LISA

Plugin Manual

Developed by Brainworx in partnership with TOMO Audiolabs and distributed by Plugin Alliance

1
LISA About the LISA Hardware and Plugin
Assembled from the highest quality discrete components, LISA’s parts
Plugin Manual are handpicked specifically for each of their applications. Only ELMA
switches, Mundorf capacitors and Lundahl transfomer are used to build
each LISA. Additionally, we do not embed potentiometers into our audio
circuitry. We here at TOMO Audiolabs do this so that each new LISA owner
is guaranteed the highest sonic quality available today!

Numerous listening sessions with our development team and various

audio professionals certified the hope our extensive research
and measurements instilled in us... LISA sounds extraordinary!!
Proving that LISA is not only a masterpiece by technical measures.
Although LISA was designed with the needs of a working audio profes-
sional in mind, its sonic range can help you realize your own audiophile
visions as well. If we had intended for this product to be loved solely by
working studio pros we might have named it the TAL-100 but with all
music lovers in mind...we named it LISA.
As a new owner of this marvelous product, we invite you to discover all
of the creative possibilities LISA offers. Be sure to experiment with this
wonderful tool and you will unlock sonic possibilities you never knew
existed!!

2
LISA
LISA is a dynamic equalizer with a unique design philosophy, making it
different from any other equalizer you may be familiar with already.
The signal runs through top-notch input amplifier stages equipped with
Plugin Manual hand-wound high quality transformers. The signal is then split into six
parallel channels that feed the six independent equalizer bands. After
each signal is processed independently, all six channels are then summed
up and amplified. The output stage is also transformer coupled and gives
the user the ability to mix the processed signal with the unprocessed or
dry signal.

The parallel topology allows parallel processing (two bands at nearly the
same frequency) without the issues of interacting frequency curves. This
keeps the processed signal very transparent, consistent and controllable.
The results stay predictable, helping you to work very quickly and with an
experienced touch.

Traditionally designed dynamic equalizers utilize a dynamic processor

that is arranged before or after the filter circuit. Part of what makes the
design of LISA’s dynamic processor so unique is that it is built into the
filter circuit. This allows the user to listen to only the processed signal
without any of the dry signal.

3
LISA Plugin only additions including the new “TX Drive”
As always, the engineers at Brainworx have added new digital-only
Plugin Manual features that would be impossible in the analog domain. In addition
to regular favorites like the Mono Maker, Stereo Width, Auto Listen,
Headroom and the ground- breaking TMT (TMT, US Patent No. 10,725,727),
offering an unrivaled analog experience in the box. The LISA adds a new
parameter for the first time: TX Drive. This new parameter allows you to
dial in more or less transformer saturation and character, separate from
the other analog characteristics of the device. And the newly developed
transformer model accurately reproduces both saturation and hyste-
resis distortions of the specific transformer, making it sound and behave
exactly like its analogue counterpart. With all the additional features, this
Plugin offers everything you need in a modern digital environment.

4
LISA Features
• Precise emulation of the unique TOMO Audiolabs LISA
Plugin Manual • Independent opto-compression based dynamic section for each of its
6 bands per channel, switchable between compression and expansion
• Includes two parametric mid bands, parametric low and high bands with
a shelving mode, and two dedicated boost bands - plus two highpass
filter
• Parallel circuits allows for greater changes in frequency with more
transparency
• Six EQ bands with a broad frequency overlap provide optimum
processing flexibility
• Scalable User Interface
• Artist Presets to get you started on a variety of sources
• New TX Drive feature acts like a „Headroom“ control for the trans-
former model only. A new Brainworx innovation!
• Plugin only features include Brainworx’ Mono Maker, Stereo Width,
Headroom, Auto Listen and patented TMT technology
• Includes a separate mono version for individual tracks such bass, kick,
snare and vocals (see left side on this page)

5
LISA Input Section
1 Input Gain
Plugin Manual A discrete stepped input level adjustment, positioned after the input
transformer and before the HPF.

