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
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
49 Working with Host Audio Software

Part 3: Appendices

57 Troubleshooting
59 Audio Specifications
61 Half-rack Mounting Kit
63 Half-rack Coupler Kit
65 Index

iii
About the Mark of the Unicorn License Limited Warranty on Hardware
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 Part1
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 Q How to connect a mic, guitar, keyboard or other

input and output device. audio source.

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

recording software.
WINDOWS USERS START HERE
Q 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

Headphones

Main speakers Keyboards and synths

MIDI modules MIDI controller Aux speakers

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 35. 6. This portion of the screen displays the current sample knob. See item #2 (Main Volume Group) on page 36.
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 25.
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. The MIDI OUT port can alternately be config- 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).
ured as a MIDI THRU. For further details, see “MIDI connec- route live UltraLite-mk5 inputs here as well. They are disabled at higher sample rates. Alternately, they
tions” on page 26. can operate as stereo TOSLink (optical S/PDIF) connectors.
4. Equipped with very high quality 24-bit 192 kHz converters, See “Optical I/O” on page 25.
2. The analog (‘Line’) outputs provide additional analog these six line inputs are balanced TRS (tip/ring/sleeve)
output for secondary (“B”) studio monitors, surround quarter-inch connectors that can also accept an unbal- 7. Connect the UltraLite-mk5 to the computer here using the
monitoring, sub-mixes or any other desired destination. anced plug. Use them for keyboards or other line level included USB-C-to-C or USB-C-to-A cable. If you are
These connectors are balanced (tip/ring/sleeve), but they analog sources. These inputs are equipped with the connecting to an iOS device, see “iOS setup (USB-C)” on
also accept an unbalanced plug. They are DC-coupled. UltraLite-mk5’s Precision Digital Gain™ feature: digital gain page 21.
Control volume from the CueMix 5 app or your host audio that boosts the input level up to +20 dB in 1 dB increments,
software. For further details, see “Audio connections” on adjusted from the CueMix 5 app. Each input includes a 8. This DC power jack accepts any standard 15V DC, 1A
page 22. Phase Invert switch, accessed in the CueMix 5 app. See tip-positive power supply.
“Input tab” on page 35.
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 that
all analog output pairs, with seven stereo buses supports high-speed USB 2.0 or later (including
and 32-bit effects processing, including EQ, USB 3.0, 3.1, etc.) 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 class-compliant Macs. ASIO and Wave drivers
interface for a studio workstation (DAW), as a are provided (and required) for operation with
standalone mixer, or as an auxiliary monitor Windows 10 or later.
mixing system in the studio or on stage. This
chapter provides a brief overview of its main Mic/guitar inputs with preamps
features and characteristics. The two front-panel mic/line/instrument inputs
are equipped with preamps and “combo” XLR/
Comprehensive I/O TRS jacks, which accept XLR microphone inputs
The UltraLite-mk5 provides a variety of analog or quarter-inch line/instruments inputs.
and digital interconnects, all active simultane- Individual 48 volt phantom power and a -20 dB
ously, designed to provide everything you need for pad can be supplied independently to each mic
a well-equipped mobile recording studio. input. The Precision Digital Gain™ knobs on the
front panel for each mic/instrument input provide
Connection Input Output
up to 74 dB of boost in precise 1 dB increments.
Quarter-inch analog on bal/unbal TRS 6 10

Mic/guitar inputs on combo XLR/TRS 2 - Flexible analog I/O

All quarter-inch analog inputs can accept either a
Headphone output - 1 x stereo
balanced or unbalanced plug. The six line inputs
S/PDIF digital I/O on RCA 2 2 are equipped with digital gain, adjustable in 1 dB
ADAT optical digital (at 44.1 or 48 kHz)† 8 8
increments.

Total 18 22 Equipped with renowned ESS Sabre32™ DAC

technology, all analog outputs offer trim, also
† The UltraLite-mk5 optical connectors support adjustable in 1 dB increments. You can save your
the industry-standard ADAT and TOSLink optical trim configurations as a preset for instant recall.
I/O formats, which provide varying channel
counts. See “Optical I/O” on page 25 for details All quarter-inch outputs are DC-coupled, so they
about optical bank operation. can be used for CV control output.

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.
Control room features
ADAT digital I/O Control room features include talkback and A/B
The UltraLite-mk5 provides 8-channel optical monitor select for the main outs. Surround
digital I/O. Connect outboard digital processors, monitoring is also supported for both 5.1 and 7.1
digital mixers or other gear: 8 channels at 44.1/48 surround.
kHz or 4 channels at 88.2/96 kHz. Alternately, the
optical ports can be independently configured to Rack mount or desktop operation
support stereo TOSLink (optical S/PDIF). The UltraLite-mk5 is housed in a sturdy, metal-
alloy half-rack enclosure. Rack mounting brackets
The input and output operate independently, are available (sold separately) for mounting the
allowing you to mix and match optical formats. unit in a standard 19-inch equipment rack. A
For example, you could receive four channels of separate half-rack coupler kit is also available (sold
96 kHz S/MUX input while at the same time separately) to join two UltraLite-mk5 units (or
sending 96 kHz stereo optical S/PDIF similar units) together and mount them side by
(“TOSLink”) to the output. side in an equipment rack.

12
A B O U T T H E U LT R A L I T E- M K 5
Performer Lite
Performer Lite is a full-featured audio workstation
software package for Mac and Windows that is
available as a free download for you as an
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
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 BO U T T HE U LTR A LI TE - M K5
14
A B O U T T H E U LT R A L I 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
Q UltraLite-mk5 audio interface announcements about product enhancements as
soon as they become available. Only registered
Q USB-C-to-C cable
users receive these special update notices, so
Q USB-C-to-A cable please register today.
Q DC power adapter Thank you for taking the time to register your new
Q User guide MOTU products!

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

Faster CPUs are recommended for best

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

macOS the optional driver requires 10.13 or later.

