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The Traveler-mk3 is MOTU's most advanced FireWire audio interface. Once again it raises the bar with innovative new features, enhanced standard features that remain unique, superb sound and reliable performance.
Engineered for high-end mobile recording applications, the Traveler-mk3 delivers four very high quality mic inputs, bus power, optional battery power and DSP-driven mixing and effects processing.
The Traveler-mk3 provides eight channels of pristine 192 kHz analog recording and playback, combined with twenty channels of digital I/O in ADAT optical, AES/EBU and S/PDIF formats. Expand your system by connecting additional MOTU FireWire audio interfaces or the 8pre mic input expander.
The Traveler-mk3 is equally well-suited for studio, stage and remote locations, with or without a computer. As an interface or stand-alone mixer, the Traveler-mk3 provides 28 separate inputs and 30 separate outputs, including four XLR/quarter-inch “combo” mic/instrument analog inputs equipped with pre-amps, individual 48V phantom power switches and Digital Precision Trim™ controls conveniently adjusted from the front panel or CueMix FX™ software.
MOTU FireWire audio interfaces are fully compatible with FireWire 800-equipped Macs. All you need is a standard FireWire 400-to-800 cable. Just plug in and go. The FireWire bus operates at 400 Mb/sec, providing the same high speed, low latency and rock solid reliability that MOTU FireWire interfaces are known for.
Connect all of your audio instruments and gear, including mics, guitars, synths, keyboards, drum machines and even effects processors. Record, monitor, route and process all of these live inputs using the professional on-board CueMix FX digital mixer with no latency and no processor strain on your computer. Apply hardware DSP-driven effects processing to inputs, outputs, and busses independent of your host computer.
Add Classic Reverb™ with lengths up to 60 seconds. Further sculpt your sound with 7-band parametric EQ featuring filter types carefully modeled after British analog console EQs. Choose between two forms of compression: a conventional compressor and the Leveler™, an accurate model of the legendary LA-2A™ optical compressor that provides vintage, musical automatic gain control. When recording from the four mic/guitar inputs, the Traveler-mk3’s signal overload protection gives you an extra 12 dB of headroom above zero with no clipping or harsh artifacts.
After programming the on-board mixing in the studio, unplug the Traveler-mk3, remove the rack brackets, and take it on the road for operation as a portable, bus-powered audio interface for a laptop or battery-operated stand-alone mixer with effects. The Traveler slides easily into your backpack and fits neatly beneath your laptop. All mixing and effects parameters are adjustable using the front panel backlit LCD. Record extended sessions even in the most remote locations with the complete freedom of field battery power.
The Traveler-mk3 provides cross-platform compatibility with Mac and Windows and all of your favorite audio software and host-based effects via WDM/ASIO/Core Audio drivers. Or you can use the included AudioDesk workstation software for Mac, with 24-bit recording/editing and 32-bit mixing/processing/mastering.
Mic/guitar inputs
Four 24-bit 192 kHz mic/guitar inputs are equipped with high quality preamps, plus overload protection and all the features you need to record any mic or guitar with excellent sound quality.
Each input provides both a low-impedance XLR mic input and a true high-impedance quarter-inch guitar input jack. For condenser mics, each input is equipped with its own 48V phantom power switch.
Precision digital trim with pad
The preamps provide 53 dB of gain, which you can adjust in precise 1 dB increments using the detented digital rotary encoders on the front panel. As you turn the encoder, you see graphic and numeric feedback in the front panel LCD, so you know exactly how much gain you are applying. Push the encoder to engage or disengage the 20 dB pad. These digital controls give you both precision and the ability to save and recall trim settings.
V-Limit™ hardware limiter
All four mic/guitar inputs are equipped with V-Limit™, a hardware limiter that helps prevent digital clipping from overloaded input signals. With V-Limit enabled, signals can go above zero dB (where limiting kicks in) to as high as +12 dB above zero with no distortion due to digital clipping.
Soft Clip™
Additional protection can be applied to the mic/guitar inputs by enabling the Traveler-mk3's Soft Clip™ feature, which engages just before clipping occurs and helps reduce perceptible distortion.
Comprehensive I/O
The Traveler-mk3 allows you to connect a wide variety of studio gear, including microphones, guitars, synths, keyboards, drum machines, effects processors and more.
