Traveler-Mk3 User Guide Mac

Traveler-mk3

User Guide for Mac

1280 Massachusetts Avenue

Cambridge, MA 02138
Business voice: (617) 576-2760
Business fax: (617) 576-3609
Web site: www.motu.com
Tech support: www.motu.com/support
SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS

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.
WARNING: DO NOT PERMIT FINGERSTOTOUCHTHETERMINALS OF POWER PLUGS WHEN INSTALLING OR REMOVINGTHE PLUGTO OR FROM
A POWER SOURCE.
IMPORTANT SAFEGUARDS
1.
2.
3.
4.
5.
6.
7.
Read instructions - All the safety and operating instructions should be read before operating the MOTU Traveler-mk3.
Retain instructions - The safety instructions and owner's manual should be retained for future reference.
Heed Warnings - All warnings on the MOTU Traveler-mk3 and in the owner's manual should be adhered to.
Follow Instructions - All operating and use instructions should be followed.
Cleaning - Unplug the MOTU Traveler-mk3 from the computer before cleaning and use a damp cloth. Do not use liquid or aerosol cleaners.
Power Sources - This MOTU Traveler-mk3 should be operated only from the type of power source indicated on the marking label.
Power-Cord Protection - Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience
receptacles, and the point where they exit from the MOTU Traveler-mk3.
8. Lightning - For added protection for the MOTU Traveler-mk3 during a lightning storm, unplug its power supply from any wall outlets.This will prevent damage to the MOTU Traveler-mk3 due to lightning and power line
surges.
9. Servicing - Do not attempt to service this MOTU Traveler-mk3 yourself as opening or removing covers will expose you to dangerous voltage and other hazards. Refer all servicing to qualified service personnel.
10. Damage Requiring Service - Unplug the MOTU Traveler-mk3 from the computer and refer servicing to qualified service personnel under the following conditions.
a. When the power supply cord or plug is damaged.
b. If liquid has been spilled or objects have fallen into the MOTU Traveler-mk3.
c. If the MOTU Traveler-mk3 has been exposed to rain or water.
d. If the MOTU Traveler-mk3 does not operate normally by following the operating instructions in the owner's manual.
e. If the MOTU Traveler-mk3 has been dropped or the cabinet has been damaged.
f. When the MOTU Traveler-mk3 exhibits a distinct change in performance, this indicates a need for service.
11. 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.
12. Safety Check - Upon completion of any service or repairs to this MOTU Traveler-mk3, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.
ENVIRONMENT
Operating Temperature: 10C to 40C (50F to 104)
AVOID THE HAZARDS OF ELECTRICAL SHOCK AND FIRE

Do not handle the power supply, or power cables with wet hands.
DC INPUT
10-18V, 12 watts
CAUTION: DANGER OF EXPLOSION IF BATTERY IS REPLACED. REPLACE ONLY WITH THE SAME OR EQUIVALENT TYPE RECOMMENDED
BYMANUFACTURER. DISPOSE OF USED BATTERY ACCORDING TO MANUFACTURERS INSTRUCTIONS.
About the Mark of the Unicorn License Agreement and

Limited Warranty on Software
TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the
terms and conditions of the click-wrap license agreement presented to you when
you install the software. Using the software or this documentation indicates your
acceptance of the terms and conditions of that license agreement.
Mark of the Unicorn, Inc. (MOTU) owns both this program and its documentation.
Both the program and the documentation are protected under applicable copyright,
trademark, and trade-secret laws.Your right to use the program and the
documentation are limited to the terms and conditions described in the license
agreement.
Reminder of the terms of your license

This summary is not your license agreement, just a reminder of its terms.The actual
license can be read and printed by running the installation program for the software.
That license agreement is a contract, and clicking Accept binds you and MOTU to
all its terms and conditions. In the event anything contained in this summary is
incomplete or in conflict with the actual click-wrap license agreement, the terms of the
click-wrap agreement prevail.
YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer
the program from one computer to another provided that the program is used on only
one computer at a time and that you remove any copies of the program from the
computer from which the program is being transferred; (c) make copies of the
program solely for backup purposes.You must reproduce and include the copyright
notice on a label on any backup copy.
YOU MAY NOT: (a) distribute copies of the program or the documentation to others;
(b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of
the program in a computer service business, network, time-sharing, multiple CPU or
multiple user arrangement without the prior written consent of MOTU; (d) translate,
adapt, reverse engineer, decompile, disassemble, or otherwise alter the program or
related documentation without the prior written consent of MOTU.
MOTU warrants to the original licensee that the disk(s) on which the program is
recorded be free from defects in materials and workmanship under normal use for a
period of ninety (90) days from the date of purchase as evidenced by a copy of your
receipt. If failure of the disk has resulted from accident, abuse or misapplication of the
product, then MOTU shall have no responsibility to replace the disk(s) under this
Limited Warranty.
THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF,
AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH
EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE
LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE
LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO
EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE
LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING
BUT NOT LIMITED TO LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR
DATA BEING RENDERED INACCURATE, OR LOSSES SUSTAINED BY THIRD
PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF
SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS
WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW
THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL
DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.
Update Policy
In order to be eligible to obtain updates of the program, you must register the software
at motu.com.
Copyright Notice
Copyright 2008, 2007, 2006, 2005, 2004 by Mark of the Unicorn, Inc. All rights
reserved. No part of this publication may be reproduced, transmitted, transcribed,
stored in a retrieval system, or translated into any human or computer language, in
any form or by any means whatsoever, without express written permission of Mark of
the Unicorn, Inc., 1280 Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.
Limited Warranty on Hardware

Mark of the Unicorn, Inc. and S&S Research (MOTU/S&S) warrant this equipment
against defects in materials and workmanship for a period of TWO (2) YEARS from
the date of original retail purchase. This warranty applies only to hardware products;
MOTU software is licensed and warranted pursuant to separate written statements.
If you discover a defect, first write or call Mark of the Unicorn at (617) 576-2760 to
obtain a Return Merchandise Authorization Number. No service will be performed on
any product returned without prior authorization. MOTU will, at its option, repair or
replace the product at no charge to you, provided you return it during the warranty
period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280
Massachusetts Avenue, MA 02138.You must use the products original packing
material for in shipment, and insure the shipment for the value of the product. Please
include your name, address, telephone number, a description of the problem, and
the original, dated bill of sale with the returned unit and print the Return Merchandise
Authorization Number on the outside of the box below the shipping address.
This warranty does not apply if the equipment has been damaged by accident,
abuse, misuse, or misapplication; has been modified without the written permission
of MOTU, or if the product serial number has been removed or defaced.
ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO TWO (2) YEARS FROM THE DATE OF THE
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.
THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE
AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED.
No MOTU/S&S dealer, agent, or employee is authorized to make any modification,
extension, or addition to this warranty.
MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF
WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,
DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT
AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
MOTU/S&S PRODUCTS.
Some states do not allow the exclusion or limitation of implied warranties or liability for
incidental or consequential damages, so the above limitation or exclusion may not
apply to you. This warranty gives you specific legal rights, and you may have other
rights which vary from state to state.
MOTU, AudioDesk, Mark of the Unicorn and the unicorn silhouette logo are
trademarks of Mark of the Unicorn, Inc.
This equipment has been type tested and found to comply with the limits for a class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instruction manual,
may cause harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause interference to radio
or television equipment reception, which can be determined by turning the equipment off and on, the
user is encouraged to try to correct the interference by any combination of the following measures:
Relocate or reorient the receiving antenna
Increase the separation between the equipment and the receiver
Plug the equipment into an outlet on a circuit different from that to which the receiver is connected
If necessary, you can consult a dealer or experienced radio/television technician for additional
assistance.
PLEASE NOTE: only equipment certified to comply with Class B (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
cables in order to comply with the Class B FCC limits on RF emissions.
WARNING: changes or modifications to this unit not expressly approved by the party
responsible for compliance could void the user's authority to operate the equipment.
Contents
5
Quick Reference: Traveler-mk3 Front Panel
Quick Reference: Traveler-mk3 Rear & Side Panels
Quick Reference: MOTU Audio Setup
About the Traveler-mk3
15
Packing List and Mac System Requirements
17
Installing the Traveler-mk3 Hardware
33
Installing the Traveler-mk3 Mac Software
37
MOTU Audio Setup
43
Traveler-mk3 Front Panel Operation
55
Digital Performer
59
AudioDesk
63
Other Mac OS X Audio Software
71
Reducing Monitoring Latency
77
CueMix FX
107
MOTU SMPTE Console
111
Troubleshooting
III
3. From the factory, the MASTER VOL knob controls the

main outs (Analog 1-2), but MASTER VOL can be
programmed to control any combination of outputs. See
The Monitor Group on page 100 for details. Push the
knob once to view the current volume setting in the LCD
display; push it again to mute the monitor group; push a
third time to return to the previous volume. Note: if the
2. Turn the VOL knob to control the headphone volume.The

LCD provides visual feedback for the headphone volume
setting as you turn the knob. Push the knob once to view
the current volume setting in the LCD display.
18
17
10. Optical digital I/O signal present LEDs for each bank.
9. 4-segment metering for S/PDIF input.
8. MIDI activity LEDs for MIDI input and output.
7. 4-segment metering for AES/EBU input.
6. These four 4-segment meters show input signal level for

the analog TRS input jacks on the rear panel.
5. These four 4-segment meters show input signal level for

the mic/instrument XLR/combo inputs on the rear panel.
4. This section controls the Traveler-mk3s built-in

CueMix FX mixer and effects. There are eight stereo mix
busses: each bus mixes all inputs (or any subset you
wish) to a stereo output of your choice. You can apply EQ,
compression and/or reverb to inputs and outputs. The
four knobs to the left of the LCD correspond directly to
the four labeled sections of the LCD. Use the CHANNEL
knob to choose the input, output or mix you wish to edit.
Push it to switch among inputs, outputs and busses,
then turn it to choose the desired channel or bus. Use the
PAGE, PARAM and VALUE knobs to access the mix
settings for the chosen channel.
Monitor group is programmed to not include the main

outs, the MASTER VOL knob will no longer control the
volume of the main outs.
19
20
1. These four detented digital trim knobs provide 53dB of

pre-amp gain for the four preamp inputs (analog 1-4)
which provide low-impedance XLR mic input or
high-impedance TRS guitar/instrument input.The knobs
also function as pad switches (when pushed) for a 20 dB
pad. When you turn or push the knobs, youll see
dynamic feedback of your adjustment in the LCD display.
The total gain range from when pad is enabled and
the trim is turned all the way down to when the pad
disabled and trim is turned all the way up is 73 dB.
Use the trim knob and the LCD metering for individual
channels (via the METERS knob) to calibrate the input
signal level. These mic inputs are also equipped with the
Traveler-mk3s V-Limit hardware limiter, which
provides an additional +12 dB of headroom above zero
with no clipping or digital distortion. See Overload
protection (mic/guitar inputs only) on page 87 for
details.
15. These round LEDs indicate signal presence on the eight

rear-panel TRS analog outputs. Their threshold is around
-42 dB.They do not indicate clipping in any way; use your
host audio software level meters to calibrate output
levels. Outputs 1-2 serve as the main outs. Push and
then turn the front-panel volume knob for volume
control.
14. These four round L/R LEDs indicate signal presence on

the stereo S/PDIF and AES/EBU digital outputs.
13. These lights indicate the global sample rate at which the
Traveler-mk3 is operating. Use MOTU Audio Setup to set
the sample rate or to choose an external clock source,
from which the sample rate will be derived. When no
clock signal is currently present, one of these LEDs
flashes rapidly. For example, if youve set the
Traveler-mk3 to slave to an external clock, such as
optical, but there is no clock signal currently being
detected, it flashes.
12. The Traveler-mk3 is powered by its FireWire connection

to the computer. Use this power switch to turn it on and
off. It is recommended that you always power off the
Traveler-mk3 before unplugging the FireWire cable.
11. When the Traveler-mk3 is resolving to SMPTE time code,

the LOCK light glows green when lockup has been
achieved. The TACH light blinks once per second when
the Traveler-mk3 is successfully reading address (time
code) information.
16
14
13
7 8 9 10 11
12
20. These switches provide phantom power for their respective microphone input. Left is off; right is on. (Right on!)
19. This is a standard quarter-inch stereo headphone jack.

From the factory, it serves as its own independent
output. But it can be programmed to mirror any other
output pair (digital or analog). Use the volume knob
above to control its level.
18. Push the METERS knob to cycle among three meter

display modes in the LCD: 1) vertical multi-channel
meters, 2) horizontal long-throw metering for individual
channels, and 3) CueMix FX/Setup. In either meter mode
(1 or 2), turn it to choose the banks and/or channels you
wish to view in the LCD.
17. Push the CHANNEL knob repeatedly to cycle among the

four main sections of the mixer: mix busses, inputs,
outputs and the reverb module. Push the PARAM knob to
enter the SETUP menu, which provides global
Traveler-mk3 settings, such as the global sample rate,
etc.
16. The multi-purpose backlit LCD shows system settings,

CueMix FX settings or metering, depending on which
knobs you turn.The labels above and below the LCD refer
to the four digital rotary encoders to the left of the LCD.
The channel numbers indicate individual channels when
viewing level meters for banks of 8 channels.
15
Quick Reference: Traveler-mk3 Front Panel
3. These are standard word clock jacks. Use them for a

variety of applications, such as for digital transfers with
devices that cannot slave to the clock supplied by their
digital I/O connection with the Traveler-mk3. When the
Traveler-mk3 is operating at a 2x sample rate (88.2 or 96
kHz) or 4x sample rate (176.4 or 192kHz), the word clock
output can either match the Traveler-mk3s sample rate
or be reduced to the equivalent 1x rate (either 44.1 or 48
kHz). This setting is made via MOTU Audio Setup. See
Word Out on page 42.
2. Connect the Traveler-mk3 to the computer here using

the standard 1394 FireWire A cable provided with your
Traveler-mk3. Important note: it is best to turn off the
Traveler-mk3 when plugging in the FireWire cable,
as this avoids the possibility of static discharge,
which can harm the electrical components in the
Traveler-mk3 or your computer. Use the second
FireWire port to daisy-chain up to four MOTU FireWire
audio interfaces to a single FireWire bus. You can also
connect other FireWire devices. For details, see
Connecting multiple MOTU FireWire interfaces on
page 30.
1. These jacks provide stereo, 24-bit AES/EBU digital input

and output at any sample rate up to 96kHz. They are
disabled at the 4x rates (176.4 and 192kHz).
7. These two balanced, quarter-inch jacks serve as the

Traveler-mk3s main outputs. You can connect them to a
set of powered studio monitors and then control the
volume from the front panel MASTER VOL volume knob.
6. The Traveler-mk3s eight analog outputs are gold-plated,

balanced +4dB TRS (tip/ring/sleeve) quarter-inch
connectors that can also accept an unbalanced plug.
They are equipped with 24-bit 192 kHz converters.
5. These jacks provide stereo, 24-bit S/PDIF digital input

and output at any sample rate up to 96kHz. They are
disabled at the 4x rates (176.4 and 192kHz).
4. These optical digital I/O connectors can be connected

either to an ADAT-compatible lightpipe device (such as
a digital mixer) or to a S/PDIF optical (TOSLink)
compatible device, such as an effects processor or DAT
machine. Be sure to set the format in the MOTU Audio
Setup software (or from the front panel LCD). See
Optical input/output on page 41 for details. ADAT
optical supplies eight channels of 24-bit digital I/O per
bank (4 channels per bank at 96 kHz).TOSLink is stereo at
sample rates up to 96 kHz. One special note: you can
choose independent formats for each bank, A and B, as
well as IN and OUT within each bank. For example, you
could choose ADAT for the optical A IN (for, say, eight
channels of input from your digital mixer) and stereo
TOSLink for the optical A OUT (for, say, your DAT
machine).
11
12
13
To hear disk tracks in your audio software on these main

outs, assign the disk tracks (and master fader) to these
main outs (Analog 1-2). You can also use CueMix FX to
monitor live Traveler-mk3 inputs here as well.
10
9. These four XLR/TRS combo jacks accept either a mic

cable or a quarter-inch guitar cable. Both the lowimpedance XLR jack and the high-impedance TRS jack
are equipped with a pre-amp (so dont connect a +4 line
level XLR cable!) 48V phantom power can be applied via
front panel toggle switches. A 20 dB pad can be applied
by pushing the front panel Precision Digital Trim knob.
When turned, this knob provides 53 dB of gain.
8. These 4 analog inputs are gold-plated, balanced TRS (tip/

ring/sleeve) quarter-inch connectors that can also
accept an unbalanced plug. The front panel LCD and
Cuemix FX software let you adjust them for either +4dBu
or -10dBV input signals. They have 24-bit 192 kHz
converters. These inputs (5 through 8) do not have mic
pre-amps, so they are best used for synthesizers, drum
machines, effects processors, and other instruments
with line level signals (either -10 or +4). These inputs
are also equipped with the Traveler-mk3s Precision
Digital Trim feature: digitally controlled analog trims
that let you adjust input level in 1 dB increments from
either front panel LCD or the included CueMix FX
software. The trim can be adjusted over a range of 0 to
+12 dB.
13. This jack accepts any standard 10-24V DC power supply

with either tip-positive or tip-negative polarity. Remember to also turn the BUS POWER switch to the OFF
position.
12. Connect a 10-24V battery pack or other DC power supply

here via a 4-in XLR cable. Remember to also turn off the
bus power switch to the left.
11. For bus-powered operation, turn on the Bus Power

Enable switch. For battery operation (i.e. powering the
Traveler-mk3 from a battery pack via the 4-in XLR jack),
turn this switch to the OFF position.
10. Connect a MIDI device here using standard MIDI cables.

Connect the Traveler-mk3s MIDI OUT port to the MIDI IN
port on the other device. Conversely, connect the
Traveler-mk3s MIDI IN port to the MIDI OUT port on the
other device. You can connect different devices to each
port, such as a controller device to the IN port and a
sound module to the OUT port. You can also daisy-chain
MIDI devices, but be sure to manage their MIDI channels
(so that they dont receive or transmit on the same
channel).
Quick Reference: Traveler-mk3 Rear & Side Panels
Quick Reference: MOTU Audio Setup

CHAPTER
Click the tabs to access general
MOTU FireWire interface
settings or settings specific to
the Traveler-mk3 (or other
connected interface).
Choose the global sample rate
for the system here.
Determines the clock source for your

Traveler-mk3. If youre just using the
analog ins and outs, set this to Internal.
The other settings are for digital transfers
via AES/EBU, S/PDIF or optical ports, or
for slaving the Traveler-mk3 to word
clock, time code or other sources.
Specifies the stereo input and

output pair when the
Traveler-mk3 is chosen for
Mac OS X audio I/O.
Each optical bank can be
configured independently for
ADAT or TOSLink. Disable them
when not in use to conserve
DSP and bus bandwidth.
Choose the output pair you would
like the main outs to mirror, or
choose Analog 1-2 to operate them
as their own independent pair.
This menu lets you choose what you will

hear from the PHONES jack. To mirror the
main outs, choose Analog 1-2. Or you can
mirror any other output pair. To hear the
phones as their own independent output,
choose Phones 1-2.
The Clip Hold Time controls how

long the top-most red LED remains
illuminated after clipping. Choose
Infinite to be able to clear the LED
from Digital Performer. The Peak
Hold Time controls how long the
highest illuminated LED remains lit
before going dark.
When running a Traveler-mk3 at a
high sample rate (88.2, 96, 176.4
or 192 kHz), this option appears in
the interface tab. It lets you choose
a word clock output rate that either
matches the global sample rate
(e.g. 96 kHz) or reduces it to the
corresponding 1x rate (e.g. 48kHz
instead of 192 kHz).
The Traveler-mk3 driver provides a stereo

return back to the computer. This return
feeds the signal on any Traveler-mk3 output
pair or CueMix FX mix bus directly back to
the computer, where you can record,
process, monitor or otherwise use it.This is a
great way to bounce full mixes, complete
with live audio routed through the
Traveler-mk3 only, back into the computer.
Click the General tab to access these settings.

Check this option if you would like the MOTU
Audio Setup icon to appear in the application
dock as soon as a MOTU FireWire interface is
detected (switched on, plugged in, etc.)
This button opens another dialog that lets
you assign your own customized names to
each Traveler-mk3 input and output. For
example, if you have a lead vocal mic
plugged into input 1, you could name it Lead
Vox.Your customized names then appear in
your host audio application (if it supports
Core Audio input naming).
In the standard Mac OS X fashion,

the console appears in the dock
when you launch it. If the Launch
option is checked (as shown
above), the icon appears as soon as
you switch on your Traveler-mk3
interface. If you click and hold on
the dock icon (instead of clicking it)
or control-click, a menu of
hardware settings appears as
shown to the right. You can view
and configure any hardware
settings from this menu, without
opening the console window.
CHAPTER 1
About the Traveler-mk3
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Traveler-mk3 Rear Panel. . . . . . . . . . . . . . . . . . . . . . . . . 10
The Traveler-mk3 Front Panel. . . . . . . . . . . . . . . . . . . . . . . . 12
Traveler-mk3 side panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
16-bit and 24-bit recording . . . . . . . . . . . . . . . . . . . . . . . . . . 13
CueMix FX 32-bit floating point mixing and effects. . 13
AudioDesk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Digital Performer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Other Host Audio Software . . . . . . . . . . . . . . . . . . . . . . . . . . 14
OVERVIEW
The Traveler-mk3 is a FireWire audio interface for
Mac and Windows with on-board effects and
mixing that offers 28 inputs and 30 outputs at 44.1
or 48 kHz. Both analog and digital I/O are offered
at sample rates up to 96 kHz, and analog recording
and playback is offered at rates up to 192 kHz. All
inputs and outputs can be accessed simultaneously.
The Traveler-mk3 consists of a light (3.8 pounds)
and small (14.75 x 9 inches) aluminum alloyencased interface that connects directly to a
computer via a standard IEEE 1394 FireWire
cable.
The Traveler-mk3 offers the following main
features:
Bus-powered and battery-powered operation
Four combo XLR/TRS mic/guitar inputs with

preamps, 48V phantom power, 20 dB pad,
Precision Digital Trim and V-Limit overload
protection
Four 24-bit analog quarter-inch (TRS) inputs
Eight 24-bit analog quarter-inch (TRS) outputs
Operation on all analog I/O at standard sample

rates up to 192 kHz
Digitally controlled analog trim for all analog

inputs
Two banks of optical digital I/O that 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
RCA S/PDIF at sample rates up to 96 kHz
AES/EBU digital I/O at rates up to 96 kHz
Word clock I/O
MIDI I/O
On-board SMPTE synchronization
Headphone jack with independent volume

control
Programmable master volume knob
CueMix FX no-latency mixing, monitoring

and effects processing
Front-panel LCD programming for the mixer
and all other settings
Extensive front panel metering and status LEDs
Stand-alone operation
Mac and Windows drivers for across-the-board

compatibility with any audio software on current
Mac and Windows systems
AudioDesk, full-featured audio workstation
software for Mac OS X
With a variety of I/O formats, mic preamps, nolatency mixing and processing of live input and
synchronization capabilities, the Traveler-mk3 is a
complete, portable studio in a box when used
with a Mac or Windows computer.
THE TRAVELER-MK3 REAR PANEL

The Traveler-mk3 rear panel has the following
connectors:
Eight gold-plated, balanced quarter-inch (TRS)
analog outputs (with 24-bit 192 kHz converters)
The Traveler-mk3 optical connectors support

several standard optical I/O formats, which
provide varying channel counts. See Optical on
page 11 for details about optical bank operation.
Four gold-plated, balanced quarter-inch (TRS)

analog inputs (with 24-bit 192 kHz converters)
Four combo XLR/TRS mic/guitar inputs with

preamps
Two sets of optical connectors (in and out),

individually switchable among ADAT optical
lightpipe, 96 kHz S/MUX optical or S/PDIF
TOSLink
RCA S/PDIF in/out
XLR AES/EBU in/out
Word clock in/out
Two 1394 FireWire jacks
28 inputs and 30 outputs

All Traveler-mk3 inputs and outputs can be used
simultaneously, for a total of 28 inputs and 30
outputs when operating at 44.1 or 48 kHz:
Connection
Input
Output
Analog 24-bit 192 kHz on bal/unbal TRS
Mic/guitar 24-bit 192 kHz on XLR/TRS combo
Headphone output*
stereo
ADAT optical digital
16
16
AES/EBU 24-bit 96 kHz digital
stereo
stereo
RCA S/PDIF 24-bit 96 kHz digital
stereo
stereo
Total
28
30
* The PHONES output 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).
All inputs and outputs are discrete. For example,

using a mic input does not steal an input from the
TRS analog I/O bank.
All digital I/O is disabled for 192kHz operation.
Mic/instrument inputs with preamps
The four mic/instrument inputs are equipped with
preamps and combo XLR/TRS jacks, which
accept low-impedance XLR microphone inputs or
high-impedance quarter-inch guitar/instruments
inputs. The total gain range for these preamps,
including the 20dB pad, is 73dB, allowing you to
connect any type of guitar or microphone. Preamp
gain and pad can be controlled from the front
panel digital rotary encoders/switches or the
included CueMix FX software.
Mic/guitar input overload protection
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 (with limiting applied) to as high as +12 dB
above zero with no distortion due to digital
clipping.
Additional or alternative protection can be applied
to the mic/guitar inputs by enabling the
Traveler-mk3s Soft Clip feature, which engages
just before clipping occurs and helps reduce
perceptible distortion.
Analog
All analog inputs are equipped with 24-bit 192 kHz
A/D converters. All analog outputs have 24-bit
192 kHz D/A converters. All audio is transferred to
and from the computer in a 24-bit data stream.
10
ABOUT THE TRAVELER-MK3
All quarter-inch analog inputs can accept either a

balanced or unbalanced plug. They are equipped
with a -10 dBV / +4 dBu reference level switch, plus
up to +12 dB of digital trim boost.
The quarter-inch outputs are referenced to a +4
dBu line level output signal.
Precision Digital Trim
The Traveler-mk3s mic/guitar inputs are equipped
with digitally controlled analog trims that allow
adjustments in 1 dB increments. The mic/guitar
input trims can be adjusted using front-panel
digital rotary encoders that provide feedback in the
front panel LCD with up to 53 dB of boost. All
analog inputs, including four rear-panel TRS
analog inputs, can be trimmed using the front
panel LCD or using the Traveler-mk3s included
CueMix FX control software for Mac and
Windows. This allows you to fine-tune trim
settings for synths, effects modules and a wide
variety of analog inputs for optimum levels.
Different trim configurations can then be saved as
files on disk for instant recall.
Optical
The two optical banks provide 16 channels of
ADAT optical at 44.1 or 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, including input and output,
allowing you to mix and match any optical formats.
For example, you could receive 4 channels of
96 kHz S/MUX input on Bank A while at the same
time sending 96 kHz stereo optical S/PDIF
(TOSLink) from the Bank A output.
AES/EBU
The Traveler rear panel provides a standard
AES/EBU digital input and output that supports
digital I/O at 44.1, 48, 88.2 and 96 kHz. The
AES/EBU jacks are disabled at the 4x sample rates
(176.4 and 192kHz).
S/PDIF
The Traveler-mk3 rear panel provides S/PDIF
input and output in two different formats: RCA
coax and optical TOSLink. The RCA jacks are
dedicated to the S/PDIF format. The TOSLink
jacks can be used either for either TOSLink or
ADAT optical, as discussed earlier.
Word clock
The Traveler-mk3 provides standard word clock
that can slave to any supported sample rate. In
addition, word clock can resolve to and generate
high and low sample rates. For example, if the
Traveler-mk3 global sample rate is set to 96 kHz,
the word clock input can resolve to a low rate of
48 kHz. Similarly, when the Traveler-mk3 is
operating at 96 kHz, Setup lets you choose a word
clock output rate of 48 kHz.
1394 FireWire
The two 1394 FireWire jacks accept a standard
IEEE 1394 FireWire cable to connect the
Traveler-mk3 to a FireWire-equipped Mac or
Windows computer. The second jack can be used
to daisy chain multiple interfaces up to four
MOTU FireWire interfaces on a single FireWire
bus. It can also be used to connect other FireWire
devices without the need for a FireWire hub. Keep
in mind, however, that the Traveler-mk3 uses more
FireWire bus bandwidth when one or both optical
banks are enabled, or when it operates at higher
sample rates. These operating configurations will
limit the number of devices you can daisy chain on
a single FireWire bus.
On-board SMPTE synchronization
The Traveler-mk3 can resolve directly to SMPTE
time code via any analog input, without a separate
synchronizer. It can also generate time code via any
analog output. The Traveler-mk3 provides a DSPdriven phase-lock engine with sophisticated
filtering that provides fast lockup times and subframe accuracy.
11
The included MOTU SMPTE Console software

provides a complete set of tools for generating and
regenerating SMPTE time code, which allows you
to slave other devices to the computer. Like
CueMix FX, the synchronization features are
cross-platform and compatible with all audio
sequencer software that supports sample-accurate
sync or MIDI Time Code.
Programmable LCD metering

Push the METERS knob to cycle among three
meter display modes in the LCD: 1) vertical multichannel meters, 2) horizontal long-throw metering
for individual channels, and 3) CueMix FX/Setup.
In either meter mode (1 or 2), turn it to choose the
banks and/or channels you wish to view in the
LCD.
THE TRAVELER-MK3 FRONT PANEL
Metering section
The front panel of the Traveler-mk3 displays
several banks of input metering and output activity
LEDs. The round analog, SPDIF and AES/EBU
output activity LEDs, as well as the ADAT optical
in/out activity LEDs, display signal presence. The
threshold for these lights is approximately -42 dB.
The four-segment input meters provide dedicated
multi-segment metering for their respective inputs.
Digital Precision Trim rotary encoders

The four Digital Precision Trim detented rotary
encoders provide preamp gain adjustment and also
serve as 20dB pad switches when pushed. When
you turn these trim knobs, input gain can be
adjusted in 1dB increments, and the LCD display
provides active numeric feedback as the
adjustment is made.
Phantom power
Individual 48V phantom power can be enabled for
each preamp with the four front panel switches.
Headphone output and main volume control
The Traveler front panel includes a quarter-inch
stereo headphone output jack and volume knob.
The Clock lights indicate the global sample rate (as

chosen in the Setup software). The LOCK and
TACH LEDs provide feedback for the
Traveler-mk3s on-board SMPTE synchronization
features. The ADAT and MIDI LEDs indicate audio
and MIDI activity, respectively.
TRAVELER-MK3 SIDE PANEL
Dedicated MASTER VOLUME knob

From the factory, the MASTER VOL knob controls
the main outs (Analog 1-2), but MASTER VOL can
be programmed to control any combination of
outputs. See The Monitor Group on page 100 for
details.
MIDI I/O
The Traveler-mk3s standard MIDI IN and MIDI
OUT jacks supply 16 channels of MIDI I/O to and
from the computer via the Traveler-mk3s FireWire
connection. Timing accuracy can be sampleaccurate with host software that supports it.
Programmable backlit LCD display

Any Traveler-mk3 setting, including the powerful
CueMix FX on-board 16-bus mixer with effects,
can be accessed directly from the front panel using
the four rotary encoders and the 2x16 backlit LCD
display.
Bus power
The Traveler-mk3 can draw power from three
possible sources:
1. the computer (via the FireWire cable connection
between the Traveler-mk3 and the computer)
2. an external battery pack (purchased separately)
3. a DC power supply
12
Bus power provides convenient portability with

laptop computers. An external battery pack
provides both portability and extended operation,
even in remote locations. The included DC power
supply allows for stand-alone operation as a mixer,
without a computer. (The Traveler-mk3 can also
run stand-alone with a battery pack.)
Battery power
The 4-pin XLR battery power jack allows you to
connect a standard DC battery pack for extended
remote recording. The battery pack must supply a
minimum of 10-18 volts and 12 watts. For further
details, contact your preferred supplier of
professional audio/video equipment.
Power supply
If you do not want the Traveler-mk3 to draw power
from the computer, and AC power is available, you
can power the Traveler-mk3 from any standard
10-18V, 12 watt DC power supply with any polarity
(tip positive or negative).
16-BIT AND 24-BIT RECORDING

The Traveler-mk3 system handles all data with a
24-bit signal path, regardless of the I/O format. You
can record and play back 16-bit or 24-bit audio files
at any supported sample rate via any of the
Traveler-mk3s analog or digital inputs and
outputs. 24-bit audio files can be recorded with any
compatible host application that supports 24-bit
recording.
CUEMIX FX 32-BIT FLOATING POINT

MIXING AND EFFECTS
All Traveler-mk3 inputs and outputs can be routed
to the on-board CueMix FX 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 even be applied when the
Traveler-mk3 is operating stand-alone (without a
computer) as a complete rack-mounted mixer.