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

15
16
PACK ING L IS T A ND S YS T E M R E Q U IR E M E NTS
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
To allow support for a wide variety of
or the front-panel menu.
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 50.
Sync Windows sample rate to device
WDM / Wave driver support Enable the Sync Windows sample rate to device
On Windows, the MOTU Gen5 driver includes option (item #14 on page 34) to link the
support for WDM (Wave) compatible audio UltraLite-mk5 sample rate setting with the sample
software. See item #13 on page 34. rate setting in Windows. If you change the sample
rate for the UltraLite-mk5, it will change the
Host Buffer Size
Windows sample rate as well, and vice versa. This
When connected to a Windows computer, the
option is enabled by default for best performance
Host Buffer Size menu is available in the Device tab
with many Windows audio applications. When
(item #11 on page 33). This setting determines the
this option is unchecked, the UltraLite-mk5 driver
amount of latency (delay) you may hear when live
performs sample rate conversion to reconcile the
audio is patched through your Windows audio
difference in sample rates between Windows and
software. Smaller buffer sizes produce lower
the UltraLite-mk5 hardware.
latency, with sizes of 256 samples or less producing
virtually imperceptible delay. Many host
CUEMIX 5 APP
applications report audio hardware I/O latency, so CueMix 5 is an easy-to-use app for macOS,
you can see what happens to the reported latency Windows and iOS that gives you complete control
when making adjustments to this setting. over all the settings in your UltraLite-mk5
interface. For details, see chapter 6, “CueMix 5”
Be careful with very small buffer sizes, as they can
(page 31).
cause performance issues from your host software
or PC.
PERFORMER LITE WORKSTATION SOFTWARE
Performer Lite is an easy to use audio workstation
At sea level, audio travels approximately one
software package for macOS and Windows that
foot (30 cm) per millisecond. A latency of ten
lets you record, edit, mix, process, bounce and
milliseconds is about the same as being ten feet
master multi-track recording projects. Advanced
(three meters) from an audio source.
features include over 100 included virtual
Host Safety Offset instruments, real-time effects processing,
When connected to a Windows host, the Host recording, and much more.
Safety Offset menu (item #12 on page 33) also
To obtain Performer Lite, visit motu.com to
becomes available. This setting allows you to fine
register your MOTU audio interface, download
tune host latency. Larger offsets allow the driver
Performer Lite and activate it on your computer.
more time to process audio as it transfers to and
from the hardware. Lower settings produce lower

18
S O F T WA RE I NS TA L L AT IO N
 Q A simple, intuitive list of your MIDI devices

whenever you need it in any Core MIDI-

compatible program

Launching Audio MIDI Setup

1 Make sure your UltraLite-mk5 interface is
connected (a USB connection is required) and
turned on.

2 Launch the Audio MIDI Setup utility.

Figure 3-1: Performer Lite.
This can usually be found in /Applications/
WORKING WITH HOST AUDIO SOFTWARE Utilities. If it has been moved, just search for
For further information about using the Audio MIDI Setup.
UltraLite-mk5 with host audio software, see
chapter 7, “Working with Host Audio Software” 3 Confirm that the MIDI interface is present in
(page 49). the MIDI Devices tab (or window) in Audio MIDI
Setup. If the interface does not appear, or if it is
MIDI I/O ON WINDOWS grayed out, check your cable connections and click
On Windows, the MOTU Gen 5 Setup installer Rescan MIDI.
provides a USB MIDI driver for the
UltraLite-mk5. This driver allows you to access Connecting MIDI devices to the UltraLite-mk5
the UltraLite-mk5’s MIDI input and output ports Once your UltraLite-mk5 interface appears in
through its USB connection to the computer. The Audio MIDI Setup, you are ready to add devices,
ports are published in Windows and are available indicate how they are connected, and identify
to all MIDI software. properties they may have for particular purposes.
This information is shared with all Core MIDI
MIDI I/O SETUP ON THE MAC compatible applications.
Core MIDI is the “under-the-hood” component of
macOS that handles MIDI services for MIDI To add a device in Audio MIDI Setup:
hardware and software. Core MIDI provides many
universal MIDI system management features, 1 Click Add Device.
including MIDI communication between your
2 Drag on its input and output arrows to draw
UltraLite-mk5 interface and all Core MIDI
connections to the UltraLite-mk5 that match its
compatible software.
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:

Q A “virtual” studio on your Mac that graphically

represents your MIDI hardware setup and that is
shared by all Core MIDI-compatible programs

19
S O F T WA RE I N S TA LL AT IO N
 Figure 3-2: Connecting devices to the UltraLite-mk5. In this example, a
controller keyboard is connected to the UltraLite-mk5’s MIDI IN, and a
sound module is connected to the UltraLite-mk5 MIDI OUT.

3 Double-click the device to make settings, such

as input and output channels, that further describe
the device.

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 RE I NS TA L L AT IO 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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

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.

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

port.
Q 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.

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

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

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

page 17.
Q 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
Q 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-
Q 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
H A R DWA RE I NSTA L L AT IO N
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 powered studio
and gain settings on the two combo input jacks: monitors, but they can be used as regular outputs
Input
for any purpose. With adjustable Precision Digital
48V Pad Gain
Trim™, they support a wide range of industry-
Condenser mic On Off As needed
standard reference levels. Main out volume is
Dynamic mic Off Off As needed controlled by the MAIN VOL knob on the front
Guitar Off n/a As needed panel: turn it to view volume knob overlay in the
display, then push the knob until you see Main
-10 dBv line level via TRS Off n/a As needed
Trim and turn it to adjust the master volume
-10 dBv line level via XLR Off As needed As needed output.
+4 dBv line level via XLR Off On As needed
Analog I/O calibration
+4 dBv line level via TRS Off n/a As needed All analog inputs and outputs can be calibrated to
support a variety of standards, including
TRS quarter-inch line inputs/outputs EBU-R68, SMPTE RP-155, +4dBu, -10dBv,
Quarter-inch line inputs and outputs are balanced 2vRMS and 1vRMS.
(TRS) connectors that can also accept an
unbalanced plug. The outputs are DC-coupled, so The line inputs are equipped with +1 to +20 dB of
they can be used for CV control output. digital gain, adjustable in 1 dB steps.

Quarter-inch line outputs are not The line outputs, main outs and headphone outs
cross-coupled. Therefore, when connecting them are equipped with a range of digital trim from 0 to
to an unbalanced input, use a TRS plug with the -100 dB, adjustable in 1 dB steps.
ring disconnected. Not floating the negative
Trim and gain controls can be accessed in the
terminal will short it to the sleeve ground and
CueMix 5 app. See “Input tab” on page 35 and
cause distortion.
“Output tab” on page 36.
Various settings for the line inputs and outputs,
such as gain, trim, phase invert, etc. can be Pre/Post Fx switch for line inputs
accessed in the CueMix 5 app. See “Input tab” on Each analog input provides EQ and compression.
page 35 and “Output tab” on page 36. The mic/line/inst inputs include gating. These
effects can be applied to the input as needed (items
#1 and 2 on page 39). The To USB Host menu for

