, or
POSSIBILITY OF SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS employee is authorized to make any modification, extension, or addition to this
WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW THE warranty. MOTU IS NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR CONSEQUENTIAL
LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL DAMAGES, SO THE DAMAGES RESULTING FROM ANY BREACH OF WARRANTY, OR UNDER ANY LEGAL
ABOVE LIMITATION MAY NOT APPLY TO YOU. THEORY, INCLUDING LOST PROFITS, DOWNTIME, GOODWILL, DAMAGE OR
REPLACEMENT OF EQUIPMENT AND PROPERTY AND COST OF RECOVERING REPRO-
UPDATE POLICY GRAMMING, OR REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
In order to be eligible to obtain updates of the program, you must complete and
MOTU PRODUCTS.
return the attached Mark of the Unicorn Purchaser Registration Card to MOTU.
Some states do not allow the exclusion or limitation of implied warranties or liability
COPYRIGHT NOTICE
Copyright © 2021, 2020 by Mark of the Unicorn, Inc. All rights reserved. No part of this for incidental or consequential damages, so the above limitation or exclusion may not
publication may be reproduced, transmitted, transcribed, stored in a retrieval system, apply to you. This warranty gives you specific legal rights, and you may have other
or translated into any human or computer language, in any form or by any means rights which vary from state to state.
whatsoever, without express written permission of Mark of the Unicorn, Inc., 1280 Part number: MOT-501-1000. Version 1.11
Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.
 Part 1
Getting Started
Quick Start Guide

Thank you for purchasing an UltraLite-mk5! FOR ALL USERS

Follow these easy steps to get started quickly. 6 As shown on the next page, connect speakers to
the UltraLite-mk5 Main Outs 1-2, or connect a
MAC USERS START HERE pair of headphones to the headphone jack on the
1 Visit motu.com/UltraLite-mk5-start to front panel, so you can hear your computer’s audio
download and run the MOTU Gen 5 Installer. output.

2 Connect the included power supply to your 7 You are now ready to start using your
UltraLite-mk5 unit. UltraLite-mk5 interface.

3 Connect the UltraLite-mk5 to your Mac using 8 Visit motu.com/UltraLite-mk5-start to register

one of the included USB cables. your UltraLite-mk5, download the included
software and watch brief how-to videos, including:
4 Choose Apple menu > System Preferences and
click Sound to choose the UltraLite-mk5 as the ■ How to connect a mic, guitar, keyboard or other
input and output device. audio source.

5 Proceed to “For all users” below. ■ How to use the UltraLite-mk5 with your

recording software.
WINDOWS USERS START HERE
How to get the most out of the UltraLite-mk5.
1 BEFORE you connect the UltraLite-mk5 to
■

your computer, visit motu.com/UltraLite-mk5- ☛ Register your UltraLite-mk5 to gain access to

start to download and run MOTU Gen 5 Setup. all the software, virtual instruments, loops and
sounds that are included with your UltraLite-mk5
2 Connect the included power supply to your purchase. Registered users also qualify for
UltraLite-mk5 unit. technical support and information about software
updates, so please register today!
3 Connect the UltraLite-mk5 to your PC using
one of the included USB cables.

4 Go to the Windows Sound Control Panel and

choose UltraLite-mk5 as the default recording and
playback device.

5 Proceed to “For all users” below.

7
 A Typical UltraLite-mk5 Setup
Mic or guitar Mic or guitar

MIC LINE/INST BACK MIC SELECT

MAIN GAIN
(HOLD) VOL

1 2

1 2 PAD 48V PAD 48V

PHONES

Headphones

Main speakers Keyboards and synths

MIDI modules MIDI controller Aux speakers

OUT MIDI IN IN

9 7 5 3 1 7 5 3 (L)
OUT
OUT IN

10 8 6 4 2 8 6 4 (R)
15V DC USB C OPTICAL S/PDIF LINE OUT MAIN OUT LINE IN

Mac, PC or iOS device I/O expansion Home theater Stage monitors Outboard gear
 UltraLite-mk5 Front Panel

8 7 6

1 2 3 4 5

1. These Mic/Line/Inst inputs are XLR/TRS combo jacks 4. This portion of the screen displays level meters for all 8. Power and Volume control for phones and main outs.
that accept either a mic cable or a quarter-inch cable, analog inputs and outputs. It can also show device Push this knob to toggle between Phones volume and
balanced or unbalanced, from a guitar or line input. Use settings, using the knobs to the left. Main Out volume. The screen provides visual feedback.
the controls to the right (3) to adjust individual preamp This setting, along with all front panel settings, can also
gain, instrument input gain, 48V phantom power, and 5. This portion of the screen shows digital I/O activity be adjusted from the CueMix 5 app. The CueMix 5 app
an optional -20 dB pad for each mic input. Each input (optical and S/PDIF) and MIDI activity (in and out). also allows you to add additional Line Outs to the Main
includes a Phase Invert switch, accessed in the CueMix 5 Volume group, so you can control them all with this
app. See “Input tab” on page 34. 6. This portion of the screen displays the current sample knob. See item #2 (Main Volume Group) on page 35.
rate and clock source, such as INT (Internal clock mode). Push this knob to power on the unit; push and hold for
2. The Phones jack accepts a quarter-inch headphone three seconds to power it off.
plug. Use the knob above for volume control. The 7. Push Select to enter the menu. Turn Select to scroll
display provides feedback as you turn the knob. through menu options. Push again to descend into the
sub-menus, if applicable. To choose the current setting,
3. Individual preamp gain, switchable 48V phantom push Select a third time. Push Back to return to the
power, and optional -20 dB pad switches for each previous menu level, and do so repeatedly to exit the
combo input. The Precision Digital Gain™ knob provides menu altogether.
+74 dB of preamp gain or instrument input gain. Both
gain settings are retained independently. Turn the knob
to see the gain adjustments in the screen.
 UltraLite-mk5 Rear Panel

1 2 3 4

8 7 6 5

1. The UltraLite-mk5 operates as a USB MIDI interface, allow- 3. The Main Out pair provides stereo analog output for 5. These RCA S/PDIF jacks provide stereo, 24-bit digital input
ing MIDI software to communicate with connected MIDI primary (powered) studio monitors or PA speakers, or any and output at all supported sample rates (up to 96 kHz).
devices through the USB connection to the computer. other desired destination. Control volume from the When connecting a source to the input, be sure to set the
Connect a MIDI device here using standard MIDI cables. CueMix 5 app or from the front panel volume control. clock source correctly. See “S/PDIF” on page 24.
Connect the UltraLite-mk5’s MIDI OUT port to the MIDI IN
port on the other device. Conversely, connect the To hear audio playback from your host audio software on 6. These ADAT optical “lightpipe” jacks provide 8 channels of
UltraLite-mk5’s MIDI IN port to the MIDI OUT port on the the MAIN OUT pair, assign audio tracks (and master fader) 24-bit ADAT optical digital I/O at 1x sample rates (44.1 or 48
other device. For further details, see “MIDI connections” on to these main outs. You can also use the CueMix 5 app to kHz) and 4 channels at 2x sample rates (88.2 or 96 kHz).
page 25. route live UltraLite-mk5 inputs here as well. They are disabled at higher sample rates. Alternately, they
can operate as stereo TOSLink (optical S/PDIF) connectors.
2. The analog (‘Line’) outputs provide additional analog 4. Equipped with very high quality 24-bit 192 kHz converters, See “Optical I/O” on page 24.
output for secondary studio monitors, surround monitor- these six line inputs are balanced TRS (tip/ring/sleeve)
ing, sub-mixes or any other desired destination. These quarter-inch connectors that can also accept an unbal- 7. Connect the UltraLite-mk5 to the computer here using the
connectors are balanced (tip/ring/sleeve), but they also anced plug (with the ring disconnected). Use them for included USB-C-to-C or USB-C-to-A cable. If you are
accept an unbalanced plug. They are DC-coupled. Control keyboards or other line level analog sources. These inputs connecting to an iOS device, see “iOS setup (USB-C)” on
volume from the CueMix 5 app or your host audio software. are equipped with the UltraLite-mk5’s Precision Digital page 21.
For further details, see “Audio connections” on page 22. Gain™ feature: digital gain that boosts the input level up to
+20 dB in 1 dB increments, adjusted from the CueMix 5 8. This DC power jack accepts any standard 15V DC, 1A
app. Each input includes a Phase Invert switch, accessed in tip-positive power supply.
the CueMix 5 app. See “Input tab” on page 34.
CHAPTER 1 About the UltraLite-mk5

The UltraLite-mk5 is an 18 x 22 USB audio All inputs and outputs are discrete. For example,
interface with mixing, DSP effects, and very high using a mic input does not “steal” an input from
quality A/D/A conversion at sample rates up to the TRS analog I/O bank.
192 kHz for on-the-go mobile audio recording.
Universal connectivity
Hardware-driven DSP delivers monitor mixes on The UltraLite-mk5 can connect to a computer
all analog output pairs, with seven stereo buses with high-speed USB 2.0, which is compatible
and 32-bit effects processing, including EQ, with USB 3.0. It is USB audio class-compliant,
compression and reverb. which means that it is iOS compatible and does
not require driver installation for USB connection
The UltraLite-mk5 can operate as an audio to a computer.
interface for a studio workstation (DAW), as a
standalone mixer, or as an auxiliary monitor Mic/guitar inputs with preamps
mixing system in the studio or on stage. This The two front-panel mic/line/instrument inputs
chapter provides a brief overview of its main are equipped with preamps and “combo” XLR/
features and characteristics. TRS jacks, which accept XLR microphone inputs
or quarter-inch line/instruments inputs.
Comprehensive I/O Individual 48 volt phantom power and a -20 dB
The UltraLite-mk5 provides a variety of analog pad can be supplied independently to each mic
and digital interconnects, all active simultane- input. The Precision Digital Gain™ knobs on the
ously, designed to provide everything you need for front panel for each mic/instrument input provide
a well-equipped mobile recording studio. up to 74 dB of boost in precise 1 dB increments.
Connection Input Output Flexible analog I/O
Quarter-inch analog on bal/unbal TRS 6 10 All quarter-inch analog inputs can accept either a
Mic/guitar inputs on combo XLR/TRS 2 - balanced or unbalanced plug. The six line inputs
are equipped with digital gain, adjustable in 1 dB
Headphone output - 1 x stereo
increments.
S/PDIF digital I/O on RCA 2 2
Equipped with renowned ESS Sabre32™ DAC
ADAT optical digital (at 44.1 or 48 kHz)† 8 8
technology, all analog outputs offer trim, also
Total 18 22 adjustable in 1 dB increments. You can save your
trim configurations as a preset for instant recall.
† The UltraLite-mk5 optical connectors support
the industry-standard ADAT and TOSLink optical All quarter-inch outputs are DC-coupled, so they
I/O formats, which provide varying channel can be used for CV control output.
counts. See “Optical I/O” on page 24 for details
about optical bank operation.

