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I found myself constantly referring to the meters—both to help identify problem areas as well as to make sure I was maintaining phase coherency and tuning during tracking. Standalone use One interesting facet of working with the UltraLite-CueMix combo is that many of the features can be used without any connection to a computer. You can perform all of the routing and effects control functions from the front panel (although some things, like reverb setup, are much more easily done with the CueMix UI), and this box can easily works as a small mixer for gigging. I’ve worked with groups that have done this, and will admit to its convenience in comparison to hauling and setting up a mixer/effects system. My primary caution would be to make sure you really understand the interface (which is accessed with four knobs and a two-line display) before you depend on it for a show. Once you are comfortable with it, though, you will be surprised at its capabilities. I used it I’ve used the UltraLite in a number of situations, from studio tracking to off-site performance, and I’m not sure I can rave wildly enough about the system. For in-studio work, I’ve depended heavily on the CueMix system to replace both mixer and monitor controller, and have been very happy with the results (again, once I got used to the way CueMix FX works—with thanks to MOTU’s support department for clearing up a few misunderstandings). The sound of the UltraLite is very good, and both the DSP and metering devices were instrumental in getting the most out of both my performances and my mixes. The oscilloscope, in particular, is a very useful tool in my work environment; I have a modular synthesizer that has some “hidden” phase problems, and having the ‘scope up at all times gives me a quick way to identify problems before I get too deeply into recording. (Speaking of modular synthesizers, by the way, check out the sidebar on Volta, which provides a unique way to put the UltraLite or any other MOTU interface to work.) In performance, I took advantage of the mixing functions to eliminate about half of my haul-around rig. I was using the laptop anyway, so I took advantage of the extensive UI to quickly create the

appropriate mixes and effects setups needed. Since I’ve become a CueMix fan, I find it as quick to pull together a mix as with the standard mixer (with external effect) system I was used to using, and it sounds just as good. If I was going to work with a larger group of musicians in a live environment, I would probably investigate using a control surface (like a Mackie Control) as a front-end for CueMix— an option that was surprising to see in the CueMix implementation.

Recommended Probably the most significant measure of a device’s value is whether you would recommend it to people that trust your judgment. While I love the options that the UltraLite-mk3 Hybrid provides, the most telling statement is that I have recommended it to friends and colleagues a half-dozen times since I’ve started using it, and each has been thrilled with the result. In short, I’ll also recommend it to you. Whether you want a virtual mixing system, small-format audio interface or basic system with extreme visualizers (or a combination of all of these), I consider the MOTU Ultralite the best available product for the job. Price: $595 ($549 street) More from: MOTU, www.motu.com. Darwin Grosse (grosse@recordingmag.com) is a composer, engineer, producer, and audio man-of-all-work, still happily living several thousand feet above the rest of Colorado.

Volta
The Volta plug-in provides a number of features for the modular user. It can provide “voicing” voltages, with keyboard based envelopes and self-tuned pitch voltage based on incoming notes. It can also translate MIDI Control Change and automation data into control voltages as well, so you can automate changes in your analog system from the various drawing options in your DAW. It also receives clock information from the host, and provides a nifty step and gate sequencer through the outputs of your interface, and a useful sync-able LFO module with six waveforms. I’ve been using Volta since it was released, and will probably continue to use it ‘til they pry it out of my cold, dead hands. In addition to providing exceptional DAW integration, it also allows me to do things that I don’t have the modules (or money) to accomplish—with the included sequencing, LFO and envelope tools, I can actually perform analog feats that would otherwise cost me thousands of dollars. I also appreciate that the voicing system allows me to use my interface’s outputs to have polyphonic note output—something that is very difficult for analog-heads to find at any price. I’ve taken advantage of this more than once, and am blown away by the additional functions available through Volta. The system requires a special type of audio interface: one that has DC-coupled inputs and outputs. All current MOTU interfaces provide this I/O, but few others do. So it is most likely that you will need a MOTU interface for working with your analog synthesizer. I also found a few cases (with Apple Logic Studio in particular) where the DAW chooses and labels outputs for its audio stream in a way that interferes with Volta’s channel assignments. This can require some manual relabeling and note-taking, but there is nothing here that can’t be worked around with a little patience, and it doesn’t affect Volta’s flawless operation. If you have an analog synthesizer that can take voltage for control (especially one of the new breed of analog modular systems), it’s hard to imagine that you wouldn’t use Volta. With its many functions, you may want to defer that next envelope or sequencer purchase long enough to pick up this software—it opens up a whole new world of possibilities!—DDG
RECORDING MARCH 2011

Volta Among MOTU’s recent software offerings is an oddity—a software synthesizer that doesn’t produce any sound, making your interface produce signals no one can hear. Huh? The Volta plug-in ($249, $199 street) doesn’t create sound—it routes signals to hardware that understands control voltages. Generally speaking, we are talking about modular synthesizers: the big beasts of the ’70s that are finding a new audience among adventurous musicians. Volta exists so that modular synth users can take advantage of digital audio workstation features without surrendering their beloved hardware.

http://www.motu.com

Recording - March 2011

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