Figure 4-2: UltraLite-mk5 back panel

23
HA R DWA R E IN STA L L ATI O N
 each line input (item #4 on page 35) lets you Connections for re-amping
choose whether to send the input signal to your Figure 4-3 shows the connections needed for re-
host software with or without these hardware amping. Connect your guitar directly to the
effects applied to the signal. If you want to record quarter-inch jack of Input 1. This is your DI
the signal dry, without the effects applied to it, (direct input). The quarter-inch jack has the
choose Pre Fx. If you want to record the signal proper impedance to accept a guitar signal. Mic
with the effects applied, choose Post Fx. your amplifier and connect the mic to Input 2.
Connect any line output to your amp. Note that
Once the signal is recorded in your DAW you may need a re-amp adapter with ground lift
with th Post Fx option, the effects cannot be and transformer isolation, as shown, to remove
removed from the signal. noise (hum). You can also add pedals or other
effects processors to the chain, as usual (after the
Guitar re-amping adapter).
Re-amping allows you to record an amplified
guitar signal but then change the amp tone later, Recording for re-amping
after recording. This is accomplished by splitting For recording, set up your host DAW software to
the dry DI guitar signal during recording and record Inputs 1 and 2 on separate tracks. Be sure
separately recording the dry signal (with no that Patch Thru is disabled for these tracks in your
amplification) on one track and the mic’d DAW. In CueMix 5, go to the mix for the amp
amplifier signal simultaneously on a separate output and bring up the fader for Input 1 in the
track. You can then choose to use the original mixer (item #3 on page 47). (Be sure to keep all
recorded amp tone, or you can mute that track and other faders all the way down). Pan Input 1 hard
experiment with applying different amp tones to left or right as needed (depending on which
the dry track, either with amp (and pedal) plug-ins output in the pair you are using for the amp
or by sending the output of the dry track back to output), or set up the mix as a mono mix (item #13
your guitar amp, pedals and other tone gear. on page 50). You should now hear your guitar
through the amp and you’re ready to record. There
is no latency because the signal is being looped
DI guitar signal
looped to any line directly from input to output in the UltraLite-mk5
output in Cuemix 5 mixer hardware (without the computer).
USB
Re-amping after recording
UltraLite-mk5 To experiment with different guitar tones after
recording, send the dry guitar signal to the same
In 1 In 2 Any line
(1/4”) (XLR) output line output to feed it into a different amp, foot
pedals or other favorite tone gear. Or apply amp
Passive re-amp and pedal plug-ins to the dry guitar track.
adapter

Amp input
Guitar
Mic Amp

Figure 4-3: Recording guitar for re-amping.

24
H A R DWA RE I NSTA L L AT IO N
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
rates (88.2 or 96 kHz). DAT decks and other devices with S/PDIF digital
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 35). 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.
Alternately, you can choose other sources, such as S/PDIF
the line inputs (when in ADAT mode) or one of
the UltraLite-mk5’s mix buses. For further S/PDIF
information, see items #7 and 8 on page 36.
S/PDIF device
Choosing a clock source for optical connections
When connecting an optical device, make sure UltraLite-mk5 UltraLite-mk5
Clock Source setting = 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 4-4: 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.
B. Resolve the UltraLite-mk5 to the optical device
Choosing a source for the S/PDIF output
For A, choose Internal (or anything other than By default, the audio signal from the S/PDIF
Optical) as the clock source in the Device tab (item output comes from your host software (over USB)
#3 on page 33). Then configure the other device to from any tracks you’ve assigned to the output.
resolve to its optical input. Alternately, you can choose one of the
UltraLite-mk5’s mix buses. For further
For B, choose Optical as the clock source (item #3
information, see items #6 on page 36.
on page 33), and configure the other device to
resolve to its own internal clock.

25
HA R DWA R E IN STA L L ATI O N
 MIDI CONNECTIONS
Connect your MIDI device’s MIDI IN jack to the UltraLite-mk5
rear panel
UltraLite-mk5 MIDI OUT jack (Connection A
MIDI
below). Conversely, connect the MIDI device’s OUT
MIDI OUT jack to the UltraLite-mk5 MIDI IN
MIDI
jack (Connection B). MIDI Device IN

MIDI MIDI
THRU cable
UltraLite-mk5
rear panel
MIDI IN
MIDI MIDI
OUT IN
MIDI Figure 4-6: Connecting additional devices with MIDI THRU ports
cables
Connection A Connection B
MIDI Thru
MIDI MIDI The UltraLite-mk5 MIDI OUT port can be
MIDI Device IN OUT
configured as a MIDI THRU port. To do so, use
the MIDI Thru setting in the CueMix 5 Device tab
(item #7 on page 33). This can also be enabled
from the front panel menu.
Figure 4-5: 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 4-5. 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
below in Figure 4-6. The two devices then share
the UltraLite-mk5 MIDI OUT port. This means
that they share the same set of 16 MIDI channels,
too, so try to do this with devices that listen to only
one MIDI channel (such as effects modules),
which makes it easier to avoid MIDI channel
conflicts.

26
H A R DWA RE I NSTA L L AT IO N
 Part2
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. To exit the menu entirely, push BACK repeatedly
When controlling main volume, the headphone until the menu disappears from the display.
icon is not present in the display.
Menu setting What it does
From the factory, the volume knob controls the Sample Rate Sets the sample rate for the device.
level of Main Outs 1-2 (and Line Outs 3-4 when Clock Source Sets the digital audio clock source for the
operating in A/B mode). If you add additional device.

outputs to the Monitor group, this volume knob Optical Specifies ADAT or TOSLink, or the SMUX
controls the output level of all of them. See “The format when operating at 88.2 or 96 kHz.
See “Optical I/O” on page 25.
Monitor Group” and “A/B Mode” on page 45.
MIDI Thru When enabled, MIDI data passes directly
from the MIDI input to the MIDI output
MENU NAVIGATION when the UltraLite-mk5 is disconnected
from USB (running standalone).
Push SELECT to access the menu, which provides
settings and status information. Display Provides timeout options for the display
(after 3 seconds, 30 seconds, 30 minutes or
off). When timed out, the screen goes dark
Turn the SELECT knob to scroll through the to preserve the lifetime of the OLED
elements. The Screen Saver option lets you
menu settings. choose between a completely dark screen
(off) or a pong-like screen saver (on). When
the Auto Wake option is on, the screen will
Push SELECT to enter the selected sub-menu or to wake up when any audio signal is detected
on any input or output. When Auto Wake is
select the currently highlighted parameter. off, push any button or turn any knob to
wake up the display.

Push BACK to go to the parent menu. About Displays the serial number, firmware
version and IP address for the device.

Reset Restores factory default settings.