11
 On-board DSP with mixing and processing S/PDIF
The UltraLite-mk5 is equipped with a DSP engine The UltraLite-mk5 rear panel provides S/PDIF
that drives a 24 x 14 monitor mixer, which supplies input and output in two different formats: RCA
each analog output pair with a unique monitor “coax” and optical “TOSLink”. The RCA jacks are
mix. Each mix can include any chosen inputs, plus dedicated to the S/PDIF format. The optical jacks
computer output and the separate reverb bus. can be used for either TOSLink or ADAT optical,
Effects include 4-band parametric EQ, as discussed earlier.
compression and reverb. The included CueMix 5
app provides easy and intuitive on-screen control MIDI I/O
of everything. The UltraLite-mk5’s standard MIDI IN and MIDI
OUT jacks supply 16 channels of MIDI I/O to and
32-bit processing from the computer through its USB connection.
The DSP engine has a 32-bit data path with 64-bit
(double-precision) data processing, which High-contrast OLED display
provides 48 dB of headroom (above full scale) The high-contrast OLED display shows all signal
inside the mixer for the utmost in sound quality. activity at a glance with precise, detailed metering
for all I/O. You can access many hardware settings
Software control directly from the front panel.
Control the UltraLite-mk5 on-board mixing and
device settings from the CueMix 5 app software Headphone output
running on a laptop or iOS device. The UltraLite-mk5 front panel provides an
independent headphone jack with separate
Stand-alone mixing volume control. You can program the phones to
Connect a tablet to the UltraLite mk5 for complete mirror the main outs or act as its own independent
control of all settings on the road at rehearsals or output.
gigs — great for live sound mixing.
Rack mount or desktop operation
ADAT digital I/O The UltraLite-mk5 is housed in a sturdy, metal-
The UltraLite-mk5 provides 8-channel optical alloy half-rack enclosure. Rack mounting brackets
digital I/O. Connect outboard digital processors, are available (sold separately) for mounting the
digital mixers or other gear: 8 channels at 44.1/48 unit in a standard 19-inch equipment rack. A
kHz or 4 channels at 88.2/96 kHz. Alternately, the separate half-rack coupler kit is also available (sold
optical ports can be independently configured to separately) to join two UltraLite-mk5 units (or
support stereo TOSLink (optical S/PDIF). similar units) together and mount them side by
side in an equipment rack.
The input and output operate independently,
allowing you to mix and match optical formats. Performer Lite
For example, you could receive four channels of Performer Lite is a full-featured audio workstation
96 kHz S/MUX input while at the same time software package for Mac and Windows that is
sending 96 kHz stereo optical S/PDIF available as a free download for you as an
(“TOSLink”) to the output. UltraLite-mk5 owner. Visit motu.com/download
to obtain your copy. Performer Lite provides
multi-track MIDI and audio production, over 100
included virtual instruments, automated virtual

12
A B O U T T H E U LT R A LI T E - M K 5
mixing, graphic editing, music notation editing,
real-time effects plug-ins with crossfades, support
for many third-party audio plug-ins, sample-
accurate editing and placement of audio, and
more.

13
A B O U T T H E U LT R A L I T E - M K 5
14
A B O U T T H E U LT R A LI T E - M K 5
CHAPTER 2 Packing List and
System Requirements
PACKING LIST PLEASE REGISTER TODAY!
The UltraLite-mk5 ships with the items listed Please register the UltraLite-mk5 today: visit
below. If any of these items are not present in the www.motu.com/register.
box when you first open it, please immediately
contact your dealer or MOTU. As a registered user, you will be eligible to receive
free bundled software, technical support and
■ UltraLite-mk5 audio interface announcements about product enhancements as
soon as they become available. Only registered
■ USB-C-to-C cable
users receive these special update notices, so
■ USB-C-to-A cable please register today.
■ DC power adapter Thank you for taking the time to register your new
■ User guide MOTU products!

SYSTEM REQUIREMENTS
■ Intel Core i3 Mac or PC (or AMD equivalent).

Faster CPUs are recommended for best

performance.
■ 4GB RAM; 8 GB or more recommended.
■ macOS 10.11 or later; Windows 10 or later. For

macOS the optional driver requires 10.13 or later.

■ Available high-speed USB 2.0 (or 3.0) port.
■ A large hard drive (preferably at least 512 GB).

15
16
PACKING LIST AND SYSTEM REQUIREMENTS
CHAPTER 3 Software Installation

USB audio class-compliant operation . . . . . . . . . . . . . . . . . . .17 SOFTWARE INSTALLATION

Software installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 If you don’t want to operate the UltraLite-mk5 as a
Audio drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 USB audio class compliant device, or if you are
CueMix 5 app. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 using Windows on a PC, install the software as
Performer Lite workstation software. . . . . . . . . . . . . . . . . . . .18 follows.
Working with host audio software . . . . . . . . . . . . . . . . . . . . . .19
MIDI I/O on Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 1 Visit www.motu.com/ultralite-mk5-start to
MIDI I/O setup on the Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 download the latest Mac or Windows Gen 5
installer.
USB AUDIO CLASS-COMPLIANT OPERATION
The UltraLite-mk5 is a USB audio class-compliant 2 Run the installer and follow the directions it
device. This means that you can connect it to your gives you.
Mac (running Mac OS 10.11 or higher) with a
USB cable and use it without installing any ☛ We recommend that you run the software
software drivers. The computer recognizes the installer before you connect the UltraLite-mk5 to
UltraLite-mk5 as a USB audio device and makes your computer and power it on. This ensures that
its inputs and outputs available to your host audio all driver components are properly installed in
software. Basic settings, such as the hardware’s your system.
sample rate, are made in either your host software
or the front-panel menu.
☛ To allow support for a wide variety of
platforms, the Ultralite-mk5 appears as a USB
☛ In this scenario, the UltraLite-mk5 provides Class Compliant Ethernet device (USB-CDC-
basic audio input and output, and no software ECM) in the Network settings for macOS and
driver installation is necessary. Use the Mac’s Windows. This network port is currently used by
Audio MIDI Setup utility to manage the CueMix 5 to communicate with the UltraLite-mk5
UltraLite-mk5 audio inputs and outputs for your on Windows and iOS, and may support other
Mac. platforms in the future.

Connection to iOS devices (iPad and iPhone) AUDIO DRIVERS

Audio-class compliant operation allows you to The installer provides a USB audio driver for Mac
connect the UltraLite-mk5 to any iOS device with (CoreAudio) and Windows (ASIO and Wave).
a standard camera connection kit adapter. The
Industry-leading I/O latency performance
UltraLite-mk5 then provides multi-channel audio
On macOS and Windows, the UltraLite-mk5
I/O to your audio apps. Use your audio app to
driver provides exceptionally low I/O latency
configure the number of available audio channels.
performance. For example, with a 32-sample
buffer size, an UltraLite-mk5 interface operating
at 96 kHz produces round trip latency (RTL)
performance of 2.4 milliseconds (ms) on macOS.
RTL is the measurement of the time it takes audio

17
 to pass from an analog input, through a high- latency, but if you go too low, your host software
performance DAW host such as Digital Performer, may experience performance issues. Generally
to an analog output. speaking, 64 samples should serve as a good
baseline setting. You can then experiment with
ASIO Driver support lower settings from there. Be mindful, however,
On Windows, to enable the UltraLite-mk5 in your when reducing the safety offset, as this parameter
ASIO host software, choose the MOTU can have a significant impact on your computer
UltraLite-mk5 ASIO driver, as shown in Figure 7-1 system’s performance.
on page 46.
CUEMIX 5 APP
WDM / Wave driver support CueMix 5 is an easy-to-use app for macOS,
On Windows, the MOTU Gen5 driver includes Windows and iOS that gives you complete control
support for WDM (Wave) compatible audio over all the settings in your UltraLite-mk5
software. See item #8 on page 33. interface. For details, see chapter 6, “CueMix 5”
(page 31).
Host Buffer Size
When connected to a Windows computer, the
PERFORMER LITE WORKSTATION SOFTWARE
Host Buffer Size menu is available in the Device tab
Performer Lite is an easy to use audio workstation
(item #6 on page 33). This setting determines the
software package for macOS and Windows that
amount of latency (delay) you may hear when live
lets you record, edit, mix, process, bounce and
audio is patched through your Windows audio
master multi-track recording projects. Advanced
software. Smaller buffer sizes produce lower
features include over 100 included virtual
latency, with sizes of 256 samples or less producing
instruments, real-time effects processing,
virtually imperceptible delay. Many host
recording, and much more.
applications report audio hardware I/O latency, so
you can see what happens to the reported latency To obtain Performer Lite, visit motu.com to
when making adjustments to this setting. register your MOTU audio interface, download
Performer Lite and activate it on your computer.
Be careful with very small buffer sizes, as they can
cause performance issues from your host software
or PC.

☛ At sea level, audio travels approximately one

foot (30 cm) per millisecond. A latency of ten
milliseconds is about the same as being ten feet
(three meters) from an audio source.

Host Safety Offset

When connected to a Windows host, the Host
Safety Offset menu (item #7 on page 33) also Figure 3-1: Performer Lite.
becomes available. This setting allows you to fine
tune host latency. Larger offsets allow the driver
more time to process audio as it transfers to and
from the hardware. Lower settings produce lower

18
S O F T WA R E I N S TA LL AT I O N
WORKING WITH HOST AUDIO SOFTWARE This can usually be found in /Applications/
For further information about using the Utilities. If it has been moved, just search for
UltraLite-mk5 with host audio software, see Audio MIDI Setup.
chapter 7, “Working with Host Audio Software”
(page 45). 3 Confirm that the MIDI interface is present in
the MIDI Devices tab (or window) in Audio MIDI
MIDI I/O ON WINDOWS Setup. If the interface does not appear, or if it is
On Windows, the MOTU Gen 5 Setup installer grayed out, check your cable connections and click
provides a USB MIDI driver for the Rescan MIDI.
UltraLite-mk5. This driver allows you to access
the UltraLite-mk5’s MIDI input and output ports Connecting MIDI devices to the UltraLite-mk5
through its USB connection to the computer. The Once your UltraLite-mk5 interface appears in
ports are published in Windows and are available Audio MIDI Setup, you are ready to add devices,
to all MIDI software. indicate how they are connected, and identify
properties they may have for particular purposes.
MIDI I/O SETUP ON THE MAC This information is shared with all Core MIDI
Core MIDI is the “under-the-hood” component of compatible applications.
macOS that handles MIDI services for MIDI
hardware and software. Core MIDI provides many To add a device in Audio MIDI Setup:
universal MIDI system management features,
1 Click Add Device.
including MIDI communication between your
UltraLite-mk5 interface and all Core MIDI 2 Drag on its input and output arrows to draw
compatible software. connections to the UltraLite-mk5 that match its
physical connection.
Audio MIDI Setup is a utility included with macOS
that allows you to configure your UltraLite-mk5
interface for use with all Core MIDI compatible
applications. Audio MIDI Setup provides:

■ A “virtual” studio on your Mac that graphically

represents your MIDI hardware setup and that is

shared by all Core MIDI-compatible programs
■ A simple, intuitive list of your MIDI devices
whenever you need it in any Core MIDI-
compatible program

Launching Audio MIDI Setup

Figure 3-2: Connecting devices to the UltraLite-mk5. In this example, a
1 Make sure your UltraLite-mk5 interface is controller keyboard is connected to the UltraLite-mk5’s MIDI IN, and a
connected (a USB connection is required) and sound module is connected to the UltraLite-mk5 MIDI OUT.
turned on.
3 Double-click the device to make settings, such
as input and output channels, that further describe
2 Launch the Audio MIDI Setup utility.
the device.