Input signals to the computer can be recorded wet,
dry, or dry with a wet monitor mix (for musicians
during recording, for example).
Effects include reverb, parametric EQ and
compression/limiting. The Traveler-mk3s Classic
Reverb provides five different room types, three
frequency bands with adjustable crossover points,
shelf filtering and reverb lengths up to 60-seconds.
Two forms of compression are supplied: a standard
compressor with conventional threshold/ratio/
attack/release/gain controls and the Leveler, an
accurate model of the legendary LA-2A optical
compressor, which provides vintage, musical
automatic gain control.
CueMix FX also provides 7-band parametric EQ
modeled after British analog console EQs,
featuring 4 filter styles (gain/Q profiles) to
effectively cover a wide range of audio material.
Low-pass and high-pass filters are also supplied
with slopes that range from 6 to 36 dB. The EQ
employs extremely high precision 64-bit floating
point processing.
The Traveler-mk3s flexible effects architecture
allows you to apply EQ and compression on every
input and output (a total of 58 channels), 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 in the CueMix FX
software (included) allows you to keep tabs on the
Traveler-mk3s processing resources. Each input,
output and mix bus provides a send to the Classic
Reverb processor, which then feeds reverb returns
to mix busses and outputs, with a selectable split
point between them to prevent send/return
feedback loops.
13
AUDIODESK
AudioDesk is a full-featured, 24-bit audio
workstation software package included with the
Traveler-mk3 system (for Mac only). AudioDesk
provides multi-channel waveform editing,
automated virtual mixing, graphic editing of ramp
automation, real-time effects plug-ins with 32-bit
floating point processing, crossfades, support for
many third-party audio plug-ins, background
processing of file-based operations, sampleaccurate editing and placement of audio, and more.
DIGITAL PERFORMER
The Traveler-mk3 system is fully integrated with
MOTUs award-winning Digital Performer audio
sequencer software package.
OTHER HOST AUDIO SOFTWARE

The Traveler-mk3 system includes a standard
Mac OS X CoreAudio driver for multichannel I/O
with any audio application that supports
CoreAudio.
14
CHAPTER 2
Packing List and

Mac System Requirements
PACKING LIST
PLEASE REGISTER TODAY!
The Traveler-mk3 ships with the items listed below.

If any of these items are not present in your
Traveler-mk3 box when you first open it, please
immediately contact your dealer or MOTU.
Please register your Traveler-mk3 today. There are

two ways to register.
One Traveler-mk3 I/O rack unit
One set of removable rack ears
One 6-pin to 6-pin IEEE 1394 FireWire cable
One DC power adapter
One Traveler-mk3 Mac/Windows manual
One cross-platform Universal Audio Installer CD
One Mac OS X AudioDesk installer CD with

PDF manual
Traveler-mk3 product registration card
MAC SYSTEM REQUIREMENTS

The Traveler-mk3 system requires the following
Mac system:
A G4/500Mhz Power Mac or faster equipped
with at least one FireWire port
Visit www.motu.com to register online
OR
Fill out and mail the included product
registration card
As a registered user, you will be eligible to receive

technical support and announcements about
product enhancements as soon as they become
available. Only registered users receive these
special update notices, so please register today.
Be sure to do the same for the included AudioDesk
software, which must be registered separately. You
can do so online at motu.com/register. Please be
sure to register AudioDesk as well, so that you will
be eligible to receive technical support and
announcements about AudioDesk software
enhancements as soon as they become available.
Thank you for taking the time to register your new
MOTU products!
At least 256 MB (megabytes) of RAM (512 MB

or more is recommended)
Mac OS X (version 10.4.9 or later)
A large hard drive (preferably at least 100 GB)
15
16
PACKING LIST AND MAC SYSTEM REQUIREMENTS
CHAPTER 3
Installing the Traveler-mk3

Hardware
OVERVIEW
IMPORTANT NOTE BEFORE YOU BEGIN!
Heres an overview for installing the Traveler-mk3:
Before you begin installing the Traveler-mk3 (or

any bus-powered device), take these important
precautionary measures to avoid damaging the
sensitive electrical components in your computer,
the Traveler-mk3 or other devices being
connected:
Connect the Traveler-mk3 interface . . . . . . . . . . . . . . . . . 18
Connect the Traveler-mk3 to the computer.

Connect audio inputs and outputs . . . . . . . . . . . . . . . . . . 18
Make optical and analog connections as desired.

Connect MIDI gear. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Turn off the computer.
Turn off the Traveler-mk3s front panel power

switch.
Connect a controller, synth or control surface.

A typical Traveler-mk3 setup. . . . . . . . . . . . . . . . . . . . . . . . . 25
An example setup for computer-based mixing/FX.
Turn off the power of any other devices.
Touch the metal casing of the Traveler-mk3 to

discharge any static electricity that you may be
carrying just before the installation.
Operating the Traveler-mk3 as a converter . . . . . . . . . . 26
An example of using the Traveler-mk3 as an

expander.
Making sync connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
If you need to resolve the Traveler-mk3 with other

devices, make the necessary sync connections.
Syncing to SMPTE time code. . . . . . . . . . . . . . . . . . . . . . . . .
Syncing AES/EBU and S/PDIF devices. . . . . . . . . . . . . . . .
Syncing word clock devices. . . . . . . . . . . . . . . . . . . . . . . . . .
Connecting multiple MOTU FireWire interfaces . . . . .
28
29
30
30
After you have made all of the necessary

connections, as described in this chapter, turn on
the devices in this sequence:
1. Turn on the computer.
2. Turn on the Traveler-mk3.
3. Turn on other devices connected to the
Traveler-mk3.
17
CONNECT THE TRAVELER-MK3 INTERFACE
CONNECT AUDIO INPUTS AND OUTPUTS
1 Plug one end of the Traveler-mk3 FireWire cable

(included) into the FireWire socket on the
computer as shown below in Figure 3-1.
The Traveler-mk3 audio interface has the following

audio input and output connectors:
You can connect the Traveler-mk3 to an

800Mbit FireWire B port using a 9-pin to 6-pin
FireWire B cable (not shown). However, the
Traveler-mk3 will still operate at its specified
400Mbit (FireWire A) data rate.
2 Plug the other end of the FireWire cable into the
Traveler-mk3 I/O as shown below in Figure 3-1.
8 balanced, +4 dB quarter-inch analog outputs
4 balanced +4 dB quarter-inch analog inputs
4 mic/guitar combo jack inputs with preamps
2 pair of optical in/out switchable between

ADAT (Lightpipe) or optical S/PDIF (TOSLink)
1 pair of AES/EBU in and out
1 pair of RCA S/PDIF in and out
Here are a few things you should keep in mind as

you are making these connections to other devices.
Mic/guitar inputs with preamps
Connect a microphone, guitar, instrument or other
analog input to the back panel XLR/quarter-inch
combo jack (Figure 3-4) with either a standard mic
cable or a balanced cable with a quarter-inch plug.
Do not connect a +4 (line level) XLR cable to

the mic/guitar inputs (because of the preamps).
Phantom power
If you are connecting a condenser microphone or
other device that requires phantom power, move
the corresponding 48V phantom power switch on
the front panel (Figure 3-2) to the right (enabled).
Trim
Both the low-impedance XLR mic input and the
high-impedance quarter-inch guitar input are
equipped with 53 dB of digitally controlled analog
trim. Use the detented trim knobs on the front
Figure 3-1: Connecting the Traveler-mk3 to the computer.
Figure 3-2: Traveler-mk3 front panel
18
INSTALLING THE TRAVELER-MK3 HARDWARE
panel (Figure 3-2) to adjust the input level as

needed for each input. The LCD provides visual
feedback as you turn the trim knob (Figure 3-3).
Figure 3-3: The LCD gives you feedback as you turn the TRIM knobs for
the four mic/guitar inputs.
The Traveler-mk3s input trims are digitally

controlled, so they allow you to make fine-tuned
adjustments in 1dB increments. Use the four input
level meters on the front panel (labeled ANALOG
1-4) to calibrate the level. You can also use a longthrow horizontal meter in the LCD. See Meters
knob on page 44. You can also adjust trim in the
MOTU CueMix FX software. See Input trim on
page 83.
20 dB pad
If the input signal is still too hot with the trim
turned all the way down, engage the 20dB pad by
pushing the Trim rotary encoder (Figure 3-2). The
LCD provides feedback for the current pad setting.
Quarter-inch analog input trims

The quarter-inch inputs are calibrated to
accommodate either +4 dBu or -10 dBV signals
and are equipped with digital trims that provide up
to +12 dB of boost. You can use either the front
panel LCD or the included CueMix FX software to
adjust both the reference level and the input trim.
To do so using CueMix FX, see Pad and reference
level on page 86 and Input trim on page 83. To
adjust the trims using the front panel LCD:
1 Push the CHANNEL knob repeatedly until you
see I: (which stands for Input) in the CHANNEL
section of the LCD (Figure 3-5).
2 Turn the CHANNEL KNOB until you see the
desired analog input or input pair. For example,
analog inputs 1-2 appear as I:An 1-2
(Figure 3-5), which means Input analog 1-2.
3 From the factory, TRS analog inputs are
grouped in stereo pairs (5-6 and 7-8) If you need to
split a pair to deal with it as two individual mono
inputs, turn the PARAMETER knob until you see
PAIR in the parameter section of the LCD
(Figure 3-5). Turn the VALUE knob to choose
MONO. Then turn the CHANNEL knob again to
select the desired input you are adjusting.
Quarter-inch analog
The quarter-inch analog inputs (5-8) and outputs
(1-8) shown in Figure 3-4 are balanced (TRS)
connectors that can also accept an unbalanced
plug.
The quarter-inch outputs are calibrated to produce
a +4 dBu line level output signal.
Figure 3-5: The settings for analog inputs 1 and 2 (as a pair).
Figure 3-4: Traveler-mk3 back panel
19
4 After splitting the stereo pair, if necessary, turn

the PARAM knob until you see the TRIM
parameter in the LCD (Figure 3-6):
The Traveler-mk3 supplies +12dB of digital trim

(boost) for each optical input, which can be
adjusted from CueMix FX (Input trim on
page 83) or the front panel (The IN (inputs)
menu on page 49).
Optical operation at 44.1 or 48 kHz
When configured for ADAT lightpipe, an optical
connector provides 8 channels at 44.1 and 48 kHz.
Figure 3-6: Setting the input trim for a TRS analog input.
5 Turn the VALUE knob to adjust the trim.

6 Repeat steps 4 and 5 for the REF LEVEL setting
(+4 or -10).
Main outs
Analog outputs 1-2 can serve as main outputs.
From the factory, the volume for the TRS main
outputs is controlled by the MASTER VOL knob
on the front panel, although this knob can be
programmed to control any combination of
outputs. For details, see The Monitor Group on
page 100. In a standard studio configuration, the
main outs are intended for a pair of studio
monitors, but they can also be used as additional
outputs for any purpose.
Optical
The Traveler-mk3 rear panel provides two sets of
ADAT optical (lightpipe) connectors: Bank A
and B (Figure 3-4). Each bank provides an input
and output connector. All four connectors can
operate independently and offer two different
optical formats: ADAT optical or TOSLink (optical
S/PDIF). For example, you could connect
8-channel ADAT optical input from your digital
mixer and stereo TOSLink output to an effects
processor.
ADAT optical operation at 88.2 or 96 kHz

When configured for ADAT lightpipe, an optical
connector provides four channels at 88.2 or 96 kHz
(2x sample rates). When using the ADAT lightpipe
format at a 2x rate, be sure to choose either Type I
or Type II operation, as explained in ADAT SMUX
Type on page 48.
Below is a summary of optical formats:
Format
44.1 or 48 kHz
88.2 or 96 kHz
ADAT optical
8 channels
4 channels
TOSLink
stereo
stereo
Optical is disabled at 4x sample rates

The optical banks are disabled at the 4x sample
rates (176.4 and 192kHz).
Using optical I/O to operate the Traveler-mk3 as a
16-channel expander
When the Traveler-mk3 is not connected directly
to a computer via FireWire, the sixteen optical
output channels can be programmed (via the
CueMix FX mixer) to mirror the incoming signal
on any combination of the Traveler-mk3s inputs.
By connecting the Traveler-mk3 optical outputs to
another device, such as another ADAT-optical
equipped interface or a digital mixer, you add up to
sixteen additional inputs to your system (or eight
inputs at the 2x sample rates).
20
To learn how to program the Traveler-mk3 when it

is operating as a stand-alone expander in this
fashion, see chapter 6, Traveler-mk3 Front Panel
Operation (page 43).
Choosing a clock source for optical connections
When connecting an optical device, make sure that
its digital audio clock is phase-locked (in sync
with) the Traveler-mk3, as explained in Making
sync connections on page 26. There are two ways
to do this:
1. Resolve the optical device to the Traveler-mk3
2. Resolve the Traveler-mk3 to the optical device
For 1), choose Internal (or any other clock source
except ADAT optical) as the clock source for the
Traveler-mk3 in MOTU Audio Setup.
For 2), choose either ADAT Optical A or ADAT
Optical B as the Traveler-mk3s clock source
(Figure 3-7). Be sure to choose the optical port that
the device is connected to.
Figure 3-7: Resolving the Traveler-mk3 to an optical device.
Using word clock to resolve optical devices

If the optical device you are connecting to the
Traveler-mk3 has word clock connectors on it, you
can use them to resolve the device to the
Traveler-mk3, similar to the diagram shown in
Figure 3-18 on page 29 for S/PDIF devices with
word clock. Also see Syncing word clock devices
on page 30.
S/PDIF
If you make a S/PDIF digital audio connection to
another device, be sure to review the digital audio
clocking issues, as explained in Syncing AES/EBU
and S/PDIF devices on page 29. The Traveler-mk3
supplies +12dB of digital trim (boost) for the
S/PDIF input pair, which can be adjusted from
CueMix FX (Input trim on page 83) or the front
panel (The IN (inputs) menu on page 49).
AES/EBU
Connect standard AES/EBU input and output.
2x sample rates (88.2 & 96 kHz) are supported; 4x
samples rates (176.4 or 192kHz) are not supported.
Be sure to review the digital audio clocking issues,
as explained in Syncing AES/EBU and S/PDIF
devices on page 29.
The Traveler-mk3 supplies +12dB of digital trim
(boost) for the AES/EBU input pair, which can be
adjusted from CueMix FX (Input trim on
page 79) or the front panel (The IN (inputs)
menu on page 46).
For details about using the clock source setting and

the MOTU Audio Setup software in general, see
chapter 5, MOTU Audio Setup (page 37).
21
CONNECT MIDI GEAR

Connect your MIDI devices MIDI IN jack to the
Traveler-mk3s MIDI OUT jack (Connection A
below). Connect the MIDI devices MIDI OUT
jack to the MIDI IN jack (Connection B).
Traveler-mk3
rear panel
MIDI
OUT
MIDI
IN
MIDI
cables
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 Traveler-mk3 to the MIDI
IN on the additional device as shown below in
Figure 3-9. The two devices then share the
Traveler-mk3s MIDI OUT port. This means that
they share the same set of 16 MIDI channels, too,
so try to do this with devices that receive on only
one MIDI channel (such as effects modules) so
their receive channels dont conflict with one
another.
Connection A
MIDI Device
MIDI MIDI
IN OUT
Connection B
Traveler-mk3
rear panel
MIDI
OUT
Figure 3-8: Connecting a MIDI device to the Traveler-mk3.
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 3-8. 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.
MIDI Device
MIDI
IN
MIDI
THRU
MIDI
cable
MIDI IN
Figure 3-9: Connecting additional devices with MIDI THRU ports.
22
POWER OPTIONS
The Traveler-mk3 can draw power from three
possible sources:
1. the computer (via FireWire)
2. an external battery pack
3. a DC power supply
Figure 3-10: The Traveler-mk3s battery and power supply options.
Bus power requirements

The Traveler-mk3 draws all the power it needs
from the FireWire bus connection to the computer.
However, the FireWire connection to the computer
must meet all of the requirements discussed below.
6-pin FireWire connectors
The Traveler-mk3 can only draw power over the
FireWire bus from a 6-pin to 6-pin cable, or a 6-pin
to 9-pin (FireWire B) cable. It cannot draw power
from a FireWire cable with a 4-pin connector, as
shown below:
When operating under bus power, daisy-chaining

is not recommended
The Traveler-mk3 can be daisy-chained with other
FireWire devices from a single FireWire
connection to the computer. However, if the
Traveler-mk3 is operating under bus power, this is
not recommended. If you need to daisy chain the
Traveler-mk3 with other devices on the same
FireWire bus, power the Traveler-mk3 with a DC
power supply (or battery), and turn off the Bus
Power switch on the side panel. The other devices
on the chain should also have their own power
supply. In general, bus-powered FireWire devices
should not be daisy-chained.
FireWire adapter products must be powered
If you are using a FireWire adapter (a third-party
product that supplies one or more FireWire ports
to your computer), it must have direct access to a
power supply:
PCI FireWire cards If you plan to connect the
Traveler-mk3 to a PCI card and run the
Traveler-mk3 under bus power, the PCI card must
have a direct connection to the power supply
harness inside your computer. This is the same
power supply harness to which you connect
internal hard drives, CD/DVD drives, etc.
YES
NO
6-pin FireWire
PCMCIA, Cardbus or ExpressCard slot adapters
If you plan to connect the Traveler-mk3 to a PC

card, Cardbus or ExpressCard FireWire adapter
(inserted in the card slot in your laptop), it must
provide a 6-pin connection and it must also have
its own power supply. Most commonly, these types
of products have a DC power adapter that plugs
into an AC wall outlet. As you can see, however, this
situation does not allow for remote battery
operation, as the card adapter requires AC.
4-pin FireWire
Figure 3-11: 4-pin FireWire connectors cannot be used for bus power.
23
Examples of bus- powered operation

Here are a few typical examples of bus-powered
Traveler-mk3 operation:
Bus power from a desktop computer
Your desktop computer is running off of its usual
AC power connection, and the Traveler-mk3 draws
power from the FireWire cable connected to the
computer. There are no limits to running time.
Bus power from an AC-powered laptop
This scenario is identical to the desktop situation
described above: the laptop is powered by AC, the
Traveler-mk3 is powered via the FireWire bus and
there are no limits to running time.
Bus power from a battery-powered laptop
The laptop is being powered by its own battery, and
the Traveler-mk3 is being powered by its FireWire
connection to the computer. So the laptop battery
is supplying power to both the laptop and the
Traveler-mk3. This is the most compact and
portable operating scenario. Running time is
determined by the capacity of the laptop battery.
For extended recording sessions, bring extra, fully
charged laptop batteries.
Powering the Traveler-mk3 from a battery pack
The 4-pin XLR battery jack on the Traveler-mk3
side panel allows you to connect a standard DC
battery pack, which is ideal for extended remote
recording. These products can provide multiple
hours of operation, depending on their capacity.
The battery pack should supply 10-18 volts and 12
watts. A typical application would employ a 12 volt
battery, therefore requiring 1 amp. In this scenario,
a 1 amp-hour battery will power the unit for
1 hour. A 10 amp-hour battery will power the unit
for 10 hours. Follow the manufacturers recommendations for battery discharge for proper
battery maintenance. For further details, contact
your preferred supplier of professional audio/video
equipment.
DC power supply
If you do not want the Traveler-mk3 to draw power
from the computer, and AC power is available, you
can power the Traveler-mk3 from any standard
8-18 volt, 12 watt DC power supply with any
polarity (tip positive or negative) and amperage as
shown below. To prevent the Traveler-mk3 from
drawing power from the computer, turn off the Bus
Power switch.
Voltage
Amperage
9 volts
1.33 amps
12 volts
1 amp
18 volts
0.66 amps
The Bus Power Enable/Disable switch

The Bus Power Enable/Disable switch on the side
panel of the Traveler-mk3 lets you control whether
or not the Traveler-mk3 draws power from the
computer via FireWire.
For example, when battery or DC power supply
options are not being used, and FireWire is the
only available power source, turn on the Bus Power
switch.
If you are powering the Traveler-mk3 via battery or
DC power supply, and you do not want it to draw
power from the computer (perhaps because it is a
laptop running under its own battery, and you
dont want the Traveler-mk3 to run down the
laptops battery unnecessarily), turn off the Bus
Power switch.
24
A TYPICAL TRAVELER-MK3 SETUP
the Traveler-mk3s CueMix FX mixer to apply

reverb, EQ and compression to what you are
recording and monitor it via the main outs,
headphone outs, or any other output pair. You can
control everything from the included CueMix
Console software.
Here is a typical Traveler-mk3 studio setup. This

rig can be operated without an external mixer. All
mixing and processing can be done either in the
Traveler-mk3, in the computer with audio
software, or both. During recording, you can use
synthesizer
Traveler-mk3 side panel
MIDI IN
MIDI OUT
MOTU 8pre or other optical

mic input expander
quarter-inch
analog outs
8-channel
ADAT optical
monitors
Mac
guitars (with or
without an amp)
Analog
sends
FireWire
Traveler-mk3
back panel
Analog
returns
ADAT optical
AES/EBU
Analog outputs (stage

monitors, surround
monitors, etc.)
Digital processor or
other outboard gear
Digital reverb or other

outboard gear
mics
S/PDIF
DAT deck
headphones
Compressor, reverb or other

analog outboard gear
Traveler
front panel
headphone
jack
Figure 3-12: A typical Traveler studio setup.
25
OPERATING THE TRAVELER-MK3 AS A

CONVERTER
As explained earlier in Using optical I/O to
operate the Traveler-mk3 as a 16-channel
expander on page 20, the Traveler-mk3 can serve
as a multi-channel analog-to-digital converter
when disconnected from the computer and instead
connected to another device equipped with an
ADAT optical input. For example, you could
connect the Traveler-mk3 optical output to the
optical input on another MOTU audio interface,
such as a Traveler, 896mk3 or even another
Traveler-mk3. The Traveler-mk3 then serves as a
multi-channel expander that adds additional mic,
analog TRS and digital inputs to the interface. The
benefit of connecting the Traveler-mk3 in this
manner (instead of as another FireWire interface)
is that you can seamlessly integrate the
Traveler-mk3s inputs into the on-board no-
latency CueMix monitor mixing in the interface,

since the Traveler-mk3s inputs are fed into
CueMix via the interfaces optical inputs.
If the device to which you are connecting the
Traveler-mk3 supports 2x optical sample rates
(88.2 or 96 kHz), you can also use both banks of
connectors as discussed in ADAT optical
operation at 88.2 or 96 kHz on page 20.
MAKING SYNC CONNECTIONS

If you connect devices digitally to the
Traveler-mk3, or if you need to synchronize the
Traveler-mk3 with an outside time reference such
as SMPTE time code, you must pay careful
attention to the synchronization connections and
clock source issues discussed in the next few
sections.
Mac
FireWire
Base
Traveler-mk3
ADAT optical In
ADAT optical Out

Expander
Traveler-mk3
Figure 3-13: Using the Traveler-mk3 as an optical expander. In this example, it is connected to another Traveler-mk3.
26
Do you need to synchronize the Traveler-mk3?

If you will be using only the Traveler-mk3s analog
inputs and outputs (and none of its digital I/O),
and you have no plans to synchronize your
Traveler-mk3 system to SMPTE time code, you
dont need to make any sync connections. You can
skip this section and proceed to chapter 4,
(page 33). After you install the Traveler-mk3
software, youll open MOTU Audio Setup to
confirm that the Clock Source setting is Internal as
shown below. For details, see chapter 5, MOTU
Audio Setup (page 37).
depends almost entirely on proper synchronization. The following sections guide you through
several recommended scenarios.
Be sure to choose a digital audio clock master
When you transfer digital audio between two
devices, their audio clocks must be in phase with
one another or phase-locked. Otherwise, youll
hear clicks, pops, and distortion in the audio or
perhaps no audio at all.
Not phase-locked
Phase-locked
Device A
Device B
Figure 3-15: When transferring audio, two devices must have phaselocked audio clocks to prevent clicks, pops or other artifacts.
Figure 3-14: You can run the Traveler-mk3 under its own internal
clock when it has no digital audio connections and you are not
synchronizing the Traveler-mk3 system to an external time reference
such as time code.
There are two ways to achieve phase lock: slave one

device to the other, or slave both devices to a third
master clock. If you have three or more digital
audio devices, you need to slave them all to a single
master audio clock.
Master
Situations that require synchronization

There are three general cases in which you will
need to resolve the Traveler-mk3 with other
devices:
Synchronizing the Traveler-mk3 with other
digital audio devices so that their digital audio
clocks are phase-locked (as shown in Figure 3-15)
Resolving the Traveler-mk3 system to SMPTE
time code from a video deck, analog multi-track,
etc.
Both of the above
Synchronization is critical for clean digital I/O

Synchronization is critical in any audio system, but
it is especially important when you are transferring
audio between digital audio devices. Your success
in using the Traveler-mk3s digital I/O features
Slave
Master
Slave
Slave
Figure 3-16: To keep the Traveler-mk3 phased-locked with other

digital audio devices connected to it, choose a clock master.
Also remember that audio phase lock can be

achieved independently of time code (location).
For example, one device can be the time code
master while another is the audio clock master. But
only one device can be the audio clock master. If
you set things up with this rule in mind, youll have
trouble-free audio transfers with the Traveler-mk3.
27
SYNCING TO SMPTE TIME CODE
Use this setup if you have:
The Traveler-mk3 system can resolve directly to

SMPTE time code. It can also generate time code
and word clock, under its own clock or while
slaving to time code. Therefore, the Traveler-mk3
can act both as an audio interface and as a digital
audio synchronizer to which you can slave other
digital audio devices. You can use the Traveler-mk3
to slave your audio software to time code as well, as
long as your software supports either sampleaccurate sync or MIDI Time Code, which is the
means by which the software follows the
Traveler-mk3.
A SMPTE time code source, such as a multitrack tape deck.