30
F R O NT PA N E L O P E R AT IO N
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
Device tab Continued . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Connect your UltraLite-mk5 to your computer
Input tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 with one of the supplied USB cables. Or connect to
Output tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 your iOS device as follows:
Mix tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Q If your iOS device has a USB-C port, use the
Mix inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
included USB-C-to-C cable.
Input channel strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Channel settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Q If your iOS device has a Lightning port, use an

Mixer Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Apple Lightning to USB3 Camera Adapter (sold

Four-band parametric EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 separately), as shown in “iOS setup (Lightning)”
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 on page 22.
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Mix input meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Mix USB Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Saving and recalling device presets . . . . . . . . . . . . . . . . . . . . . 44
The Monitor Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
A/B Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Talkback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Saving and recalling device presets . . . . . . . . . . . . . . . . . . . . . 46
The CueMix 5 iOS app . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Discovery tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

31
 HOME TAB
1

6 7

15 9
14
10

11

13 12
1. Expands and collapses the sidebar. 7. The Mic/Line/Inst 1-2 panels give 11. The Input Monitoring section lets 13. Here, the Mic/Line/Inst 2 input has
you software control of the settings you patch the analog inputs directly been routed to the headphones.
2. This is the Home tab, which provides for those two front panel inputs. You to the Main Outs or Headphones. However, the button is gray because
quick access to basic settings. can turn on 48V phantom power if This is near-zero latency monitoring the Mic 2 channel fader has been
you have a condenser mic connected because the computer (USB) is not lowered (from unity gain) in the
3. The Device tab provides basic to the input, or engage the -20 dB involved. To hear an input on the Phones 1-2 Mix tab. The gray color
hardware settings, such as the pad for line level signals. You can Main Outs, click its button in the top alerts you that it is no longer being
Sample Rate and Clock Source. See also adjust the preamp gain here. row; to hear it on the Headphones, monitored at full scale, or that other
“Device tab” on page 33. These are the same as the controls click its button in the bottom row. channels settings may have been
on the front panel of the unit. modified (effects added, channel
4. The Input tab provides settings for If you use this hardware-based muted, etc.)
the UltraLite-mk5’s physical inputs, 8. Control the unit’s Monitor level and monitoring, be sure to turn off the
such as gain levels for the line Headphone level here. These are the input monitoring feature in your 14. If you have password-protected your
inputs. See “Input tab” on page 35. same as the controls on the front host software. Otherwise, both the UltraLite-mk5 for security purposes
panel of the unit. UltraLite-mk5 and your host while operating the device on a
5. The Output tab provides settings for software will send the input signal network, you can log out of the
the UltraLite-mk5’s physical 9. A/B Monitoring lets you connect two to the output and the signal will be device to prevent unauthorized
outputs, such as trim levels for the sets of speakers and then check your doubled, which can cause phasing access from the computer on which
line outputs. See “Output tab” on mixes on each pair by toggling and/or cancellation problems. you were logged in. See “Discovery
page 36. between your A speakers and B tab” on page 47.
speakers. See See “A/B Mode” on 12. Here, Line Inputs 5-6 have been
6. The Mix tabs give you access to the page 45. routed to the main outs. More 15. The Discovery tab lets you manage
on-board mixing and effects. The specifically, by clicking these access to connected devices and
UltraLite-mk5 is a capable 24 x 14 10. The Talkback section provides buttons, their faders in the Main 1-2 devices on the network. See
monitor mixer. Each analog output controls for setting up and Mix tab have been set to unity “Discovery tab” on page 47. On iOS,
pair gets its own independent mix controlling the UltraLite-mk5’s (maximum) gain and mute has been swipe from the left edge of your
consisting of all inputs, computer talkback features. See See turned off (if it was on). You can screen to access the Discovery tab.
audio and the reverb bus. See “Mix “Talkback” on page 45. further adjust the input’s volume or
tabs” on page 37. other settings in its channel strip in
the Main 1-2 Mix tab.
32
CUEMIX 5
DEVICE TAB

2
1
3

10

Windows only 11

12

Continued on the next page...

1. This is the Device tab, which provides 5. The Mix Input Meters in the mix tabs 7. When MIDI Thru is enabled, MIDI 10. You can give your UltraLite-mk5 a
basic hardware settings, such as the can show level before or after the data received on the MIDI input is unique Device Name, which appears
Sample Rate and Clock Source. channel fader setting. See “Mix patched directly to the MIDI output. in the Discovery tab, which allows
input meters” on page 44. See “MIDI Thru” on page 26. you to manage multiple devices that
2. Choose the desired Sample Rate. are connected or available on the
Make sure your host audio software 6. Each mix (Main 1-2 mix, Phones 8. The UltraLite-mk5 can be controlled network.
is set to the same rate. mix, Phones 2 mix, etc.) includes from any device on the same
USB channels coming from the host network that the host computer is 11. (Windows only) Choose the Host
3. Choose the Clock Source. Your MOTU computer (from your DAW or other connected to. Use the Network Buffer Size. Smaller values reduce
device will resolve its digital clock to audio software) so that you can mix Control setting to control whether latency but increase your computer’s
this master source. Set the clock computer output with the the UltraLite-mk5 is available to the CPU load. See “Host Buffer Size” on
source to Internal, unless you have UltraLite-mk5’s physical inputs. By network or not. See “Discovery tab” page 18.
other devices connected to the default, each mix includes the Main on page 47.
optical or S/PDIF inputs. If so, see 1-2 USB channels, plus the USB 12. (Windows only) Use the Safety
“Optical I/O” on page 25 and channels going to the mix itself 9. Use the Device Password to protect Offsets setting to fine tune host
“S/PDIF” on page 25. (such as the Line 3-4 for the Line 3-4 the UltraLite-mk5 when using it on buffer latency. See “Host Safety
mix). The Mix USB Channels setting a network. The password is saved in Offset” on page 18.
4. Choose the Loopback Location here. lets you add additional USB channels a secure form on the host computer
This setting determines the position to each mix, which appear as and in the device itself. See “Discov- See the next page for more...
of the loopback channels in the additional channel strips in each mix ery tab” on page 47.
input channel list. See “Loopback” tab. See “Mix USB Channels” on
on page 53. page 44.

33
CU E M IX 5
 DEVICE TAB CONTINUED

Windows only

13

14

15

16

17

18

19

20

21

13. (Windows only) The UltraLite-mk5 15. A Device Preset is a ‘snapshot’ of all 18. If you wish to update the firmware
supports Windows built-in audio. the settings in the UltraLite-mk5, version in your UltraLite-mk5, click
Choose the Audio Streams you wish including all the mixes and all the Open... to launch the firmware
to use with your Windows audio settings in the CueMix 5 tabs (Home, updater app.
applications that use built-in audio. Device, Input and Output). Use these
These settings do not affect the ASIO buttons to save your favorite device 19. If you wish to download the latest
driver channels. configurations for tracking, live gigs, version of CueMix 5, click Open...
rehearsals, etc.
14. Enable the Sync Windows sample 20. Displays the Gen 5 Driver Version
rate to device option to link this 16. Displays the Serial Number of your currently installed on your computer
sample rate setting with the sample UltraLite-mk5 unit. for the UltraLite-mk5.
rate setting in Windows. If you
change the sample rate here, it will 17. Displays the Firmware Version 21. (Windows only) Click this icon to
change the Windows sample rate as currently installed in your open a diagnostics window for
well, and vice versa. This option is UltraLite-mk5 unit. troubleshooting purposes. This can
checked by default for best perfor- be helpful when contacting MOTU
mance with most Windows audio Tech Support to diagnose issues.
applications. See “Sync Windows
sample rate to device” on page 18.