19
S O F T WA R E I N S TA L L AT I O N
 Figure 3-3: Device settings.

4 Repeat the above steps for each MIDI device

connected to the interface.

5 When you are finished, quit Audio MIDI Setup.

Your configuration is automatically saved as the

default configuration, and it is shared with all
Core MIDI-compatible software.

20
S O F T WA R E I N S TA LL AT I O N
CHAPTER 4 Hardware Installation

USB audio interface setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 iOS SETUP (USB-C)

iOS setup (USB-C). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
iOS setup (Lightning) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
A typical UltraLite-mk5 setup . . . . . . . . . . . . . . . . . . . . . . . . . . .22 iOS device with
USB-C port
Audio connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
MIDI connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

USB AUDIO INTERFACE SETUP

USB-C to USB-C cable
Computer

Use the UltraLite-mk5 as an iOS audio interface,

or control it from your iOS device.

■ Use this setup for iOS devices with a USB-C

port.
■ Connect the UltraLite-mk5 directly to the iOS
Use this setup if you want to use the UltraLite-mk5
as a USB audio interface for a computer. device with the included USB-C-to-C cable.

■ Use the included USB-C-to-C or USB-C-to-A

cable.
■ Connect to any USB port (USB 2.0 or 3.0) on

your computer.
■ See “USB audio class-compliant operation” on

page 17.
■ For Mac or iOS operation, no driver installation
is necessary.

21
 iOS SETUP (LIGHTNING) AUDIO CONNECTIONS
Here are a few things to keep in mind as you are
making audio connections to your UltraLite-mk5
iOS device with interface.
Lightning port
Mic/line/instrument inputs with preamps
Connect a microphone to the front-panel XLR/
quarter-inch combo jack with a standard XLR mic
cable. Connect a guitar or line level input with
Apple Lightning to USB3 balanced or unbalanced cable with a quarter-inch
Camera Adapter plug. Adjust the level with the gain knob for either
type of input.

Lightning to USB cable ☛ If you connect a +4 dBu (line level) XLR cable
(optional for powering
the iOS device) to the front-panel inputs, be sure to engage the
-20 dB pad switch.

48V phantom power

If you are connecting a condenser microphone or
another device that requires phantom power,
AC power
engage the corresponding front-panel phantom
Use the UltraLite-mk5 as an iOS audio interface, power switch.
or control it from your iOS device.
Preamp gain
■ Use this setup for iOS devices with a Lightning The UltraLite-mk5 preamps provides 74 dB of
port. gain. Use the front panel detented gain knobs to
adjust gain as needed for each input. The front-
■ For iOS devices with a Lightning port, an Apple panel screen provides visual feedback as you turn
Lightning to USB3 Camera Adapter is required the knob. Preamp gain is digitally controlled, so
(sold separately), as shown above. you can make fine-tuned adjustments in 1dB
increments. You can also adjust preamp gain in the
A TYPICAL ULTRALITE-MK5 SETUP CueMix 5 app. See “Home tab” on page 32.
See the diagram on page 8 for an example of
typical connections to the UltraLite-mk5. The -20 dB pad
following sections provide important information Each mic input (XLR jack) is equipped with a
for achieving best results for each type of -20 dB pad switch, to accommodate input signals
connection. that could overdrive the input. The pad switch

Figure 4-1: UltraLite-mk5 front panel

22
HARDWARE INSTALL ATION
does not affect the quarter-inch input of the Main outs
combo jack, which supports line level signals up to Like all I/O on the UltraLite-mk5, the main
+20 dBu. outputs operate as an independent pair (they don’t
share signal with any other output pair). In a
Combo jack summary standard studio configuration, the main outs are
Use these guidelines for 48V phantom power, pad intended for a pair of primary studio monitors,
and gain settings on the two combo input jacks: but they can be used as regular outputs for any
Input
purpose. With adjustable Precision Digital Trim™,
48V Pad Gain
they support a wide range of industry-standard
Condenser mic On Off As needed
reference levels. Main out volume is controlled by
Dynamic mic Off Off As needed the MAIN VOL knob on the front panel: turn it to
Guitar Off n/a As needed view volume knob overlay in the display, then
push the knob until you see Main Trim and turn it
-10 dBv line level via TRS Off n/a As needed
to adjust the master volume output.
-10 dBv line level via XLR Off As needed As needed
Analog I/O calibration
+4 dBv line level via XLR Off On As needed
All analog inputs and outputs can be calibrated to
+4 dBv line level via TRS Off n/a As needed support a variety of standards, including
EBU-R68, SMPTE RP-155, +4dBu, -10dBv,
TRS quarter-inch line inputs/outputs 2vRMS and 1vRMS.
Quarter-inch line inputs and outputs are balanced
(TRS) connectors that can also accept an The line inputs are equipped with +1 to +20 dB of
unbalanced plug. The outputs are DC-coupled, so digital gain, adjustable in 1 dB steps.
they can be used for CV control output.
The line outputs, main outs and headphone outs
☛ Quarter-inch line outputs are not are equipped with a range of digital trim from 0 to
cross-coupled. Therefore, when connecting them -100 dB, adjustable in 1 dB steps.
to an unbalanced input, use a TRS plug with the
Trim and gain controls can be accessed in the
ring disconnected. Not floating the negative
CueMix 5 app. See “Input tab” on page 34 and
terminal will short it to the sleeve ground and
“Output tab” on page 35.
cause distortion.

Various settings for the line inputs and outputs, Pre/Post Fx switch for line inputs
such as gain, trim, phase invert, etc. can be Each analog input provides EQ and compression.
accessed in the CueMix 5 app. See “Input tab” on The mic/line/inst inputs include gating. These
page 34 and “Output tab” on page 35. effects can be applied to the input as needed (items
#1 and 2 on page 38). The To USB Host menu for
each line input (item #4 on page 34) lets you

Figure 4-2: UltraLite-mk5 back panel

23
H A R DWA R E I N S TA L L AT I O N
 choose whether to send the input signal to your B. Resolve the UltraLite-mk5 to the optical device
host software with or without these hardware
effects applied to the signal. If you want to record For A, choose Internal (or anything other than
the signal dry, without the effects applied to it, Optical) as the clock source in the Device tab (item
choose Pre Fx. If you want to record the signal #3 on page 33). Then configure the other device to
with the effects applied, choose Post Fx. resolve to its optical input.

☛ Once the signal is recorded in your DAW For B, choose Optical as the clock source (item #3
with th Post Fx option, the effects cannot be on page 33), and configure the other device to
removed from the signal. resolve to its own internal clock.

Optical I/O S/PDIF

The UltraLite-mk5 provides ADAT optical If you make a S/PDIF digital audio connection to
(“lightpipe”) connectors (one input and one another device, the UltraLite-mk5 must be
output). Together, they provide eight (8) channels digitally synced with the other device for a clean,
of ADAT optical digital I/O at 44.1 or 48 kHz, or click-free digital audio stream between them.
four (4) channels of SMUX optical at 2x sample
DAT decks and other devices with S/PDIF digital
rates (88.2 or 96 kHz).
I/O will sync to the UltraLite-mk5 input via the
☛ The optical ports are disabled when the S/PDIF connection itself. Just connect it to the
interface is operating at a 176.4 or 192 kHz. UltraLite-mk5 S/PDIF output connector. When
the device records a digital audio signal (from the
TOSLink (optical S/PDIF) UltraLite-mk5), it will simply synchronize to the
Alternately, the optical ports can be configured for clock provided by the signal.
stereo TOSLink (optical S/PDIF) in the CueMix 5
app (item #5 on page 34). The optical IN and OUT When you transfer audio from the S/PDIF device
banks can be configured independently. into the UltraLite-mk5, you’ll have to resolve the
UltraLite-mk5 to its S/PDIF input.
Choosing a source for the optical output
By default, the audio signal from the optical
output comes from your host software (over USB) UltraLite-mk5
from any tracks you’ve assigned to the output.
S/PDIF
Alternately, you can choose other sources, such as
the line inputs (when in ADAT mode) or one of
the UltraLite-mk5’s mix buses. For further S/PDIF
information, see items #5 and 6 on page 35.
S/PDIF device

Choosing a clock source for optical connections

When connecting an optical device, make sure UltraLite-mk5
Clock Source setting =
UltraLite-mk5
Clock Source setting =
that its digital audio clock is phase-locked (in sync S/PDIF (when transferring from the Internal (when transferring from the
other device to the UltraLite-mk5) UltraLite-mk5 to the other device)
with) the UltraLite-mk5. There are two ways to do
this: Figure 4-3: The setup for synchronizing a S/PDIF device with the
UltraLite-mk5. Sync is achieved via the digital I/O connection itself.

A. Resolve the optical device to the UltraLite-mk5 ☛ The S/PDIF ports are disabled when the
interface is operating at a 176.4 or 192 kHz.

24
HARDWARE INSTALL ATION
Choosing a source for the S/PDIF output below in Figure 4-5. The two devices then share
By default, the audio signal from the S/PDIF the UltraLite-mk5 MIDI OUT port. This means
output comes from your host software (over USB) that they share the same set of 16 MIDI channels,
from any tracks you’ve assigned to the output. too, so try to do this with devices that listen to only
Alternately, you can choose one of the one MIDI channel (such as effects modules),
UltraLite-mk5’s mix buses. For further which makes it easier to avoid MIDI channel
information, see items #8 on page 35. conflicts.