Digitally controlled analog input trim
In addition to an independent +4/-10 reference level switch, each balanced quarter-inch (TRS) analog input on the rear panel is also equipped with 12 dB of additional Precision Digital Trim.
Level matching analog inputs has never been easier or more convenient. You can carefully tune the balance among your analog inputs using the CueMix FX software (or front panel LCD menus) and then save the entire configuration on disk for instant recall. You can create and save as many trim configurations as you need.
Rear panel I/O
Eight balanced (TRS) 24-bit analog outputs, four analog inputs and four preamp inputs all operate at sample rates up to 192 kHz. Two optical banks provide 16 channels of ADAT optical at 48 kHz, 8 channels of S/MUX optical I/O at 96 kHz or two banks of stereo TOSLink at rates up to 96 kHz. The banks operate independently, allowing you to mix and match any optical formats. RCA S/PDIF and XLR AES/EBU connectors also supply independent stereo digital I/O.
Input
Output
Analog 24-bit 192-kHz on +4/-10 bal/unbal TRS
4
8
Mic preamps 24-bit 192-kHz on XLR/TRS combo
4
-
Headphone output*
-
stereo
ADAT optical (digital)†
16
16
S/PDIF 24-bit 96-kHz (digital)
stereo
stereo
AES/EBU 24-bit 96-kHz (digital)
stereo
stereo
Total
28
30
* The phone jack can operate as an independent output pair, or it can mirror any other Traveler-mk3 output pair, such as the main outs (analog 1-2).
† The two optical banks provide 16 channels of ADAT optical at 48 kHz, 8 channels of S/MUX optical I/O at 96 kHz or two banks of stereo TOSLink at rates up to 96 kHz. The banks operate independently, allowing you to mix and match any optical formats.
Control room monitoring
Powered monitors can be plugged directly into the outputs of the Traveler-mk3 and you can attenuate the output from the software or the front-panel MASTER VOL control. Main out volume is not limited to stereo operation: quad, 5.1, 7.1 and even user-defined configurations are available. You can even program the Traveler-mk3 to control all 30 outputs with the MASTER VOL knob.
Mixing and effects
The Traveler-mk3 is an audio interface, but it's also a 16-bus digital mixer, complete with EQ, compression and reverb.
The Traveler-mk3 is really two devices in one: an audio interface plus a 28 x 16 digital mixer. In fact, you could even think of the Traveler-mk3 as a portable digital mixer in a compact, mobile form factor.
A 28 input by 16 bus digital mixer with effects
Operating as either a computer interface or stand-alone, the Traveler-mk3 provides DSP-driven digital mixing with effects processing (reverb, EQ and compression) for all 28 inputs. You can connect all your gear and then mix, process and monitor everything from the Traveler-mk3’s main outs or headphone jacks.
All I/O is routed to the on-board 16-bus (8 stereo) digital mixer driven by hardware-based DSP with 32-bit floating point precision. The mixer allows you to apply no-latency effects processing to inputs, outputs or busses directly in the Traveler-mk3 hardware, independent of the computer. Effects can be applied when the Traveler-mk3 is operating stand-alone (without a computer) as a mobile digital mixer. Input signals to the computer can be recorded wet, dry, or dry with a wet monitor mix (for musicians during recording, for example).
Complete mixing at your fingertips
All of the mixer settings in the Traveler-mk3 are accessible from the programmable front-panel backlit LCD. You can also launch the CueMix FX™ control software for Mac OS X, Windows XP and Windows Vista. CueMix FX provides complete on-screen access to the Traveler-mk3's on-board, hardware-based mixing environment.
CueMix FX software Classic reverb 7-band parameteric EQ Vintage compression
CueMix FX software
CueMix FX gives you comprehensive graphic control over your mix.
CueMix FX is a completely new software front-end with attractive graphic mixing, graphic editing of parametric EQ and a convenient tabbed interface for quick access to all mixing features, digitally controlled trims and other settings in your MOTU FireWire audio interface.
CueMix FX can be operated side by side with any host audio software for Mac or Windows, and it can be controlled from the Mackie Control Universal Pro automated worksurface.