34
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 37), each want to record the signal with the page 25.
#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 39). removed from the signal.
This To USB Host menu for each line

35
CU E M IX 5
 OUTPUT TAB
2

10 4

TOSLink sources: ADAT sources:

9 7 6

1. This is the Output tab, which Main Volume knob. Please note: the or other situations where you need a directly to their corresponding
provides settings for the Main Out 1-2 pair is always part of fixed amount of level adjustment for optical output channel (1 to 1, 2 to 2,
UltraLite-mk5’s analog and digital the Main Volume Group. a particular output (or output pair). etc.)
outputs.
3. A/B Monitoring lets you connect two 6. By default the Source for the RCA 8. When the Optical Out format is
2. The Monitor Group determines sets of speakers and then check your S/PDIF output is set to USB channels TOSLink (TOS), the Source menu lets
which outputs are controlled by the mixes on each pair by toggling from your host audio software, as you send any UltraLite-mk5 monitor
Main Out volume knob on the between your A speakers and B shown in the menu. Alternately, you mix to the optical output.
UltraLite-mk5’s front panel (item #8 speakers. These are the same can send any UltraLite-mk5 monitor
on page 9, plus the Main Volume controls as on the front panel. See mix to the RCA S/PDIF output. 9. Configure the optical out format for
controls in the Home tab (item #8 on “A/B Mode” on page 45. either 8-channel ADAT or stereo
page 32) and here in the Output tab. 7. The Bank Source menu lets you TOSLink. At 88.2 or 96 kHz, the ADAT
For example, if your studio has a pair 4. Meters and volume control for the choose the source for the Optical setting supports 4-channel SMUX
of main monitors, plus a sub-woofer Headphone out. This is the same as Output. By default, the source is set format. Note that you can choose a
connected to Line Out 3, you could the PHONES volume control on the to USB channels from your host different format for the IN and OUT.
click the Line Out 3 button to add it front panel. You can also choose audio software, as shown above in See “Optical I/O” on page 25.
to the main volume controls. If you among many possible source signals the menus. However, if you would
have 5.1 or 7.1 surround monitoring, for the headphone output. like to use the UltraLite-mk5 as an 10. Choose the Loopback Source here.
you can add the surround channels ADAT optical expander, choose ADAT This is the signal that will be
to the monitor group to be able to 5. All analog outs can be trimmed (in as the format and choose Expansion: returned to the computer on the
control the volume of all surround the DAC) from zero to -100 dB. This Line In 1-8 in the Source menu. Loopback channels. See “Loopback”
outputs simultaneously with the can be useful for speaker calibration Doing so patches the line inputs on page 53.

36
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 Q 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. Q 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 Q 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.

37
CU E M IX 5
 MIX INPUTS

1 2 3 4 5 6 7 8
9

Each mix has the inputs shown here, optical format (item #5 on page 35), 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
. 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 37). 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 37).
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 9. The Mix USB Channels menu (item
S/PDIF channel. the Reverb mix tab and make the Phones 1-2 channel. #6 on page 33) lets you add
individual adjustments there. All additional USB channels from the
4. These inputs represent the mixes include the Reverb channel, 7. This Computer USB channel changes, computer. See “Mix USB Channels”
UltraLite-mk5’s optical input except the Reverb mix itself. depending on which mix you are on page 44.
channels. If ADAT is chosen as the viewing. It represents any computer

38
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 41.
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 42. The Gate is only available on mic/line/inst
4 inputs. See “Gate” on page 42.
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 -∞. If the fader is already at
-∞, double-clicking moves to unity gain (0 dB).
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 44.
10. Channel solo. When you solo a channel, it mutes all
7 other inputs on the bus (as is customary in a tradi-
tional “solo-in-place” model on a mixing console. In
other words, there is no separate solo bus.)

10

39
CU E M IX 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 39) to access the Channel Settings and/or gain for the band. EQ” on page 41.
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 42.
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 42.
the channel.
14 15

40
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 38)
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 40. 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.
Q All input effects
Enabling EQ bands
Q Reverb
Each band has an enable/disable button (item #6
However, all mix bus EQ’s (including Phones) on page 40), 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 40):
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.

Q 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
Q 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
Q 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 39). frequencies below the frequency setting.

41
CU E M IX 5
 GATE COMPRESSOR
Mic/line/inst channels 1-2 (item 1 on page 38) All analog input channels (items 1 and 2 on
provide a Gate (Figure 6-1). page 38) 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 39). gate thumbnail (item #2 on page 39).

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.

42
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 37) 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 37) 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 38).

Figure 6-4: The reverb processor.

43
CU E M IX 5
 MIX INPUT METERS SAVING AND RECALLING DEVICE PRESETS
The Mix input Meters menu (item #5 on page 33) Use the Save and Load buttons in the CueMix 5
offers two settings: Pre-fader or Post-fader. This Device tab (item #15 on page 34) to save and recall
setting lets you choose whether the input meters UltraLite-mk5 device presets to your computer
in CueMix 5 display levels before or after the hard drive. A preset saves the entire state of the
signal passes through the fader’s gain stage. UltraLite-mk5 interface, including all device
settings, mixes and effects settings.
Post-fader metering is calculated as the
Post-FX send level, plus the fader value. Therefore, THE MONITOR GROUP
if the pre-fader signal goes above zero dBFS, the The Monitor Group (item #2 on page 36) allows
resulting post-fader meter value will not include you to add additional analog outputs to be
the magnitude of the signal above zero dBFS. controlled as a group by the main volume knob on
the front panel (and the corresponding knobs in
MIX USB CHANNELS the Home tab and Output tab in CueMix 5). For
The Mix USB Channels menu (item #6 on page 33) example, you could group Outputs 1-6 or 1-8 to
offers two settings: Default or Additional. control a 5.1 or 7.1 surround system, respectively.
Choose the desired outputs in the Monitor Group
Default
section in the CueMix 5 Output tab, as shown
Each mix (Main 1-2 mix, Phones 1 mix, Phones 2
below in Figure 6-5. After doing so, the main
mix, etc.) includes USB channels coming from the
volume knob (on both the front panel and in the
host computer (from your DAW or other audio
CueMix 5 Home and Output tabs) affect all of
software) so that you can mix computer output
them.
with the UltraLite-mk5’s physical inputs. With the
Default setting chosen, each mix includes the
Main 1-2 USB channels, plus the USB channels
going to the mix itself (such as the Line 5-6 for the
Line 5-6 mix). See items #6 and 7 on page 38.
Figure 6-5: The Monitor Group. In this example, outputs 3-6 have been
Additional added to Main Out 1-2 for monitor control of a 5.1 surround system.
The Mix USB Channels setting lets you add
Main Out 1-2 are always part of the Monitor
Additional USB channels to each mix, which
Group, so they cannot be enabled or disabled like
appear as additional channel strips in each mix
the other analog channels.
tab, as shown by item #9 on page 38. This allows
you to include multi-channel output from your
host software as part of the mix, with independent
mix control for each USB channel pair (volume,
pan, effects, etc.)
Figure 6-6: When A/B Mode is enabled, the Monitor Group controls
both pairs of A and B outputs (Main Out 1-2 and Line Out 3-4, respec-
tively). See “A/B Mode” below.