MIDI CONNECTIONS
Connect your MIDI device’s MIDI IN jack to the UltraLite-mk5
rear panel
UltraLite-mk5 MIDI OUT jack (Connection A
below). Conversely, connect the MIDI device’s MIDI
OUT
MIDI OUT jack to the UltraLite-mk5 MIDI IN
jack (Connection B). MIDI
IN
MIDI Device
MIDI MIDI
THRU cable
UltraLite-mk5
rear panel
MIDI IN
MIDI MIDI
OUT IN
MIDI Figure 4-5: Connecting additional devices with MIDI THRU ports
cables
Connection A Connection B
MIDI Thru when operating stand-alone
MIDI MIDI The UltraLite-mk5 has a MIDI Thru feature for
MIDI Device IN OUT
stand-alone operation. This can be enabled from
the front panel Settings menu.

Figure 4-4: Connecting a MIDI device to the UltraLite-mk5.

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-mk5 to
the MIDI IN on the additional device as shown

25
H A R DWA R E I N S TA L L AT I O N
26
HARDWARE INSTALL ATION
 Part 2
Using the
UltraLite-mk5
CHAPTER 5 Front Panel Operation

The high-resolution OLED screen displays level setting (item #3 in the Devices tab on page 33).
meters for all analog inputs and outputs and The Clock Source setting can also be found (and
activity indicators for MIDI, optical and S/PDIF changed) in the front panel screen menu.
I/O. The screen also provides several menus that
provide status information and basic hardware PUSH-BUTTON KNOBS
settings. The front-panel knobs (Figure 5-2) are push-
button digital rotary encoders. Push the knob for
Level meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 the function labeled in gray.
Push-button Knobs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Channel focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Main volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Menu Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

LEVEL METERS
In its default state when the unit is first powered
on, the screen displays level meter activity for all
Figure 5-2: Push the knob to activate the functions labeled in gray.
analog audio inputs and outputs (Figure 5-1).
POWER
Clock Push and hold the power knob (Figure 5-2) to
section
switch the unit on or off. The screen provides
feedback as you hold to power down.

CHANNEL FOCUS
When turning a knob to adjust volume or input
gain, the screen shows the level setting. A few
seconds after you stop turning the knob, the
screen returns to the previous display. To
temporarily suspend the focus timeout, push the
Level meters for Digital I/O and MIDI knob while focused. A “pin” icon appears in the
analog I/O activity indicators screen to indicate that the focused metering will
Figure 5-1: Analog metering and activity indicators for MIDI and remain on screen until you push the knob again to
optical I/O.
dismiss it.
Clock
The Clock section of the screen (Figure 5-1) MAIN VOLUME
displays the sample rate at which the unit is Push the PHONES volume knob (MAIN VOL) to
currently operating, and the current Clock Source toggle volume control between the phones and
main outs. The screen provides visual feedback: a
headphone icon appears in the MAIN meter

29
 section when controlling headphone volume.
When controlling main volume, the headphone
icon is not present in the display].

MENU NAVIGATION
Push SELECT to access the menu, which provides
settings and status information.

Turn the SELECT knob to scroll through the

menu settings.

Push SELECT to enter the selected sub-menu or to

select the currently highlighted parameter.

Push BACK to go to the parent menu.

To exit the menu entirely, push BACK repeatedly

until the menu disappears from the display.

Menu setting What it does

Sample Rate Sets the sample rate for the device.

Clock Source Sets the digital audio clock source for the
device.

Optical Specifies ADAT or TOSLink, or the SMUX

format when operating at 88.2 or 96 kHz. See
“Optical I/O” on page 24.

MIDI Thru When enabled, MIDI data passes directly

from the MIDI input to the MIDI output
when the UltraLite-mk5 is disconnected from
USB (running standalone).

IP Address Displays the IP address for the device.

About Displays the serial number and firmware

version for the device.

Reset Restores factory default settings.

30
FRONT PANEL OPER ATION
CHAPTER 6 CueMix 5

CueMix 5 gives you complete control of all the RUN THE INSTALLER, GET THE APP
settings in the UltraLite-mk5. It is a standard Visit motu.com/ultralite-mk5-start to get the latest
software application installed on your Mac or PC MOTU Gen 5 installer or setup and run it on your
when you run the MOTU Gen 5 installer or setup computer. Visit the Apple App Store to install the
app. It can be found in the Applications folder CueMix 5 app on your iOS device.
(Mac) or Start menu under MOTU (Windows).
☛ Look for updated PDF versions of this user
Run the installer, get the app . . . . . . . . . . . . . . . . . . . . . . . . . . .31 guide at the link above, which may document new
Make hardware connections. . . . . . . . . . . . . . . . . . . . . . . . . . . .31 features and updates to CueMix 5.
Home tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Device tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 MAKE HARDWARE CONNECTIONS
Input tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Connect your UltraLite-mk5 to your computer
Output tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 with one of the supplied USB cables. Or connect to
Mix tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 your iOS device as follows:
Mix inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
■ If your iOS device has a USB-C port, use the
Input channel strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
included USB-C-to-C cable.
Channel settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Mixer Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 ■ If your iOS device has a Lightning port, use an

Four-band parametric EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Apple Lightning to USB3 Camera Adapter (sold
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 separately), as shown in “iOS setup (Lightning)”
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 on page 22.
Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Mix input meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Saving and recalling device presets. . . . . . . . . . . . . . . . . . . . .43
The CueMix 5 iOS app. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

31
 HOME TAB

6 7

11 10

1. Expands and collapses the sidebar. monitor mixer. Each analog output 9. The Input Monitoring section lets 10. Here, Line Inputs 5-6 have been
pair gets its own independent mix you patch the analog inputs directly routed to the main outs. More
2. This is the Home tab, which provides consisting of all inputs, computer to the Main Outs or Headphones. specifically, by clicking these
quick access to basic settings. audio and the reverb bus. See “Mix This is near-zero latency monitoring buttons, their faders in the Main 1-2
tabs” on page 36. because the computer (USB) is not Mix tab have been set to unity
3. The Device tab provides basic involved. To hear an input on the (maximum) gain and mute has been
hardware settings, such as the 7. The Mic/Line/Inst 1-2 panels give Main Outs, click its button in the top turned off (if it was on). You can
Sample Rate and Clock Source. See you software control of the settings row; to hear it on the Headphones, further adjust the input’s volume or
“Device tab” on page 33. for those two front panel inputs. You click its button in the bottom row. other settings in its channel strip in
can turn on 48V phantom power if the Main 1-2 Mix tab.
4. The Input tab provides settings for you have a condenser mic connected If you use this hardware-based
the UltraLite-mk5’s physical inputs, to the input, or engage the -20 dB monitoring, be sure to turn off the 11. Here, the Mic/Line/Inst 2 input has
such as gain levels for the line pad for line level signals. You can input monitoring feature in your been routed to the headphones.
inputs. See “Input tab” on page 34. also adjust the preamp gain here. host software. Otherwise, both the However, the button is gray because
These are the same as the controls UltraLite-mk5 and your host the Mic 2 channel fader has been
5. The Output tab provides settings for on the front panel of the unit. software will send the input signal lowered (from unity gain) in the
the UltraLite-mk5’s physical to the output and the signal will be Phones 1-2 Mix tab. The gray color
outputs, such as trim levels for the 8. Control the unit’s Main Volume and doubled, which can cause phasing alerts you that it is no longer being
line outputs. See “Output tab” on Headphone Volume here. These are and/or cancellation problems (bad monitored at full scale, or that other
page 35. the same as the controls on the front sound). Consult your software channels settings may have been
panel of the unit. documentation for details. modified (effects added, channel
6. The Mix tabs give you access to the muted, etc.)
on-board mixing and effects. The
UltraLite-mk5 is a capable 24 x 14

32
C U EM I X 5
DEVICE TAB

2
1
3

Windows only 6

10

11

12

13

1. This is the Device tab, which provides 4. Choose the Loopback Source here. 8. (Windows only) The UltraLite-mk5 11. Displays the Firmware Version
basic hardware settings, such as the This is the stereo signal that will be supports Windows built-in audio. currently installed in your
Sample Rate and Clock Source. returned back to the computer on Choose the Audio Streams you wish UltraLite-mk5 unit.
the Loopback 1-2 channels. See to use with your Windows audio
2. Choose the desired Sample Rate. “Loopback” on page 49. applications that use built-in audio. 12. If you wish to update the firmware
Make sure your host audio software These settings do not affect the ASIO version in your UltraLite-mk5, click
is set to the same rate. 5. The Mix Input Meters in the mix tabs driver channels. Open... to launch the firmware
can show level before or after the updater app.
3. Choose the Clock Source. Your MOTU channel fader setting. See “Mix 9. A Device Preset is a ‘snapshot’ of all
device will resolve its digital clock to input meters” on page 43. the settings in the UltraLite-mk5, 13. If you wish to download the latest
this master source. Set the clock including all the mixes and all the version of CueMix 5, click Open...
source to Internal, unless you have 6. (Windows only) Choose the Host settings in the CueMix 5 tabs (Home,
other devices connected to the Buffer Size. Smaller values reduce Device, Input and Output). Use these 14. Displays the Gen 5 Driver Version
optical or S/PDIF inputs. If so, see latency but increase your computer’s buttons to save your favorite device currently installed on your computer
“Optical I/O” on page 24 and CPU load. See “Host Buffer Size” on configurations for tracking, live gigs, for the UltraLite-mk5.
“S/PDIF” on page 24. page 18. rehearsals, etc. You can also restore
7. (Windows only) Use the Safety 10. Displays the Serial Number of your
Offsets setting to fine tune host UltraLite-mk5 unit.
buffer latency. See “Host Safety
Offset” on page 18.