A Traveler-mk3 by itself, OR with another slaved device (such
as a digital mixer).
Host software that supports sample-accurate sync or MIDI

Time Code sync.
This setup provides:
Continuous sync to SMPTE time code.

Sub-frame timing accuracy.
Transport control from the SMPTE time code source.
First, choose SMPTE

as the clock source in
AudioDesk, Digital
Performer, or MOTU
Audio Setup. This
setting can also be
made in the MOTU
SMPTE Console
(shown below).
If your host application supports

sample-accurate
sync, enable it. If
not, set it up to
sync to MIDI Time
Code (MTC).
SMPTE time code source

In AudioDesk or Digital Performer:
When lockup is achieved, the LOCK
light illuminates and the TACH light
blinks once per second.
audio cable bearing LTC

(Longitudinal Time Code)
1. Choose Receive Sync from the Setup menu.

2. Choose the Sample-accurate option. (If this
option is grayed out, choose SMPTE as the
clock source setting first, as shown above.)
3. Make sure that Slave to External Sync mode
is enabled.
Analog
quarter-inch jack
Traveler-mk3 interface
Analog Word
out
Out
audio
cable
BNC
cable
Other digital audio device

slaved to the Traveler-mk3
FireWire cable
Mac running AudioDesk,

Digital Performer or other host software.
Launch the MOTU SMPTE Console to specify the time code frame
rate and amount of freewheel. Also, confirm that the Clock
Source/Address is SMPTE/SMPTE. For details about the other
settings, see chapter 12,MOTU SMPTE Console (page 107).
Figure 3-17: Connections for synchronizing the Traveler-mk3 directly to SMPTE time code.
28
SYNCING AES/EBU AND S/PDIF DEVICES
On the other hand, when you transfer audio from

the S/PDIF or AES/EBU device into the
Traveler-mk3, youll have to slave the Traveler-mk3
to its S/PDIF or AES/EBU input. If you have other
digital audio devices connected to the
Traveler-mk3, and they are not slaved directly to
the Traveler-mk3 itself, you may hear clicks and
pops resulting from their unsynchronized audio
clock. If so, just turn them off during the transfer.
DAT decks and other devices with S/PDIF and/or

AES/EBU digital I/O will sync to the Traveler-mk3
in one of two ways:
Via the S/PDIF or AES/EBU connection itself
Via word clock
Devices with no word clock

If your S/PDIF or AES/EBU device has no word
clock sync connectors, just connect it to the
Traveler-mk3 via the S/PDIF or AES/EBU
connectors. When the device records a digital
audio signal (from the Traveler-mk3), it will simply
synchronize to the clock provided by the digital
audio input.
Traveler-mk3
S/PDIF or AES/EBU
Devices with word clock

If your S/PDIF or AES/EBU device has a Word
Clock input, slave the device to the Traveler-mk3
via their word clock connection. You can then
freely transfer audio between the Traveler-mk3 and
the S/PDIF device.
Traveler-mk3
Clock Source setting =
Internal (when transferring from the
Traveler to the other device)
Traveler-mk3
Clock Source setting =
S/PDIF or AES/EBU (when transferring
from the other device to the Traveler)
S/PDIF or AES/EBU
S/PDIF or AES/EBU
device
Traveler-mk3
Clock Source setting = Internal
Traveler-mk3
Word Clock Out
SPDIF or AES/EBU
Word Clock In
SPDIF or AES/EBU
S/PDIF or AES/EBU
device
With this setup, in MOTU Audio Setup, choose Internal, or any other clock
source setting except SPDIF or AES/EBU.The other device slaves to the Traveler
via word clock for digital transfers in both directions.
Figure 3-18: Two setups for synchronizing an AES/EBU or S/PDIF device with the Traveler-mk3. In the top diagram, sync is achieved via the
connection itself. In this case, you have to choose AES/EBU or S/PDIF as the Traveler-mk3s clock source when recording from the other device. If
you dont want to have to worry about switching the Clock Source setting depending on the direction of the transfer, you can slave the other
device to word clock from the Traveler-mk3 or vice versa (not shown). The Word Clock connection maintains sync, regardless of the direction of
the transfer.
29
SYNCING WORD CLOCK DEVICES

The Traveler-mk3 word clock connectors allow
you to synchronize it with a wide variety of other
word clock-equipped devices.
For standard word clock sync, you need to choose
an audio clock master (as explained in Be sure to
choose a digital audio clock master on page 27).
In the simplest case, you have two devices and one
is the word clock master and the other is the slave
as shown below in Figure 3-19 and Figure 3-20.
Master
Traveler-mk3
Word clock OUT
Word clock IN
Other device
Slave
Figure 3-19: Slaving another digital audio device to the Traveler-mk3

via word clock. For the Traveler-mk3 clock source, choose any source
besides word clock, as it is not advisable to chain word clock.
Word clock source
Master
Word clock OUT
Word clock IN
Slave
Traveler-mk3
Figure 3-20: Slaving the Traveler-mk3 to word clock. For the

Traveler-mk3 clock source, choose Word Clock In.
Traveler-mk3 could be running at 96 kHz while

slaving to a 48 kHz word clock signal. Similarly, the
Traveler-mk3 could run at 88.2 kHz and slave to
44.1 kHz word clock.
Remember, the word clock signal must be one of
the following:
the same as the Traveler-mk3 clock
half of the Traveler-mk3 clock
Forcing a 1x word out rate

The Traveler-mk3 can generate a word clock
output signal that either matches the current
system clock rate (any rate between 44.1 and
192kHz) or the corresponding 1x rate. For
example, if the Traveler-mk3 is operating at
192kHz, you can choose to generate a word out rate
of 48kHz. For details on how to make this word
clock output setting, see Word Out on page 42.
CONNECTING MULTIPLE MOTU FIREWIRE

INTERFACES
You can daisy-chain multiple MOTU FireWire
interfaces on a single FireWire bus, with the
restrictions described in the following sections.
Most computers have only one built-in FireWire
bus (even if it supplies multiple FireWire sockets).
Connect them as follows:
Dont chain word clock

If you have three or more digital audio devices that
you need to synchronize, avoid chaining their word
clock connections (OUT to IN, OUT to IN, etc.), as
this causes problems. Instead, use a dedicated
synchronizer or a word clock distribution device of
some kind.
Slaving to 2x and 1/2x word clock
All MOTU FireWire audio interfaces that support
96 kHz operation have the ability to slave to a word
clock signal running at either one half or one
quarter of their current clock rate. For example, the
30
Synchronizing multiple interfaces

Mac OS X provides an advanced, flexible driver
model that allows multiple Core Audio drivers to
be active at one time, accessed by multiple
applications simultaneously. For example, you can
run both FireWire and PCI audio interfaces at the
same time, accessing all of their inputs and outputs
from your host audio application or even
multiple applications simultaneously.
Mac
FireWire
FireWire
FireWire
Word Clock Out

For two
interfaces,
slave one to
the other.
FireWire
Word Clock In
FireWire
Word Clock Out
FireWire
Word Clock In
FireWire
Word Clock Out
FireWire
Word Clock In
You can probably

get away with
daisy-chaining
three interfaces,
although a word
clock distribution device is
recommended.
This is risky. A
word clock distribution device is
highly recommended.
Figure 3-21: Connecting multiple Traveler-mk3 interfaces (or other

MOTU FireWire audio interfaces) to a computer.
Multiple interfaces cannot be bus-powered

Do not run the Traveler-mk3, UltraLite or other
bus-powered interfaces under bus power with
other devices on the same FireWire bus.
Multiple interfaces in MOTU Audio Setup
MOTU Audio Setup displays the settings for one
interface at a time. To view the settings for an
interface, click its tab as shown in Figure 3-22.
A by-product of this more flexible model is that

multiple devices must be synchronized to one
another in order to remain resolved to each
another. Without synchronization, the audio
streams going to each interface might drift with
respect to one another. For example, the audio
tracks playing back through the Traveler-mk3
might drift out of sync with the audio tracks
playing back through your 2408mk3 PCI interface.
Synchronizing them to each other ensures that they
remain as tightly and continuously phase-locked as
if they were one unified interface.
There are two ways to synchronize the
Traveler-mk3 with other devices, as discussed in
the following sections: via the driver or via word
clock.
Resolving to other Core audio drivers
The MOTU FireWire driver has the ability to
resolve to other Core Audio drivers. This allows the
Traveler-mk3, and other MOTU FireWire
interfaces, to resolve to other audio interfaces
running simultaneously on the same computer,
such as the Macs built-in audio, a PCI-424 core
system, or even 3rd-party interfaces, without the
need for external word clock connections between
the devices. Doing so ensures that audio tracks
being played or recorded by your MOTU FireWire
interface will not drift apart from tracks on the
other device during long playback or recording
passes.
Figure 3-22: To view the settings for an interface, click its tab.
31
To synchronize multiple devices via the MOTU

FireWire driver, choose one device (PCI, FireWire
or otherwise) as the master clock and then slave the
Traveler-mk3 and other FireWire devices to it. All
interfaces will remain resolved to each other via the
master interface.
Make the Clock Source settings for each interface
as follows:
For the master interface, click its tab in MOTU
Audio Setup and choose any clock source you wish
(except any of the slave interfaces, of course).
For each slave interface, click its tab and choose

the master interface from the Clock Source menu, as
demonstrated below in Figure 3-23. This causes
the slave interfaces to resolve to the master
interface.
Resolving to word clock

To resolve two Traveler-mk3 FireWire interfaces
with each other via word clock, choose one as the
word clock master and then slave the second
interface to the first, as shown in Figure 3-21 on
page 31. For three interfaces, you can probably get
away with daisy-chaining them via their word
clock connectors, but this may not always produce
the most reliable results. For three or more devices,
a word clock distribution device is highly
recommended. In this case, the distribution box is
the master, and all FireWire interfaces slave directly
to it (instead of to each other).
Connecting other MOTU FireWire interfaces
You can add an original MOTU 828 to the end of a
FireWire daisy chain (because the 828 has only one
FireWire port), or you can mix and match multiple
828s with other MOTU FireWire interfaces using a
standard FireWire hub. Alternately, can daisychain any MOTU audio interface with two
FireWire ports.
Operating multiple FireWire interfaces at high
sample rates
Four MOTU FireWire interfaces can operate at
44.1 or 48kHz on a single FireWire bus, although
you may have to disable optical banks to conserve
FireWire bus bandwidth. At the 2x samples rates
(88.2 or 96kHz) and 4x sample rates (176.4 and
192kHz), you can operate no more than two
FireWire interfaces on a single FireWire bus.
Figure 3-23: To resolve a MOTU FireWire interface to another Core

Audio device, choose the other device from the Clock Source menu in
the MOTU Audio Setup. In this example, the Traveler-mk3 will slave to
the 828mk3.
If you have multiple Traveler-mk3s, choose one as

the master, and set its Clock Source to Internal.
Then, click the tab of the other Traveler-mk3s and
set their Clock Source to the first Traveler-mk3.
Adding additional interfaces with a second

FireWire bus
Third-party FireWire bus expansion products in
the form of a cardbus (PC card), ExpressCard or
PCI card adapter allow you to add a second
FireWire bus to your computer. In may be possible
to add additional MOTU FireWire interfaces
connected to such a product, depending on their
performance with your host computer.
32
CHAPTER 4
Installing the Traveler-mk3 Mac

Software
OVERVIEW
Software installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MOTU SMPTE Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
AudioDesk workstation software . . . . . . . . . . . . . . . . . . . .
33
35
35
35
SOFTWARE INSTALLATION
Install the Traveler-mk3 software as follows:
1 Insert the MOTU Universal Installer disc and
launch the installer.
2 Follow the directions that the installer gives you.
What does the installer do?
The installer checks the computer to make sure it
satisfies the minimum system requirements for
your MOTU interface. If so, the installer proceeds
with the OS X installation. Drivers are installed,
along with the MOTU Audio Setup, CueMix FX,
and several other applications, summarized in the
following table:
The Traveler-mk3 CoreAudio driver

CoreAudio is a term that refers to the software
technology built into Mac OS X that provides all of
its standardized audio features. More specifically,
we use CoreAudio to refer to Mac OS Xs standard
audio driver model. A CoreAudio driver allows the
Traveler-mk3 to establish audio input and output
with any Mac OS X CoreAudio-compatible
software.
Once the Traveler-mk3s CoreAudio driver has
been successfully installed (by the installer), and
you have chosen it for use in your host audio
software, the Traveler-mk3 will appear as a choice
for audio inputs and outputs in your software.
All MOTU audio hardware, including our PCI
systems and other FireWire and USB interfaces,
ships with CoreAudio drivers that allow them to
operate successfully with virtually all Mac OS X
audio software.
Software component
Location
Purpose
For more information
MOTU FireWire Audio driver.kext
/System/Library/
Extensions
Provides Traveler-mk3 multi-channel audio

input and output with all Mac OS X audio software
The Traveler-mk3
CoreAudio driver on
page 33
MOTU MIDI driver.kext
/System/Library/
Extensions
Provides Traveler-mk3 MIDI input and output for all Mac OS X MIDI software
CoreMIDI and Audio

MIDI Setup on page 34
MOTU MIDI driver.plugin
/Library/Audio/
MIDI Drivers
Provides Traveler-mk3 MIDI input and output for all Mac OS X MIDI software
CoreMIDI and Audio

MIDI Setup on page 34
MOTU Audio Setup
Applications folder
Provides access to all of the settings in the

Traveler-mk3 and other MOTU interfaces.
Required for Traveler-mk3 operation.
chapter 5, MOTU Audio

Setup (page 37)
CueMix FX
Applications folder
Gives you complete control over the Traveler-mk3s CueMix FX on-board mixer, which
provides no-latency monitoring, mixing and
processing of live inputs through your Traveler-mk3.
chapter 11, CueMix FX

(page 77)
MOTU SMPTE Setup
Applications folder
Provides access to the Traveler-mk3 systems

SMPTE time code sync features.
chapter 12, MOTU SMPTE

Console (page 107)
AudioDesk
Applications/MOTU
AudioDesk
Provides complete multi-track recording,

mixing and processing. Optional.
AudioDesk User Guide
33
CoreMIDI and Audio MIDI Setup

CoreMIDI is the under-the-hood portion of Mac
OS X that handles MIDI services for MIDI
hardware and software. CoreMIDI provides many
universal MIDI system management features,
including MIDI communication between your
Traveler-mk3 FireWire interface and all CoreMIDI
compatible software.
Audio MIDI Setup is a utility included with
Mac OS X that allows you to configure your
Traveler-mk3 interface for use with all CoreMIDI
compatible applications. Audio MIDI Setup
provides:
A virtual studio on your Mac that graphically
represents your MIDI hardware setup and that is
shared by all CoreMIDI-compatible programs
A simple, intuitive list of your MIDI devices
whenever you need it in any CoreMIDI-compatible
program
Launching Audio MIDI Setup

1 Make sure your Traveler-mk3 interface is
connected and turned on.
Figure 4-1: The Traveler-mk3 interface as it appears in the MIDI tab of

Audio MIDI Setup.
Connecting MIDI devices to the Traveler-mk3

Once your Traveler-mk3 interface appears in
Audio MIDI Setup, you are ready to add devices,
indicate how they are connected, and identify
properties they may have for particular purposes.
This information is shared with all CoreMIDI
compatible applications.
To add a device in Audio MIDI Setup:
1 Click Add Device.
2 Launch the Audio MIDI Setup utility.

This can usually be found in /Applications/
Utilities. If it has been moved, just search for Audio
MIDI Setup.
3 Confirm that the Traveler-mk3 is present in the
MIDI Devices tab of Audio MIDI Setup.
If the Traveler-mk3 does not appear, or if it is
grayed out, check your cable connections and click
Rescan MIDI.
Figure 4-2: Adding a MIDI device.
2 Drag on its input and output arrows to draw

connections to the Traveler-mk3 that match its
physical connection.
34
INSTALLING THE TRAVELER-MK3 MAC SOFTWARE
CUEMIX FX
This program provides a mixing console that gives
you control over the Traveler-mk3s on-board
mixing and effects processing. For details, see
chapter 11, CueMix FX (page 77).
MOTU SMPTE CONSOLE
Figure 4-3: Connecting devices to the Traveler-mk3. In this example, a

controller keyboard is connected to the Traveler-mk3s MIDI IN, and a
sound module is connected to the Traveler-mk3 MIDI OUT.
3 Double-click the device to make settings, such

as input and output channels, that further describe
the device.
The MOTU SMPTE Console software provides a

complete set of tools to resolve the Traveler-mk3 to
SMPTE time code, and to generate SMPTE for
striping, regenerating or slaving other devices to
the computer. For details, see chapter 12, MOTU
SMPTE Console (page 107).
AUDIODESK WORKSTATION SOFTWARE

AudioDesk is an advanced workstation software
package for the Traveler-mk3 that lets you record,
edit, mix, process, bounce and master multi-track
digital audio recording projects. Advanced features
include real-time 32-bit effects processing, 24-bit
recording, and much more.
See the AudioDesk manual for details.
Figure 4-4: Device settings.
Figure 4-5: AudioDesk for Mac OS X.
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
CoreMIDI-compatible software.
35
36
CHAPTER 5
MOTU Audio Setup
OVERVIEW
MOTU Audio Setup gives you access to basic
Traveler-mk3 hardware settings, such as sample
rate, clock source, optical format and more.
Accessing the Traveler-mk3 settings . . . . . . . . . . . . . . . . . 37
Traveler-mk3 Tab Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Default Stereo Input/Output. . . . . . . . . . . . . . . . . . . . . . . . . 40
Phones Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Optical input/output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Main Outs Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Return Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Clip Hold Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Peak Hold Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Word Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
General Tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Launch MOTU Audio Setup when hardware becomes
available . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Channel Names. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
ACCESSING THE TRAVELER-MK3 SETTINGS

There are several ways to access MOTU Audio
Setup settings:
Click the MOTU Audio Setup icon in the dock
Press on the MOTU Audio Setup dock icon to

open the menu shown in Figure 5-1, or controlclick it to open the menu immediately
From within AudioDesk or Digital
Performer, choose Setup menu>Configure Audio
System>Configure Hardware Driver (Note: this
dialog only provides access to basic settings such as
sample rate and clock source. For access to all
settings, use one of the techniques above.)
Figure 5-1: Accessing Traveler-mk3 settings from the dock.

In Cubase or Nuendo, open the Device Setup
window, click VST Audio System and choose
MOTU Traveler mk3 from the ASIO Driver menu.
Then click the MOTU Traveler mk3 item in the list,
click the Control Panel button and click the Open
ConfigApp button.
From the front panel LCD as explained in
chapter 6, Traveler-mk3 Front Panel Operation
(page 43).
Traveler-mk3 tab settings

The Traveler-mk3 tab (Figure 5-2) provides
settings that apply to a specific Traveler-mk3
interface. If you have several Traveler-mk3 (or
other MOTU) interfaces connected, youll see a
separate tab for each one.
General tab settings
The General tab provides settings that apply
globally to all connected MOTU interfaces.
37
TRAVELER-MK3 TAB SETTINGS

Sample Rate
Choose the desired Sample Rate for recording and
playback. The Traveler-mk3 can operate at 44.1
(the standard rate for compact disc audio), 48,
88.2, 96, 176.4 or 192 kHz. Make sure that all of the
devices connected digitally to the Traveler-mk3
match the Traveler-mk3s sample rate. Also make
sure that your digital audio synchronizer matches
it as well (if you have one). At the 4x sample rates
(176.4 or 192kHz), all digital I/O on the
Traveler-mk3 is disabled.
Mismatched sample rates cause distortion and

crackling. If you hear this sort of thing, check the
sample rate settings in your hardware and here in
MOTU Audio Setup.
Operation at 4x sample rates (176.4 or 192kHz)

At the 4x sample rates (176.4 or 192kHz),
operation of the Traveler-mk3 is restricted, due to
the higher audio bandwidth demands, as follows:
All digital I/O is disabled (there is no optical,
AES/EBU or S/PDIF input/output).
The Traveler-mk3 provides 8 channels of analog
input and 8 channels of analog output, simultaneously.
The stereo return bus, as described in Return
Assign on page 41, can only be assigned to one of
the four available analog output pairs or phones.
The headphone output can only be assigned to
one of the four available analog output pairs or
phones.
The Main Outs can only be assigned to one of
the four available analog output pairs or phones.
Figure 5-2: MOTU Audio Setup gives you access to all of the settings in the Traveler-mk3 hardware.
38
MOTU AUDIO SETUP
Clock Source
The Clock Source determines the digital audio
clock that the Traveler-mk3 will use as its time
base. For a complete explanation of synchronization issues, see Making sync connections on
page 26. The following sections briefly discuss each
clock source setting.
Internal
Use the Internal setting when you want the
Traveler-mk3 to operate under its own digital
audio clock. For example, you may be in a situation
where all you are doing is playing tracks off hard
disk in your digital audio software on the
computer. In a situation like this, you most often
dont need to reference an external clock of any
kind.
Another example is transferring a mix to DAT. You
can operate the Traveler-mk3 system on its internal
clock, and then slave the DAT deck to the
Traveler-mk3 via the S/PDIF connection (usually
DAT decks slave to their S/DIF input when you
choose the S/PDIF input as their record source) or
via the Traveler-mk3s word clock output (if your
DAT deck has a word clock input).
If you would like help determining if this is the
proper clock setting for your situation, see
Making sync connections on page 26.
Word Clock In
The Word Clock In setting refers to the Word Clock
In BNC connector on the Traveler-mk3 rear panel.
Choosing this setting allows the Traveler-mk3 to
slave to an external word clock source, such as the
word clock output from a digital mixer or another
Traveler-mk3.
S/PDIF
The S/PDIF clock source setting refers to the
S/PDIF RCA input jack on the Traveler-mk3. This
setting allows the Traveler-mk3 to slave to another
S/PDIF device.
Use this setting whenever you are recording input

from a DAT deck or other S/PDIF device into the
Traveler-mk3. It is not necessary in the opposite
direction (when you are transferring from the
Traveler-mk3 to the DAT machine).
For further details about this setting, see Syncing
AES/EBU and S/PDIF devices on page 29.
AES/EBU
The AES/EBU clock source setting refers to the
AES/EBU XLR input jack on the Traveler-mk3.
This setting allows the Traveler-mk3 to slave to
another AES/EBU device.
Use this setting whenever you are recording input
from a DAT deck or other AES/EBU device into the
Traveler-mk3. It is not necessary in the opposite
direction (when you are transferring from the
Traveler to the DAT machine).
For further details about this setting, see Syncing
S/PDIF and AES/EBU devices on page 46.
ADAT Optical A / B
The ADAT optical clock source settings (ADAT
Optical A and ADAT Optical B) refer to the clock
provided by the Traveler-mk3s two optical inputs,
when either one is connected to another optical
device. These two settings only appear in the Clock
Source menu when their corresponding optical
bank input is enabled and set to the ADAT Optical
format, as explained in Optical input/output on
page 41.
This setting can be used to resolve the
Traveler-mk3 directly to the optical input
connection. Most of the time, you can set up a
better operating scenario that uses one of the other
synchronization options. However, there may be
occasions when you have an optical device that has
no way of synchronizing digitally to the
Traveler-mk3 or an external synchronizer. In this
39
MOTU AUDIO SETUP
case, the ADAT Optical clock source setting lets you

slave the Traveler-mk3 to the device itself via its
digital input to the Traveler-mk3.
code reference and shared transport control are not

needed without having to set up an elaborate
synchronization scenario.
This setting is also useful if you just need to make a

simple, click-free digital transfer between the
Traveler-mk3 and another device where a time
code reference and shared transport control are not
needed without having to set up an elaborate
synchronization scenario.
For further details, see Choosing a clock source

for optical connections on page 21.
For further details, see Choosing a clock source

for optical connections on page 21.
TOSLink A / B
The TOSLink clock source settings (TOSLink A and
TOSLink B) refer to the clock provided by the
Traveler-mk3s two optical inputs, when either one
is connected to another optical device. These two
settings only appear in the Clock Source menu
with their corresponding optical bank input is
enabled and set to the TOSLink format, as
explained in Optical input/output on page 41.
The TOSLink clock source setting refers to the
clock provided an optical S/PDIF device connected
to the Traveler-mk3s optical input. This setting
can be used to slave the Traveler-mk3 directly to
the optical input connection. Most of the time, you
can set up a better operating scenario that uses one
of the other synchronization options. However,
there may be occasions when you have an
TOSLink-compatible device that has no way of
synchronizing digitally to the Traveler-mk3 or an
external synchronizer such as the Digital
Timepiece. In this case, the TOSLink clock source
setting lets you slave the Traveler-mk3 to the other
device via the Traveler-mk3s optical input.
SMPTE
Choose this setting to resolve the Traveler-mk3
directly to SMPTE time code (LTC) being received
via any Traveler-mk3 analog input jack. For details,
see Syncing to SMPTE time code on page 28 and
chapter 12, MOTU SMPTE Console (page 107).
Built-in Audio
Choose this setting to resolve the Traveler-mk3 to
your Macs built-in audio. Doing so will ensure that
audio streams playing back from or recorded by
the Traveler-mk3 will not drift apart from audio
streams simultaneously played or recorded by the
Macs built-in mic, speakers or audio output.
Other audio devices (drivers)
The MOTU FireWire Audio Driver has the ability
to resolve to other Core Audio drivers. Doing so
will ensure that audio streams playing back from or
recorded by the Traveler-mk3 will not drift apart
from audio streams simultaneously played or
recorded by the other devices.
Default Stereo Input/Output
In the System Preferences window, Mac OS X lets
you choose third-party hardware such as the
Traveler-mk3 for your Mac sound input and
output. The system input and output can be used
for alert sounds and general audio I/O for
applications like iTunes, iMovie, etc.
This setting is also useful if you just need to make a

simple, click-free digital transfer between the
Traveler-mk3 and another device where a time
40
MOTU AUDIO SETUP
Traveler-mk3s two banks of optical input and

output (Bank A and Bank B). Choose the format
that matches the device connected. If you are not
using the optical connections, it is recommended
that you turn them off (by choosing Disabled from
the menu) to reduce bandwidth and processing
overhead. Note that you can operate each optical
port independently. For example, you could use the
ADAT optical format on the Bank A input (with a
digital mixer, for example) and optical S/PDIF on
the Bank A output (with a DAT deck, for example).
Main Outs Assign
Choose Analog 1-2 from the Main Outs Assign
menu to treat the Main Outs as their own
independent output pair. Choose any other output
pair to cause the Main Outs to mirror (duplicate)
the output pair you choose.
Figure 5-3: The Mac OS X sound preferences let you use the
Traveler-mk3 for general stereo audio input and output for your Mac.
The Default Stereo Input and Default Stereo Output

settings in MOTU Audio Setup (Figure 5-2 on
page 38) let you specify the stereo input and output
on the Traveler-mk3 to be used when it is chosen as
the audio I/O device in the system preferences.
Phones Assign
The Phones Assign setting lets you choose what you
will hear from the headphone jack. Choose Analog
1-2 if youd like the headphone output to match the
Main Outs. Choose Phones 1-2 if you would like the
headphones to serve as their own independent
output, which you can access as an independent
output destination in your host audio software and
as an output destination for the eight on-board
CueMix FX mix busses.
Optical input/output
The Optical input and Optical output settings let
you choose between ADAT optical (lightpipe) and
S/PDIF optical (TOSLink) as the format for the
Return Assign
The Return Assign menu lets you choose any pair of
Traveler-mk3 audio outputs, or any mix bus output
(when operating at 44.1 or 48 kHz). The audio
signal from this output pair or mix is then sent
back to the computer via the Stereo Return 1-2 bus.
This stereo return bus from the Traveler-mk3
appears in your host software alongside all other
Traveler-mk3 inputs, wherever your host software
lists them.
The Traveler-mk3 stereo return bus can be used for
a variety of purposes. For example, you could use it
to send a final mix being played through the
Traveler-mk3 back to the computer, where you
could record it for mastering or archiving
purposes.
As another example, you could use the stereo
return bus to capture tracks played from your host
software, along with live inputs being routed
directly through the Traveler-mk3 hardware via
CueMix FX (with or without CueMix effects
processing on the live inputs).
41
MOTU AUDIO SETUP
Clip Hold Time

The Clip Hold Time option controls how long the
top red LED on the front panel metering remains
illuminated after clipping occurs.
If you want the ability to clear the LED manually
from your host audio software or the Cue Mix
Console, Choose Infinite from the Clip Hold Time
menu. In Digital Performer or AudioDesk, you can
clear the Traveler-mk3 clip LEDs by choosing
Audio menu>Clear All Clipping Indicators.
Peak Hold Time
The Traveler-mk3 front-panel level meters support
standard peak/hold metering, where the LED for
the highest level recently measured on the channel
remains illuminated for a brief period of time while
the rest of the LEDs below it remain fully dynamic.
The Peak Hold Time controls how long the peakhold LED remain illuminated before going dark
again.
Word Out
The Word Out menu appears when the
Traveler-mk3 is operating at a 2x sample rate (88.2
or 96kHz) or 4x sample rate (176.4 or 192kHz).
This menu lets you set the word clock output either
to match the current sample rate (System Clock) or
force it to the corresponding 1x rate (either 44.1 or
48kHz). For example, if the Traveler-mk3 were
operating at 176.4kHz, choosing the Force 44.1/
48kHz option would produce word clock output at
44.1kHz.
Channel Names
Click the Channel Names button to open the
Channel Names window (Figure 5-4). This
window lets you edit the names of the
Traveler-mk3 inputs and outputs, as they appear in
your host audio software. For example, when you
click on a menu that displays the Traveler-mk3
inputs (or outputs), you will see the names you
specify in this window (e.g. vocal mic, lead
guitar, etc.), instead of the default generic names
(Analog 1, Analog 2, etc.)
Not all Mac OS X audio software supports

channel names. If not, youll see generic port
names in your host audio software.
Figure 5-4: The Channel Names window.
GENERAL TAB SETTINGS

Launch MOTU Audio Setup when hardware
becomes available
Check this option if you would like the MOTU
Audio Setup icon to appear in the application dock
as soon as a MOTU interface is detected (switched
on, plugged in, etc.)
Figure 5-5: Traveler-mk3 channel names as they appear in Digital

Performers Bundles window.
42
MOTU AUDIO SETUP
CHAPTER 6
Traveler-mk3 Front Panel Operation
OVERVIEW
PRECISION DIGITAL TRIM AND PAD
The Traveler-mk3 offers complete front-panel

programming via six rotary encoders and a 2x16
backlit LCD display. All Traveler-mk3 settings can
be accessed via these front-panel controls.
Turn the Precision Digital Trim detented rotary

encoders on the Traveler-mk3 front panel
(Figure 6-1) to adjust the input level of their
corresponding mic/guitar input on the rear panel.
The LCD provides visual feedback as you turn the
knob (Figure 6-2). Each detent adjusts the gain by
approximately 1 dB. The gain range is from zero
(0) to +53 dB. This is digitally controlled analog
trim.
Precision Digital Trim and pad . . . . . . . . . . . . . . . . . . . . . . .

Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Meters and status LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Push-button rotary encoders . . . . . . . . . . . . . . . . . . . . . . . .
Multi-function LCD display . . . . . . . . . . . . . . . . . . . . . . . . . .
Traveler-mk3 SETUP menu. . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CueMix menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Inputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Outputs menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mixes menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reverb menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stand-alone operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
44
46
46
46
47
48
49
52
52
53
53
53
Figure 6-2: the LCD provides feedback when you adjust the Precision
Digital Trim and pad for the four mic/guitar inputs.
Pad switch
Push the rotary encoder once to view the current
gain and pad settings as shown in Figure 6-2
without changing them. Push it again (while the
Figure 6-1: The Traveler-mk3 front panel mic/guitar input controls.
43
pad setting is still visible) to toggle the 20dB pad on

or off. After a few seconds, the LCD display will
return to the previous screen.
Other mic/guitar input settings
The Traveler-mk3 mic/guitar inputs are equipped
with many features to handle a wide variety of
recording situations. For information about
connections and settings, see Mic/guitar inputs
with preamps on page 18 in the installation
chapter. For information about the many settings
available for the mic/guitar inputs, see:
Figure 6-3: The LCD provides feedback as you adjust Phone volume.
METERS KNOB
The METERS knob (Figure 6-1) provides access to
extensive input and output metering in the LCD.
Push the knob to cycle through three modes:
The Inputs tab on page 82
The channel settings section on page 86
Vertical multi-channel mode
The Channel tab on page 86
Horizontal single channel mode
The EQ tab on page 88
CueMix FX / Setup / Audio
The Dynamics tab on page 96
PHONES
From the factory, the PHONES jack (Figure 6-1) is
a discrete output, but it can mirror any other
output pair (digital or analog) or serve as its own
independent output. For example, at 88.2/96 kHz,
it defaults to mirroring the TRS main outs.
Multichannel metering
For multi-channel metering in the LCD, push the
METERS knob repeatedly until you see a multichannel meter display similar to Figure 6-4 below:
When you turn the phone VOL knob, the LCD

display provides visual feedback (Figure 6-9). To
view the current setting without changing it, just
push the knob (without turning it).
MASTER VOLUME
From the factory, the MASTER VOL knob
(Figure 6-1) controls the main outs (analog 1-2),
but MASTER VOL can be programmed to control
any combination of outputs. See The Monitor
Group on page 95 for details. Push the knob once
to view the current volume setting in the LCD
display; push it again to mute the monitor group;
push a third time to return to the previous volume.
Figure 6-4: Multi-channel metering in the LCD.
The display shows two 8-channel banks at a time,

one in each row, with channel numbers displayed
above and below and bank labels in the LCD itself
on the left-hand side.
Choosing which bank to display
Turn the METERs knob to cycle among the
following 8-channel bank displays:
Analog input and output
44
TRAVELER-MK3 FRONT PANEL OPERATION
Digital input and output (AES/EBU + S/PDIF)
Optical bank A input and output
Optical Bank B input and output
Optical Bank A and B inputs
Optical Bank A and B outputs
The digital I/O bank

In the digital input/output bank meter display
(Figure 6-5), the first pair of channels represents
AES/EBU and the second pair represents S/PDIF,
as shown below:
Choosing a channel
Turn the METERS knob to cycle among all active
channels or channel pairs. Stereo pairs show two
meters together.
Mic input metering with V-Limit
If you view a mic input, there is an extra meter in
the top row of the LCD that displays V-Limit
compression. This meter shows the amount of
compression applied to the raw input signal when
it exceeds zero dB.
S/PDIF
AES/EBU
Figure 6-7: Metering for a mic input with V-Limit engaged.
For complete details about V-Limit, see Overload

protection (mic/guitar inputs only) on page 87.
Figure 6-5: Viewing AES/EBU and S/PDIF level meters in the LCD.
Long throw metering for individual channels

To view long-throw horizontal metering for one
channel (or channel pair) at a time in the LCD,
push the METERS knob repeatedly until you see a
horizontal meter display similar to Figure 6-4
below:
When viewing individual channels, banks are

identified as follows:
Symbol
Bank
AN
Analog
AES
AES/EBU
SP
S/PDIF
ADA or ADB
ADAT A or B
TLA or TLB
TOSLink A or TOSLink B
Figure 6-6: Horizontal long-throw metering for an individual channel

in the LCD.
45
METERS AND STATUS LEDS

The meters and LEDs (Figure 6-8) provide status
and metering information for all Traveler-mk3
inputs and outputs.
display a level meter and gain reduction reading

that updates as you turn the volume knob. After a
brief time-out, the display returns to its previous
state before you turned the volume knob.
PUSH-BUTTON ROTARY ENCODERS

All of the knobs shown in Figure 6-10 are pushbutton digital rotary encoders. In many cases, you
can either push the knob or turn it to make a
setting or toggle the LCD display (depending on
the encoder and setting).
MULTI-FUNCTION LCD DISPLAY

The LCD provides access to the many
Traveler-mk3 settings, as well as visual feedback of
the current parameter being modified.
Parameter zooming
For many settings, the LCD temporarily zooms
in to display a long-throw meter and alphanumeric display to give you precise, real-time
feedback as you adjust the setting. For example, if
you change the headphone volume, the LCD will
Analog
input
meters
Figure 6-9: The LCD provides feedback as you adjust volume.
Three global menus

Push the PARAM knob to cycle the LCD among
three global menus, described in the rest of this
chapter:
Traveler-mk3 SETUP
AUDIO (settings)
CUEMIX (mixer)
AES/EBU
digital
input
meters
S/PDIF
digital
input
meters
Optical
bank
activity
LEDs
Time code
lock and
tach
MIDI
activity
Analog output activity LEDs
AES/EBU
output
activity
LEDs
S/PDIF
output
activity
LEDs
Sample
rate
Figure 6-8: The Traveler-mk3 front panel meters and LEDs.
46
TRAVELER-MK3 SETUP MENU

To access the Traveler-mk3 SETUP menu, push the
PARAM knob until you see Traveler-mk3 SETUP
displayed in the LCD. This menu provides basic
features for managing the Traveler-mk3 hardware.
Turn the PARAM knob to access each setting,
explained briefly below.
LCD Contrast
Turn the VALUE knob to adjust the LCD contrast.
Save/Name Preset
An Traveler-mk3 preset holds all current
CueMix FX mix settings (everything in the
CUEMIX menu). SETUP menu and AUDIO menu
parameters are not included. Turn the VALUE
knob to move from character to character in the
preset name. Turn PAGE to change the currently
flashing letter. Once youve named the preset, push
VALUE to save it, turn it again to choose the
desired preset slot you wish to save it to (1-16), and
the push again to confirm the save. To cancel the
save operation at any time by turning the PARAM
knob.
Load Preset
Turn VALUE to choose the preset you wish to load
(1-16) and push VALUE to load it.
Figure 6-11: In setup mode, the LCD displays a setup parameter in the
top row of the LCD and the current setting in the bottom row.
When viewing CueMix settings

in the LCD, push the CHANNEL
knob to cycle among four main
mixer menus: MIX, IN (inputs),
OUT (outputs) and REVERB.
Turn it to choose a channel.
Turn the PAGE knob to view settings for

each channel. Push it to jump to the
next section or back to the beginning.
Push the PARAM knob to cycle

among three global menus:
CueMix (mixer), AUDIO
(settings) and Traveler-mk3
SETUP.
The LCD is divided into four

sections that correspond to the
four knobs to the left.
Turn and/or push the

VALUE knob to adjust
the current setting.
Figure 6-10: The Traveler-mk3 front panel LCD controls.
47
MIDI Thru in standalone

Turn VALUE to enable (Y) or disable (N) the
Traveler-mk3s MIDI Thru feature when it is being
operated stand-alone (not connected to a
computer via FireWire). When MIDI Thru is
enabled, the MIDI IN jack passes MIDI data
directly to the MIDI OUT jack. This allows you, for
example, to play a sound module connected to the
MIDI OUT from a keyboard controller connected
to the MIDI IN, without a computer connected.
You can use this feature even when the
Traveler-mk3 is connected to the computer, but
make sure that you are not also patching MIDI data
through any host software running on the
computer. In this case, data received on the MIDI
IN port would be doubled on (i.e. sent twice to) the
MIDI OUT port. In this case, simply disable patch
thru either in the Traveler-mk3 or in your host
software.
All Notes Off
The All Notes Off setting sends a MIDI All Notes Off
message, as well as a MIDI note-off message for
every note on every MIDI channel. This stops any
stuck notes that are currently playing. Push VALUE
to send the All Notes Off MIDI data.
AutoSave Status
All of the parameters in the Traveler-mk3 are
periodically saved automatically in its memory, so
that if you power down the unit, it will power back
up in the same state. AutoSave Status tells you the
current state of this process: Change Detected,
Saving or Saved. If it says Saved, it is ready to be
powered down. If it says Change Detected or
Saving, wait until it changes to Saved.
Factory Defaults
Push VALUE to restore the Traveler-mk3 hardware
to its factory default settings. Push VALUE again to
confirm, or turn PARAM to cancel.
AUDIO MENU
To access the AUDIO menu, push the PARAM
knob until you see AUDIO displayed in the LCD.
This menu provides basic settings such as sample
rate, clock source, optical bank format (ADAT
versus TOSLink), and so on. These settings have
corresponding settings in the MOTU Audio Setup
software, as shown in the following table:
Audio menu item
Where to find more information
Clock Source*
Clock Source on page 39
Sample rate*
Sample Rate on page 38
Phones Assign
Phones Assign on page 41
Main Out Assign
Main Outs Assign on page 41
Return Assign
Return Assign on page 41
Optical In/Out A/B*
Optical input/output on page 41
ADAT SMUX Type
See below. This menu item is only available when the Traveler-mk3 is operating
at 88.2 or 96 kHz.
Word Clock Out
Word Out on page 42. This menu

item is only available when the Traveler-mk3 is operating at 88.2 or 96 kHz.
Clip Hold
Clip Hold Time on page 42
Peak Hold
Peak Hold Time on page 42
* If the Traveler-mk3 is currently connected to a computer, this setting

cannot be changed from the front-panel LCD. It must be changed in
MOTU Audio Setup instead. Or, you can disconnect the Traveler-mk3
from the computer to change the Clock Source from the front panel.
ADAT SMUX Type

When the Traveler-mk3 is operating at either 88.2
or 96 kHz, the AUDIO menu includes an item
called ADAT SMUX Type.
This setting lets you configure the optical ports for
ADAT format operation at the 2x sample rates only
(88.2 or 96 kHz).
There are two choices:
Type I for 2x optical connection to 3rd-party
SMUX-compatible hardware products
48
Type II for 2x optical connection to MOTU

products that are equipped with optical ports and
support 2x operation
Turn the VALUE knob to select an optical port and

push the knob to toggle between the Type I and
Type II setting.
CUEMIX MENU
To access the CUEMIX menu, push the PARAM
knob until you see CUEMIX displayed in the LCD.
This menu displays the settings for the
Traveler-mk3 CueMix FX mixer.
CueMix mixer basics
It is much easier to navigate the CUEMIX menu in
the LCD if you have a general understanding of the
CueMix FX mixer. We strongly recommend that
you review chapter 11, CueMix FX (page 77)
before learning the LCD, especially CueMix FX
basic operation on page 79.
The IN (inputs) menu

Push the CHANNEL button repeatedly until you
see I: in the channel section of the LCD
(Figure 6-12). This is similar to accessing the
Inputs tab in CueMix FX console (The Inputs tab
on page 82).
I: Indicates
the IN (inputs)
menu.
The current
channel.
Pages are groups of

channel settings, such
as one band of EQ.
Access individual parameters

here, such as the frequency
setting for a band of EQ.
Change the value of the

current parameter here.
Figure 6-12: The IN (inputs) menu.
CUEMIX menu organization

Mixer settings are divided into four sub-menus,
which correspond to the Inputs, Mixes, Outputs
and Reverb tabs in the CueMix FX software:
IN (inputs)
OUT (outputs)
MIX (Mixes)
REVERB (reverb processor)
Navigating the four main menus

To access the four main menus above, push the
CHANNEL knob repeatedly. Then turn the
CHANNEL knob to select the desired channel or
mix.
Choosing a channel
Once you see the Inputs menu (Figure 6-12) in the
LCD, turn the CHANNEL knob to select the
desired input that you wish to edit. This is roughly
equivalent to specifying an input channel strip to
work with in the Inputs tab in CueMix FX software
(Figure 11-3 on page 82).
Choosing a setting to modify
Once youve selected an input channel, you can
access the various settings for that channel using
the PAGE knob and PARAMETER knobs.
Turn the PAGE knob to scroll through channel
settings such as individual bands of EQ, the
compressor, reverb sends, etc. Push the PAGE knob
to jump to the next section of parameters or to
jump back to the beginning of the list. This is
roughly the equivalent of moving through the
various channel controls in an individual input
49
channel strip in CueMix FX (Figure 11-3 on

page 82), as well as the settings in the Channel tab
O: Indicates
the OUT
(outputs) menu.
The current
channel.

here, such as the frequency
setting for a band of EQ.
Turn the PARAMETER knob to scroll through

individual parameters, such as the frequency for
the current band of EQ. This is roughly equivalent
to the parameters in the EQ tab (Figure 11-10 on
page 88), Dynamics tab (Figure 11-26 on page 96)
and Reverb tab (Figure 11-28 on page 99) in the
CueMix FX software.
Adjusting the value of a parameter
Turn the VALUE knob to adjust the value of the
current PARAMETER. Some parameters have
default values. If so, push the VALUE knob to cycle
through them.
Inactive items
If a menu item is inactive for some reason (perhaps
it doesnt currently apply or it is disabled), it is
displayed in parentheses.
Copying and pasting
EQ, dynamics and Mix Assign settings allow you to
copy and paste settings between EQ bands and/or
channels. Push the VALUE knob to copy, scroll to
the other item and then push again to paste.
Summary of Inputs menu settings
For a summary of Inputs menu settings, see
Inputs menu on page 52.
The OUT (Outputs) menu
see O: in the channel section of the LCD
Outputs tab in CueMix FX console (The Outputs
tab on page 84).
Pages are groups of

channel settings, such
as one band of EQ.

Figure 6-13: The OUT (outputs) menu.
Choosing a channel
Once you see the Outputs menu (Figure 6-13) in
the LCD, turn the CHANNEL knob to select the
desired output that you wish to edit. This is roughly
equivalent to specifying an output channel strip to
work with in the Outputs tab in CueMix FX
software (Figure 11-6 on page 85).
Working with outputs in the LCD
Once youve selected an output channel, you can
access the various settings for that channel using
the PAGE knob and PARAMETER knobs. The
knobs function the same as described for inputs in
Choosing a setting to modify on page 49 and
Adjusting the value of a parameter on page 50.
Summary of Output menu settings
For a summary of Inputs menu settings, see
Outputs menu on page 52.
50
The MIX (Mixes) menu

see MIX 1 (or MIX 2, etc.) in the channel
section of the LCD (Figure 6-14). This is similar to
accessing the Mixes tab in CueMix FX console
(The Mixes tab on page 80).
The current
mix bus.

here, such as input channel
settings.
REVERB these are the reverb send and return

controls for the bus master fader. Access them with
the PARAMETER knob.
Individual channels once you scroll past

MASTER and REVERB, the PAGE knob then
scrolls through all available inputs for the mix bus.
Once you choose an input, access its channel
settings using the PARAM knob and VALUE knob.
Summary of Mix menu settings

For a summary of Mix menu settings, see Mixes
menu on page 53.
Here, choose master fader

settings, reverb settings, and
individual input channels.

current parameter here
Figure 6-14: The MIX (Mixes) menu.
Choosing a mix bus

Once you see the MIX menu (Figure 6-14) in the
LCD, turn the CHANNEL knob to select the
desired mix that you wish to edit. This is roughly
equivalent to choosing a mix in the Mixes tab in
CueMix FX software (Figure 11-2 on page 80).
Working with mix busses in the LCD
Once youve selected a mix, you can access the
various settings for that mix using the PAGE knob
and PARAMETER knobs. The knobs function the
same as described for inputs in Choosing a setting
to modify on page 49 and Adjusting the value of a
parameter on page 50. The PAGE knob scrolls
through the following mix bus settings:
MASTER these are master fader settings,
such as the master fader output assignment, master
mute on/off, and the master fader volume. Access
them with the PARAMETER knob.
The REVERB menu

see REVERB in the channel section of the LCD
Reverb tab in CueMix FX (The Reverb tab on
page 99).
The REVERB processor is not available at

sample rates above 48 kHz. Therefore, when the
Traveler-mk3 is operating at 88.2 kHz or higher,
the REVERB menu does not appear in the LCD.

here, such as reverb time.
Figure 6-15: The REVERB menu.
Working with reverb settings in the LCD

Once youve selected the REVERB menu, you can
access all settings using the PARAMETER and
VALUE knobs. The PAGE knob is not needed and
is therefore disabled when editing reverb settings.
Summary of Reverb menu settings
For a summary of Reverb menu settings, see
Reverb menu on page 53.
51
INPUTS MENU
OUTPUTS MENU
CHANNEL
PAGE
PARAM
INPUTS
Mic 1-4
Analog 5-6
Analog 7-8
etc.
INPUT
PAIR
PHASE
L-R/M-S (stereo or M/S)
SWAP
WIDTH
TRIM
REF LEVEL
TRS only
PAD
LIMITER
Mic
LOOKAHEAD
only
SOFTCLIP
CHANNEL
PAGE
PARAM
OUTPUTS
Analog 1-2
Analog 3-4, etc.
EQ
(global)
ENABLE
COPY
PASTE
RESET
HPF
(High-pass)
ENABLE
SLOPE
FREQ
LF
(Low w/shelf)
ENABLE
TYPE
FREQ
GAIN
WIDTH
LMF
(Low-mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
EQ
(global)
ENABLE
COPY
PASTE
RESET
HPF
(High-pass)
ENABLE
SLOPE
FREQ
LF
(Low w/shelf)
ENABLE
TYPE
FREQ
GAIN
WIDTH
MF
(Mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
LMF
(Low-mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
HMF
(High-mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
MF
(Mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
HF
(High w/shelf)
ENABLE
TYPE
FREQ
GAIN
WIDTH
HMF
(High-mid)
ENABLE
TYPE
FREQ
GAIN
WIDTH
LPF
(Low-pass)
ENABLE
SLOPE
FREQ
DYN
(Dynamics)
ENABLE
COPY
PASTE
RESET
COMP
(Compressor)
ENABLE
MODE
THRESH
RATIO
ATTACK
RELEASE
TRIM
LEVELER
ENABLE
MODE
REDUCE
MAKEUP
REVERB
SEND
RETURN
MASTER
MONITOR
TALKBACK
LSNBACK
HF
(High w/shelf)
ENABLE
TYPE
FREQ
GAIN
WIDTH
LPF
(Low-pass)
ENABLE
SLOPE
FREQ
DYN
(Dynamics)
ENABLE
COPY
PASTE
RESET
COMP
(Compressor)
ENABLE
MODE
THRESH
RATIO
ATTACK
RELEASE
TRIM
LEVELER
ENABLE
MODE
REDUCE
MAKEUP
REVERB
SEND
SEND PAN (mono only)
52
MIXES MENU
STAND-ALONE OPERATION
CHANNEL
PAGE
PARAM
MIXES
Mix 1
Mix 2
etc.
MASTER
ASSIGN
MUTE
FADER
COPY
PASTE
RESET
REVERB
SEND
RETURN
AN(ALOG) 1
AN(ALOG) 2
(if mono)
MUTE
SOLO
(BAL/WID) - n/a
PAN
FADER
AN(ALOG) 1-2
(if stereo)
MUTE
SOLO
BAL/WID
BALANCE/WIDTH
FADER
AES/EBU 1-2
MUTE
SOLO
BAL/WID
BAL
FADER
SPDIF 1-2
MUTE
SOLO
BAL/WID
BAL
FADER
ADAT A1-2
ADAT A3-4
etc.
MUTE
SOLO
BALD/WID
BAL
FADER
ADAT B1-2
ADAT B3-4
etc.
MUTE
SOLO
BALD/WID
BAL
FADER
All settings, including all mix settings and global

settings, are saved in the Traveler-mk3s memory,
and they remain in effect even when the
Traveler-mk3 is not connected to a computer. This
allows you to use the Traveler-mk3 as a stand-alone
8-bus mixer. You can make adjustments to any
setting at any time from the front panel.
REVERB MENU
CHANNEL
PAGE
PARAM
REVERB
---
ENABLE
TIME
PREDELAY
WIDTH
CUT Hz
CUT dB
ROOM
REFSIZE
REF LEV
LO %
MID %
HI %
LO XOVR
HI XOVR
SPLIT
53
54
CHAPTER 7
Digital Performer
OVERVIEW
This chapter provides a brief overview of Digital
Performers basic I/O and synchronization
operation with the Traveler-mk3 hardware.
Installing the Traveler-mk3 Mac OS X drivers . . . . . . . .
The Traveler-mk3 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .
Working with Traveler-mk3 inputs and outputs . . . . .
24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI I/O via the Traveler-mk3 MIDI ports . . . . . . . . . . . .
Processing live inputs with DP plug-ins . . . . . . . . . . . . . .
Working with CueMix FX mixing and effects. . . . . . . . .
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exchanging projects with AudioDesk. . . . . . . . . . . . . . . .
55
55
57
57
57
57
57
58
58
INSTALLING THE TRAVELER-MK3 MAC OS X

DRIVERS
As described in chapter 4, Installing the
Traveler-mk3 Mac Software (page 33), the Digital
Performer and MOTU Traveler-mk3 software
installers will properly install and update
everything for you.
THE TRAVELER-MK3 SETTINGS

Choose the Traveler-mk3 as your audio input
output device by choosing Configure Audio
System> Configure Hardware Driver from the Setup
menu. This window shows some of the
Traveler-mk3 settings, such as sample rate and
clock source, but to access all of the Traveler-mk3
settings, open MOTU Audio Setup, as shown in
Figure 5-2 on page 38.
Figure 7-1: Choose Setup menu> Configure Audio System> Configure

Hardware Driver to open the dialog shown above and access the
Traveler-mk3 CoreAudio driver. To access the rest of the Traveler-mk3
settings, open MOTU Audio Setup.
For complete details about the Traveler-mk3

settings, see chapter 5, MOTU Audio Setup
(page 37). The following sections provide a brief
explanation of each Traveler-mk3 setting for use
with Digital Performer.
55
Sample rate
Choose the desired overall sample rate for the
Traveler-mk3 system and Digital Performer. Newly
recorded audio in Digital Performer will have this
sample rate. Imported audio or soundbites in
existing files that do not match this sample rate will
be displayed in the Soundbites window with a red
X on their move handles to indicate that they
cannot be played.
Clock Source
This setting is very important because it
determines which audio clock the Traveler-mk3
will follow.
If you do not have any digital audio connections to
your Traveler-mk3 (you are using the analog inputs
and outputs only), and you will not be slaving
Digital Performer to external SMPTE time code,
choose Internal.
If you have digital audio devices connected to the
Traveler-mk3, or if you are not sure about the clock
source of your setup, be sure to read Making sync
connections on page 26 and Clock Source on
page 39.
Phones Assign
This Traveler-mk3 setting lets you choose what
youll hear from the headphone jack. For example,
if you choose Analog 1-2, the headphones will
duplicate the main outs. Or you can choose any
other output pair. If you choose Phones 1-2, this
setting makes the headphone jack serve as its own
independent output pair. As a result, youll see
Phones 1-2 as an additional audio destination in
Digital Performers audio output menus. Audio
tracks assigned to this output pair will be heard on
the headphone jack only. For further explanation,
see Phones Assign on page 41.
Optical input and output
To make an Traveler-mk3s optical inputs and/or
outputs available in Digital Performer, choose
ADAT Optical or TOSLink from the optical input
and/or output menus. If you wont be using the
optical connectors, turn them off. Note: these
settings can only be accessed in the MOTU Audio
Setup application. For details, see Optical input/
output on page 41. If you are operating the optical
ports at 88.2 or 96 kHz using the ADAT format,
also see ADAT SMUX Type on page 48.
If you are slaving the Traveler-mk3 and Digital

Performer to SMPTE time code via the
Traveler-mk3 itself, choose SMPTE and follow the
directions in Syncing to SMPTE time code on
page 28.
Main Outs Assign

Use the Main Outs Assign setting to determine
what audio you will hear on the TRS main outs of
the Traveler-mk3. By default, they of course are
assigned to the Analog 1-2 bus, but you can assign
them to mirror any other output bus you wish.
Buffer Size
The Buffer Size setting can be used to reduce the
delay or monitoring latency that you hear
when live audio is patched through Digital
Performer. For example, you might have MIDI
instruments, samplers, microphones, and so on
connected to the analog inputs of the
Traveler-mk3. If so, you will often be mixing their
live input with audio material recorded in Digital
Performer. See chapter 10, Reducing Monitoring
Latency (page 71) for complete details.
Return Assign
In Digital Performers audio input menus and the
Bundles window, youll see an Traveler-mk3 input
called Return 1-2 (Figure 7-2). This is a stereo feed
from the Traveler-mk3 that matches the output of
one of its output pairs, or any mix bus output
(when operating at 44.1 or 48 kHz). Use the Return
Assign menu in MOTU Audio Setup to choose
which output pair or mix you would like to hear on
this return. This can be used, for example, to
56
DIGITAL PERFORMER
record back a final stereo mix that includes effects

processing from the Traveler-mk3 DSP (such as the
Leveler) for reference and archiving purposes.
24-BIT OPERATION
Your Traveler-mk3 hardware fully supports Digital
Performers 24-bit recording capabilities, including
both analog and digital 24-bit recording. If you
would like to record and play back 24-bit audio
files, go to the Audio Files options in the Digital
Performer Preferences (Digital Performer menu),
and choose 24-bit recording as the sample format.
This setting is saved with the Digital Performer
project.
MIDI I/O VIA THE TRAVELER-MK3 MIDI

PORTS
Figure 7-2: The stereo return and reverb return busses from the
Traveler-mk3 in Digital Performers Bundles window.
Warning: the Return inputs can cause

feedback loops! DO NOT assign this input to a
track that shares the same Traveler-mk3 output
pair as the returns.
Reverb return
The Traveler-mk3 also supplies a return to Digital
Performer that carries the output of its reverb
processor (Figure 7-2). This return can be used for
any purpose you wish.
WORKING WITH TRAVELER-MK3 INPUTS

AND OUTPUTS
Once youve enabled the MOTU FireWire Audio
driver as explained earlier in The Traveler-mk3
settings on page 55, Traveler-mk3 audio inputs
and outputs will appear in Digital Performers
audio input and output menus, as well as the
Bundles window (Figure 7-2). If you dont see the
optical inputs and/or outputs, check MOTU Audio
Setup to make sure they are turned on. If you dont
plan to use either optical bank, turn them off to
conserve computer bandwidth.
Once youve followed the procedure for enabling

the Traveler-mk3s MIDI features as explained in
Software installation on page 33, the
Traveler-mk3 MIDI ports will appear as an input
source and output destination in Digital
Performers MIDI I/O menus.
PROCESSING LIVE INPUTS WITH DP