Use the trim controls in the CueMix 5 Output tab

to trim Monitor Group outputs relative to each
other.

44
CUEMIX 5
A/B MODE Talkback setup
The A/B controls in the Home and Output tabs To set up talkback:
(item #9 on page page 32 and item #3 on page 36)
provide controls for the primary and secondary 1 Plug in a microphone to the UltraLite-mk5 Mic
monitors in your studio, referred to as A and B. input 1 or 2. Enable 48V phantom power, if it is a
condenser mic.
Output connections for Monitor A and B
Monitor pair A should be connected to the Main 2 In CueMix 5’s Home tab, choose the mic input
Outs 1-2 and monitor pair B to Line Outs 3-4. from the Source menu.

Enabling A/B monitor mode 3 In the Destinations menu, check the outputs
To enable or disable A/B monitor mode, press the you wish to send the talkback signal to.
AB ON button. When enabled, the output
channels in monitor group A and B share the same 4 Adjust the Talkback settings as explained
audio signal (assigned to the channels in group A). below.

Monitor A/B select Talkback settings

To select a monitor pair and mute the other pair, Talkback has the following settings (Figure 6-7).
press A or B (Figure 6-6). Press BOTH to hear
Talk
both sets of monitors simultaneously. Press and hold the Talk button (Figure 6-7) to
engage the talkback mic..
A/B volume control and separate trim
Control the volume of both Monitor A and B pairs
Latch
with the front panel MAIN VOL knob (above the When Latch is engaged (Figure 6-7), the Talk
headphone jack). This knob controls both pairs. button remains engaged when you click it, until
To adjust their volume relative to one another, use you click it again to disengage, so you don’t have to
their trim controls in the Output tab (item #5 on hold it down while speaking.
page 36).
Level
TALKBACK The Talkback Level setting controls the volume of
Talkback allows an engineer in the control room the talkback signal, as an additional gain stage
to temporarily dim or mute all audio and talk to after the talkback mic preamp gain and pad.
musicians during a recording session. Talkback
requires a microphones located in the control Dim
room, near the engineer. If you are feeding a monitor mix to the musicians
on the same Aux bus as your talkback mic, use the
Dim knob (Figure 6-7) to control how much the
monitor mix will be attenuated when talkback is
engaged. This gives you control over the relative
volume between the talkback mic signal and all
other audio on the mix bus. To control overall
volume of everything, use the bus fader.
Mic effects
Figure 6-7: talkback settings can be found in the CueMix 5 Home tab.

45
CU E M IX 5
 Mic effects
Click the Mic effects thumbnails (Figure 6-7) for
quick access to the EQ, compressor and gate
effects for the mic input you are using for talkback.
These are the same settings found in the mix tabs
for that mic input (items #1 and 2 on page 39).

SAVING AND RECALLING DEVICE PRESETS

Use the Save and Load buttons in the CueMix 5
Device tab (item #15 on page 34) 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.

46
CUEMIX 5
DISCOVERY TAB

7 2

3
4
5
6

Click Discovery in the CueMix 5 side bar below), you do not need to log out 2. This menu (the gear icon) provides 5. Connect to virtual UltraLite-mk5 is
(item #15 on page 32) to access the to switch to another device. You can access to the menu items shown the same as above for the 828: it lets
Discovery tab, which allows you to stay logged in while switching to below. you work with CueMix 5 settings for
access any available MOTU Gen 5 devices and from a password-protected the UltraLite-mk5 when the
(such as the UltraLite-mk5 and 828) device. 3. Connect to IP address lets you hardware is off line.
connected to your host computer, or any connect directly to a MOTU device by
MOTU Gen 5 devices on your local area IMPORTANT NOTE: if you are using entering its IP address on the 6. If you have password-protected
network (LAN) via Ethernet or Wi-Fi. your MOTU Gen 5 device with a network. You can then view all of its multiple MOTU Gen 5 devices for
computer that is on a network, settings in the other CueMix 5 tabs. security purposes while operating
1. The Available Devices list displays security can be an issue. You can them on a network, choose Log out
Any MOTU devices that are assign a password to your device to 4. Connect to virtual 828 lets you work of all devices to prevent unautho-
connected to the computer you are prevent unauthorized access to its with CueMix 5 off line, when no 828 rized access from the computer on
running CueMix 5 on, or any devices settings. You can also control hardware is accessible or available which you were logged in. To log out
connected to a computer on the whether it is visible on the network, (i.e. there is no 828 present in the list of an individual device, switch to
same Ethernet/Wi-Fi network. Click and you can give it a name for easy of available devices). You can look at that device and use Log out of Device
any device in the list to view its identification. See items 8, 9 and 10 all CueMix 5 settings and create and (item #14 on page 32).
settings in CueMix 5. CueMix can on page 33. save presets off line. You can then
only access one device at a time, so load presets into the hardware, once 7. Click this Back button to return to the
use this tab to switch between ALSO NOTE: to access a MOTU device it is back on line. other CueMix 5 tabs for the currently
multiple devices, if you have them. connected to another computer on selected device.
You can freely switch devices at any the network, CueMix 5 must be
time. Note that if any of the devices installed on the computer.
are password-protected (see

47
CU E M IX 5
48
CUEMIX 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
Digital Performer, MOTU’s state-of-the-art digital tab on page 33) is important because it determines
audio workstation software, is available separately; the master digital audio clock for your system.
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 resolving your host software to optical or another
Run the CueMix 5 app . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 external clock source, choose Internal.
Choose the UltraLite-mk5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
If you have devices connected to the optical ports,
Reducing monitoring latency. . . . . . . . . . . . . . . . . . . . . . . . . . . 50
see “Choosing a clock source for optical
Loopback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
connections” on page 25.
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 25.
before proceeding:

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

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

49
 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 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
50
WO RK ING WI TH HO S T AU DIO SO F T WA RE
outputs. For details, see “Mix tabs” on page 37. 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 37) 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 37) 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.