33
CUEMIX 5
 INPUT TAB

6 5

1. This is the Input tab, which provides 3. Each line input can be digitally input lets you choose whether to 5. Configure the Optical Input format
access to settings for the boosted up to + 20 dB. This allows send the input signal to your host for either 8-channel ADAT or stereo
UltraLite-mk5 analog and digital the inputs to easily accommodate software with or without these TOSLink. At 88.2 or 96 kHz, the ADAT
inputs. +4 dB and -10 dB reference levels. hardware effects applied to the setting supports 4-channel SMUX
Each input also includes a Phase signal. If you want to record the format. Note that you can choose a
2. These channel settings for the Invert switch. signal dry, without the effects different format for the optical IN
Mic/Line/Inst inputs are the same as applied to it, choose Pre Fx. If you and OUT ports. See “Optical I/O” on
those shown in the Home tab (item 4. In the Mix tabs (page 36), each want to record the signal with the page 47.
#7 on page 32) and on the front analog input channel strip provides effects applied, choose Post Fx.
panel of the UltraLite-mk5, includ- EQ and compression. The mic/line/ Please note: once the signal is 6. S/PDIF Input level meters are
ing preamp gain, 48V phantom inst inputs include gating. These recorded in your DAW with th Post Fx provided here for convenience.
power and -20 dB pad. effects can be applied to the input as option, the effects cannot be
needed (items #1 and 2 on page 38). removed from the signal.
This To USB Host menu for each line

34
C U EM I X 5
OUTPUT TAB

8 7 5 6
ADAT sources: TOSLink sources:

1. This is the Output tab, which to the monitor group to be able to 5. The Source menu lets you choose the 7. Configure the optical out format for
provides settings for the control the volume of all surround source for the Optical Output. By either 8-channel ADAT or stereo
UltraLite-mk5’s analog and digital outputs simultaneously with the default, the source is set to USB TOSLink. At 88.2 or 96 kHz, the ADAT
outputs. Main Volume knob. Please note: the channels from your host audio setting supports 4-channel SMUX
Main Out 1-2 pair is always part of software, as shown above in the format. Note that you can choose a
2. The Main Volume Group deter- the Main Volume Group. menus. However, if you would like to different format for the IN and OUT.
mines which outputs are controlled use the UltraLite-mk5 as an ADAT See “Optical I/O” on page 47.
by the Main Out volume knob on the 3. Meters and volume control for the optical expander, choose ADAT as
UltraLite-mk5’s front panel (item #8 Headphone out. This is the same as the format and choose Expansion: 8. By default the Source for the RCA
on page 9, plus the Main Volume the PHONES volume control on the Line In 1-8 in the Source menu. S/PDIF output is set to USB channels
controls in the Home tab (item #8 on front panel. Doing so patches the line inputs from your host audio software, as
page 32) and here in the Output tab. directly to their corresponding shown in the menu. Alternately, you
For example, if your studio has a pair 4. All analog outs can be trimmed (in optical output channel (1 to 1, 2 to 2, can send any UltraLite-mk5 monitor
of main monitors, plus a sub-woofer the DAC) from zero to -100 dB. This etc.) mix to the RCA S/PDIF output.
connected to Line Out 3, you could can be useful for speaker calibration
click the Line Out 3 button to add it or other situations where you need a 6. When the Optical Out format is
to the main volume controls. If you fixed amount of level adjustment for TOSLink (TOS), the Source menu lets
have 5.1 or 7.1 surround monitoring, a particular output (or output pair). you send any UltraLite-mk5 monitor
you can add the surround channels mix to the optical output.

35
CUEMIX 5
 MIX TABS

3 4

1. The Mix tabs provide an indepen- 2. The Reverb tab lets you apply the 3. Available inputs for each mix bus 4. This is the Master Fader for the
dent monitor mix for each analog UltraLite-mk5’s built-in reverb to include: current mix, which in this example is
output pair. Click a Mix’s tab to any input signal: just bring up the the Line Out 3-4 mix. It controls the
access the channels for that mix. fader for that input. To hear the ■ The UltraLite’s analog and optical overall volume for the mix. It is
Then, just bring up the faders for any reverb mix on an output, switch to inputs always visible and pinned to the
inputs (3) you wish to hear on that the mix tab for that output and right side of the window, although
output. bring up the Reverb channel fader. ■ Any computer audio being sent to you can collapse the strip using the
Use the fader to control how much that output pair (available as a widget at the bottom of the strip.
For example, for a live show, you of the reverb mix you wish to hear. channel) Use the Clear Solo button to clear all
could set up a primary mix for the solos in the mix. When one or more
Main Outs 1-2 going to the venue’s ■ The reverb mix (2) channels are soloed in a mix, the
front-of-house mixer that consists of word “Solo” appears next to the mix
live signals from the UltraLite-mk5’s name in the sidebar on the left to
inputs (from the band), plus alert you that channels are soloed in
playback from the computer. You the mix (and therefore other
could then create a completely channels are muted).
different mix for Analog Outs 1-2
feeding stage monitors for the band
or an in-ear monitoring system.

36
C U EM I X 5
MIX INPUTS

1 2 3 4 5 6 7 8

Each mix has the inputs shown here, optical format (item #5 on page 34), 6. On the Main 1-2 channel (Computer audio being sent to the mix’s output
with a few variations depending on the then you’ll see eight channels of USB), you’ll hear the audio you’re pair from host audio software (over
mix. To hear the input in the mix, just ADAT input at 1x sample rates (or playing back from your host audio USB). In this example, we are
bring up its fader. four channels at 2x rates). If TOSLink software, assigned to the viewing the Line 5-6 mix, so this
is chosen as the optical format, UltraLite-mk5’s Main 1-2 outputs. channel represents signal being sent
1. Each mix can include the signal from you’ll seen a single stereo channel This channel lets you include to line outputs 5-6 from host audio
the UltraLite-mk5’s two front-panel strip instead of the eight shown computer audio in your mix. This software over USB. By default, this
mic/line/inst inputs. here. All mixes include the optical channel is available in all mixes, fader is set to full scale so that you’ll
channels. except the Reverb and Main 1-2 always hear any computer audio
2. These are the six line inputs on the mixes. being sent to the mix’s output.
rear panel of the UltraLite-mk5. All 5. This channel is the Reverb mix (item
mixes include these channels. #2 on page 36). When you bring up NOTE: if you want the headphone 8. This is the master fader for the mix
this fader, you’ll hear the entire output to mirror the main outs, go to (item #4 on page 36).
3. To hear the RCA S/PDIF input, bring reverb mix. To adjust the amount of the Phones 1-2 mix and bring up the
up this fader. All mixes include the reverb on individual signals, go to Main1-2 fader and mute the
S/PDIF channel. the Reverb mix tab and make the Phones 1-2 channel.
individual adjustments there. All
4. These inputs represent the mixes include the Reverb channel, 7. This Computer USB channel changes,
UltraLite-mk5’s optical input except the Reverb mix itself. depending on which mix you are
channels. If ADAT is chosen as the viewing. It represents any computer

37
CUEMIX 5
 INPUT CHANNEL STRIP

1. Click this EQ thumbnail to access the parametric EQ

1 and other channel settings. EQ is only available on
analog inputs and mix bus master faders. See “Four-
band parametric EQ” on page 40.
2 2. Click this thumbnail to access the Gate, Compressor
and other channel settings. Compression is only
3 available on analog inputs. See “Compressor” on
page 41. The Gate is only available on mic/line/inst
4 inputs. See “Gate” on page 41.
3. Click the channel name to access the channel
5 settings, where you can rename the channel and
make other channel settings.
4. Panning for mono inputs (such as a mic input). Stereo
inputs (such as S/PDIF) do not have a pan control.
5. Channel mute.
6. Clip indicator.

6 7. The peak/hold indicator shows where the signal has

recently peaked.
8. Use the channel fader to control the input level.
Double-click to return to -∞.
9. By default, the level meter displays the signal level
after the fader (post-fader), but they can be changed
to pre-fader, if desired. See “Mix input meters” on
page 43.
10. Channel solo. When you solo a channel, it mutes all
other inputs on the bus (as is customary in a tradi-
7 tional “solo-in-place” model on a mixing console. In
other words, there is no separate solo bus.)

10

38
C U EM I X 5
CHANNEL SETTINGS
1 2 3 4 5

13

12

11

10
6

9 8 7

Click any of the items at the top of a 4. Drag the Frequency/Gain handle for 8. Click filter settings to edit them 12. Click to access the Parametric EQ
channel strip (items #1, 2 or 3 on an EQ band to change the frequency directly. See “Four-band parametric settings.
page 38) to access the Channel Settings and/or gain for the band. EQ” on page 40.
shown here. 13. The Stereo Link button links or
5. Drag the Q (bandwidth) handles for 9. Click the Notch/Shelf/Low-cut switch unlinks the channel to an adjacent
1. The Channel Settings Sidebar an EQ band to change them. The to change the filter type. channel for stereo pairing.
displays basic settings for the handles are color-coded to match
channel. the color of their respective EQ band. 10. Basic channel settings (gain, pan, 14. The Gate processor is available on
solo, mute and level meter) are Mic inputs 1 and 2 only. See “Gate”
2. The Next/Previous Channel buttons 6. Enables (or disables) the EQ band. shown here for convenience. on page 41.
display the settings for adjacent
channels in the mix. 7. Click the Notch/Shelf switch to 11. Click to access the Compressor and 15. The Compressor is available on all
toggle the filter type. Gate. analog inputs. See “Compressor” on
3. Click the Channel Name to rename page 41.
the channel.
14 15

39
CUEMIX 5
 MIXER EFFECTS FOUR-BAND PARAMETRIC EQ
The EQ, compressor, gate and reverb processor in Analog input channels (items 1 and 2 on page 37)
the UltraLite-mk5 are available when operating provide four bands of center-frequency
the unit at 1x and 2x samples rates. At 4x sample parametric EQ filtering as shown on page 39. The
rates (176.4 or 192 kHz), the following effects are High and Low bands include shelf filtering
disabled: options. Master faders provide three bands of
parametric EQ.
■ All input effects
Enabling EQ bands
■ Reverb
Each band has an enable/disable button (item #6
However, all mix bus EQ’s (including Phones) on page 39), allowing you to enable as few or as
remain enabled during 4x operation. many bands as needed.

DSP-driven mixing and effects EQ filter controls

The UltraLite-mk5 effects are driven by a The EQ filters have three controls (item #8 on
powerful DSP that delivers 32-bit precision and page 39):
plenty of bandwidth for no-latency processing.
Control unit range
Effects can be applied when operating as an audio
Frequency Hertz 20 to 20,000
interface or as a stand-alone mixer without a
computer. Gain dB -20.00 to +20.00

Bandwidth Octaves 0.01 to 3.00

Advantages over host-based mixing and
processing
The hardware mixer in the UltraLite-mk5 Click a value to edit it numerically. Or drag its
provides several advantages over mixing and corresponding control handle in the graph above.
processing in your host audio software: Controls for each EQ band are color-coded.