PLUG-INS
If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in Digital Performer, you
might hear a slight delay. There are several ways to
reduce this delay. For details, see chapter 10,
Reducing Monitoring Latency (page 71).
WORKING WITH CUEMIX FX MIXING AND

EFFECTS
The Traveler-mk3 provides powerful external
mixing, EQ, compression and reverb, which you
can operate hand-in-hand with Digital Performers
complete mixing environment. For example, the
Traveler-mk3 can serve as a monitor mixer routing
channels to musicians, or it can serve as an
integrated extension of your Digital Performer
mixing environment. If you program an
Traveler-mk3 mixing and processing configuration
that goes hand in hand with your DP project, be
sure to use the file save features in CueMix FX to
save the Traveler-mk3 settings as a file in your DP
project folder for instant recall of all settings. See
chapter 11, CueMix FX (page 77) for complete
57
DIGITAL PERFORMER
details. You can even set up your Traveler-mk3

configuration file as a DP startup clipping so that it
automatically loads when you open the project. See
your DP manual for details.
SYNCHRONIZATION
As you read through the following sections to
decide what form of synchronization you might
need with other devices in your studio, be sure to
consult Making sync connections on page 26 for
the proper hardware connections. Use the
synchronization diagrams to be clear about how
you will be synchronizing Digital Performer and
the Traveler-mk3 to the other components of your
system.
Synchronizing digital audio connections
If you have devices connected to the Traveler-mk3
digital inputs (optical, S/PDIF or AES/EBU), you
need to be concerned with the synchronization of
the Traveler-mk3s digital audio clock with other
devices connected to it digitally (if any). For
example, if you have a digital mixer connected to
the Traveler-mk3 via an ADAT optical light pipe
cable, you need to make sure that their audio clocks
are phase-locked. For details, see Choosing a

clock source for optical connections on page 21
and Making sync connections on page 26. If you
dont have any digital audio devices connected to
the Traveler-mk3, digital audio phase-lock does
not apply to you.
Resolving directly to time code (with no
synchronizer)
If you need to slave Digital Performer and the
Traveler-mk3 to SMPTE time code, you can do so
with or without a dedicated synchronizer.
To resolve your Traveler-mk3 directly to SMPTE
time code with no additional synchronization
devices, use the setup shown in Syncing to
SMPTE time code on page 28.
EXCHANGING PROJECTS WITH AUDIODESK

Digital Performer can exchange projects with
AudioDesk. To open an AudioDesk project in
Digital Performer, open it in same way you would a
DP project. To export a project to AudioDesk, use
DPs File menu> Save A Copy As command and
choose the AudioDesk 3.0 file format.
58
DIGITAL PERFORMER
CHAPTER 8
AudioDesk
OVERVIEW
This chapter provides a brief overview of
AudioDesks basic I/O and synchronization
operation with the Traveler-mk3 hardware. For
complete information about all of AudioDesks
powerful workstation features, see the AudioDesk
manual.
The Traveler-mk3 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .
24-bit operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Processing live inputs through AudioDesk plug-ins .
Exchanging projects with Digital performer . . . . . . . . .
AudioDesk and MIDI sequencing . . . . . . . . . . . . . . . . . . . .
59
59
61
61
61
61
61
62
62

DRIVERS
As described in chapter 4, Installing the
Traveler-mk3 Mac Software (page 33), the
AudioDesk and MOTU Traveler-mk3 software
installers will properly install and update
everything for you.
THE TRAVELER-MK3 SETTINGS

Choose the Traveler-mk3 as your audio input
output device by choosing MOTU Audio System
options>Configure Hardware Driver from the Setup
menu. This window shows some of the
Traveler-mk3 settings, such as sample rate and
clock source, but to access all of the Traveler-mk3
settings, open MOTU Audio Setup, as shown in
Figure 5-2 on page 38.
Figure 8-1: Choose Setup menu> Configure Audio System> Configure

Hardware Driver to open the dialog shown above and access the
Traveler-mk3 CoreAudio driver. To access the rest of the Traveler-mk3
settings, open MOTU Audio Setup.

with AudioDesk.
59
Sample rate
Traveler-mk3 system and AudioDesk. Newly
recorded audio in AudioDesk will have this sample
rate. Imported audio or soundbites in existing files
that do not match this sample rate will be displayed
in the Soundbites window with a red X on their
move handles to indicate that they cannot be
played.
Clock Source
will follow.
and outputs only), and you will not be slaving
AudioDesk to external SMPTE time code, choose
Internal.
page 39.
If you are slaving the Traveler-mk3 and AudioDesk
to SMPTE time code via the Traveler-mk3 itself,
choose SMPTE and follow the directions in
Syncing to SMPTE time code on page 28.
Buffer Size
The Buffer Size setting can be used to reduce the
delay or monitoring latency that you hear
when live audio is patched through your
Traveler-mk3 hardware and AudioDesk. For
example, you might have MIDI instruments,
samplers, microphones, and so on connected to
the analog inputs of the Traveler-mk3. If so, you
will often be mixing their live input with audio
material recorded in AudioDesk. See chapter 10,
Reducing Monitoring Latency (page 71) for
complete details.
Phones Assign
AudioDesks audio output menus. Audio tracks
assigned to this output pair will be heard on the
headphone jack only. For further explanation, see
Phones Assign on page 41.
To make an Traveler-mk3s optical inputs and/or
outputs available in AudioDesk, choose ADAT
Optical or TOSLink from the optical input and/or
output menus. If you wont be using the optical
connectors, turn them off. Note: these settings can
only be accessed in the MOTU Audio Setup
application. For details, see Optical input/output
on page 41. If you are operating the optical ports at
88.2 or 96 kHz using the ADAT format, also see
ADAT SMUX Type on page 48.
Main Outs Assign
assigned to the Analog Out 1-2 bus, but you can
assign them to mirror any other output bus you
wish.
Return Assign
In AudioDesks audio input menus and the Bundles
window, youll see an Traveler-mk3 input called
Return 1-2 (Figure 8-2). This is a stereo feed from
the Traveler-mk3 that matches the output of one of
its output pairs, or any mix bus output (when
operating at 44.1 or 48 kHz). Use the Return Assign
menu in MOTU Audio Setup to choose which
output pair or mix bus you would like to hear on
60
AUDI O DE SK

24-BIT OPERATION
Your Traveler-mk3 hardware fully supports
AudioDesks 24-bit recording capabilities,
including both analog and digital 24-bit recording.
If you would like to record and play back 24-bit
audio files, go to the Audio Files options in the
AudioDesk Preferences (AudioDesk menu), and
choose 24-bit recording as the sample format for
the project. This setting is saved with the
AudioDesk project.
PROCESSING LIVE INPUTS THROUGH

AUDIODESK PLUG-INS
If you patch a live input (such as MIDI synthesizer)
through a plug-in effect in AudioDesk, you might
hear a slight delay. There are several ways to reduce
this delay. For details, see chapter 10, Reducing
Monitoring Latency (page 71).
Figure 8-2: The stereo return and reverb return busses from the
Traveler-mk3 in AudioDesks Bundles window.

Reverb return
The Traveler-mk3 also supplies a return to
AudioDesk that carries the output of its reverb
processor (Figure 8-2). This return can be used for
any purpose you wish.

AND OUTPUTS
Once youve enabled the MOTU FireWire Audio
driver as explained earlier in The Traveler-mk3
settings on page 59, Traveler-mk3 audio inputs
and outputs will appear in AudioDesks audio input
and output menus, as well as the Bundles window
(Figure 8-2). If you dont see the optical inputs and/
or outputs, check the MOTU Audio Setup to make
sure they are turned on and set to the format you
require. If you dont plan to use either optical bank,
turn it off to conserve computer bandwidth.

EFFECTS
can operate hand-in-hand with AudioDesks
complete mixing environment. For example, the
Traveler-mk3 can serve as a monitor mixer routing
channels to musicians, or it can serve as an
integrated extension of your AudioDesk mixing
environment. If you program an Traveler-mk3
mixing and processing configuration that goes
hand in hand with your AudioDesk project, be sure
to use the file save features in CueMix FX to save
the Traveler-mk3 settings as a file in your
AudioDesk project folder for instant recall of all
settings. See chapter 11,CueMix FX (page 77) for
complete details.
SYNCHRONIZATION
As you read through the following sections to
decide what form of synchronization you might
need with other devices in your studio, be sure to
consult Making sync connections on page 26 for
the proper hardware connections. Use the
synchronization diagrams to be clear about how
61
A UD I O D ES K
you will be synchronizing AudioDesk and the

Traveler-mk3 to the other components of your
system.
not apply to you.
Resolving directly to time code (with no
synchronizer)
If you need to slave AudioDesk and the
Traveler-mk3 to SMPTE time code, you can do so
with or without a dedicated synchronizer.
EXCHANGING PROJECTS WITH DIGITAL

PERFORMER
To open AudioDesk Version 3 (or Version 1 or 2)
files in Digital Performer, just use DPs File menu>
Open command. (No conversion is required
beforehand in AudioDesk.) To export a Digital
Performer project to AudioDesk, use Save A Copy
As in Digital Performers File menu and choose the
AudioDesk 3.0 file format. Then open the resulting
AudioDesk 3.0 document in AudioDesk.
AUDIODESK AND MIDI SEQUENCING

AudioDesk can play audio as a background
application, allowing you to run a sequencer at the
same time in the foreground. However, there is no
way to continuously synchronize or resolve a
sequencer with AudioDesk, so the two programs
will eventually drift out of sync, even if you manage
to start them at the same time. If youd like to do
integrated MIDI sequencing, your best bet is
Digital Performer, which offers pretty much all of
the same features as AudioDesk, along with
powerful, state-of-the-art MIDI sequencing. Talk
to your authorized MOTU dealer for details about
upgrading from AudioDesk to Digital Performer.
To resolve your Traveler-mk3 directly to SMPTE

time code with no additional synchronization
devices, use the setup shown in Syncing to
SMPTE time code on page 28.
62
AUDI O DE SK
CHAPTER 9
Other Mac OS X Audio Software
OVERVIEW
The Traveler-mk3 provides multichannel audio
and MIDI input and output for all Mac OS X audio
applications, including Apples Logic Pro, Logic
Express, SoundTrack Pro and GarageBand. Other
third-party software applications are also
supported, such as Ableton Live, Propellerhead
Reason, Steinberg Cubase and others.
Preparing MIDI input and output . . . . . . . . . . . . . . . . . . . .
Run MOTU Audio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Choosing the MOTU FireWire Core Audio driver . . . . .
Audio Input and output names . . . . . . . . . . . . . . . . . . . . . .
Number of channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI I/O via the Traveler-mk3 MIDI ports . . . . . . . . . . . .
Processing live inputs with host plug-ins . . . . . . . . . . . .
63
63
63
64
66
66
68
68
68
68
68

DRIVERS
To install the Traveler-mk3s Mac OS X audio and
MIDI drivers, just run the installer on the MOTU
Audio installer CD as detailed in chapter 4,
(page 33).
PREPARING MIDI INPUT AND OUTPUT

If you will be using the Traveler-mk3s MIDI input
and output ports, be sure to follow the procedure in
Preparing MIDI input and output on page 63.
RUN MOTU AUDIO SETUP

Before you run your host audio software, launch
MOTU Audio Setup to configure your
Traveler-mk3 hardware. MOTU Audio Setup lets
you configure your audio interface, and it lets you
enable the desired inputs and outputs. Only
enabled inputs and outputs will be available to your

software, so this is an important step. For complete
details see chapter 5, MOTU Audio Setup
(page 37).
Figure 9-1: MOTU Audio Setup.

with Logic and other Mac OS X audio software.
Sample rate
Traveler-mk3 system and your host audio software.
Newly recorded audio will have this sample rate.
Clock Source
will follow.
and outputs only), and you will not be slaving your
host software to external SMPTE time code,
choose Internal.
63

page 39.
If you are slaving the Traveler-mk3 and your host
software to SMPTE time code, follow the
directions in Syncing to SMPTE time code on
page 28.
Phones Assign
your hosts audio output menus. Audio tracks
assigned to this output pair will be heard on the
headphone jack only. For further explanation, see
Phones Assign on page 41.
To make a Traveler-mk3 optical input or output
available in your host software, choose the
appropriate format (ADAT optical or TOSLink)
from the optical input and/or output menu. If you
wont be using the optical connectors, turn them
off. Note: these settings can only be accessed in the
MOTU Audio Setup application. For details, see
Optical input/output on page 41. If you are
operating the optical ports at 88.2 or 96 kHz using
the ADAT format, also see ADAT SMUX Type on
page 48.
Main Outs Assign
assigned to the Analog Out 1-2 bus, but you can

assign them to mirror any other output bus you
wish.
Return Assign
In your OS X host audio software audio input
menus, youll see an Traveler-mk3 input called
Return 1-2. This is a stereo feed from the
Traveler-mk3 that matches the signal of one of its
output pairs, or any mix bus output (when
operating at 44.1 or 48 kHz). Use the Return Assign
menu in MOTU Audio Setup to choose which
output pair or mix bus you would like to hear on

Reverb return
The Traveler-mk3 also supplies a return to your
host software that carries the output of its reverb
processor. This return can be used for any purpose
you wish.
CHOOSING THE MOTU FIREWIRE CORE

AUDIO DRIVER
Once youve made the preparations described so
far in this chapter, youre ready to run your audio
software and enable the MOTU Traveler-mk3 Core
Audio driver. Check the audio system or audio
hardware configuration window in your software.
There will be a menu there that lets you choose
among various drivers that may be in your system.
Choose the MOTU Traveler-mk3 from this menu.
Logic Pro and Logic Express
In Logic Pro and Logic Express, go to the
Preferences window, click the Audio tab, click the
Drivers tab and click the Core Audio tab as shown
64
OTHER MAC OS X AUDIO SOFTWARE
in Figure 9-2. Choose the MOTU Traveler-mk3

from the Driver menu. For information about the
I/O Buffer Size setting, see Adjusting the audio I/O
buffer on page 72.
Garage Band
In Garage Band, go to the Audio/MIDI preferences
and choose MOTU Traveler-mk3 from the Audio
Output and Audio Input menus (Figure 9-4). For
information about the Optimize for setting, see
Adjusting the audio I/O buffer on page 72.
Figure 9-4: Enabling the Traveler-mk3 in Garage Band.

Figure 9-2: Enabling the Traveler-mk3 in Logic Pro or Logic Express.
Soundtrack Pro
In Soundtrack Pro, access the preferences window,
click the Recording tab and choose MOTU
Traveler-mk3 from the Input and Monitor menu as
shown below in Figure 9-3.
Live
In Ableton Live, access the preferences window and
click the Audio tab. Choose CoreAudio from the
Driver Type menu. Choose the MOTU
Traveler-mk3 from the Input Audio Device and
Output Audio Device menus (Figure 9-5). For
information about the Buffer Size setting, see
Figure 9-3: Enabling the Traveler-mk3 in Soundtrack Pro.
Figure 9-5: Enabling the Traveler-mk3 in Live.
65
Reason
In Propellerhead Reason, go to the Preferences
window, choose Audio preferences from the menu
and choose MOTU Traveler-mk3 from the Audio
Output menu as shown below in Figure 9-6. For
information about the Buffer Size setting, see
Other audio software

For other audio applications, the procedure is
similar to that shown above. Consult your owners
manual for further information.

AND OUTPUTS
Once youve enabled the Traveler-mk3s Core
Audio driver, Traveler-mk3 audio inputs and
outputs will appear in your host software wherever
audio inputs and outputs are listed. If you dont see
the optical inputs and/or outputs, check MOTU
Audio Setup to make sure they are turned on. If
you dont plan to use either optical bank, turn it off
to conserve computer bandwidth.
AUDIO INPUT AND OUTPUT NAMES

The Traveler-mk3 Core Audio driver supplies text
string labels for its inputs and outputs to clearly
identify each one, but some applications do not
display these labels. For example, in Cubase, the
Traveler-mk3 outputs are numbered like this:
Figure 9-6: Enabling the Traveler-mk3 in Reason.
Cubase and Nuendo

Go to the Devices menu and choose Device Setup.
Click the VST Audio System item in the Devices list
and choose MOTU Traveler-mk3 from the Master
ASIO Driver menu as shown below in Figure 9-7.
Activate the inputs and outputs within Cubase or
Nuendo as usual. For information about the Audio
Buffer Size setting, see Adjusting the audio I/O
buffer on page 72.
Figure 9-8: Some applications number the Traveler-mk3 inputs and

outputs, but dont display which outputs they refer to.
The following sections show how you can identify

each input and output in a numbered list like this.
Figure 9-7: Enabling the Traveler-mk3 audio driver in Cubase.
66
Inputs at 1x sample rates

Inputs are always listed in the same order as
follows, when operating the Traveler-mk3 at 1x
sample rates (44.1 or 48 kHz):

When operating the Traveler-mk3 at a 4x sample
rate (176.4 or 192 kHz), inputs are listed as follows:
Input
Number of
176.4 /192 kHz Channels
List
position
Comment
Mic-Instr.
1-4
TRS Analog
5-8
AES/EBU
not
available
not
available
not
available
SPDIF
not
available
not
available
not
available
See Return Assign

on page 64.
Stereo return
9-10
See Return
Assign on page 64.
15-16
See Reverb return

on page 64.
Reverb
return
not
available
not
available
not
available
8 ADAT
2 TOSLink
17-24
17-18
Optical A
not
available
not
available
not
available
8 ADAT
2 TOSLink
25-32
19-20
Channel numbers
assume that optical
A is operating with
the same format.
Optical B
not
available
not
available
not
available
Input
Number of
44.1 / 48 kHz Channels
List
position
Comment
Mic-Instr.
1-4
TRS Analog
5-8
AES/EBU
9-10
SPDIF
11-12
Stereo
return
13-14
Reverb
return
Optical A
Optical B

rate (88.2 or 96 kHz), inputs are listed as follows:
Outputs at 1x sample rates

Outputs are always listed in the same order as
follows, when operating the Traveler-mk3 at 1x
sample rates (44.1 or 48 kHz):
Input
Number of
List
position
Comment
Output
Number of
List
position Comment
Mic-Instr.
1-4
Analog
1-8
TRS Analog
5-8
AES/EBU
9-10
AES/EBU
9-10
SPDIF
11-12
SPDIF
11-12
Phones
13-14
Stereo
return
13-14
See Return Assign

on page 64.
If the phones are assigned

to mirror another output
pair, they wont be listed
separately.
Reverb
return
not
available
not
available
not
available
Optical A
8 ADAT
2 TOSLink
15-22
15-16
If the phones are mirroring, then subtract 2.
Optical A
4 ADAT
2 TOSLink
15-18
15-16
Optical B
8 ADAT
2 TOSLink
23-30
17-18
Optical B
4 ADAT
2 TOSLink
19-22
17-18
Channel numbers
assume that optical
A is operating with
the same format.
These channel number

ranges assume that optical
A is operating with the
same format.
67

rate (88.2 or 96 kHz), outputs are listed as follows:
Output
Number of
88.2/ 96 kHz Channels
List
position Comment
Analog
1-8
AES/EBU
9-10
SPDIF
11-12
Phones
13-14
Optical A
4 ADAT
2 TOSLink
15-18
15-16
If the phones are mirroring, then subtract 2.
Optical B
4 ADAT
2 TOSLink
19-22
17-18
These channel number

ranges assume that
optical A is operating
with the same format.

rate (176.4 or 192 kHz), outputs are listed as
follows:
Output
Number of
176.4/ 192 kHz Channels
List
positionComment
Analog
1-8
AES/EBU
Not available
--
SPDIF
Not available
--
Phones
9-10
If the phones are assigned

to mirror another output
pair, they wont be listed
separately.
Optical A
Not available
--
Optical B
Not available
--
NUMBER OF CHANNELS
If your host audio software requires that you
specify the number of audio voices or channels you
will be using, be sure to choose enough channels to
cover the 28 inputs and 30 outputs provided by
your Traveler-mk3 although the number of
channels may depend on how your Traveler-mk3 is
configured.
MIDI I/O VIA THE TRAVELER-MK3 MIDI

PORTS
Once youve followed the procedure for enabling
the Traveler-mk3s MIDI features as explained in
Software installation on page 33, the
Traveler-mk3 MIDI ports will appear as an input
source and output destination in your host
softwares MIDI I/O menus.
PROCESSING LIVE INPUTS WITH HOST

PLUG-INS
If you patch a live input (such as a MIDI
synthesizer) through a plug-in effect in your host
software, you might hear a slight delay. There are
several ways to reduce this delay. For details, see
chapter 10, Reducing Monitoring Latency
(page 71).

EFFECTS
can operate hand-in-hand with your hosts mixing
environment. For example, the Traveler-mk3 can
serve as a monitor mixer routing channels to
musicians, or it can serve as an integrated
extension of your hosts mixing environment. If
you program an Traveler-mk3 mixing and
processing configuration that goes hand in hand
with your host project, be sure to use the file save
features in CueMix FX to save the Traveler-mk3
settings as a file in your host project folder for
instant recall of all settings. See chapter 11,
CueMix FX (page 77) for complete details.
SYNCHRONIZATION
As you review the following sections to decide what
form of synchronization you might need with
other devices in your studio, be sure to consult
Making sync connections on page 26 for the
proper hardware connections. Use the diagrams to
be clear about how you will be synchronizing your
audio software and the Traveler-mk3 to the other
components of your system.
68

not apply to you.
Resolving to time code (with no synchronizer)
If your host audio software supports Core Audios
sample-accurate positioning protocol, or if it
supports MIDI Time Code (MTC) sync, then it can
resolve to the Traveler-mk3s built-in time code
synchronization feature. To resolve your
Traveler-mk3 directly to SMPTE time code with no
additional synchronization devices, use the setup
shown in Syncing to SMPTE time code on
page 28.
69
70
CHAPTER 10
Reducing Monitoring Latency
OVERVIEW
Monitoring latency is that slight delay you hear
when you run an input signal through your host
audio software. 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
for audio to make the entire round trip through
your computer, from when it first enters an
Traveler-mk3 input, passes through the
Traveler-mk3 hardware into the computer, through
your host audio software, and then back out to an
Traveler-mk3 output.
If you dont need to process a live input with
plug-ins, the easiest way to avoid monitoring
latency is to use the Traveler-mk3s CueMix FX
digital mixer to patch the input directly to your
monitor outs via the Traveler-mk3 audio hardware.
The Traveler-mk3 even provides effects processing
(EQ, compression and reverb), which can be
applied on input, output, or even at the bussing
stage, just like a conventional mixer. For details, see
CueMix FX hardware monitoring on page 74.
If you do need to process a live input with host
software plug-ins, or if you are playing virtual
instruments live through your Traveler-mk3 audio
hardware, you can significantly reduce latency
and even make it completely inaudible, regardless
of what host audio application software you use.
This chapter explains how.
It is important to note that monitoring delay has no
effect on when audio data is recorded to disk or
played back from disk. Actual recording and
playback is extremely precise.
Monitoring live input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Adjusting the audio I/O buffer . . . . . . . . . . . . . . . . . . . . . . . 72
Lower latency versus higher CPU overhead . . . . . . . . . . 73
Transport responsiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Effects processing and automated mixing . . . . . . . . . . . 74
CueMix FX hardware monitoring. . . . . . . . . . . . . . . . . . . . . 74
Two methods for controlling CueMix FX . . . . . . . . . . . . . 74
Using CueMix FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Controlling CueMix FX from your audio software . . . . 75
MONITORING LIVE INPUT

There are two ways to monitor live audio input
with an Traveler-mk3: 1) through the computer or
2) via the Traveler-mk3 CueMix FX hardware
mixer. Figure 10-1 on page 72 shows method 1,
which allows you to apply host-based effects
processing via plug-ins in your audio software. See
the next section, Adjusting the audio I/O buffer
for details about how to reduce or eliminate the
audible monitoring delay that the computer
introduces.
Figure 10-5 on page 73 shows how to use
CueMix FX hardware-based monitoring, which
lets you hear what you are recording with no
monitoring delay and no computer-based effects
processing. Instead, input is routed directly to an
output, either with or without Traveler-mk3-based
effects processing (EQ, compression or reverb).
See CueMix FX hardware monitoring later in this
chapter for details on how to use CueMix FX with
your audio software, or with CueMix FX.
If the material you are recording is suitable, there is
a third way to monitor live input: use both methods
(Figure 10-1 and Figure 10-5) at the same time. For
example, you could route guitar to both the
computer (for an amp model effect) and mix that
71
processed signal on the main outs with dry guitar

from CueMix FX or perhaps with a touch of
Traveler-mk3 Classic Reverb.
ADJUSTING THE AUDIO I/O BUFFER

A buffer is a small amount of computer memory
used to hold data. For audio interfaces like the
Traveler-mk3, buffers are used for the process of
transferring audio data in and out of the computer.
The size of the buffers determines how much delay
you hear when monitoring live inputs through
your audio software: larger buffers produce more
delay; smaller buffers produce less.
Under Mac OS X, audio I/O buffer size is handled
by the host audio application (not the
Traveler-mk3 Core Audio driver). Most audio
software applications provide an adjustable audio
buffer setting that lets you control the amount of
delay youll hear when monitoring live inputs or
processing them with software plug-ins. Below are
a few examples.
Figure 10-2: In Digital Performer and AudioDesk, choose Setup

menu> Configure Audio System> Configure Hardware Driver to open
the dialog shown above and access the Buffer Size setting. Refer to
your Digital Performer or AudioDesk manual for information about
the Host Buffer Multiplier setting.
1. Live input (from mic, guitar, etc.)

enters the MOTU interface.
3. Mic signal is
patched thru back to
the audio interface
with host-based
plug-in effects, if any.
2. Mic signal goes immediately to the computer.

Mac
4. Mic signal (with plug-in

processing, if any) is routed
to the main outs (or other
outputs that youve specified
in the software).
Figure 10-1: There are two ways to monitor live audio inputs with an Traveler-mk3: 1) through the computer or 2) via CueMix FX hardware
monitoring. This diagram shows method 1 (through the computer). When using this method, use your host softwares buffer setting to reduce
the slight delay you hear when monitoring the live input, but dont lower it too much, or your computer might get sluggish.
72
REDUCING MONITORING LATENCY
Lower latency versus higher CPU overhead

The buffer setting has a large impact on the
following things:
Figure 10-3: In Cubase or Nuendo, choose Devices menu> Device

Setup and click VST Audio System to access the window above and
the Audio Buffer Size setting.
Patch thru latency
The load on your computers CPU
Possible distortion at the smallest settings
How responsive the transport controls are in

AudioDesk, Digital Performer or other audio
software
The buffer setting presents you with a trade-off

between the processing power of your computer
and the delay of live audio as it is being patched
through your software. If you reduce the size, you
reduce patch thru latency, but significantly increase
the overall processing load on your computer,
leaving less CPU bandwidth for things like realtime effects processing. On the other hand, if you
increase the buffer size, you reduce the load on
your computer, freeing up bandwidth for effects,
mixing and other real-time operations.
Figure 10-4: In Logic Pro or Logic Express, go to the Audio Driver

preferences to access the Buffer Size option shown above.
1. Live input (from mic, guitar, etc.)

enters the MOTU interface.
3. Mic signal is mixed with the

main outs, and you can control
the volume (relative to the rest
of the mix) with the mics fader
in CueMix FX.
2. CueMix FX immediately patches the live

mic signal directly to the main outs (or
other output), completely bypassing the
computer. This signal could be dry, or with
Traveler-mk3 effects processing, such as EQ,
compression or Classic Reverb.
Figure 10-5: This diagram shows the signal flow when using CueMix FX no-latency monitoring. Notice that this method does not process the
live input with plug-ins in your audio software. Instead, you can apply Traveler-mk3 effects, such as the reverb, EQ and/or compression.
73
Figure 10-6: When adjusting the buffer size to reduce monitoring

latency, watch the processor meter in Digital Performer or
AudioDesks 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, patchedthru material (e.g. youre not recording vocals), or
if you have a way of externally processing inputs,
choose a higher buffer size. Depending on your
computers CPU speed, you might find that settings
in the middle work best (256 to 1024).
Transport responsiveness
Buffer size also impacts how quickly your audio
software will respond when you begin playback,
although not by amounts that are very noticeable.
Lowering the buffer size will make your software
respond faster; raising the buffer size will make it a
little bit slower, but barely enough to notice.
CueMix FX imposes no strain on the computer.
The trade-off, however, is that CueMix FX

bypasses your host audio software. Instead, live
audio inputs are patched directly through to
outputs in the Traveler-mk3 itself and are mixed
with disk tracks playing back from your audio
software. This means that you cannot apply hostbased plug-ins, mix automation, or other real-time
effects that your audio software provides. But for
inputs that dont need these types of features,
CueMix FX is the way to go.
On the other hand, if you really need to use the
mixing and processing provided by your audio
software, you should not use CueMix FX. Instead,
reduce latency with the buffer setting (as explained
earlier in this chapter).
TWO METHODS FOR CONTROLLING

CUEMIX FX
There are two ways to control CueMix FX:
With CueMix FX
From within your host audio software (if it

supports direct hardware monitoring)
You can even use both methods simultaneously.