51
WO RK IN G WIT H HO ST AU D IO SO F T WA R E
 Q Responsiveness of transport controls and effect

knobs in Performer Lite, Digital Performer or

other audio software.
Q 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 #11 and 12 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
Q Monitoring latency little bit slower.
Q The load on your computer’s CPU

52
WO RK ING WI TH HO S T AU DIO SO F T WA RE
Effects processing and automated mixing However, some host audio applications don’t
Reducing latency with the buffer size setting has provide a way to choose from among several input
another benefit: it lets you route live inputs channel pairs, or they can only present a few
through the real-time effects processing and mix choices for input channels. This can especially be
automation of your audio software. true for video-conferencing or podcasting-related
applications, for which the loopback feature is
LOOPBACK crucial. In cases like these, choosing the USB In
Use the Loopback 1-2 input channels provided by 1-2 option guarantees that the host software has
the UltraLite-mk5 audio driver to send USB audio access to the loopback channels because they are
output from your computer – or any the first channels in the list, which may be the only
UltraLite-mk5 mix – back to the computer. two channels that the software can access.
Choose the desired source from the Loopback Mixing loopback with live inputs and disk tracks
menu (item #10 on page 36). If you need to mix the loopback channels with live
inputs, do the following:
The loopback channels return the chosen signal
back to the computer so that you can capture the 1 Choose a mix from the Loopback menu.
signal in your host software, stream it to the web
or broadcast it with podcasting software. 2 Go to the mix tab for that mix (item #1 on
page 37) and bring up the fader(s) for the
Loopback location computer USB channels you want to hear.
The Loopback Location setting (item #4 on
page 33, and below in Figure 7-6) determines the 3 Bring up the faders for any live inputs you want
placement of the loopback channels within the list to add to the mix. When you do so, their signal is
of input channels available in your host audio mixed with the computer USB channels.
software. There are two choices, as shown below.
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.

Figure 7-6: Loopback location.

The default location is USB In 9-10, which is just

after the eight analog input channels. Alternately,
you could choose USB In 1-2 (the first two
channels in the list).

If your host audio software presents all

UltraLite-mk5 input channels in its UI (wherever
input channels are displayed), then this setting is
mostly comes down to personal preference.

53
WO RK IN G WIT H HO ST AU D IO SO F T WA R E
54
WO RK ING WI TH HO S T AU DIO SO F T WA RE
 Part3
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 50.
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 25 and “S/PDIF” on
interface. After restarting, open System
page 25. 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 50.
57
 TECHNICAL SUPPORT rfront panel of the unit and at the bottom of the
If you are unable, with your dealer’s help, to solve Device tab in the CueMix 5 app (item #16 on
problems you encounter with your MOTU device, page 34). You must be able to supply this number
you may contact our technical support to receive technical support.
department in one of the following ways:
Q A brief explanation of the problem, including

Q Live Chat: You can connect directly with a

the exact sequence of actions which cause it, and
technician Monday through Friday between the contents of any error messages which appear
10 AM and 5 PM Eastern Time. on the screen.
Q The pages in the manual that refer to the
Q Schedule a call: You can schedule a callback
time to speak with a technician by phone Monday features or operation of your MOTU Device or
through Friday between 1 PM - 5 PM Eastern Performer Lite with which you are having trouble.
time. Q The version of your computer’s operating
Q Support ticket: You can submit an online
system.
support ticket at any time, 24 hours a day, 7 days a We’re not able to solve every problem immediately,
week. A technician will get back to you in 1-2 but a quick call to us may yield a suggestion for a
business days. problem which you might otherwise spend hours
Please provide the following information to help trying to track down.
us solve your problem as quickly as possible:
If you have features or ideas you would like to see
Q The serial number of your MOTU device. This
implemented, we’d like to hear from you. Please
is printed on a label placed on the bottom of the use our online suggestion box at www.motu.com/
unit. It is also displayed in the display menu on the suggestions.

58
AP P E ND IX A: TR O U BL E SHO OT ING
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

59
 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

60
AP P E ND IX B: AU DI O SP E C IF IC AT IO 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-
Q (2) L-shaped half-rack mounting brackets (A) rack mounting brackets (A) as shown.

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

Questions? Contact MOTU technical support at

motu.com/support.

B B
A A

61
62
A P P E ND IX C: HA L F - R ACK M O U NT IN G KIT
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.
Q (2) L-shaped rack mounting brackets (A)
3 Using the hex wrench, remove the hex screws
Q (1) Rectangular joiner bracket (B) (E) on the outer side panels of each half-rack unit
Q (4) Hex screws for joiner bracket (C) (D).

Q (1) 2.5 mm L-shaped hex wrench (not pictured) 4 Use the removed screws (E) to attach the half-
Q (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

63
64
A P P E N DI X D: H A L F- R AC K CO U P LE R KIT
 Index
+4dB analog input 23 Compressor effect 42 loopback location 53
-10dB analog input 23 Computer USB channels (CueMix 5) 38 DSP
19-inch rack installation 61, 63 Condenser mic input 23 effects 41
-20 dB pad Connect to IP address 47 Dynamic mic 23
control from computer 32, 35 Connect to virtual 828 47

24-bit
control from front panel 9 Connect to virtual UltraLite-mk5 47
Controller EEffects 41
optical 10, 12, 25 connecting 26
2x SMUX mode 25 Converters 10 Enable Windows Audio Streams 34
48V phantom power 35 Core Audio driver 50 EQ 41
5.1 surround monitoring 36 Core MIDI enabling 41
5.1/7.1 surround monitoring 44 Audio MIDI Setup 19 filter types 41
7.1 surround monitoring 36 benefits 19 frequency 41
828 Cubase 49, 50 gain 41
presets 44 clock source 49 Q 41
sample rate 49 Equipment rack installation 61, 63

A
A/B monitoring 32, 36, 45
CueMix 5 18, 31-46
app 46 FFactory defaults 30
channel settings 40
Ableton Live 49, 50 channel strips 39
ADAT optical 10, 12, 25 Firmware
Device tab 33 select image 34
connecting 25 Home tab 32
input format 35 updating 34
Input tab 35 version 30, 34
monitoring live 38 iOS app 46
output format 36 Four-band EQ 41
Main Out 1-2 35 Frequency
output source 25, 36 mic input settings 35
Analog inputs EQ 41
mix inputs 38 Front panel 29
making connections to 23 Mix tabs 37
monitoring live 38 metering 29
Output tab 36 Front panel display
phase invert 35 saving/recalling presets 34, 44, 46
trimming 23 menu 30
sidebar 32 menu navigation 30
Analog outputs Customer support 57
making connections to 23
monitor mixes for 37
trimming 23 D G
Gain
Apple DAT EQ 41
GarageBand 50 connecting 25 reduction 42
Logic Pro 50 Device Name 33 GarageBand 49, 50
ASIO Device Password 33 clock source 49
driver 50 Device tab 33 sample rate 49
monitoring 51 Clock source 33 Gate effect 42
Attack Device presets 44 GR (gain reduction) 42
Compressor 42 device presets 34, 46 Guitar
Gate 42 Enable windows audio streams 34 connecting 23
Audio MIDI Setup utility 19 Firmware version 34
Auto Wake 30
Available Devices 47
Host buffer size 33
Loopback 33 H
Half-rack
Avid Pro Tools 50 Loopback location 53
Mix Input Meters coupler kit 63