■ No buffer latency. The DSP-mixer provides the EQ filter characteristics

same near-zero latency throughput performance EQ is one of the most widely used processing tools
as a conventional digital mixer. Effects processing and can be applied to many different situations,
doesn’t impact your computer’s CPU. from minor corrective tasks to creative tone
sculpting. The four-band EQ has been designed to
■ DSP mixing and routing can be maintained
be flexible enough to cover a broad range of
independently of individual software applications
applications. By adjusting Gain and Bandwidth
or projects.
together, you can emulate the smooth and musical
■ DSP-driven mixing can function without the character of classic analog EQ circuits.
computer, allowing the UltraLite-mk5 to operate
as a portable, stand-alone mixer with effects. Filter types
The Low and High bands offer a shelf option that
Accessing mixer effects is similar to those found in most conventional
To access the EQ, compressor or gate for a parametric EQs. The Low band also provides an
channel, click its thumbnail at the top of the additional low-cut filter option to filter out low
channel strip (item #1, 2 or 3 on page 38). frequencies below the frequency setting.

40
C U EM I X 5
GATE COMPRESSOR
Mic/line/inst channels 1-2 (item 1 on page 37) All analog input channels (items 1 and 2 on
provide a Gate (Figure 6-1). page 37) provide a Compressor (Figure 6-2).

Gain reduction
meter

Threshold Threshold
handle handle

Figure 6-1: The Gate. Figure 6-2: The Compressor.

To access the gate, click the compressor/gate To access the compressor, click the compressor/
thumbnail (item #2 on page 38). gate thumbnail (item #2 on page 38).

The gate silences the signal when the input signal’s The Compressor lowers the level of the input when
level drops below the Threshold. amplitude of the signal is above the Threshold.
The amount of attenuation is determined by the
The rate at which the gate responds, (opens to let Ratio and the input level. For example, if the input
signal through) is determined by the Attack is 6 dB above the Threshold and the Ratio is 3:1,
parameter. With a short Attack time, the gate will the compressor will attenuate the signal to 2 dB
open as soon as the signal crosses the Threshold; above the Threshold. When the input level goes
with longer Attack times, the gate will gradually above the threshold, the attenuation is added
open, much like a fade-in. gradually to reduce distortion. The rate at which
the attenuation is added is determined by the
When the input level falls back below the
Attack parameter. Likewise, when the input level
Threshold, the time it takes for the gate to close
falls below the Threshold, the attenuation is
(how quickly the signal is attenuated), is
removed gradually. The rate at which the
determined by the Release parameter. Short
attenuation is removed is determined by the
Release times will close the gate quickly, abruptly
Release parameter. Long Release times may cause
attenuating your signal, versus longer release
the audio to drop out briefly when a soft passage
times, which will gradually attenuate your signal,
follows a loud passage. Short Release times may
like a natural fade-out.
cause the attenuation to “pump”, a term used to
describe the sound of the compressor when the
average input level quickly fluctuates above and
below the Threshold. These issues can be
addressed by adjusting the parameters. The Gain
reduction meter (Figure 6-2) displays the
attenuation applied by the compressor.

41
CUEMIX 5
 REVERB Predelay
To access the reverb settings: go to the Reverb bus Predelay is the amount of time before the acoustic
tab (item #2 on page 36) and then click the energy from the source returns to the listener,
thumbnail at the top of the reverb bus fader, as after reflecting off the surfaces of the listening
shown below. space. The very first reflections helps you perceive
information about the listening space, (size,
Click here to access the distance, surface type, etc.) In large rooms, it takes
reverb settings
a while (on the order of milliseconds) before the
first reflections return to the listener. Predelay is
useful for adding clarity, as it delays these
reflections, before the onset of full reverberation.
For example, with pre-delay added to vocals, the
reflections won’t start until after the initial sound
of a word has been sung.

Figure 6-3: Accessing the Reverb processor. Routing inputs and groups to the reverb
processor
Reverb settings The reverb processor is a single, independent unit
The Reverb processor (Figure 6-4) provides Small, that provides stereo reverb. Use the channels in the
Medium and Large room sizes, along with Reverb mix tab (item #2 on page 36) to route input
Pre-Delay (see below), Damping, Decay (length) signals to it. All incoming signals to the reverb
and Width (stereo image) controls, which you can processor are merged and processed together. The
adjust with the handles on the graph or the resulting stereo output from the reverb can then
settings below. be added into any other mix bus with the Reverb
channel strip (item #5 on page 37).

Figure 6-4: The reverb processor.

42
C U EM I X 5
MIX INPUT METERS
The Mix input Meters menu (item #5 on page 33)
offers two settings: Pre-fader or Post-fader. This
setting lets you choose whether the input meters
in CueMix 5 display levels before or after the
signal passes through the fader’s gain stage.

☛ Post-fader metering is calculated as the

Post-FX send level, plus the fader value. Therefore,
if the pre-fader signal goes above zero dBFS, the
resulting post-fader meter value will not include
the magnitude of the signal above zero dBFS.

SAVING AND RECALLING DEVICE PRESETS

Use the Save and Load buttons in the CueMix 5
Device tab (item #9 on page 33) to save and recall
UltraLite-mk5 device presets to your computer
hard drive. A preset saves the entire state of the
UltraLite-mk5 interface, including all device
settings, mixes and effects settings.

THE CUEMIX 5 IOS APP

CueMix 5 is also available as an app for iOS and
allows you to control the UltraLite-mk5 from your
iOS device. Simply download it from the App
Store. Also see “iOS setup (USB-C)” on page 21
and “iOS setup (Lightning)” on page 22.

43
CUEMIX 5
44
C U EM I X 5
CHAPTER 7 Working with Host Audio Software

The UltraLite-mk5 provides multi-channel audio RUN THE CUEMIX 5 APP

input and output for Core Audio compatible audio Before you run your host audio software, launch
applications on the Mac and ASIO or Wave CueMix 5 to configure your MOTU hardware.
compatible applications on Windows, including
MOTU’s Digital Performer and Performer Lite, Sample Rate
Apple’s Logic Pro and GarageBand, and other Choose the desired sample rate for the
third-party software applications such as Ableton UltraLite-mk5 (item #2 in the Devices tab on
Live, Avid Pro Tools, Cockos Reaper, page 33) and your host audio software. Make sure
Propellerhead Reason, Steinberg Cubase and the sample rates for the hardware and software
Nuendo, PreSonus Studio One, Bitwig, and others. match. Newly recorded audio will have this
sample rate.
Performer Lite is available as a free download for
UltraLite-mk5 owners from their motu.com ☛ Optical and S/PDIF channels are disabled
account page. For complete information about all when the interface is operating at a 176.4 or 192
of Performer Lite’s powerful workstation features, kHz.
refer to the Performer Lite User Guide.pdf found in
Clock Mode
the Help menu of the Performer Lite application.
The Clock Source setting (item #3 in the Devices
tab on page 33) is important because it determines
Digital Performer, MOTU’s state-of-the-art digital
the master digital audio clock for your system.
audio workstation software, is available separately;
for details about upgrading from Performer Lite to
If you do not have any digital audio connections to
Digital Performer, talk to your authorized MOTU
your MOTU device (you are using the analog
dealer or visit motu.com.
inputs and outputs only), and you will not be
Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 resolving your host software to optical or another
Run the CueMix 5 app . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 external clock source, choose Internal.
Choose the UltraLite-mk5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
If you have devices connected to the optical ports,
Reducing monitoring latency. . . . . . . . . . . . . . . . . . . . . . . . . . .46
see “Choosing a clock source for optical
Loopback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
connections” on page 24.
PREPARATION
Install your host audio software first if you haven’t If you have devices connected to the S/PDIF ports,
already done so, and complete these chapters see “S/PDIF” on page 24.
before proceeding:

■ chapter 3, “Software Installation” (page 17)

■ chapter 4, “Hardware Installation” (page 21)

45
 CHOOSE THE ULTRALITE-MK5 Where to go in popular audio hosts
Once you’ve made the preparations described so Here is the location for this setting in various
far in this chapter, you’re ready to run your host popular audio software host applications:
audio software and choose the UltraLite-mk5 as
Host software Location for choosing the UltraLite-mk5
your audio interface (“soundcard”).
Digital Performer Setup menu > Configure Audio System >
and Performer Lite Configure Hardware Driver
For macOS audio software
For audio software running under macOS, go to Pro Tools 9 or later Setup menu > Playback Engine or Current
Engine
the menu item or preference where you choose the
audio device (Core Audio driver) you wish to use, Logic Pro Preferences > Audio tab > Devices tab > Core
Audio tab
and then select the UltraLite-mk5 by name.
Garage Band Garage Band menu > Preferences > Audio/
MIDI > Audio Output/Input menus
For Windows audio software
For audio software running under Windows, go to Cubase and Nuendo Device Setup > Devices list > VST Audio
System menu
the menu item or preference where you choose the
ASIO driver you wish to use, and then choose Live Preferences > Audio tab

MOTU UltraLite-mk5. If your host audio software Reason Preferences > Audio preferences
doesn’t support ASIO, choose the UltraLite-mk5
Reaper Preferences > Audio prefs > Devices
Wave driver instead.

Other audio software

Consult your software’s manual for further
information.

REDUCING MONITORING LATENCY

Monitoring latency is a slight delay caused by
running an input signal through your host audio
software and back out. For example, you might
hear it when you drive a live guitar input signal
through an amp modeling plug-in running in
your audio sequencer.

This delay is caused by the amount of time it takes

Figure 7-1: Choosing the MOTU Pro Audio ASIO driver in Cubase. for audio to make the entire round trip through
your computer, from when it first enters an input
on the UltraLite-mk5, passes through the interface
hardware into the computer, through your host
audio software, and then back out to an output.

Monitoring through the UltraLite-mk5

If you don’t need to process a live input with
plug-ins, the easiest way to avoid monitoring
latency is to disable your DAW’s live monitoring
feature and instead use the digital mixer in the
UltraLite-mk5 to route the input directly to your
46
WO R K I N G W I T H H O S T AU D I O S O F T WA R E
outputs. For details, see “Mix tabs” on page 36. ☛ It is important to note that monitoring delay
The mixer in the UltraLite-mk5 even provides has no effect on the recording, or playback, of
zero latency effects processing (EQ, compression audio data from disk. The actual recording and
and reverb), which can be applied to the signal. playback is extremely precise, it is only the
monitoring of your live input signal which may be
Direct hardware playthrough / Direct ASIO delayed.
monitoring
When managing your live monitor mix through Adjusting your host software audio buffer
the UltraLite-mk5 mixer, remember to disable Buffers are small bundles of audio data. The
your DAW’s live monitoring features, so that you UltraLite-mk5 “speaks” to your computer in
won’t hear record-enabled tracks in your DAW. buffers, rather than one sample at a time. The size
Also note that the UltraLite-mk5 does not support of these buffers determine how much delay you
Direct Hardware Playthrough in Digital Performer, hear when monitoring live inputs through your
or the Direct ASIO Monitoring feature (or similar) audio software: larger buffers produce more delay;
offered and other DAWs, which lets you control smaller buffers produce less.
no-latency hardware monitoring from within the
host application. Instead, you can use the Adjusting buffer size on macOS
CueMix 5 app mixer (“Mix tabs” on page 36) to set Under macOS, audio I/O buffer size is handled by
up these monitor mixes manually. the host audio application (not by the
UltraLite-mk5 Core Audio driver). Most audio
If you don’t require any effects processing on the software applications provide an adjustable audio
input signal (no reverb or compression, for buffer setting that lets you control the amount of
example), all this takes is one click on a fader to delay you’ll hear when monitoring live inputs or
route the input being recorded to the output you processing them with software plug-ins. Here are a
are using for monitoring. few examples.