Effects processing and automated mixing
Reducing latency with the buffer size setting has
another benefit: it lets you route live inputs through
the real-time effects processing and mix
automation of your audio software.
Using CueMix FX
If your host audio software does not support direct
hardware monitoring, you run the CueMix FX
software side-by-side with your audio software and
manage your monitor mix in CueMix FX.
CUEMIX FX HARDWARE MONITORING

The Traveler-mk3 has a more direct method of
patching audio through the system. This method
employs the Traveler-mk3s CueMix FX digital
mixer. When enabled, CueMix activates hardware
patch-thru in the Traveler-mk3 itself. CueMix FX
has two important benefits:
CueMix FX allows you to create up to eight

separate Traveler-mk3 stereo mixes, or any other
desired routing configurations. These routings are
independent of your host audio software. For
complete details, see chapter 11, CueMix FX
(page 77).
It completely eliminates the patch thru delay

(reducing it to a small number of samples about
the same amount as one of todays digital mixers).
74
Controlling CueMix FX from your audio

software
Some audio applications allow you to control
CueMix FX monitoring from within the
application (without the need to use CueMix FX).
In most cases, this support consists of patching an
Traveler-mk3 input directly to an output when you
record-arm a track. Exactly how this is handled
depends on the application.
Figure 10-7: Enabling CueMix FX in AudioDesk or Digital Performer.
The following applications are among those that

support direct control over CueMix FX:
Digital Performer
AudioDesk
CueMix FX routings that are made via host

applications are made under the hood, which
means that you wont see them in CueMix FX.
However, CueMix FX connections made inside
your host audio software dovetail with any other
mixes youve set up in CueMix FX. For example, if
your host application routes audio to an output
pair that is already being used in CueMix FX for an
entirely separate mix bus, both audio streams will
simply be merged to the output.
Once enabled, CueMix FX monitoring is tied with

Digital Performer or AudioDesks Audio Patch
Thru feature: when you record-enable a track, the
tracks input is routed directly to its output (via
CueMix FX in the Traveler-mk3 hardware). For
example, if you record-enable a track called guitar
in your DP or AudioDesk project, and its audio
input assignment is Analog in 2, and its audio
output assignment is optical channels 7-8,
CueMix FX no-latency hardware monitoring will
automatically be set up from analog in 2 to optical
outputs 7-8.
Controlling CueMix FX from within other
software
Consult the manual for your software.
Controlling CueMix FX from within AudioDesk

or Digital Performer
To turn on CueMix FX in AudioDesk and Digital
Performer:
1 From the Setup menu, choose Configure Audio
System>Input Monitoring Mode.
2 Choose the Direct hardware playthrough option,
as shown below in Figure 10-7.
3 From the Studio menu, choose Audio Patch
Thru, and choose any monitoring mode except Off.
75
76
CHAPTER 11
CueMix FX
OVERVIEW
CueMix FX is a cross-platform software
application that provides graphic, on-screen
control for the Traveler-mk3s flexible CueMix FX
on-board mixer and effects processing.
CueMix FX can be used independently of host
audio software, or together with it. CueMix
dovetails with the direct monitoring features of
your host audio software, allowing you to
seemlessly mix in both environments.
For information about programming the
Traveler-mk3s on-board mixing and effects using
the front panel LCD, see chapter 6, Traveler-mk3
Front Panel Operation (page 43).
A 16-bus mixer with EQ, compression and reverb. . . . 77
Advantages over host-based mixing and processing 78
CueMix FX installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
CueMix FX basic operation . . . . . . . . . . . . . . . . . . . . . . . . . . 79
The Mixes tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
The Inputs tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
The Outputs tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
The channel settings section. . . . . . . . . . . . . . . . . . . . . . . . . 86
The Monitor Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
DSP meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Solo light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Talkback and listenback . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
File menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Edit menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Devices menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Configurations menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Talkback menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Phones menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Control Surfaces menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
A 16-BUS MIXER WITH EQ, COMPRESSION

AND REVERB
All Traveler-mk3 inputs and outputs can be mixed
and controlled by the on-board CueMix FX 16-bus
(8 stereo bus) digital mixer driven by hardwarebased DSP with 32-bit floating point precision.
The CueMix FX mixer allows you to apply nolatency effects processing to inputs, outputs or
busses directly in the Traveler-mk3 hardware,
independent of the computer. Effects can even be
applied when the Traveler-mk3 is operating standalone (without a computer) as a complete rackmounted mixer. Input signals to the computer can
be recorded wet, dry, or dry with a wet monitor
mix (for musicians during recording, for example).
Effects include:
Classic Reverb with tail lengths up to 60 seconds
7-band parametric EQ modeled after British

analog console EQs
A standard compressor with conventional
threshold/ratio/attack/release/gain controls
The Leveler, an accurate model of the
legendary LA-2A optical compressor, which
provides vintage, musical automatic gain control
The Traveler-mk3s flexible effects architecture

allows you to apply EQ and compression on every
input and output (a total of 58 channels), with
enough DSP resources for at least one band of
parametric EQ and compression on every channel
at 48 kHz. DSP resources are allocated dynamically
and a DSP meter in the CueMix FX software allows
you to keep tabs on the Traveler-mk3s processing
resources.
77
Each input, output and mix bus provides a send to

the Classic Reverb processor, which then feeds
reverb returns to mix busses and outputs, with a
selectable split point between them to prevent
send/return feedback loops.
CueMix mixing and effects processing imposes

no processor drain on the computers CPU.
ADVANTAGES OVER HOST-BASED MIXING

AND PROCESSING
CueMix routing can operate without the

computer, allowing the Traveler-mk3 to operate as
a portable, stand-alone mixer with effects.
CueMix FX provides several major advantages over

mixing and processing in your host audio software:
CueMix has no buffer latency. Thanks to the
Traveler-mk3s DSP chip, CueMix provides the
same throughput performance as a digital mixer.
Channel
focus
DSP
resources
meter
MIx bus
menu
Solo
light
Tabs for inputs,

mix busses and
outputs
Traveler-m
k3 inputs
CueMix routing can be maintained

independently of individual software applications
or projects.
CUEMIX FX INSTALLATION
CueMix FX is installed with the rest of your
Traveler-mk3 software.
Mix bus
master
fader
Channel
settings
Monitoring/
talkback
section
Channel
scroll
bar
Grow
handle
Mic inputs (split into
mono channels)
Inputs grouped as
stereo pairs
Tabs for channel strip settings,

including EQ and dynamics, as
well as global settings such as
the meter bridge and reverb
processor.
Monitor
group
metering
Figure 11-1: CueMix FX is a virtual mixer that gives you control over the Traveler-mk3s on-board mixing features.
78
CUEMIX FX
CUEMIX FX BASIC OPERATION

Here is a brief overview of the CueMix FX mixer.
Eight stereo mix busses
CueMix provides eight stereo mix busses: Bus 1,
Bus 2, Bus 3, and so on. Each mix bus can take any
number of inputs and mix them down to any
Traveler-mk3 output pair that you choose. For
example, Bus 1 could go to the headphones, Bus 2
could go to the main outs, Bus 3 could go to a piece
of outboard gear connected to analog outputs 7-8,
etc.
Many inputs to one output pair
It might be useful to think of each mix bus as some
number of inputs all mixed down to a stereo output
pair. CueMix FX lets you choose which inputs to
include in the mix, and it lets you specify the level,
pan and other input-specific mix controls for each
input being fed into the mix.
Viewing one mix bus at a time
CueMix FX displays one mix bus at a time in the
Mixes tab (Figure 11-2 on page 80). To select which
mix you are viewing, choose it from the mix bus
menu (Figure 11-2). The mix name appears above
the mix bus master fader (Figure 11-2), where you
can click the name to change it.
Each mix bus is independent
Each mix bus has its own settings. Settings for one
bus will not affect another. For example, if an input
is used for one bus, it will still be available for other
busses. In addition, inputs can have a different
volume, pan, mute and solo setting in each bus.
Input channels
The Inputs tab (Figure 11-3 on page 82) gives you
access to settings for individual Traveler-mk3
inputs (or input pairs), such as phase, trim, EQ and
dynamics processing. Each input also includes a
send to the Traveler-mk3s global reverb processor.
These settings are applied to the signal before it
goes anywhere else (to a mix bus or the computer).
Output channels
The Outputs tab (Figure 11-6 on page 85) gives you
access to settings for each Traveler-mk3 output
pair, including EQ, dynamics processing and send/
return controls for feeding and returning the
output signal to/from the Traveler-mk3s global
reverb processor. These settings are applied to the
signal just before it is sent to the output.
Channel focus and settings
Click the focus button for a channel (Figure 11-1)
to view channel-specific parameters in the Channel
Settings section of the CueMix FX window
(Figure 11-1). Separate tabs are provided for
channel-specific settings (channel strip, EQ and
dynamics), plus the global meter bridge and reverb
processor.
Global reverb processor
The Traveler-mk3 has a global reverb module
(Figure 11-28 on page 99). Once it has been
activated, you can feed signals to the reverb
processor from various points in the Traveler-mk3
mix matrix via input sends, bus sends and output
sends. Stereo output from the reverb processor can
then be fed back to mix busses or output pairs
using reverb returns.
Other features
CueMix offers many additional features, discussed
in this chapter, such as talkback/listenback,
extensive metering, graphic editing of certain
effects parameters, monitor grouping and more.
Widening the CueMix FX window
To view more input faders at once, drag the grow
box (Figure 11-1) to the right.
79
CUEMIX FX
THE MIXES TAB

Click the Mixes tab (Figure 11-2) to gain access to
the Traveler-mk3s eight stereo mix busses. The
Mixes tab displays one mix bus at a time.
Viewing a mix
Choose the mix you wish to view from the mix bus
menu (in the Mixes tab itself, as shown in
Figure 11-2). The menu shows all mixes by name,
followed by the Traveler-mk3 output pair to which
each bus master fader is currently assigned, if any.
Naming a mix
Click the mix name at the top of the mix bus master
fader (Figure 11-2) to edit the name.
Mixes
tab
Mix bus
menu
Assigning a mix bus output

Choose the desired output pair for the mix bus
from the bus output menu (Figure 11-2). The bus
output menu displays all current available
(enabled) Traveler-mk3 output pairs. If a bus is
already assigned to an output pair, the bus name
appears next to the output pair name to indicate
that the output pair is already taken by a bus. Only
one bus can be assigned to any given output pair. If
you choose an output already assigned to another
bus, that bus output will become disabled.
Bus fader
The bus fader (Figure 11-2) controls the overall
level of the mix (its volume on its stereo output).
Use the individual input faders to the left to control
individual input levels.
Traveler-mk3
inputs
Input name
Channel focus
Mix bus 1
master
fader
Bus name
Bus output
Bus Reverb
send/return
Input pan section
Bus fader
Input fader
Bus mute
Input mute/solo
Bus level meter

Input level meter
Scroll bar for input

channels
Mic inputs
TRS inputs grouped

as stereo pairs
Figure 11-2: The Mixes tab.
80
CUEMIX FX
Bus mute
The bus mute button (Figure 11-2) disables
(silences) the mix.
page 86). Clicking the mix bus master fader focus

button brings the assigned output into focus, if
there is one.
Bus level meter

The bus level meter, which is post-fader, shows you
the level of the mix81 output.
Input pan section

The input pan knob (Figure 11-2) pans the input
across the bus stereo outputs. If the input itself is
grouped as a stereo pair (in the Inputs tab), two
forms of panning control are provided:
Bus reverb send/return

The bus reverb send (Figure 11-2) feeds the output
of the mix bus, pre-fader, to the Traveler-mk3s
global reverb processor, where it is merged with
any other signals being fed to the reverb. The
reverbs output can then be fed back into the mixer
at various return points, including the bus return
(discussed below).
The bus reverb return (Figure 11-2) feeds the
output of the Traveler-mk3s global reverb
processor into the mix bus, pre-fader. This includes
any other signals currently being fed to the reverb.
The bus reverb return is disabled (grayed out)
when the reverb Split Point is set to Outputs to
eliminate the possibility for feedback loops created
by reverb send/return loops. See Split point on
page 99.
Input section
The horizontally scrolling area in the Mix tab to the
left of the master fader (Figure 11-2) displays
channel strips for all currently enabled
Traveler-mk3 inputs.
Naming an input
Click the input name at the top of the input channel
strip (Figure 11-2) to edit the name. Input names
are global across all mixes. This name also appears
in host audio software on the computer (if the
software supports channel names).
Input channel focus
Click the channel focus button (Figure 11-3) to
view and edit parameters in the channel settings
section of the CueMix FX window (Figure 11-7 on
Balance
Balance works like the balance knob on some
radios: turn it left and the right channel dims, turn
it right and left channel dims. But the left channel
always stays left and the right channel stays right.
Width
Width spreads the left and right channels across the
stereo image, depending on the knob position.
Maximum value (turning the pan knob all the way
up) maintains the original stereo image: the left
channel goes entirely left and right goes entirely
right, without attenuation. The minimum value
(turning the knob all the way down) creates a
mono effect: equal amounts of left and right are
combined and sent to both outputs. In between,
the left out is a mixture of the left input and some of
the right input (and vice-versa) with the effect of
narrowing the field.
Input fader and mute/solo
To add an input to a mix, or remove it, click its
Mute button. To solo it, use its Solo button. Use the
input fader (Figure 11-2) to adjust the level for the
input in the mix. Note that an input can have
different level, pan, mute and solo settings for
different mixes. Input channel level meters are
post-fader.
If any solo button on the current (active) bus is
enabled, the Solo Light (Figure 11-1) will
illuminate.
81
CUEMIX FX
THE INPUTS TAB

The Traveler-mk3 provides many features for
managing analog and digital input signals. Some of
these features, such as the Traveler-mk3s digitally
controlled analog trims, are implemented in the
analog domain; others are implemented in the
digital domain as DSP applied to the digital signal
(after the A/D converter on analog inputs). Click
the Inputs tab (Figure 11-3) to access and control
all of these input channel settings for each
Traveler-mk3 input or input pair.
Input tab settings are global
Except for the reverb send, all settings you make in
the Input tab are applied to the input signal before
it goes anywhere else (to a mix bus or the
computer). For example, if you apply EQ and
compression to the input signal, you will record the
processed version of the signal in your host audio
software running on the computer. If you need to
record a completely unprocessed input signal, do

not apply any changes to it in the Input tab. The
only exception to this is the reverb send, which
simply splits the input signal and feeds a copy of it
to the Traveler-mk3s reverb processor.
Signal flows from top to bottom
Settings in each Input tab channel strip are
generally applied to the signal in order from top to
bottom. Input channel signal flow is as follows:
trim, overload protection, phase, stereo versus M/S
decoding, width, L/R swap, EQ, dynamics and
reverb send.
Naming an input
Click the input name at the top of the input channel
strip (Figure 11-3) to edit the name. Input names
are global across all mixes. This name also appears
in host audio software on the computer (if the
software supports channel names).
Inputs tab
Input name
Channel focus
Mono/stereo paring
Invert phase
Input trim
EQ band selectors
EQ/dynamics graph
LP/HP filter selector

Compressor selector
EQ/dynamics controls
EQ/dynamics
enable/disable
Reverb send
Input scroll bar
Figure 11-3: The Inputs tab.
82
CUEMIX FX
Input channel focus

page 86).
Mono/stereo pairing
Click the Mono button (Figure 11-3) if you would
like an input to be treated as a mono channel. If you
would like to work with it as one channel of a
linked stereo pair, click the Stereo button. Inputs
are grouped in odd/even pairs (Analog 1-2, Analog
3-4, Analog 5-6, etc.) Stereo pairs appear as a single
channel strip in the CueMix FX mixer (in all tabs).
Invert phase
Click the Phase button (Figure 11-3) to invert the
phase of the input signal. For stereo pairs, you can
invert the phase for the left and right channels
independently.
Input trim
All Traveler-mk3 inputs, both analog and digital,
offer continuously variable input trim. In all cases,
trim level can be controlled digitally in 1 dB
increments. This includes the digitally controlled
analog trims on the four mic/guitar inputs on the
front panel and the digital trims on the four
quarter-inch analog inputs on the back panel. Here
is a summary of input trim ranges for each type of
Traveler-mk3 input:
Input
Trim
cut
Trim
boost
Trim
Range
Mic/Guitar
0 dB
53 dB
53 dB
TRS analog inputs
0 dB
+12 dB
12 dB
AES/EBU (XLR)
0 dB
+12 dB
12 dB
S/PDIF (RCA)
0 dB
+12 dB
12 dB
ADAT optical
0 dB
+12 dB
12 dB
S/PDIF (TOSLink)
0 dB
+12 dB
12 dB
Once you adjust the trim levels, you can save them
as a file on disk for future instant recall. See Saving
and loading hardware presets on page 103 and
Configurations menu on page 104.
Input EQ and dynamics
The Traveler-mk3 lets you apply 7-band
parametric EQ and dynamics processing (DSP) to
any input, analog or digital.
The controls in the EQ/Compression section of the
Inputs tab (Figure 11-3) let you edit EQ and
compression settings within the context of the
channel strip. This is ideal when you are comparing
settings among neighboring channels, or perhaps
even applying the same setting across all inputs.
However, for more detailed editing of EQ and
compression settings for an input channel, you can
click its Focus button and view the settings in the
Channel Section of the CueMix FX window
(Figure 11-1). This section even provides graphical
editing of EQ curves and the compressor graph,
allowing you to click and drag directly on the
graphic. For details see The channel settings
section on page 86.
The EQ/Dynamics graph
The EQ/Dynamics graph for each input channel
strip (Figure 11-3) provides a thumbnail view of
the EQ curves or Compressor graph for the
channel. This graphic is for display purposes only;
it cannot be edited directly. To change the EQ
settings in this graph, use the two or three knobs
below, as explained in the following sections. If,
however, you would like to edit the EQ curves
graphically, you can do so in the EQ tab
EQ/Dynamics selectors
The EQ/Dynamics selector buttons along the
right-hand edge of the EQ/Dynamics section
(Figure 11-3) allow you to choose what you are
viewing and editing in the EQ/Dynamics section.
83
CUEMIX FX
Orange
Green
Blue
Red
Yellow
White
Black
EQ band selectors

Compressor selector
Colored knobs
Figure 11-4: The EQ/Dynamics selectors.
Click the selector (Figure 11-4) for the desired EQ

band, low-pass (LP) filter, high pass (HP) filter or
compressor to view it across all channels.
Compressor
graph
Compressor
meter
Compressor
selector
EQ/Dynamics enable/disable buttons

Click the EQ or Dynamics button at the bottom of
the input channel (Figure 11-3) to toggle the effect
on or off. Note that you can program EQ and
compressor settings, even when the effect is
currently disabled. (You just wont hear the result
until you enable it.)
Reverb send
The input reverb send (Figure 11-3) feeds the input
signal to the Traveler-mk3s global reverb
processor, where it is merged with any other signals
being fed to the reverb. The reverbs output can
then be fed back into a mix or output pair. The send
occurs after all other settings in the input channel
strip (phase invert, EQ, compression, etc.)
THE OUTPUTS TAB
Figure 11-5: The Compressor controls.
Shortcut: hold down the option key while

clicking an EQ selector button to show just that
band of EQ in the graphs. Click any selector again
to return to viewing all bands.
Using the EQ/Dynamics knobs
Once you have chosen the desired EQ band, or the
compressor, you can modify its settings using the
two or three knobs below the graph. The knobs
match the color of the currently selected effect, to
help remind you of which effect you are currently
editing.
Important: before you can modify the settings

of an EQ band using the three knobs below the
graph, the EQ band must be enabled. This is done
in the EQ tab (Figure 11-10), as explained in
Enabling EQ on page 88.
The Outputs tab (Figure 11-6) lets you apply EQ,

dynamics and reverb to any output pair, just before
the signal leaves the Traveler-mk3. This is
processing that occurs at the very end of the signal
flow, after everything else (host based effects,
Traveler-mk3 input or bus processing, mixing, and
so on). Processing is done in the digital domain,
just before the signal goes analog through the D/A
converter. Output tab processing is applied to the
entire output mix (all signals being mixed to the
output from various sources).
Signal flows from top to bottom
Settings in each Output tab channel strip are
applied to the signal in order from top to bottom.
For example, EQ occurs before Dynamics, which is
applied before the reverb send and return.
Output channel focus
page 86).
84
CUEMIX FX
Output EQ and Dynamics

The EQ/Dynamics section in the Outputs tab
(Figure 11-6) works identically to the EQ/
Dynamics section for the Inputs tab (Figure 11-3).
See Input EQ and dynamics on page 83.
Output reverb send/return
The output reverb send (Figure 11-6) feeds the
signal for the output to the Traveler-mk3s global
reverb processor, where it is merged with any other
signals being fed to the reverb. The reverbs output
can then be fed back into the mixer at any output,
including the same output from which it was sent
(discussed below). The output reverb send is
disabled (grayed out) when the reverb Split Point is
set to Mixes to eliminate the possibility for
feedback loops created by reverb send/return
loops. See Split point on page 99.
The output reverb return (Figure 11-6) feeds the

output of the Traveler-mk3s global reverb
processor directly to the output. This includes any
other signals currently being fed to the reverb.
Both the send and return occur after EQ and
dynamics processing, but before listenback and
talkback.
Talkback/Listenback
Click the Talkback or Listenback buttons
(Figure 11-6) to toggle whether the output pair is
included in the Talkback or Listenback group. See
Talkback and listenback on page 101.
Monitor group assign
Click the Monitor buttons (Figure 11-6) to toggle
whether the output pair is included in the Monitor
group. See The Monitor Group on page 100.
Outputs tab
Output name
Channel focus
EQ/Dynamics graph
EQ band selectors
Compressor selector
EQ/Dynamics controls
EQ/Dynamics
enable/disable
Output reverb
send/return
Talkback/listenback
enable/disable
Monitor group assign
Figure 11-6: The Outputs tab.
85
CUEMIX FX
THE CHANNEL SETTINGS SECTION

The channel settings section in the CueMix FX
window (Figure 11-1) displays three tabs for
Channel, EQ and Dynamics settings for the
channel with the current focus. There are also two
global tabs: the Meter Bridge and the Reverb
Processor, as shown below.
The Channel tab

The Channel tab (Figure 11-8) displays settings for
input channels. Click any focus button in the
Inputs tab to view the Channel tab settings for the
channel.
Figure 11-8: The Channel tab.
Tabs for the channel that

currently has the focus
Tabs for the global meter

bridge and reverb processor
Figure 11-7: The Channel Settings section.
Signal flow
Settings in the Channel tab occur just before the
EQ, dynamics and reverb sends in the Input tab
channel strip (Figure 11-3 on page 82). Input
channel signal flow is as follows: pad/reference
level, trim, overload protection, phase, stereo
versus M/S decoding, width, L/R swap, EQ,
dynamics and reverb send.
Pad and reference level
The Pad and Reference Level section (Figure 11-8)
lets you control the pad switch for mic inputs and
the +4/-10 dB reference level for TRS inputs. If a
mic input is currently in focus, the pad switch is
enabled and the reference level switches are grayed
86
CUEMIX FX
out. Conversely, if a TRS input is currently in focus,

then pad switch is grayed out and the reference
level switches are enabled.
be the talkback input, and only one input can be

the listenback input. See Talkback and listenback
on page 101.
Stereo settings
Inputs that have been grouped as stereo pairs in the
Inputs tab (Figure 11-3) provide two stereo modes
(Figure 11-8): Normal and M/S. M/S mode
provides decoding for a mid-side microphone
configuration.
Reverb section
The Send in the reverb section (Figure 11-8) is the
same control as the reverb send in the Input tab
channel strip (Figure 11-3). See Reverb send on
page 84. If the input is currently not grouped as a
stereo pair in the Input tab (it is operating as a
mono input), use the reverb Pan knob
(Figure 11-8) to pan the mono signal for the stereo
reverb processor.
The Width knob (Figure 11-8) provides control

over the stereo imaging, going from a full stereo
image to mono (both channels panned equally).
See Width on page 81.
The Swap L/R button (Figure 11-8) lets you switch
the left and right channels.
Input meter and bus activity LEDs

When the Channel tab is active (Figure 11-8), the
display above the tab provides a horizontal level
meter and eight bus activity LEDs (Figure 11-9).
Overload protection (mic/guitar inputs only)

The Overload Protection section (Figure 11-8)
provides two features that help prevent digital
clipping on the four mic/guitar inputs. These
options are only available on these four preampequipped inputs.
Bus
activity
LEDs
Figure 11-9: Input meter and bus activity LEDs.
V-Limit (Figure 11-8) is a hardware limiter that

helps prevent digital clipping from overloaded
input signals. With V-Limit engaged, signals can go
above zero dB (with limiting applied) to as high as
+12 dB above zero with no distortion due to digital
clipping. Click the Lookahead option for even
better protection against sharp transients.
Additional or alternative protection can be applied
to the mic/guitar inputs by enabling Soft Clip
(Figure 11-8). When enabled, Soft Clip engages
just before clipping occurs and helps further
reduce perceptible distortion.
Talkback section
Click the Talkback or Listenback button
(Figure 11-8) to toggle whether the input is the
Talkback or Listenback input. Only one input can
The input level meter (Figure 11-9) is the same as

the input meters in the Meters tab (Figure 11-27 on
page 98) with the Pre FX button engaged, which
shows the input level on the physical input itself,
before any processing of any kind occurs within the
Traveler-mk3. This meter gives you the most
accurate reading of the actual signal level hitting
the input, regardless of any other settings (such as
V-Limit, Soft Clip and so on). The clip indicator,
however, happens after V-Limit and/or Soft Clip.
This allows you to see when clipping occurs, even
with these overload protection features engaged.
The Bus Activity LEDs (Figure 11-9) show you
which mix busses the input signal is being fed to.
For example, LED #6 will glow under the following
87
CUEMIX FX
conditions: the input is unmuted in mix bus 6, its

fader is up, and there is signal activity from the
input going into the mix bus.
The EQ tab
The EQ tab (Figure 11-10) displays the EQ settings
for the input or output channel that currently has
the focus. Click any focus button in the Inputs or
Outputs tab to view the EQ tab settings for the
channel.
Vintage EQ
Inspired by legendary British large console EQs,
the Traveler-mk3 Vintage EQ section
(Figure 11-10) gives you the look, feel and sound of
the most sought-after classic equalizers. Five bands
of center frequency parametric EQ filtering are
Q handles
(orange lines)
provided, each with four EQ types that provide

current popular EQ styles and vintage analog EQ
styles alike. Two bands include shelf filtering. Two
additional bands of variable slope low pass and
high pass filtering are provided. The filter response
display provides comprehensive control and visual
feedback of the EQ curve being applied. With
64-bit floating point processing, the Traveler-mk3
Vintage EQ has been carefully crafted and
meticulously engineered to produce musical
results in a wide variety of applications.
Enabling EQ
Each input and output channel has a global EQ
enable/disable button (Figure 11-3 and
Figure 11-6). This button enables or disables all
bands of EQ for the channel. In addition, each
Filter Composite
Individual
handle
curve
filter curve
(white line) (colored area)
Filter response
display
Filter display options menu
Parameter display
EQ tab
EQ filter
Vertical scale
Filter enable/disable
EQ Filter types
Shelf filter
Low-pass filter
High-pass filter
Slope
High-pass frequency
Figure 11-10: The EQ tab.
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CUEMIX FX
individual band of EQ has a Filter enable/disable

switch (Figure 11-10), allowing you to enable as
few or as many bands as needed for each individual
channel.
Q handle: Drag the Q handle lines to graphically

adjust the Q setting for the currently selected filter.
To select the filter, click its filter handle.
Filter handle: Drag this handle to graphically
Vintage EQ Quick reference
adjust the filters boost/cut and/or frequency.
Filter response display: Shows the response curve

for the current settings.
Composite curve (white line): shows the overall
Vertical scale: Lets you zoom the vertical scale of
response curve of the current settings in the

window.
the filter response display.
Individual filter curve: Each filter has a color

Parameter display: Shows the precise numbers of
the parameter you are adjusting (or hovering over
with the arrow cursor). The labels (frequency, gain,
etc.) match the color of the filter being displayed.
When a filter handle is not selected and when the
cursor is not hovering over the display, the
parameter display shows the name of the current
channel being edited (the channel that currently
has the focus), as shown below:
The name of the

channel being
EQd.
Figure 11-11: When a filter handle is not selected and when the
cursor is not hovering over the display, the parameter display shows
the name of the current channel being edited (the channel that
currently has the focus).
EQ filter: one of five center bands of EQ that can be

independently enabled and programmed.
Filter type: Lets you choose from one of four or five

EQ styles for each independent band of EQ.
Low/High Pass filter: Both a low pass and high pass

filter are supplied with six different slope settings.
Slope: Lets you choose the slope (fall off) characteristics of the low pass and high pass filter.
(indicated by its knobs). When filter curves are

being displayed (the filter curve option is turned
on), each individual filters response curve is
displayed in the filters color.
Filter display options menu: Provides several

options for controlling the filter display.
Filter enable/disable: Turns the filter on or off.