One window with convenient tabs
Three separate tabs show inputs, mix busses and outputs. Click the "Focus" button on any channel or bus to edit its settings in the area on the right-hand side, which provides separate tabs for graphic editing of parametric EQ, compression and other effects. Each channel strip displays a graphic thumbnail of EQ curves, compressor settings and other channel specific parameters. There is also a section for talkback and listenback.
Eight stereo buses
Your MOTU FireWire audio interface supports up to eight separate stereo mixes (seven for the UltraLite-mk3) assigned to any digital or analog output pairs. For example, you could set up separate monitor mixes for the main outs and headphone outs, while two additional stereo buses could be used for send/return loops to reverb units or other outboard gear. Each mix can support all inputs (analog and digital).
DSP resources for mixing and effects
The CueMix FX flexible effects architecture allows you to apply EQ and compression on every input and output (up to 58 channels, depending on your interface), with enough DSP resources for at least one band of parametric EQ and compression on every channel at 48 kHz. However, DSP resources are allocated dynamically and a DSP meter allows you to keep tabs on your interface's CueMix FX processing resources.
Each input, output and mix bus provides a send to the Classic Reverb processor, which then feeds reverb returns to mix buses and outputs, with a selectable split point between them to prevent send/return feedback loops.
Talkback and Listenback
CueMix FX provides Talkback and Listenback features. Talkback allows an engineer in the control room to temporarily dim all audio and talk to musicians in the live room. Conversely, Listenback allows musicians to talk to the control room. For Talkback, you can set up a dedicated mic in your control room and connect it to a mic input on your interface. For Listenback, you can use one of the recording mics in the live room or you can set up a dedicated listenback mic for the musicians and connect it to a spare mic input.
Stereo operation
Two channels can be grouped to a single fader for stereo operation. Two stereo panning modes are available: balance and width. Balance mode works much like a normal stereo balance control, one channel fades in and the other fades out. Width mode collapses the stereo image to mono by adjusting the relative pans of each channel gradually to center.
For stereo inputs, an optional M/S (mid-side) decoder can be enabled with adjustable width control and software-swappable inputs.
Software metering
Signal activity of all inputs, busses and outputs can be monitored via the meters pane. In addition to the meters present on individual channels, a high-resolution meter and output bus activity associated with that channel can be displayed in the primary status window.
Effects programming
The EQ, compression and reverb tabs give you complete access to CueMix FX on-board effects, and because they are driven by hardware DSP inside the interface itself, they won't tax your host computer's CPU. You can even use the effects without a computer connected.
The tabs shown above let you focus on one channel at a time and edit its settings using the high-resolution graphic display. But EQ and dynamics settings can also be edited on all channels in line (within each channel strip), where you can compare critical settings side-by-side, as shown below.
Advanced real-time signal analysis
CueMix FX provides an optional real-time FFT display super-imposed on top of the graphic EQ curve so you can see as well as hear the effect of your equalization adjustments.
CueMix FX also provides real-time spectrogram "waterfall" display that provides rich, detailed visual information about the frequency content of any signal or mix. You can expand the spectrogram to fill the entire resizable CueMix FX on-screen window. You can also combine the spectrogram with the FFT display and EQ curve in the same display, or separate them to view them individually but simultaneously.
Oscilloscope
The new CueMix FX Oscilloscope graphs the amplitude of an audio signal in real time, just like a real hardware oscilloscope. It opens in a separate window that can positioned anywhere on screen and adjusted to any size. With many features found on conventional oscilloscopes, the CueMix FX oscilloscope will feel easy and familiar to expert users, and it will be an ideal way for beginners to learn the basics of how to use one. But innovative features are also provided, including Waveform Recognition, which searches through new audio data looking for a waveform which most resembles that which was previously displayed. The result is a highly stablized, easy-to-view waveform on screen that transforms its shape based on important changes to the incoming signal.
The new oscilloscope can be used in many ways during the routine operation of your recording studio. For example, you can:
Analyze and compare harmonic content
View transients such as drum hits when tweaking signal processing settings (such as compression)
Perform accurate clip detection
Build synthesizer patches with live, real-time visual feedback as you make changes
Build guitar tones while visually observing the effects of pedals, processing, etc.