If you are recording a mono input that you’d like to

monitor in stereo, or if you need to apply effects to
the monitored signal, you can use the
UltraLite-mk5 mixer for that, too. Use the mix
tabs and reverb mix (page 36) to apply effects as
desired, and perhaps include other channels to the
mix.

Monitoring through your host audio software

If you do need to process a live input with host
software plug-ins, or if you are playing virtual
instruments live through your MOTU audio
hardware, you can significantly reduce latency by
adjusting the audio buffer setting in your host
audio software, as explained in the next section.
Figure 7-2: In Digital Performer and Performer Lite, choose Setup
menu> Configure Audio System> Configure Hardware Driver to open
the dialog shown above and access the Buffer Size setting.

47
WO R K I N G W I T H H O S T AU D I O S O F T WA R E
 ■ Responsiveness of transport controls and effect

knobs in Performer Lite, Digital Performer or

other audio software.
■ Real-time virtual instrument latency.
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 monitoring latency, but significantly
increase the overall processing load on your
computer, leaving less CPU bandwidth for things
like real-time effects processing. On the other
Figure 7-3: In Cubase or Nuendo, choose Devices menu > Device Setup.
Select your interface (UltraLite-mk5), then click the Control Panel hand, if you increase the buffer size, you reduce
button to access the window above and the Buffer Size setting. the load on your computer, freeing up bandwidth
for effects, mixing and other real-time operations.

Figure 7-5: When adjusting the buffer size to reduce monitoring

latency, watch the ‘processor’ meter in Digital Performer’s Performance
Monitor. If you hear distortion, or if the Performance meter is peaking,
try raising the buffer size.

If you are at a point in your recording project

where you are not currently working with live,
patched-thru material (e.g. you’re not recording
vocals), or if you have a way of externally
processing inputs, choose a higher buffer size.
Figure 7-4: In Logic Pro, go to the Audio Driver preferences to access the Depending on your computer’s CPU speed, you
Buffer Size option shown above.
might find that settings in the middle work best
Adjusting buffer size on Windows (256 to 1024).
On Windows, the buffer size is adjusted in the
CueMix 5 app Device tab (items #6 and 7 in the Transport responsiveness
Devices tab on page 33). Buffer size also impacts how quickly your audio
software will respond when you begin playback,
Lower latency versus higher CPU overhead although not by amounts that are very noticeable.
Buffer size has a large impact on the following: Lowering the buffer size will make your software
respond faster; raising the buffer size will make it a
■ Monitoring latency little bit slower.
■ The load on your computer’s CPU

48
WO R K I N G W I T H H O S T AU D I O S O F T WA R E
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.

LOOPBACK
Use the Loopback 1-2 input channels provided by
the UltraLite-mk5 audio driver to send USB audio
output from your computer – or any
UltraLite-mk5 mix – back to the computer.

Choose the desired source from the Loopback

menu (item #4 on page 33).

The loopback channels return the chosen signal

back to the computer so that you can capture the
signal in your host software, stream it to the web
or broadcast it with podcasting software.

Mixing loopback with live inputs and disk tracks

If you need to mix the loopback channels with live
inputs, do the following:

1 Choose a mix from the Loopback menu.

2 Go to the mix tab for that mix (item #1 on

page 36) and bring up the fader(s) for the
computer USB channels you want to hear.

3 Bring up the faders for any live inputs you want

to add to the mix. When you do so, their signal is
mixed with the computer USB channels.

☛ Remember, be careful! When monitoring

loopback channels and live inputs, your host
software can cause loud feedback loops. Be sure to
disable the monitoring of loopback tracks to avoid
feedback.

49
WO R K I N G W I T H H O S T AU D I O S O F T WA R E
50
WO R K I N G W I T H H O S T AU D I O S O F T WA R E
 Part 3
Appendices
APPENDIX A Troubleshooting

My MOTU interface isn’t showing up in Audio MIDI How do I control monitoring latency?
Setup on my Mac. See “Reducing monitoring latency” on page 46.
Due to the updated architecture of the new macOS
High Sierra (10.13 and above), the system How do I factory reset my device?
extensions for all newly-installed third-party Push the SELECT knob to enter the main menu.
software will automatically be blocked from Navigate to RESET and push the SELECT knob
running. If your MOTU interface is not showing twice to reset.
up in Audio MIDI Setup, CueMix 5 or your DAW,
you might need to enable the driver in your I hear clicks and pops under optical or S/PDIF sync.
Many problems result from incorrect sync
System Preferences. To do so, first download and
settings. See “Choosing a clock source for optical
install the very latest installer for your MOTU
connections” on page 24 and “S/PDIF” on
interface. After restarting, open System
page 24. Whenever there is any unexpected noise
Preferences. Select Security & Privacy. In the
or distortion, suspect digital clocking issues.
General section, click the Allow button. The Allow
button will disappear 30 minutes after installation. Clicks and pops due to hard drive problems...
To display the Allow button, run the installer for If you have checked your clock settings and you
the MOTU driver again. are still getting clicks and pops in your audio, you
may have a drive related problem. Set your Clock
I have absolutely no audio input or output Source to Internal and try recording just using the
happening to or from my interface. Why?
Make sure that the unit has a stable sample rate analog inputs and outputs on the UltraLite-mk5. If
(the word LOCK in the front panel displays will you encounter the same artifacts you may want try
flash if the clock hasn’t settled yet). Try setting the using another drive in your computer. Clicks and
unit’s clock source to Internal if you can’t sync to pops can also occur when the drive is severely
any external clock sources. Check that audio is fragmented or there are other drive-related issues.
working with Internal sync, and if so, then work
Connecting or powering gear during operation...
on establishing a stable external clock.
It is not recommended that you connect/
disconnect, or power cycle connected devices
I can't hear computer audio output through my
MOTU interface. while recording or playing back audio. Doing so
In the Sound panel of System Preferences, the may cause a brief glitch in the audio.
UltraLite-mk5 should be selected as the output
device. CUSTOMER SUPPORT
We are happy to provide complimentary customer
How do I monitor live inputs? support to our registered users. If you haven’t
Please refer to the documentation for the audio already done so, please take a moment to register
application that you are using. If your application online at MOTU.com, or fill out and mail the
does not support input monitoring, you will need included registration card. Doing so entitles you to
to use the mixer in the UltraLite-mk5. Please see technical support and notices about new products
“Monitoring through the UltraLite-mk5” on and software updates.
page 46.
53
 TECHNICAL SUPPORT ■ A brief explanation of the problem, including

If you are unable, with your dealer’s help, to solve the exact sequence of actions which cause it, and
problems you encounter with your MOTU device, the contents of any error messages which appear
you may contact our technical support on the screen.
department in one of the following ways:
■ The pages in the manual that refer to the

■ Tech support hotline: (617) 576-3066 (Monday

features or operation of your MOTU Device or
through Friday, 9 a.m. to 5 p.m. EST) Performer Lite with which you are having trouble.

■ Online support: www.motu.com/support ■ The version of your computer’s operating

system.
Please provide the following information to help
us solve your problem as quickly as possible: We’re not able to solve every problem immediately,
but a quick call to us may yield a suggestion for a
■ The serial number of your MOTU device. This problem which you might otherwise spend hours
is printed on a label placed on the bottom of the trying to track down.
unit. It is also displayed in the display menu and at
the bottom of the Device tab in the CueMix 5 app If you have features or ideas you would like to see
(item #10 on page 33). You must be able to supply implemented, we’d like to hear from you. Please
this number to receive technical support. use our online suggestion box at www.motu.com/
suggestions.

54
APPENDIX A: TROUBLESHOOTING
APPENDIX B Audio Specifications

MIC in
Connector Type Combo-style, XLR / TRS Pin 2 hot, tip hot

XLR
Impedance load 2.8 k ohm

Pad -20 dB, Switchable per channel

Phantom power +48V, switchable per channel DIN 45596 / IEC 61938-P48

EIN -129 dBu A-weighted, 20-20k, 150 ohm

Dynamic Range 115 dB A-weighted

THD+N -113 dB Unweighted

Frequency Response +0.05 -0.2 dB, 26 Hz/20 kHz Ref. 1 kHz

Max Level In with Pad +20 dBu

Max Level In without Pad 0 dBu

Gain range 0 to +74 dB in 1 dB steps

TRS
Description Balanced or single ended Suitable for line or instrument (guitar)

Impedance Load 1 meg ohm unbalanced

2 meg ohm balanced

Pad None

Phantom power None

Dynamic Range 115 dB A-weighted

THD+N -109 dB -2 dBFS, Unweighted

Frequency Response +0 -0.1 dB, 20 Hz/20 kHz Ref. 1 kHz

Max Level +20 dBu Balanced; +18 dBu unbalanced

Gain range 0 to +74 dB in 1 dB steps

55
 Line In
Connector Type 1/4” Female, TRS Balanced/unbalanced, Tip hot

Specification Complies with EBU-R68 / SMPTE RP-155

Impedance Load 20 k ohm balanced

Dynamic Range 120 dB A-weighted

THD+N -113 dB 1 kHz, 24 dBu, unweighted, unity gain

Frequency Response ±0.05 dB, 20 Hz/20 kHz Ref. 1 kHz

Max Level In +24 dBu

Gain Range 0 to +20 dB Digitally controlled in 1 dB steps

Line Out
Connector Type 1/4” Female, TRS Balanced, tip hot

Output Impedance 220 ohm Per leg

Dynamic Range 124 dB A-weighted

THD+N -113 dB -2 dBFS, Unweighted, 1 kHz

Frequency Response +0, -0.15 dB, 20 Hz/20 kHz Ref. 1 kHz

Max Level Out +21 dBu

Trim Range 0 to -∞ (-127) Digitally controlled in 1 dB steps

Phones
Connector Type 1/4” Female, TRS Stereo Tip Left, Ring Right

Dynamic Range 118 dB A-Weighted

THD+N -110 dB Unweighted, -1 dBFs, 1 kHz

Frequency Response ±0.05 dB, 22 Hz/20 kHz Ref. 1 kHz

Trim Range 0 to -99 dB, plus mute 0 to -99 dB in 1 dB steps

Max output 14.4 dBu Unloaded

S/PDIF
Connector Type RCA

Input Termination 75 ohm

Lock Range 44.1k/48k, +/- 0.5% 1x, 2x

Input Voltage Range 0.2 - 0.6 V

Output Drive 0.5 Vp

Specification IEC-958/60968-3

56
A P P EN D I X B : AU D I O S P E C I F I C AT I O N S
APPENDIX C Half-rack Mounting Kit

The Half-Rack Mounting Kit (sold separately) lets INSTRUCTIONS

you mount the UltraLite-mk5 in a standard Using the included 2.5 mm hex wrench:
19-inch equipment rack. Visit the web store at
motu.com to purchase this kit or contact your 1 Remove the hex screws (B) on both side panels
authorized MOTU reseller. of the half-rack unit (C).