How the vintage EQ works
The Vintage EQ operates like a standard EQ filter,
but with much more sophisticated processing
algorithms under the hood. There are five bands
of EQ, each with their own unique knob color, plus
additional low pass and high pass filters. Each filter
can be set to any center frequency you wish.
Each filter can be independently turned on or off
with the enable/disable button (Figure 11-10).
Each filter can be set to one of four different filter
types (I, II, III or IV). The two top-most filters
(orange and green) provide an extra low and high
shelf setting, in addition to the four standard band
settings. The additional low pass and high pass
filters (lower left) have gray cutoff frequency knobs
and six settings for slope (in octaves/dB).
Frequency response display
The frequency response display at the top of the
window displays the response curve of the current
settings in the window. The (horizontal) frequency
range is from 10 hertz to 20 KHz. The (vertical)
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CUEMIX FX
amplitude scale is in dB and is adjustable between 3

and 24 dB using the vertical scale buttons
(Figure 11-10).
Adjusting filters in the display
To view a filter in the display, turn on the filter. The
shape of the filter, according to its current settings,
is shaded in the same color as the filters knob(s).
Each filter has a handle, displayed as shown below
in Figure 11-12 (in the filters color), for adjusting
its boost/cut and/or frequency:
FFT display
Choose Show FFT from the Filter display options
menu (Figure 11-10) to superimpose a real-time
Fast Fourier Transform (FFT) frequency
measurement curve over the EQ filter display, as
demonstrated in Figure 11-13:
FFT curve
Filter handle
Filter Q
(red line)
Band response
(colored area)
Figure 11-12: Drag the filter handle to adjust its frequency and/or
boost/cut. Drag the Filter Q handles to adjust the Q.
For the EQ filters, when you click the handle, youll

also see lines on either side for adjusting the Q
parameter, as shown above.
Filter display options
The Filter display options menu (Figure 11-10)
provides several options for the EQ filter display:
Menu option
What it does
Show no analysis
Turns off both the FFT and

Spectrogram in the Filter display.
Show FFT
Shows/hides a real time FFT analysis

of the current signal being EQd,
post EQ filter.
Show Spectrogram
Shows/hides a real-time spectrogram waterfall in the background

of the filter display, post EQ filter.
Show Band Response
Shows/hides the colored area below

EQ filter points.
Show/Hide Full Window

Analysis
Shows/hides the enlarged filter display in the CueMix FX window.
Figure 11-13: FFT display.
The FFT curve is post-filter. Therefore, the FFT

shows the results of the EQ filter(s) being applied.
Use the global EQ button for the input or output
channel (Figure 11-3 and Figure 11-6,
respectively) to toggle between the EQd and nonEQd FFT display.
Spectrogram
Choose Show Spectrogram from the Filter display
options menu (Figure 11-10) to superimpose a
real-time spectrogram waterfall display in the
background of the EQ filter display, as
demonstrated in Figure 11-14:
Figure 11-14: FFT display.
The spectrogram scrolls from top to bottom, where

the top edge of the display represents what you are
hearing now. Color represents amplitude along
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CUEMIX FX
the left/right frequency spectrum. The amplitude

color scale runs from black (silence) to red (full
scale) as follows:
Silence
Black
Blue
Green
Yellow
Orange
Full scale
Red
Figure 11-15: Spectrogram color-to-amplitude spectrum.
Using the full window filter display

Choose Show Full Window Analysis from the Filter
display options menu (Figure 11-10) to fill the
entire CueMix FX window with the filter EQ
display for detailed inspection and adjustment of
the EQ filter, as shown in Figure 11-16.
You can show and hide the FFT display,
spectrogram or EQ band response curves as
desired using the Display Options menu options
(Figure 11-16). These settings are independent of
the small graph display options (Figure 11-10), so
you have the flexibility to display different
combinations in each graph.
The info box
The Show Info Box item in the full graph display
options menu (Figure 11-16) lets you display the
coordinates of any EQ filter point as you drag it in
the graph (Figure 11-17):
Figure 11-17: The Info Box.
The info box includes the industry standard

scientific note (pitch) name when the control point
is located at a frequency that resides within a
prescribed note range, where C4 is middle C. The
note number is accompanied by the number of
cents (50) above or below the exact frequency for
the note. If the control point is dragged outside the
note range, only the frequency is shown.
EQ filters
The EQ filters have three parameters:
Control
unit
range
Gain
dB
-20.00 to +20.00
Frequency
Hertz
20 Hz to 20 kHz
n/a - see note below
0.01 to 3.00
Q
The Q setting does not have a unit of measurement.
Rather, it is the ratio of the filters center frequency
to the bandwidth of the filter. In addition, the
Display
options
menu
Figure 11-16: Full window filter display.
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CUEMIX FX
actual Q value for the EQ curve being applied is

dependent on three factors: the gain setting, the
filter style, and the Q setting.
Type I
Filter types
Each filter can be independently set to one of four
different filter types: I, II, III and IV. These, and the
additional shelf filters for the LMF and HMF band,
are discussed in the section EQ filter styles.
Returning to zero (or nominal frequency)
To return a knob to zero, or its nominal frequency,
double-click it.
EQ filter styles
EQ is one of the most widely used processing tools
and can be applied to many different situations,
from minor corrective tasks to highly creative
applications. Over the years, many EQs have been
engineered for specific applications or to achieve a
certain sound. The Vintage EQ has been designed
to be flexible enough to cover a broad range of
applications. To that end, several different filter
types are supplied, varying mostly in the way they
handle the dynamic interaction between Gain and
Q. This crucial relationship has been modeled to
emulate the smooth and musical character of
classic analog EQ circuits, in which the Gain/Q
dependency was dictated by the actual circuit
design and electrical components used.
The following sections describe the character of
each type of EQ filter and their suggested
applications. In the illustrations for each filter style
(Figure 11-18 through Figure 11-21), the settings
for the three example curves are the same for the
purpose of comparison:
Frequency = 1.00 kHz
Q=1
Gain = +3, +10 and +20 dB
Figure 11-18: Type I EQ filter style.
The Type I EQ filter has the least amount of Gain/Q

interaction, providing the most precision and
control of all the EQ filter types. Even small
adjustments in gain or reduction produce relatively
high Q. This EQ style is best for situations that call
for precise EQ adjustments requiring the
maximum amount of individual parameter
control. For more general shaping (e.g. full mixes)
or subtle control (e.g. vocals), the other styles
discussed in the following sections might be more
appropriate. This filter type is the most similar to a
standard parametric EQ.
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CUEMIX FX
Type II
Type III
Figure 11-19: Type II EQ filter style.
The Type II EQ filter produces constant Q response

during boost or cut. The Type II style emulates
several classic legacy EQs and produces good
results for resonance control on drums and
percussion because it provides relatively high Q
values with more extreme gain or cut settings.
Figure 11-20: Type III EQ filter style.
The Type III EQ filter increases Q as boost is

applied. Therefore, lower amounts of boost
provide a softer, wider EQ effect (since the
affected frequency range widens), while higher
boost tends to sound louder and more up front,
due to the increase in Q as the gain is increased.
The more gentle Q curve at lower settings is well
suited for overall EQ fills and more subtle
corrections in instrument and vocal sources.
Boosting or cutting by small amounts will seem to
produce the effect that your ear expects, without
the need to adjust Q. As a result, this filter style, and
similar EQs with this characteristic behavior, are
often referred to as being more musical. More
specifically, this style emulates the classic Neve
EQs, their modern derivatives and later SSL G
series EQs. Many current popular outboard
boutique EQs exhibit this same gain/Q
relationship.
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CUEMIX FX
Type IV
Shelf filters
Figure 11-21: Type IV EQ filter style.
The Type IV EQ filter is a more extreme form of the

Type III filter. It exhibits a high degree of
interaction between Q and gain in order to
maintain as closely as possible an equal amount of
area under the response curve as gain is adjusted.
Type IV is the most gentle of the four EQ styles and
is ideal for large scale EQ adjustments, especially
on sub-mixes and complete mixes. This EQ style is
also ideal for any applications where subtle changes
in the overall character of the sound are desired.
For example, it can be used for mastering
applications, such as the overall adjustments that
must often be applied to entire tracks to match
other tracks on the album.
Figure 11-22: Shelf filter Q parameter overshoot.
When two top-most bands in the EQ tab are set to

their shelf filter setting (Figure 11-10), the Q
parameter controls the amount of overshoot
applied to the response curve, as illustrated in
Figure 11-22. When Q = 0.01 (the lowest setting),
normal shelving is applied with no overshoot. This
produces the response provided by a first order
shelf. When Q = 1.0 (the default setting), the
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CUEMIX FX
response corresponds to a second order shelf, still

with no overshoot. This is the same response as
conventional parametric EQs. In some situations,
this form of accurate, clean shelving can sound
harsh, especially when compared to legacy analog
EQs. To soften the results, the overshoot is
increased as Q is increased, as shown Figure 11-22
for Q values of 1.00, 2.00 and 3.00. This overshoot
region produces a boost in frequencies just above
the cutoff, which compensates in a smooth, more
pleasing fashion for the perceived drop in low
frequencies being cut.
Conversely, when shelving boost is being applied,
overshoot cuts frequencies just above the cutoff to
again compensate in a smooth and pleasing fashion
for the perceived boost in low frequencies:
Figure 11-23: Overshoot when low shelf boost is applied.
Overshoot tends to produce more of what one

would expect to hear when applying shelving and
is therefore considered to be more musical than
shelving without overshoot. This effect, which has
gained tremendous popularity among audio
engineers, was first made popular in original Neve
series EQs and later in the SSL G series.
At the maximum Q setting of 3.00, the overshoot
peaks at half the total boosted (or cut) gain. For
example, with a max gain setting of +20dB, the loss
in the overshoot region is -10 dB. Overshoot
curves are symmetrical for both cut and boost.
Low pass and high pass filters
The Vintage EQ low and high pass filters are similar
to those found in most conventional parametric
EQs (which usually have a fixed slope of 12 dB per
octave), except that Vintage EQ provides six
different slope (roll off) settings: 6, 12, 18, 24, 30
and 36 dB per octave. This control over the shape
of the knee gives you a great deal flexibility and
control for a wide variety of applications.
Slope = 6
Overshoot is also applied to high shelf boost and

cut:
Slope = 18
Slope = 36
Figure 11-24: Overshoot when high shelf cut and boost is applied.
Figure 11-25: The low pass filter with three example slope settings.
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CUEMIX FX
The Dynamics tab

The Dynamics tab (Figure 11-26) displays the
Dynamics processing settings for the input or
output channel that currently has the focus. Click
any focus button in the Inputs or Outputs tab to
view the Dynamics tab settings for the channel.
Input
level
meter
Output
Gain Threshold
level reduction
meter meter
Trim
Dynamics tab
Compressor
enable/disable
Leveler
enable/disable
Compressor
The Compressor (Figure 11-26) lowers the level of
the input when it is above the threshold. The
amount of attenuation is determined by the Ratio
and the input level. If the input is 6 dB above the
Threshold and the Ratio is 3:1, then the output will
be 2 dB above the Threshold. When the input level
goes above the threshold, the attenuation is added
gradually to reduce distortion. The rate at which
the attenuation is added is determined by the
Attack parameter. Likewise, when the input level
falls below the Threshold, the attenuation is
removed gradually. The rate at which the
attenuation is removed is determined by the
Release parameter. Long Release times may cause
the audio to drop out briefly when a soft passage
follows a loud passage. Short Release times may
cause the attenuation to pump when the average
input level quickly fluctuates above and below the
Threshold.
These sorts of issues can be addressed by applying
the Leveler instead.
Graphic adjustment of the Threshold
The Threshold can be adjusted by turning the
Threshold knob or by dragging the Threshold line
directly in the compressor graph (Figure 11-26).
Figure 11-26: The Dynamics tab.
Enabling Dynamics
Each input and output channel has a global
Dynamics enable/disable button (Figure 11-3 and
Figure 11-6). This button enables or disables all
dynamics processing for the channel. In addition,
the Dynamics tab has two different dynamics
processors, the Compressor and Leveler, which can
be individually enabled or disabled (Figure 11-26)
for the channel.
Input level meter

The Input Level meter (Figure 11-26) shows the
level of the input signal before it enters the
compressor. It shows either the peak level or the
RMS level, depending on which mode is currently
chosen.
Gain reduction (GR) meter
The Gain reduction (GR) level meter
(Figure 11-26) displays the current amount of
attenuation applied by the compressor.
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CUEMIX FX
Output level
The Output Level meter (Figure 11-26) displays the
peaks of the output signal. Trim is applied before
the Output Level meter.
Peak/RMS modes
In RMS mode the compressor uses RMS values (a
computational method for determining overall
loudness) to measure the input level. In Peak mode,
the compressor uses signal peaks to determine the
input level. RMS mode will let peaks through
because the detector sidechain is only looking at
the average signal level. Peak mode will react to
brief peaks. Peak mode is generally used for drums,
percussion and other source material with strong
transients, while RMS mode is mostly used for
everything else.
The input meters show either the peak level or the
RMS level, depending on the mode.
Leveler
The Leveler (Figure 11-26) provides an accurate
model of the legendary Teletronix LA-2A
optical compressor, known for its unique and
highly sought-after Automatic Gain Control
(AGC) characteristics. The Traveler-mk3 Leveler
faithfully models the LA-2A using the on-board
DSP with 32-bit floating point precision.
A model of an optical compressor
The simplest description of an optical leveling
amplifier device is a light shining on a photoresistor. The intensity of the light source is
proportional to the audio signal, and the resistance
of the photoresistor is in turn inversely
proportional to the intensity of the light. Photoresistors respond quite quickly to increases in light
intensity, yet return to their dark resistance very
slowly. Thus, incorporation of the photoresistor
into an attenuator followed by an amplifier which
provides make-up gain produces a signal which
maintains a constant overall loudness.
Automatic gain control using light

The the Automatic Gain Control (AGC) circuit of
the LA-2A uses a vintage opto-coupler known by
its model number (T4). The T4 contains an
electroluminescent panel (ELP) and photoresistor
mounted so that the emission of the panel
modulates the resistance. An ELP consists of a thin
layer of phosphorescent material sandwiched
between two insulated electrodes to form a
capacitor. Making one of the electrodes
transparent allows the light to escape. These
devices are essentially glow-in-the-dark paint on a
piece of foil covered by metalized glass or plastic,
and are the same devices used in low-power night
lights. Unfortunately, these devices need high
voltages to operate, and are best driven by tube
circuits which can supply voltage swings of several
hundred volts.
Response characteristics
Once the light has faded away, the photoresistor
then decays back to its dark state. The shape of the
decay curve varies depending on how bright the
light was, and how long the light lasted. A general
rule of thumb is that the louder the program, the
slower the release. Typically, the release can take up
to and over one minute. One thing to keep in mind
when using these types of devices is that the typical
concepts of compression ratio, attack, release, and
threshold do not apply. The light intensity is
determined by the highly non-linear interactions
of the input signal, AGC circuit, and ELP, and thus
exhibit a strong program dependence that is
impossible to describe without the mind-numbing
mathematics of statistical mechanics. The actual
results, however, can be almost mystical: even
when you feed the same material (a loop perhaps)
through the Leveler twice, youll often see a new
response the second time through a loop, complete
with unique attack times, release times and
compression ratios. Furthermore, two different
input signals with the same RMS levels may be
leveled in a drastically different manner.
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CUEMIX FX
It is precisely this self-adjusting behavior that

makes optical compressors the tool of choice for
smoothing out vocals, bass guitar and fullprogram mixes without destroying perceived
dynamics.
Bus activity LEDs

(inputs only)
Channel meter
display
Meters tab
Compressor/Limit buttons
The Comp and Limit buttons (Figure 11-26) model
the original LA-2A Limit/Compress mode switch.
The effect is very subtle, with the Limit option
behaving only slightly more like a limiter than a
compressor. The switch increases the level of the
input to the AGC model and runs the attenuator at
a slightly lower level. The Leveler then responds
more strongly to transients, but otherwise still
behaves like a leveling amplifier.
Gain Reduction
Gain Reduction (Figure 11-26) sets the strength of
the signal sent to the AGC model. The Gain
Reduction meter (Figure 11-26) shows the amount
of gain reduction being applied to the input signal.
Makeup Gain
Makeup gain (Figure 11-26) amplifies the output
signal to make up for gain reduction.
Enabling or disabling the Leveler
The Leveler models the LA-2A so closely, it also
models the time it takes for an actual LA-2A to
warm up after it is turned on. Therefore, when
you enable the Leveler, give it a moment to settle
before you begin processing signals with it.
The Meters tab
The Meters tab (Figure 11-27) serves as a
comprehensive meter bridge for all inputs, outputs
and mix busses in the Traveler-mk3. This tab gives
you a birds-eye view of all signal activity in the
Traveler-mk3; it is ideal for confirming your signal
routing programming and for troubleshooting.
Pre/post
processing
switch
Figure 11-27: The Meters tab.
Channel meter display

The channel meter display (Figure 11-27) provides
a long-throw meter for the input or output that
currently has the focus in the Input/Output tabs.
Bus activity LEDs (inputs only)
The Bus activity LEDs (Figure 11-27) are present
only for inputs. See Input meter and bus activity
LEDs on page 87.
Pre/post processing switch
The pre/post processing switch (Figure 11-27)
affects all input meters (and the meter in the
channel meter display above the tab, if this area is
displaying an input meter). Click Pre to view levels
before any input channel processing besides trim;
click Post to view levels after all channel processing
(EQ, compression, M/S decoding, L/R swap, etc.)
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CUEMIX FX
The Reverb tab

The Reverb tab (Figure 11-28) provides access to
the Traveler-mk3s single, global reverb processor,
which provides high-fidelity reverberation and
graphic control over its parameters.
Low band
(yellow)
Mid band reverb

time handle
High band
(purple)
Crossover
handle
Reverb
enable/disable
Figure 11-28: The Reverb tab.
Enabling reverb
Use the enable/disable button (Figure 11-28) to
turn the reverb processor on or off. Since reverb
uses considerable DSP resources, it is best to leave
it off when you are not using it.
Routing inputs, busses and outputs to the
reverb processor
The reverb processor is a single, independent unit
that provides stereo reverb.You can route multiple
signals to it from various points (sends) in the
CueMix FX mixer, but all incoming signals to the
reverb processor are merged and processed
together. The resulting stereo output from the

reverb can then be inserted into a mix bus or
output using stereo returns.
Reverb sends
The following signals can be sent to the reverb
processor via their corresponding sends (discussed
earlier in this chapter):
Mono or stereo inputs (Figure 11-3 on page 82)
Mix bus output (Figure 11-2 on page 80)
Outputs (Figure 11-6 on page 85)
Reverb returns
The stereo output from the reverb processor can be
sent to the following destinations via their
corresponding returns (discussed earlier in this
chapter):
Mix bus outputs
Outputs
The computer (via the Reverb Return bus)
Split point
The Split Point (Figure 11-28) prevents feedback
loops that would be caused by a signal being sent to
the reverb processor and then returned to the same
signal path.
Mix
When the Split Point is set to Mixes, the returns in
the Mix bus tab become active and the sends in the
Output tab gray out. This allows you to send from
inputs and mixes and return to mixes and outputs.
Output
When the Split Point is set to Outputs, the sends in
Output tab become active and the returns in the
Mix bus tab gray out. This allows you to send from
inputs, mixes and outputs and return to outputs.
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CUEMIX FX
Primary controls
The Primary Controls section (Figure 11-28) in the
Reverb tab provides the following basic parameters
for programming the reverb.
Reverb Time
Reverb time determines the length of decay, or tail,
of the reverb. This is a global setting for the reverb
processor. You can further refine the tails by
independently setting the reverb time of three
separate frequency bands, as discussed below in
the Reverb Design section.
Reverb design
The Reverb Design section allows you to
independently control the reverb time for three
separate frequency bands (Low, Mid and High)
with adjustable cross-over points between them
(Low and High). The reverb time for each band is
specified in percent of the overall reverb time in the
Primary Controls section at the top of the tab.
PreDelay
PreDelay is the amount of time before you hear the
very first reflections. If you are in a large room, it
takes a while before the first reflections return.
PreDelay is useful for clarifying the original sound.
For example, with vocals, the reflections wont start
until after the initial sound of a word has been
sung.
Shelf Filter
The Shelf Filter is a low-pass filter that controls the
high frequency characteristics of the overall effect.
Frequency sets the cutoff frequency for the filter
and Cut sets the amount of signal attenuation
applied by the filter.
Early reflections
Initial reflections give a space its unique sound.
The shape of the room, the angles of the walls, even
furniture in the room will produce a series of Initial
Reflections. Think of the early reflections and
room type as the flavor of the reverb. You can
choose between several types of rooms. These are
acoustic models for simulating these different
types of spaces. The Size and Level parameters let
you control the size of the room and the strength of
the initial reflections.
Heres a tip: try using initial reflections

without any subsequent reverb (turn the reverb
time down as far as it will go). Youll hear
interesting and unusual effects.
You can edit these parameters graphically by

dragging the handles in the graphic display
(Figure 11-28).
Width does what its name implies: if you turn this
control all the way up, the result is maximum stereo
imaging. A position of 12 oclock produces
essentially a mono image. Turning the control all
the way down completely swaps the stereo image.
THE MONITOR GROUP

The monitor group is a set of Traveler-mk3 outputs
that can be controlled with the master Monitor
Level knob in upper right corner of the CueMix FX
mixer window (Figure 11-29), as well as the
MASTER VOL knob on the Traveler-mk3 front
panel.
Monitor
group
presets
menu
Figure 11-29: Monitor group volume control from CueMix FX and the
front panel MASTER VOL knob.
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CUEMIX FX
Assigning outputs to the monitor group

Any combination of outputs can be assigned to the
monitor group. To include an output pair in the
monitor group, click its Monitor button in the
Outputs tab (Figure 11-6 on page 85).
EQ on a stereo channel requires approximately

twice the DSP resources as the same EQ on a mono
channel. The Compressor (2.5 x 1 EQ band) and
Leveler (4 x 1 EQ band) require about the same
DSP resources for a mono or stereo channel.
Monitor group presets menu

The monitor group presets menu (Figure 11-29)
provides several presets for commonly used
monitor groups:
SOLO LIGHT
Monitor group preset
Output assignment
TALKBACK AND LISTENBACK
Main Outs
Analog 1-2
Quad
Analog Out 1-4
5.1
Analog Out 1-6
7.1
Analog Out 1-8
CueMix FX provides Talkback and Listenback

buttons. 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.
If you program your own monitor output group,

the presets menu displays the word Custom.
Monitor group meters
The monitor group meters (Figure 11-1 on
page 78) show levels for any/all output pairs that
are currently included in the monitor group. The
width of the meters scales proportionally so that all
current monitor group outputs will fit within the
prescribed space for the meters. If many outputs
are included, then the meters will look fairly thin,
but they will all be included in the meter.
The Solo light (Figure 11-1) illuminates when any

input in the current (active) mix bus is soloed
(even if it is currently scrolled off-screen).
Hardware setup
Figure 11-30 below shows a typical hardware setup
for Talkback and Listenback. For Talkback, set up a
dedicated mic in your control room and connect it
to a mic input on your MOTU audio interface. For
Listenback, set up a dedicated listenback mic in the
live room for the musicians and connect it to
another mic input (or just use one of the mics you
are recording from). For talkback output, set up a
headphone distribution amp or set of speakers in
the live room, and connect it to any Traveler-mk3
output, as demonstrated below in Figure 11-30.
DSP METER
The DSP meter (Figure 11-1) shows how much of
the available DSP processing power is currently
being used by the Traveler-mk3 for effects
processing. DSP resources are allocated in channel
order from the first input to the last output. If there
arent enough DSP resources for all effects to be
enabled on a channel, none of them are allocated
on that channel or any following channel.
101
CUEMIX FX
Control room
Talkback
mic
only occurs when talkback or listenback is

engaged. Audio playing back from disk (your host
software) is not affected.
Main
outs
Talk dim
Analog out 7-8
Live room
Headphone distribution amp
Listenback
mic
Figure 11-30: Typical hardware setup for Talkback and Listenback.
Talkback / Listenback Mic Input

To configure the talkback mic in CueMix FX, go to
the Inputs tab (Figure 11-3 on page 82) and click
the Focus button for the input that the talkback mic
is connected to. Click the Channel tab (Figure 11-8
on page 86) and enable the Talk button.
Repeat this procedure for the Listenback mic,
except click the Listen button in the Channel tab.
Talk / Listen output
To configure the talkback and listen back outputs,
go to the Outputs tab (Figure 11-6 on page 85) and
enable the Talk button for any output pair on which
youd like to hear the talkback mic. Similarly,
enable the Listen button for any output pair on
which youd like to hear the listenback mic.
Talkback / Listenback Monitor Dim
Use the knobs next to the Talk and Listen buttons
(Figure 11-31) to determine the amount of
attenuation you would like to apply to all other
audio signals (besides the talkback/listenback
signal) when Talkback and/or Listenback is
engaged. To completely silence all other CueMix
audio, turn them all the way down. Attenuation
Listen dim
Figure 11-31: The Talkback/Listenback controls.
Engaging/disengaging Talkback and

Listenback
To engage Talk back or Listenback, press on the
Talk or Listen buttons (Figure 11-31) and then
release to disengage. Talkback and/or Listenback is
engaged for as long as you hold down the mouse
button. Option-click to make the buttons sticky
(stay engaged until you click them again so you
dont have to hold down the mouse). Or use the
Talkback menu items.
If you would like to engage both Talkback and
Listenback at the same time, enable the Link button
(Figure 11-31).
Controlling Talkback and Listenback volume
To control the volume of the Talkback and/or
Listenback mics, adjust their input trim in
CueMix FX.
102
CUEMIX FX
SHORTCUTS
Hold down the following general modifier keys as
shortcuts:
Shortcut
Result
Shift key
Applies your action to all inputs or all outputs in the mix.
Command key
Applies your action to the stereo input pair,

even when it is currently configured as mono.
Option key
Applies your action to all busses.
Shift-Option
Applies your action to all inputs and mixes.
Double-click
Returns the control to its default value (pan

center, unity gain, etc.)
remains visible before it disappears (or begins to

drop). To disable peak/hold indicators altogether,
choose Off from this sub-menu.
Mix1 return includes computer output
The Mix1 return includes computer output File
menu item applies to other MOTU interfaces
products and has no effect on the Traveler-mk3.
Hardware follows CueMix Stereo Settings
This File menu item applies to other MOTU
interfaces products and has no effect on the
Traveler-mk3.
EDIT MENU
Hold down the following modifier keys as
shortcuts for the EQ tab and controls:
Shortcut
Result
Shift click
Applies EQ button change to all input or outputs.
Option-click
Applies EQ enable button changes to all

bands in that input or output.
Shift-Optionclick
Applies EQ enable button changes to all

bands and all inputs or outputs.
FILE MENU
Undo/Redo
CueMix FX supports multiple undo/redo. This
allows you to step backwards and forwards
through your actions in the software.
Copying & pasting (duplicating) entire mixes
To copy and paste the settings from one mix to
another:
1 Select the source mix (Figure 11-1) and choose
Copy from the Edit menu (or press command-C).
Saving and loading hardware presets

The Traveler-mk3 can store up to 16 presets in its
on-board memory. A preset includes of all
CueMix FX settings for all for mix busses, but it
excludes global settings like clock source and
sample rate.
2 Choose the destination mix and choose Paste

from the Edit menu (or press command-V).
The Load Hardware Preset and Save Hardware

Preset commands in the CueMix FX file menu let
you name, save and load presets in the
Traveler-mk3.
DEVICES MENU
Peak/hold time
In CueMix FX, a peak indicator is a line
(representing a virtual LED) displayed in a level
meter that indicates the maximum signal level
registered by the meter. The Peak/hold time setting
(File menu) determines how long this indicator
Clear Peaks
Choose Clear Peaks from the Edit menu to clear all
peak indicators in all CueMix FX meters.
If you are working with more than one MOTU

audio interface product, this menu displays all
interfaces that are currently on line. Choose any
device from the menu to edit its settings using the
CueMix FX software.
103
CUEMIX FX
CONFIGURATIONS MENU
A configuration is a snapshot of all settings in
CueMix FX (and therefore the Traveler-mk3
hardware itself). The commands in the Configurations menu let you create, save, load, import,
export and otherwise manage as many configurations as you wish.
Here is a summary of Configurations menu
operations:
Configurations
Menu item
What it does
Create New
Lets you name and save a new configuration,

which appears at the bottom of the Configurations menu.
Save
Overwrites the current configuration

(checked in the list at the bottom of the menu)
with the current settings in CueMix FX.
Save To
Same as Save above, except that it lets you first

choose the configuration you wish to save to
(instead of the current one).
Delete
Lets you choose a configuration to permanently remove from the menu.
Import
Loads all configurations from a configuration

file on disk.
Export
Saves all current configurations as a file on

disk.
Configuration
list
Choose any configuration to load it. The current (last loaded or saved) configuration has a
check mark next to it.
TALKBACK MENU
Choose the commands in the Talkback menu to
engage or disengage Talkback or Listenback.
PHONES MENU
The Phones menu allows you to choose what you
will hear on the headphone output, just like the
Phones Assign setting in MOTU Audio Setup.
However, this menu provides one extra option that
is exclusive to CueMix FX: Follow Active Mix. This
menu item, when checked, causes the headphone
output to mirror the output of the current mix
being viewed in CueMix FX. For example, if you
are currently viewing mix bus 3, the headphones

will mirror the mix bus 3 output (whatever it is
assigned to).
CONTROL SURFACES MENU