B
Back panel
pre/post fader 33, 44
Mix USB Channels 33, 38, 44
mounting kit 61
Headphones
Safety Offsets 33 connecting 8, 9
Main Out 1-2 10, 35 Sample rate 33 jack 9
Balanced analog 23 Serial number 34 mirroring main outs 38
Buffer Size 18, 33 Digital Performer 49, 50 monitoring inputs 32
Direct hardware playthru 51 volume control from computer 32, 36
C
Class compliance 17
Dim 45
Direct ASIO monitoring 51
volume control from front panel 9
Home tab 32
Clear Solo 37 Direct hardware playthru 51 Host
Clock section (front panel display) 29 Discovery 32 Buffer Size 18, 33
Clock Source 33 Display setting 30 loopback 33, 53
Coax 12 Driver loopback location 53
Cockos Reaper 50 installation 7, 17, 31 Safety Offset 18
loopback channels 33, 53

65
I ND EX
 IInput Monitoring (CueMix 5) 32 monitoring inputs 32
volume control from computer 32, 35
Output tab (CueMix 5) 36
Outputs
volume control from front panel 9, 23 analog (balanced TRS) 10, 23
Input tab (CueMix 5) 35 Mic/instrument inputs 9, 22 MIDI 10, 26
Inputs 48V phantom power 9 optical 10, 25
analog (balanced TRS) 10, 23 control from CueMix 5 32, 35 S/PDIF (RCA) 10, 25
metering (pre/post fader) 33, 44 control from front panel 9 S/PDIF (TOSLink) 10, 25
mic/instrument 9, 22 monitoring live 38
P
MIDI 10, 26 overview 11
monitoring 32 pad 9
optical 10, 25 phase invert 9 Pad 22, 35
phase invert 35 preamp gain/pad/48V 9, 35 control from computer 32, 35
S/PDIF (RCA) 10, 25 MIDI control from front panel 9
S/PDIF (TOSLink) 10, 25 connections 26 Patch thru
Installation jacks 10, 26 latency 52
equipment rack 61, 63 overview 12 Performance 52
hardware 21 software setup 19 Performer Lite 13, 18, 49, 50
iOS connection 21, 22 thru 26, 30, 33 Phantom power 9, 22, 23
QuickStart Guide 7 Windows driver installation 19 control from computer 32, 35
software 17 Mirroring main outs 38 control from front panel 9
USB connection 21 Mix Phase Invert 35
iOS operation 17, 21, 22, 46 effects 41 Phones (see headphones)
IP address 30 Input Meters setting 33, 44 Phones 1-2 mix 37
iPad/iPhone support 17 inputs 38 Post Fx option 24, 35
stand-alone operation 41 Power supply
K
Keyboard controller
tabs 37
USB Channels setting 33, 38, 44
jack 10
Power switch 29
Mix tabs 37 Pre Fx option 24, 35
connecting 26 Pre/post fader menu setting 33, 44
Mix tabs (CueMix 5) 37
Preamp gain 35
LLatch 45 Monitor
A/B output assignments 45 control from computer 32, 35
control from front panel 9
A/B select 45
Latency 18, 33, 50, 52 volume control 30, 45 Presets 34, 44, 46
Level 45 Monitor A surround 44 Pro Tools 49, 50
Lightpipe 25 Monitor Group 36, 44 Processing 41
Line inputs Monitoring
making connections to 23
monitoring live 38
thru headphones 32
thru main outs 23, 32
Q
Q 41
trimming 23 with/without FX 23, 35 QuickStart Guide 7
Line outputs MOTU

R
Main volume group 36 Digital Performer 50
making connections to 23 Gen5 Installer 7, 31
trimming 23, 36 Performer Lite 50 Rack installation 61, 63
Live 50 Ratio
Log out of all devices 47
Log out of device 32, 47 N
Network Control 33
Compressor 42
RCA S/PDIF
Logic Pro 49, 50 connecting 10, 25
clock source 49 Network settings 17 monitoring live 38
sample rate 49 Nuendo 49, 50 output source 25, 36
Loopback 33, 53 clock source 49 Re-amping 24
location 53 sample rate 49 Reaper 49, 50
source 36 Reason 49
O Propellerhead Reason 50
M
MacOS 49
Optical
connectors 10, 25
Registration 15
Release
input format 35 Compressor 42
audio software Gate 42
clock source 49 monitoring live 38
output format 36 Reset 30
sample rate 49 Reverb 43
system requirements 15 output source 25, 36
overview 12 routing to/from 43
Main 1-2 mix 37 Reverb mix 37
Main Out 1-2 S/PDIF 25
Optimization 52 monitoring 38
jacks 10
making connections to 23 Output tab 36

66
INDEX
SS/PDIF 12 Sync Windows sample rate to device 18, 34
Synths
setup example 8
specifications 59
connecting 8 summary of features 11
monitoring live 38 System requirements UltraLite-mk5
optical 10, 12, 25 minimum 15 presets 34, 46
optical input format 35 recommended computer 15 Unbalanced analog 23
optical output format 36 USB
TTalk button 45
optical output source 36 class compliance 17
optical source 25, 36 connection 21
RCA 10, 25 installing drivers 17
RCA output source 25, 36 Talkback 32, 45-46 loopback channels 33, 53
sync 25 dim 45 loopback location 53
Safety Offset 33 latch 45 monitoring 38
Sample rate 33 level 45 User presets 34, 44, 46
Screen Saver 30 settings 45

V
Select firmware image 34 setup 45
Serial number 30, 34 Technical support 57, 58
SMUX 25 Threshold Volume control 30
Software installation 7, 17, 31 Compressor 42
Sound module
connecting 26
Gate 42
Timeout (display) 30 W
Wave driver 50
Source To USB Host 23, 35
TOSLink 10, 12, 25, 35, 36 WDM (Wave) Driver 18
optical output 36
monitoring live 38 Windows
RCA S/PDIF 25, 36
output source 25, 36 Audio Streams 34
Stage monitors
Trim 22 Host Buffer Size 33
connecting 8
TRS analog inputs/outputs 23 latency 33
Stand-alone operation 29
TRS connectors 23 system requirements 15
Steinberg
Wave driver streams 34
Cubase 50
U
WDM (Wave) driver 18
Nuendo 50
Studio setup (example) 8
UltraLite-mk5
Surround monitor control 36
ASIO driver 50
Surround monitoring 44

67
I ND EX
68
INDEX