PACKING LIST 2 Use the removed screws (B) to attach the half-
■ (2) L-shaped half-rack mounting brackets (A) rack mounting brackets (A) as shown.

■ (1) 2.5 mm L-shaped hex wrench (not pictured) 3 Be sure to tighten all screws securely for best
■ (1) Instruction sheet (this sheet) results.

Questions? Contact MOTU technical support at

motu.com/support.

B B
A A

57
58
A P P EN D I X C : H A LF - R AC K M O U N T I N G K I T
APPENDIX D Half-rack Coupler Kit

The Half-Rack Coupler Kit (sold separately) lets INSTRUCTIONS

you mount the UltraLite-mk5 side by side with 1 On a smooth flat surface, place two half-rack
another UltraLite-mk5 (or similar unit) in a units (D) upside down and side by side. Make sure
standard 19-inch equipment rack. Visit the web their front panels are facing in the same direction.
store at motu.com to purchase this kit or contact
your authorized MOTU reseller. 2 Using the hex wrench and the four (4) hex
screws included with this kit (C), attach the
PACKING LIST rectangular joiner bracket (B) as shown.
■ (2) L-shaped rack mounting brackets (A)
3 Using the hex wrench, remove the hex screws
■ (1) Rectangular joiner bracket (B) (E) on the outer side panels of each half-rack unit
■ (4) Hex screws for joiner bracket (C) (D).

■ (1) 2.5 mm L-shaped hex wrench (not pictured) 4 Use the removed screws (E) to attach the half-
■ (1) Instruction sheet (this sheet) rack mounting brackets (A) as shown.

Questions? Contact MOTU technical support at 5 Be sure to tighten all screws securely for best
motu.com/support. results.
C C
B

A A
E E

D D

59
60
A P P EN D I X D : H A LF - R AC K CO U P LE R K I T
 Index
+4dB analog input 23
-10dB analog input 23
Core Audio driver 46
Core MIDI FFactory defaults 30
19-inch rack installation 57, 59 Audio MIDI Setup 19
-20 dB pad benefits 19 Firmware
control from computer 32, 34 Cubase 45, 46 select image 33
control from front panel 9 clock source 45 updating 33
24-bit sample rate 45 version 30, 33
optical 10, 12, 24 CueMix 5 18, 31-43 Four-band EQ 40
2x SMUX mode 24 app 43 Frequency
48V phantom power 34 channel settings 39 EQ 40
5.1 surround monitoring 35 channel strips 38 Front panel 29
7.1 surround monitoring 35 Device tab 33 metering 29
Home tab 32 Front panel display
menu 30
A
Ableton Live 45, 46
Input tab 34
iOS app 43 menu navigation 30
Main Out 1-2 34
ADAT optical 10, 12, 24
connecting 24
mic input settings 34
mix inputs 37
G
Gain
input format 34 Mix tabs 36
monitoring live 37 EQ 40
Output tab 35 reduction 41
output format 35 saving/recalling presets 33, 43
output source 24, 35 GarageBand 45, 46
sidebar 32 clock source 45
Analog inputs Customer support 53
making connections to 23 sample rate 45
monitoring live 37 Gate effect 41
phase invert 34
trimming 23
D
DAT
GR (gain reduction) 41
Guitar
Analog outputs connecting 24 connecting 23
making connections to 23 Device tab 33
monitor mixes for 36
trimming 23
Clock source 33
device presets 33, 43
H
Half-rack
Apple Enable windows audio streams 33 coupler kit 59
GarageBand 46 Firmware version 33 mounting kit 57
Logic Pro 46 Host buffer size 33 Headphones
ASIO Loopback 33 connecting 8, 9
driver 46 Mix Input Meters jack 9
monitoring 47 pre/post fader 33, 43 mirroring main outs 37
Attack Safety Offsets 33 monitoring inputs 32
Compressor 41 Sample rate 33 volume control from computer 32, 35
Gate 41 Serial number 33 volume control from front panel 9
Audio MIDI Setup utility 19 Digital Performer 45, 46 Home tab 32
Avid Pro Tools 46 Direct hardware playthru 47 Host
Direct ASIO monitoring 47 Buffer Size 18, 33
B
Back panel
Direct hardware playthru 47
Driver
loopback 33, 49
Safety Offset 18
installation 7, 17, 31
Main Out 1-2 10, 34
Balanced analog 23
Buffer Size 18, 33
DSP
loopback channels 33, 49
I
Input Monitoring (CueMix 5) 32
effects 40
Dynamic mic 23 Input tab (CueMix 5) 34
C Inputs
Class compliance 17
Clear Solo 36
EEffects 40 analog (balanced TRS) 10, 23
metering (pre/post fader) 33, 43
Clock section (front panel display) 29 mic/instrument 9, 22
Enable Windows Audio Streams 33 MIDI 10, 25
Clock Source 33 EQ 40
Coax 12 monitoring 32
enabling 40 optical 10, 24
Cockos Reaper 46 filter types 40
Compressor effect 41 phase invert 34
frequency 40 S/PDIF (RCA) 10, 24
Computer USB channels (CueMix 5) 37 gain 40
Condenser mic input 23 S/PDIF (TOSLink) 10, 24
Q 40 Installation
Controller Equipment rack installation 57, 59
connecting 25 equipment rack 57, 59
Converters 10 hardware 21
iOS connection 21, 22

61
INDEX
 QuickStart Guide 7 Input Meters setting 33, 43 control from computer 32, 34
software 17 inputs 37 control from front panel 9
USB connection 21 stand-alone operation 40 Presets 33, 43
iOS operation 17, 21, 22, 43 tabs 36 Pro Tools 45, 46
IP address 30 Mix tabs 36 Processing 40
iPad/iPhone support 17 Mix tabs (CueMix 5) 36
Monitoring
Q
K
Keyboard controller
thru headphones 32
thru main outs 23, 32 Q 40
QuickStart Guide 7
with/without FX 23, 34
connecting 25 MOTU
Digital Performer 46 R
LLatency 18, 33, 46, 48 Gen5 Installer 7, 31
Performer Lite 46
Rack installation 57, 59
Ratio
Lightpipe 24 Compressor 41
Line inputs
making connections to 23
N
Network settings 17
RCA S/PDIF
connecting 10, 24
monitoring live 37 Nuendo 45, 46 monitoring live 37
trimming 23 clock source 45 output source 25, 35
Line outputs sample rate 45 Reaper 45, 46
Main volume group 35 Reason 45
making connections to 23 Propellerhead Reason 46
trimming 23, 35
Live 46
O
Optical
Registration 15
Release
Logic Pro 45, 46 connectors 10, 24 Compressor 41
clock source 45 input format 34 Gate 41
sample rate 45 monitoring live 37 Reset 30
Loopback 33, 49 output format 35 Reverb 42
output source 24, 35 routing to/from 42
M
MacOS 45
overview 12
S/PDIF 24
Reverb mix 36
monitoring 37
Optimization 48
audio software
clock source 45
sample rate 45
Output tab 35
Output tab (CueMix 5) 35 SS/PDIF 12
Outputs
system requirements 15 analog (balanced TRS) 10, 23 monitoring live 37
Main 1-2 mix 36 MIDI 10, 25 optical 10, 12, 24
Main Out 1-2 optical 10, 24 optical input format 34
jacks 10 S/PDIF (RCA) 10, 24 optical output format 35
making connections to 23 S/PDIF (TOSLink) 10, 24 optical output source 35
monitoring inputs 32 optical source 24, 35
volume control from computer 32, 34 RCA 10, 24
volume control from front panel 9, 23
Main Volume Group 35
P
Pad 22, 34
RCA output source 25, 35
sync 24
Mic/instrument inputs 9, 22 control from computer 32, 34 Safety Offset 33
48V phantom power 9 control from front panel 9 Sample rate 33
control from CueMix 5 32, 34 Patch thru Select firmware image 33
control from front panel 9 latency 48 Serial number 30, 33
monitoring live 37 Performance 48 SMUX 24
overview 11 Performer Lite 12, 18, 45, 46 Software installation 7, 17, 31
pad 9 Phantom power 9, 22, 23 Sound module
phase invert 9 control from computer 32, 34 connecting 25
preamp gain/pad/48V 9, 34 control from front panel 9 Source
MIDI Phase Invert 34 optical output 35
connections 25 Phones (see headphones) RCA S/PDIF 25, 35
jacks 10, 25 Phones 1-2 mix 36 Stage monitors
overview 12 Post Fx option 24, 34 connecting 8
software setup 19 Power supply Stand-alone operation 29
thru 25, 30 jack 10 Steinberg
Windows driver installation 19 Power switch 29 Cubase 46
Mirroring main outs 37 Pre Fx option 24, 34 Nuendo 46
Mix Pre/post fader menu setting 33, 43 Studio setup (example) 8
effects 40 Preamp gain 34 Surround monitor control 35

62
I N D E X
Synths
connecting 8
System requirements
minimum 15
recommended computer 15

TTechnical support 53, 54

Threshold
Compressor 41
Gate 41
To USB Host 23, 34
TOSLink 10, 12, 24, 34, 35
monitoring live 37
output source 24, 35
Trim 22
TRS analog inputs/outputs 23
TRS connectors 23

U
UltraLite-mk5
ASIO driver 46
setup example 8
specifications 55
summary of features 11
UltraLite-mk5
presets 33, 43
Unbalanced analog 23
USB
class compliance 17
connection 21
installing drivers 17
loopback channels 33, 49
monitoring 37
User presets 33, 43

W
Wave driver 46
WDM (Wave) Driver 18
Windows
Audio Streams 33
Host Buffer Size 33
latency 33
system requirements 15
Wave driver streams 33
WDM (Wave) driver 18

63
INDEX
64
I N D E X