CueMix FX can be controlled from an automated
control surface such as the Mackie Control. Use
the commands in the Control Surfaces menu to
enable and configure this feature.
Application follows control surface
When checked, the Application follows control
surface menu command makes the CueMix FX
window scroll to the channel you are currently
adjusting with the control surface, if the channel is
not visible when you begin adjusting it. The same is
true for the bus tabs: if you adjust a control in a bus
that is not currently being displayed, CueMix FX
will jump to the appropriate tab to display the
control you are adjusting.
Share surfaces with other applications
When the Share surfaces with other applications
menu command is checked, CueMix FX releases
the control surface when you switch to another
application. This allows you to control your other
software with the control surface. Heres a simple
way to understand this mode: the control surface
will always control the front-most application. Just
bring the desired application to the front (make it
the active application), and your control surface
will control it. When youd like to make changes to
CueMix FX from the control surface, just bring
CueMix FX to the front (make it the active
application).
When this menu item is unchecked, your control
surface will affect CueMix FX all the time, even
when CueMix FX is not the front-most application.
In addition, you will not be able to control other
host audio software with the control surface at any
time (because CueMix FX retains control over it at
104
CUEMIX FX
all times). This mode is useful when you do not

need to use the control surface with any other
software.
CueMix Control Surfaces
CueMix FX includes support for the following
control surface products:
Mackie Control
Mackie HUI
Mackie Baby HUI
Use the sub-menu commands in the CueMix

Control Surfaces menu item to turn on and
configure control surface support, as described
briefly below.
Enabled
Check this menu item to turn on control surface
operation of CueMix FX. Uncheck it to turn off
control surface support.
Configure
Choose this menu item to configure your control
surface product. Launch the on-line help for
specific, detailed instructions on configuring
CueMix FX for operation with your control surface
product.
Figure 11-32: Refer to the extensive on-line help for details about
configuring CueMix FX for operation with your control surface
product.
Other HUI-compatible control surfaces

Any control surface that has the ability to emulate a
HUI should be compatible with CueMix FX. Just
add a Mackie HUI to Audio MIDI Setup and put
the control surface hardware into HUI emulation
mode. Consult the control surface manual for
details about how put it into HUI emulation mode.
Other control surface hardware products
If you install other control surface drivers written
for CueMix FX, they will appear as separate menu
items at the bottom of the Control Surfaces menu,
with the same sub-menu items described above.
105
CUEMIX FX
106
CUEMIX FX
CHAPTER 12
MOTU SMPTE Console
OVERVIEW
The Traveler-mk3 can resolve directly to SMPTE
time code via any analog input, without a separate
synchronizer. The Traveler-mk3 can also generate
Longitudinal Time Code (LTC) to any analog
output. Whenever time code is running, the
Traveler-mk3 can also transmit MIDI Time Code
(MTC) to host software running on the computer.
The Traveler-mk3 provides a DSP-driven phaselock engine with sophisticated filtering that
provides fast lockup times and sub-frame
accuracy. Direct time code synchronization is
supported by AudioDesk and Digital Performer on
Mac OS X.
MOTU SMPTE Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

Clock/Address. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Reader section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Generator section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109
Setting up for SMPTE time code sync . . . . . . . . . . . . . . .109
Resolving DP or AudioDesk to SMPTE time code. . . .110
Resolving other applications to SMPTE time code . .110
MOTU SMPTE SETUP

The included MOTU SMPTE Setup software
provides a complete set of tools to generate SMPTE
for striping, regenerating or slaving other devices
to the computer.
CLOCK/ADDRESS
The Clock/Address menu (Figure 12-1) provides
the same global Clock Source setting as in MOTU
Audio Setup (Clock Source on page 39), but it
includes additional information: each setting
shows both the clock and the address (time code or
sample location), separated by a forward slash ( / ).
To resolve the Traveler-mk3 to SMPTE time code,
The Reader section provides settings for

resolving to SMPTE time code.
The Generator section provides settings

for striping SMPTE time code.
Figure 12-1: SMPTE Setup gives you access to your Traveler-mk3s on-board SMPTE time code synchronization features.
107
choose the SMPTE / SMPTE setting in the Clock/

Address menu. This means that the system will use
SMPTE as the clock (time base) and SMPTE as the
address.
Freewheel
The Freewheel light illuminates when the
Traveler-mk3 is freewheeling address (time code),
clock or both. For details about Freewheeling, see
Freewheel Address and Freewheel clock below.
FRAME RATE
This setting should be made to match the SMPTE
time code frame rate of the time code that the
system will be receiving. The Traveler-mk3 can
auto-detect and switch to the incoming frame rate,
except that it cannot distinguish between 30 fps
and 29.97 fps time code, or 23.976 and 24 fps time
code. So if you are working with either of these
rates, make sure you choose the correct rate from
this menu. The Traveler-mk3 driver updates the
frame rate setting in Digital Performer and
AudioDesk for you.
READER SECTION
The Reader section (on the left-hand side of the
window in Figure 12-1) provides settings for
synchronizing the Traveler-mk3 to SMPTE time
code.
Status lights
The four status lights (Tach, Clock, Address and
Freewheel) give you feedback as follows.
Tach
The Tach light blinks once per second when the
Traveler-mk3 has successfully achieved lockup to
SMPTE time code and SMPTE frame locations are
being read.
Clock
The Clock light glows continuously when the
an external time base, such as SMPTE time code or
the optical input.
Address
The Address light glows continuously when the
SMPTE time code.
SMPTE source
Choose the analog input that is connected to the
time code source. This is the input that the
Traveler-mk3 listens to for time code.
Freewheel Address
Freewheeling occurs when there is a glitch or
drop-out in the incoming time code for some
reason. The Traveler-mk3 can freewheel past the
drop-out and then resume lockup again as soon as
it receives readable time code. Choose the amount
of time you would like the Traveler-mk3 to
freewheel before it gives up and stops altogether.
The Traveler-mk3 cannot freewheel address
without clock. Therefore, the Freewheel Address
setting will always be lower than or equal to the
Freewheel Clock setting, and both menus will
update as needed, depending on what you choose.
Keep in mind that freewheeling causes the system
to keep going for as long as the duration you choose
from this menu, even when you stop time code
intentionally. Therefore, if you are starting and
stopping time code frequently (such as from the
transports of a video deck), shorter freewheel
times are better. On the other hand, if you are
doing a one-pass transfer from tape that has bad
time code, longer freewheel times will help you get
past the problems in the time code.
The Infinite freewheel setting
The Infinite freewheel setting in the Freewheel
Address menu causes the Traveler-mk3 to
freewheel indefinitely, until it receives readable
time code again. To make it stop, click the Stop
Freewheeling button.
108
MOTU SMPTE CONSOLE
Freewheel clock
Freewheeling occurs when there is glitch or
drop-out in the incoming SMPTE time code for
some reason. The Traveler-mk3 can freewheel past
the drop-out and then resume lockup again as
soon as it receives a stable, readable clock signal.
Stripe
Click this button to start or stop time code. To set
the start time, click directly on the SMPTE time
code display in the Generator section and type in
the desired start time. Or drag vertically on the
numbers.
The Traveler-mk3 cannot freewheel address

without clock. Therefore, the Freewheel Address
setting will always be lower than or equal to the
Freewheel Clock setting, and both menus will
update as needed, depending on what you choose.
The Infinite freewheel setting
The Infinite freewheel setting in the Freewheel
Clock menu causes the Traveler-mk3 to freewheel
indefinitely, until it receives readable time code
again. To make it stop, click the Stop Freewheeling
button.
Stop Freewheeling
The Stop Freewheeling button stops the system if it
is currently freewheeling.
GENERATOR SECTION
The Generator section (on the right-hand side of
the window in Figure 12-1) provides settings for
generating SMPTE time code and MIDI Time
Code.
Level
Turn the level knob to adjust the volume of the
SMPTE time code being generated by the
Traveler-mk3. The level knob disappears when the
Destination is set to None.
Tach light
The Tach light blinks once per second when the
Traveler-mk3 is generating SMPTE time code.
Click here to edit

the start time, or
drag vertically
on the numbers.
Figure 12-2: Setting the time code start time.
Regenerate
This option, when enabled, causes the generator to
generate time code whenever the Traveler-mk3 is
receiving SMPTE time code.
Generate from sequencer
This option, when enabled, causes the generator to
generate time code whenever you are running
AudioDesk or Digital Performer. Time code begins
at the time specified by the AudioDesk or Digital
Performer main transport.
SETTING UP FOR SMPTE TIME CODE SYNC

To set up direct SMPTE time code synchronization, see Syncing to SMPTE time code on
page 28.
Destination
In the Destination menu, choose either SMPTE (to
generate time code) or None (to turn it off).
109
MOTU SMPTE CONSOLE
RESOLVING DP OR AUDIODESK TO SMPTE

TIME CODE
To resolve your Digital Performer/Traveler-mk3
system directly to SMPTE time code with no
additional synchronization devices, use the setup
shown in Figure 3-17 on page 28. Choose Receive
Sync from the Setup menu and choose the Sample
accurate option. Then make sure that the Slave to
External Sync command in the Studio menu is
checked. Make sure the Clock Source setting in the
MOTU Audio Setup window is set to SMPTE. Also,
make sure that youve connected an LTC input
signal to the Traveler-mk3 Time Code input, and
that youve specified that input in the SMPTE
Setup.
RESOLVING OTHER APPLICATIONS TO

SMPTE TIME CODE
To resolve Logic, Cubase, Nuendo or other host
applications that support MIDI Time Code (MTC)
sync, use the setup shown in Figure 3-17 on
page 28. The Traveler-mk3 provides a Sync MIDI
port to the host application. This port supplies
MIDI Time Code generated by the Traveler-mk3 as
it resolves to (or generates) LTC. So set up your
host application to resolve to MTC via the
Traveler-mk3s MIDI Sync port.
110
MOTU SMPTE CONSOLE
CHAPTER 13
Troubleshooting
Slaving directly to time code in AudioDesk or

Digital Performer
To slave Digital Performer or AudioDesk directly to
time code, be sure to go to the Receive Sync
preferences in Digital Performer or AudioDesk and
switch from MTC to Sample-accurate.
Traveler-mk3 inputs and outputs are not visible in
Cubase
You probably need to enable them in Cubase.
Cant authenticate AudioDesk
When installing software off the CD-ROM, the OK
button does not become active until you have
entered in your name and a valid keycode. Your
name must contain at least 3 characters, and you
must enter the keycode provided with your
AudioDesk installer CD.
Clicks and pops under word clock sync
Many problems result from incorrect word
clocking. It is essential that all digital devices in the
system be word locked. Consult Making sync
connections on page 26 for detailed information
on how to word clock your gear. Whenever there is
any weird noise or distortion, suspect incorrect
word lock.
Clicks and pops due to hard drive problems
If you have checked your clock settings and you are
still getting clicks and pops in your audio, you may
have a drive related problem. Set your Clock
Source to Internal and try recording just using the
analog inputs and outputs of the Traveler-mk3. If
you encounter the same artifacts you may want try
using another drive in your computer. Clicks and
pops can also occur when the drive is severely
fragmented, the disk drivers are outdated, or other
drive-related issues. If you are using a FireWire
drive on the same bus as the Traveler-mk3, it could
be that the FireWire bus is overloaded (too many

devices on the same bus). Try removing all devices
except the Traveler-mk3.
Connecting or powering gear during operation
It is not recommended that you connect/
disconnect, or power on/off devices connected to
the Traveler-mk3 while recording or playing back
audio. Doing so may cause a brief glitch in the
audio.
No optical inputs or outputs are available in host
audio application
Check to make sure you have the desired optical
inputs and/or outputs enabled in the MOTU Audio
Setup.
Monitoring - How to monitor inputs?
Please refer to the documentation for the audio
application that you are using. If your application
does not support input monitoring, you will need
to use the Traveler-mk3s hardware-based
CueMix FX monitoring feature. Please see
chapter 10, Reducing Monitoring Latency
(page 71).
Controlling monitoring latency
See chapter 10, Reducing Monitoring Latency
(page 71).
I have a MIDI controller connected to the MIDI in
port, but I hear weird flanging when I play it, and
I am experiencing other strange MIDI symptoms
Is the MIDI Thru feature turned on? (See MIDI
Thru in standalone on page 48.) If so, and you are
also running MIDI software that is also patching
MIDI input to output, you are getting doubled
MIDI data (notes, controllers, etc.) Turn off MIDI
thru in the Traveler-mk3 or turn it off in your host
software.
111
CUSTOMER SUPPORT
We are happy to provide customer support to our
registered users. If you havent already done so,
please take a moment to register on line at
motu.com, or fill out and mail the registration card
included with your Traveler-mk3. Doing so entitles
you to technical support and notices about new
products and software updates.
REPLACING DISKS
If your Traveler-mk3 software installer CD
becomes damaged and fails to provide you with
fresh, working copies of the software, our
Customer Support Department will be glad to
replace it. You can request a replacement disc by
calling our business office at (617) 576-2760 and
asking for the customer service department. In the
meantime, you can download the latest drivers
from www.motu.com.
TECHNICAL SUPPORT
If you are unable, with your dealers help, to solve
problems you encounter with the Traveler-mk3
system, you may contact our technical support
department in one of the following ways:
Tech support hotline: (617) 576-3066 (Monday
through Friday, 9 AM to 6 PM EST)
Tech support 24-hour fax line: (617) 354-3068
Online support: www.motu.com/support
Please provide the following information to help us

solve your problem as quickly as possible:
The serial number of the Traveler-mk3 system.
This is printed on a sticker placed on the bottom of
the Traveler-mk3 rack unit. You must be able to
supply this number to receive technical support.
A brief explanation of the problem, including the
exact sequence of actions which cause it, and the
contents of any error messages which appear on the
screen.
The pages in the manual which refer to the parts
of the Traveler-mk3 or AudioDesk with which you
are having trouble.
The version of your computers operating
system.
Were not able to solve every problem immediately,

but a quick call to us may yield a suggestion for a
problem which you might otherwise spend hours
trying to track down.
If you have features or ideas you would like to see
implemented, wed like to hear from you. Please
write to the Traveler-mk3 Development Team,
MOTU Inc., 1280 Massachusetts Avenue,
Cambridge, MA 02138.
112
TROUBLESHOOTING
Index
Symbols
+4dBu 86
.kext 33
-10 dBV 86
1394 connector 6, 11, 18
192kHz
multiple interfaces 32
operation 38
AES/EBU disabled 11
24-bit
AudioDesk 61
Digital Performer 57
optical 6, 11
recording 13
4-pin FireWire 23
6-pin FireWire 23
828/828mkII
connecting to Traveler-mk3 32
896mk3
A
Ableton Live 65
Activity LEDs 5, 12
ADAT optical 6, 11
clock source setting 39, 40
connecting 20
SMUX Type 48
trim 83
AES/EBU 11
clock source setting 39
connecting to 21
disabled at 192kHz 11
meters 5
sync 29
All Notes Off (LCD) 48
Analog inputs/outputs 6
activity lights 5, 12
making connections to 19
trim 83
Apple
GarageBand 65
Logic Pro/Express 64
Soundtrack Pro 65
Application follows control surface 104
ASIO2
sync 28, 69
Attack
compressor 96
Audio
bit resolution 38
MIDI Setup utility 34
Audio menu (LCD) 48
Audio Setup software 33
AudioDesk 14, 33, 35, 59
accessing 8pre settings 37
Main Outs Assign 60
optical input/output 60
Phones setting 60
reverb return 61
synchronization 61
AutoSave Status 48
B
Balance 81
Balanced analog 19
Battery power 13, 24
jack 6
Bit depth 6, 9, 10, 13
Buffer Size 56, 60
Built-in Audio (clock source setting) 40
Bus
activity LEDs 87, 98
fader 80
Bus power 12, 23
enable/disable switch 6, 24
examples 24
requirements 23
C
Cardbus adaptors 23
Channel Names 7, 42
Channel tab 86
reverb settings 87
Clear Peaks 103
Clip Hold Time 7, 42
Clock
192kHz operation 38
Clock LEDs 5, 12
Clock source 7, 27, 39
AudioDesk 60
SMPTE setting 40
Coax 11
Comp button 98
Compressor 96
enabling 96
Condenser mic input 5, 6
Configurations menu 104
Configure Hardware Driver 37
Configure interface 31
Connecting multiple Traveler-mk3s 30
Control Surfaces menu 104
Controller
connecting 22
Converter mode
setup/example 26
Converters 6
Copy/Paste 103
Core Audio
defined 33
Core MIDI
Audio MIDI Setup 34
benefits 34
Cubase 37
Audio Buffer Size 66
clock source 63
Mac OS X 66
Main Outs Assign 64
optical I/O 64
phones 64
Return Assign 64
reverb return 64
sample rate 63
syncing to time code 110
troubleshooting 111
CueMix FX 74, 77-105
Application follows control surface
104
AudioDesk 61
Channel Names 7
Configurations menu 104
control surfaces 105
Control Surfaces menu 104
CueMix control surfaces 105
Devices menu 103
Edit menu 103
File menu 103
focus 79
installation 78
listenback explained 101
listenback settings 102
Mac OS X software 68
Mixer 43
output jacks 20
overview 77, 79
Phones menu 104
Share surfaces with other applications 104
shortcuts 103
signal flow 82
stand-alone operation 78
Talkback menu 104
talkback settings 101, 102
CueMix menu (front panel) 49
Customer
support 112
D
Daisy-chaining 32
DAT
connecting 25
DC power supply 24
Default Stereo Input/Output 7, 40
Devices menu 103
Digital converter (see Optical converter)
Digital Performer 14, 55
accessing 8pre settings 37
clock source 56
Main Outs Assign 56
Optical input/output 56
phones 56
reverb return 57
sample rate 56
synchronization 58
Digital Precision Trim 12
Disc
replacing 112
DP (see Digital Performer)
Drivers
installing 33
Drivers (installing) 33
DSP
meter 78, 101
resources 78, 101
Dynamics
enabling 84, 96
113
I N D EX
graph 83
inputs 83
outputs 85
tab 96
E
Early reflections 100
EQ
enabling 84, 88
filter types 92
frequency 91
gain 91
graph 83
inputs 83
outputs 85
Q 91
tab 88
Expansion 30
ExpressCard adaptors 23
F
Factory defaults 48
Feedback loops 57, 61, 64
File menu
Clear Peaks 103
Copy/Paste 103
Hardware Follows CueMix Stereo
Settings 103
Load Hardware Preset 103
Mix1 return includes computer output 103
Peak/Hold Time 103
Save Hardware Preset 103
undo/redo 103
FireWire 11
6-pin vs. 4-pin 23
connecting 18
connector 6
PC card adapters 23
PCI cards 23
Focus 79
Inputs tab 83
Mixes tab 81
Outputs tab 84
Follow Active Mix 104
Force 1x word out rate 30
Freewheel
address 108
clock 109
infinite 108, 109
Frequency
EQ 91
Front panel 43
metering 46
meters 5
G
Gain
EQ 91
reduction 96
reduction (Leveler) 98
GarageBand 65
clock source 63
Main Outs Assign 64
optical I/O 64
phones 64
Return Assign 64
reverb return 64
sample rate 63
General tab 37
Generate from sequencer 109
GR (gain reduction) 96
Guitar/mic inputs
connecting 25
phantom power 5, 6
Hardware reset 48
Headphone jack 5, 12
Headphones
connecting 25
controlling output 41
HUI 105
Leveler 96, 97
Lightpipe
2x mode 48
Limit button 98
Listenback
button (channel tab) 87
button (Outputs tab) 85
explained 101
Live 65
Load Hardware Preset 103
LOCK LED 5
Logic
Logic Pro/Express 64
clock source 63
Main Outs Assign 64
optical I/O 64
phones 64
Return Assign 64
reverb return 64
sample rate 63
IiMovie
M
M/S 87
H
Hardware Follows CueMix Stereo Settings
103
audio input/output 40
In menu (LCD) 49
Infinite freewheel 108, 109
Inputs
analog 6
naming 81, 82
optical 6
pan 81
reverb send 84
S/PDIF (RCA) 6
tab 82
trim 83
Installation
hardware 17
Installer CD
replacing 112
Internal (sync setting) 39
Invert phase 83
iTunes
audio input/output 40
K
kext 33
Keyboard controller
connecting 22
L
Laptop operation 24
Latency 71, 73, 78
Launch MOTU Audio Setup when hardware becomes available 42
LCD
contrast 47
display 46
level meters 44
LEDs 5
Level meter
bus 81
configuring 42
monitor group 101
Mac OS X 63
3rd party software sync 68
input and output names 66
sound input/output 7, 40
Mackie Control 105
Main Out Assign 7
Main outs
jacks 6
making connections to 20
volume 5, 12, 44
Main Outs Assign 41
AudioDesk 60
Mac OS X audio software 64
Main volume 5, 12
Makeup gain 98
Master fader
mix busses 80
Master volume 5, 44, 100
Metering options 42
Meters 5
for 8-channel optical banks 44
for individual channels 45
knob 44
monitor group 101
tab 98
Mic/guitar inputs 18, 43
connecting 25
overview 10
phantom power 5, 6
trim 83
MIDI
activity LEDs 5
driver 33
jacks 6
thru in standalone 48
Time Code 110
MIDI Time Code 12, 28, 69, 107, 109, 110
Mid-side micing 87
114
I N D E X
Mix bus
activity LEDs 87, 98
level meter 81
master fader 80
mute 81
Mix1 return includes computer output 103
Mixes tab 80
Monitor group 100
assigning outputs 101
assigning outputs to 85
level 100
meters 101
presets menu 101
Monitoring 71
thru main outs 20
Mono button 83
MOTU
MIDI driver 33
MOTU Audio Setup 33, 37
Channel Names 42
MOTU SMPTE Setup 107
MTC 28, 69, 110
N
Naming
inputs 82
Normal 87
Nuendo 37
clock source 63
Mac OS X 66
Main Outs Assign 64
optical I/O 64
phones 64
Return Assign 64
reverb return 64
sample rate 63
O
Optical
2x mode 48
choosing format (ADAT or
TOSlink) 41
connectors 6, 20
LEDs 5, 12
overview 11
trim 83
Optical converter mode 48
setup/example 26
Optimization 73
OS X audio software
clock source 63
Main Outs Assign 64
optical I/O 64
phones 64
Return Assign 64
reverb return 64
sample rate 63
Output level (meter in Dynamics plug-in)
97
Outputs
analog 6
dynamics 85
EQ 85
optical 6
reverb send/return 85
S/PDIF (TOSLink) 6
signal flow 84
tab 84
Overload Protection 87
P
Packing list 15
Pad 19, 86
Paste 103
Patch thru
latency 73
PCMCIA adaptors 23
Peak Hold Time 7, 42, 103
Peak mode 97
Performance 73
Phantom power 5, 12, 18
Phase 83
Phase-lock 27
Phones 5, 12, 44, 67, 68
menu 104
Phones 1-2 output
3rd party software 64
Phones Assign 7, 41
AudioDesk 60
CueMix FX setting 104
Polarity 24
Power supply 24
jack 6
Pre/post FX buttons 87, 98
PreDelay 100
Presets
naming/saving in LCD 47
Propellerhead Reason 66
Q
Q 91
R
Ratio
compressor 96
Reason 66
Reference level 86
Regenerate 109
Registration 15
Release
Dynamics 96
Return Assign 7, 41
AudioDesk 60
Mac OS X audio software 64
Reverb 79
design section 100
early reflections 100
enabling/disabling 99
input sends 84
mix bus send/return 80, 81
outputs send/return 85
predelay 100
returns 99
routing to/from 99
send (channel tab) 87

sends 99
shelf filter 100
tab 99
time 100
trim (channel tab) 87
width 100
Reverb return 99
AudioDesk 61
OS X audio software 64
RMS mode 97
S
S/MUX 48
S/PDIF 11
connection 21
lights 5, 12
meters 5
optical 6, 11
RCA 6
sync 29
trim 83
Sample rate 7, 38
192kHz operation 38
AudioDesk 60
Samplers
connecting 25
Save Hardware Preset 103
Setup menu (LCD) 47
Share surfaces with other applications 104
Shelf Filter 100
Shortcuts 103
Show
Band Response 90
FFT 90
no analysis 90
Spectrogram 90
Show/Hide Full Window Analysis 90, 91
Signal flow (CueMix FX mixer) 82
SMPTE
LOCK LED 5
MIDI Time Code sync 110
overview 107
Setup application 107
source setting 108
sync 27, 107
TACH LED 5
Soft Clip 10, 87
Solo
light 81, 101
Sound module
connecting 22
Soundtrack Pro 65
clock source 63
Main Outs Assign 64
optical I/O 64
phones 64
Return Assign 64
reverb return 64
sample rate 63
Split Point 99
115
I N D EX
Stand-alone operation 43, 53, 78

Stereo button 83
Stereo settings (Channel tab) 87
Stop Freewheeling 108
Stripe button 109
Studio setup (example) 25
Swap L/R 87
Synchronization 26
AudioDesk 61
Mac OS X software 68
MIDI Time Code 28, 69, 110
multiple interfaces 31
sample-accurate 28, 69
Synths
connecting 25
System preferences
sound input/output 7, 40
System requirements
minimum 15
recommended computer 15
T
TACH
LED 5
light (SMPTE Setup Console) 108
Talkback
button (Channel tab) 87
button (Outputs tab) 85

explained 101
menu 102, 104
settings 102
Technical support 112
Threshold
dynamics 96
Time code sync 107
Tip positive/negative 24
TOSLink 6, 11
connecting 20
trim 83
Traveler-mk3
connecting multiple interfaces 32
expansion 30
installing 17
rear panel overview 10
SMPTE setting 40
summary of features 9
tab (MOTU Audio Setup) 37
Word Clock In setting 39
Trim 18, 83
Troubleshooting
EQ knobs dont work 84
feedback loop 57, 61, 64
TRS connectors 19
Type I, II optical mode 48
U
UltraLite
Unbalanced analog 19
Undo/Redo 103
User def. (monitor group menu) 101
V
Video sync 27, 107
V-Limit 87
LCD metering 45
Volume
headphone 12
W
Width 81
reverb 100
Width knob 87
Word clock 6, 11, 27, 29
In setting 39
sync setting 39
Synchronization
word clock 32
Word Out setting 7, 42
116
I N D E X

Traveler-Mk3 User Guide Mac

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Traveler-mk3

User Guide for Mac

1280 Massachusetts Avenue

SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS

AVOID THE HAZARDS OF ELECTRICAL SHOCK AND FIRE

About the Mark of the Unicorn License Agreement and

Reminder of the terms of your license

Limited Warranty on Hardware

Quick Reference: Traveler-mk3 Front Panel

Quick Reference: Traveler-mk3 Rear & Side Panels

Quick Reference: MOTU Audio Setup

About the Traveler-mk3

Packing List and Mac System Requirements

Installing the Traveler-mk3 Hardware

Installing the Traveler-mk3 Mac Software

MOTU Audio Setup

Traveler-mk3 Front Panel Operation

Other Mac OS X Audio Software

Reducing Monitoring Latency

MOTU SMPTE Console

3. From the factory, the MASTER VOL knob controls the

2. Turn the VOL knob to control the headphone volume.The

9. 4-segment metering for S/PDIF input.

8. MIDI activity LEDs for MIDI input and output.

7. 4-segment metering for AES/EBU input.

6. These four 4-segment meters show input signal level for

5. These four 4-segment meters show input signal level for

4. This section controls the Traveler-mk3s built-in

Monitor group is programmed to not include the main

1. These four detented digital trim knobs provide 53dB of

15. These round LEDs indicate signal presence on the eight

14. These four round L/R LEDs indicate signal presence on

12. The Traveler-mk3 is powered by its FireWire connection

11. When the Traveler-mk3 is resolving to SMPTE time code,

19. This is a standard quarter-inch stereo headphone jack.

18. Push the METERS knob to cycle among three meter

17. Push the CHANNEL knob repeatedly to cycle among the

16. The multi-purpose backlit LCD shows system settings,

Quick Reference: Traveler-mk3 Front Panel

3. These are standard word clock jacks. Use them for a

2. Connect the Traveler-mk3 to the computer here using

1. These jacks provide stereo, 24-bit AES/EBU digital input

7. These two balanced, quarter-inch jacks serve as the

6. The Traveler-mk3s eight analog outputs are gold-plated,

5. These jacks provide stereo, 24-bit S/PDIF digital input

4. These optical digital I/O connectors can be connected

To hear disk tracks in your audio software on these main

9. These four XLR/TRS combo jacks accept either a mic

8. These 4 analog inputs are gold-plated, balanced TRS (tip/

13. This jack accepts any standard 10-24V DC power supply

12. Connect a 10-24V battery pack or other DC power supply

11. For bus-powered operation, turn on the Bus Power

10. Connect a MIDI device here using standard MIDI cables.

Quick Reference: Traveler-mk3 Rear & Side Panels

Quick Reference: MOTU Audio Setup

Determines the clock source for your

Specifies the stereo input and

This menu lets you choose what you will

The Clip Hold Time controls how