X-Y Plot
The X-Y Plot window graphs a stereo signal on a standard grid with left-channel amplitude on the x-axis and right-channel amplitude on the y-axis. Stereo material that is said to be "in polarity" (i.e., phase aligned) appears along the x = y axis:
Stereo material that has phase problems will appear along the x = -y axis meaning the signal will appear predominantly in the upper left and lower right of the display. A signal with an extremely wide stereo field will appear much more randomly (not along either axis).
Phase Analysis
The Phase Analysis window graphs frequency versus phase difference versus amplitude of a stereo signal on either rectangular or polar coordinates. In the rectangular view, the vertical axis represents frequency, and the horizontal axis represents the phase of the left channel minus the phase of the right channel. Stereo audio that is predominantly in polarity will appear centered along the center vertical axis:
Frequencies that would be canceled by summing to mono are those that touch the -1.0 or +1.0 lines on the left and right.
In the polar view, the radius represents frequency and the angle (theta) from the +y vertical axis represents the phase difference of left channel minus the right channel. Stereo audio that is generally in phase will appear along the +y axis (above the center point). The more the audio signal "tips" to the left or right, the more out of polarity it is. If it is completely out of phase, it will point downwards from the center point and hover around the -y axis (the part of the y axis below the center point):
Applications
Phase analysis can be used for a broad range of applications in the studio and on the stage. Here are just a few ideas:
Recording with multiple mics — the Phase Analysis window lets you compare multiple mic sources with each other to check for potential phase cancellation caused by varying distances in mic placement from the recorded source.
Checking the overall polarity of a stereo mix — quickly check for phase issues in your stereo mix.
Summing to mono — if your stereo material needs to be summed to mono, Phase Analysis lets you see what frequencies will be canceled out when summed.
Tuning and checking PAs or sound reinforcement — place mics in strategic locations in your venue to check for critical phase issues in the listening environment.
Audio as visual art
The X-Y Plot and Phase Analysis displays make for some seriously freaky visual results, depending on the audio signal you run through them. If you do any visual effects work on the side, take note:
Front-panel LCD access to all mix settings
All of the mixing features described on these pages (except for the signal analysis tools mentioned above) are available during stand-alone operation, and all of them can be accessed from the front panel LCD. This means you can program your mixes with the CueMix FX software in the studio and then take your MOTU interface on the road as a stand-alone digital mixer. Tweak your mix on location from the front panel.
Classic Reverb
Apply smooth, detailed reverb with several room models, three independent frequency bands and length up to 60 seconds.
The CueMix FX Classic Reverb™ provides five different room types, three frequency bands with adjustable crossover points, shelf filtering and reverb lengths up to 60-seconds.
Each input, output and mix bus provides a send to the Classic Reverb processor, which then feeds reverb returns to mix buses and outputs, with a selectable split point between them to prevent send/return feedback loops.
7-band EQ
Modeled after analog British console EQ's, known for their highly musical gain/Q settings, CueMix FX EQ provides a high pass filter, low pass filter, two shelving or parametric filters and five parametric bands.
The EQ section provides 7-band parametric EQ modeled after British analog console EQ's, featuring 4 filter styles (gain/Q profiles) to effectively cover a wide range of audio material. LP and HP filters are also supplied with slopes that range from 6 to 36 dB per octave.
EQ settings can be adjusted graphically by dragging control points on the large graph in the main EQ tab, as shown above, or using the knobs for individual bands in each channel strip, demonstrated below:
Vintage compression
CueMix FX's flexible dynamics processing includes a high-quality conventional compressor, plus a leveling amplifier modeled after the legendary LA-2A™ optical compressor.
Conventional compressor
CueMix FX offers a conventional compressor with standard controls for threshold, ratio, attack, release and gain.
Adjust the threshold graphically while viewing accurate, long-throw metering in the compressor section of the CueMix FX software.
Leveler (automatic gain control)
The CueMix FX Leveler™ is an accurate model of the legendary Teletronix™ LA-2A™ optical leveling amplifier, known for its unique and highly sought-after Automatic Gain Control (AGC) characteristics.
Conventional compression and limiting with threshold, attack, ratio, release, etc. do not apply here: the heart of the LA-2A is the T4 opto-coupler, a photoelectric device with almost magical (signal dependent) self-adjusting behavior that makes optical compressors the tool of choice for smoothing out just about any audio material, from vocals to bass guitar to full-program mixes, without destroying perceived dynamics.
The Leveler faithfully models the LA-2A using the on-board DSP with 32-bit floating point precision. Its controls match the front panel of the original LA-2A: Gain Reduction and Makeup Gain knobs, along with Limiter/Compressor buttons.
7-band EQ
Modeled after analog British console EQ's, known for their highly musical gain/Q settings, CueMix FX EQ provides a high pass filter, low pass filter, two shelving or parametric filters and five parametric bands.
The EQ section provides 7-band parametric EQ modeled after British analog console EQ's, featuring 4 filter styles (gain/Q profiles) to effectively cover a wide range of audio material. LP and HP filters are also supplied with slopes that range from 6 to 36 dB per octave.
EQ settings can be adjusted graphically by dragging control points on the large graph in the main EQ tab, as shown above, or using the knobs for individual bands in each channel strip, demonstrated below:
Vintage compression
CueMix FX's flexible dynamics processing includes a high-quality conventional compressor, plus a leveling amplifier modeled after the legendary LA-2A™ optical compressor.
Conventional compressor
CueMix FX offers a conventional compressor with standard controls for threshold, ratio, attack, release and gain.
Adjust the threshold graphically while viewing accurate, long-throw metering in the compressor section of the CueMix FX software.
Leveler (automatic gain control)
The CueMix FX Leveler™ is an accurate model of the legendary Teletronix™ LA-2A™ optical leveling amplifier, known for its unique and highly sought-after Automatic Gain Control (AGC) characteristics.
Conventional compression and limiting with threshold, attack, ratio, release, etc. do not apply here: the heart of the LA-2A is the T4 opto-coupler, a photoelectric device with almost magical (signal dependent) self-adjusting behavior that makes optical compressors the tool of choice for smoothing out just about any audio material, from vocals to bass guitar to full-program mixes, without destroying perceived dynamics.
The Leveler faithfully models the LA-2A using the on-board DSP with 32-bit floating point precision. Its controls match the front panel of the original LA-2A: Gain Reduction and Makeup Gain knobs, along with Limiter/Compressor buttons.
Mobile operation
The Traveler-mk3 provides several power options for remote recording and mixing.
After programming the on-board mixing in the studio, you can unplug the Traveler-mk3 from the computer, remove the rack brackets, and take it on the road for operation as a portable, bus-powered audio interface for a laptop or battery-operated stand-alone mixer with effects.
FireWire bus power
The Traveler-mk3 can be fully powered by its FireWire connection to your desktop or laptop computer. No AC power is required. Slide the Traveler-mk3 into your backpack with your laptop, mic and guitar and head for your favorite remote location for some inspired recording.
Battery power
If you don't want to drain the battery in your laptop, the Traveler-m3 can alternatively be powered by a standard field battery pack. These products (sold separately) can provide many hours of recording time for extended sessions even in the most remote locations. Field battery power provides the ultimate freedom to record just about anywhere on the globe.
DC power
The Traveler-mk3 includes a DC power supply. Why would you ever need it? There are many practical situations in which AC power is available and you might wish to power your Traveler-mk3 via the DC power supply. For example, you could bring the Traveler-mk3 to a live performance and use it as a stand-alone mixer for you and your band. Regardless of the circumstances, the Traveler-mk3 has the flexible power options you need.
Expansion & drivers
Expand your Traveler-mk3 system and run it with all your favorite audio software.
Adding more I/O to your Traveler-mk3 system
As with other MOTU FireWire interfaces, the Traveler-mk3 supplies two FireWire jacks so it can be daisy-chained with additional MOTU FireWire audio interfaces or other devices.
The Traveler-mk3 is also fully compatible with the 8pre, a single rack MOTU interface that adds 8 mic preamp inputs to the Traveler-mk3. Because the 8pre connects to the Traveler-mk3 via ADAT optical, its mic inputs are fully integrated into the Traveler-mk3's on-board CueMix FX digital mixer.
Drivers and AudioDesk workstation software
The Traveler-mk3 provides CueMix FX and drivers for Mac (OS X) and Windows (XP and Vista) for cross-platform compatibility with virtually all audio software via WDM/ASIO/Core Audio drivers.
The Traveler-mk3 includes AudioDesk®, the advanced workstation software for Mac OS X with 24-bit recording and editing, along with 32-bit mixing, processing and mastering.