2 HPF Frequency
A variable Q, 3rd order HPF. At 20Hz, the filter exhibits a “near-Butterworth”
perfect 3rd order response with 18dB/oct steepness. The filter’s slope gets
progressively milder when moving up the frequency and at the upper setting
of 180Hz, it starts at 6dB/oct, steepens to around 12dB/oct in the mid-100’s and
finally goes to 18dB/oct at around 50Hz. The result is a more “musical feeling”
1
at higher frequencies with the same effectiveness at the lowest frequencies.

3
3 HPF ON
Turns the HPF on or off completely.

6
LISA Band 1 & 6 - LO BOOST / HI BOOST
1 Band ON – BAND 1 - 6
Plugin Manual Enables the filter band and routs its output to the summing amplifier.

2 Gain – LO BOOST / HI BOOST

Adjust the amount of level boost in the LO BOOST and HI BOOST band.

3 Frequency – LO BOOST / HI BOOST

Sets the centre frequency of the LO BOOST and HI BOOST filter.
1

2 4 Threshold – BAND 1 – 6
5
Defines the level at which dynamic processing is applied to an input
3
signal. The range is not specified in any meaningful units, but simply as
4 steps from 0 to 23, where a higher number means more compression or
expansion.

5 Slope – LO BOOST / HI BOOST

The Slope switch introduces another pole into the BOOST bands’ response. In
normal mode, those are 2nd order shelf filters, but with the Slope enabled, they
become a 3rd order shelf filters with a little bit of resonance after the transition
part of the response. This can be usefull for example to augment the kick or
snare drum’s fundamental frequency while simultaneously also cutting a little
bit of the mids out right above it. Pultec trick, with far more precise control.

Only available on LO/HI BOOST bands.

7
LISA
1 Dynamics ON – BAND 1 – 6
Engages or disengages the dynamics section completely.

Plugin Manual 2 Ratio – BAND 1 – 6

The ratio switch could also be labeled “compressor/limiter”. It changes
the strength with which the dynamics section influences the filter band for
every input signal volume increment over the threshold value. With Ratio
set to “off”, the dynamics influence is gentle and hard to overdo whilst with
the Ratio turned on, the dynamics sidechain becomes very sensitive and will
trigger heavy filter change when the signal passes the set threshold level.
The ratio parameter works slightly different to the ratio setting on a standard
compressor you might be familiar with. Try different settings to get to know
the differences.
1 2

3 Att/Rel – BAND 1 – 6
3
Controls the timing settings for the dynamic processing.
This selector switch lets you choose between 6 different combinations of preset
attack and release times. As the actual timing contants are “dual” in nature,
combining the actual timing circuit and the opto-cell’s own (slightly program
dependent) timing behaviour, they have no accurate millisecond designations.
From my experience, the attack sounds something like 0.1/1/3ms and the
release something like 80/200/800ms for F/M/S, respectively.

F – fast M – medium S – slow

The first letter stands for the attack value and the second letter for the
release value.

8
LISA Band 2 to 5 - LO, LO MID, HI MID, HI
3 Band ON – BAND 2 to 5
Plugin Manual Enables the band and routs its output to the summing amplifier.

2 Boost/Cut - BAND 2 to 5
Switches the band’s mode between boost and cut. It achieves that by
changing the input to the filter section from neutral polarity input signal
to the inverted polarity summing amplifier’s output signal.

1 2
Pressed (LED ON): Boost
un-pressed (LED OFF): Cut

9
LISA
1 Gain – BAND 2 to 5
Adjusts the level of the boost or cut. It doesn’t have a dB valued scale,
as the actual maximum level depends on the type of the filter (boost or
Plugin Manual normal) and its shape (boost slope, shelf or bell).

Note: Settings between 0 and 6 are stepped in 0.5 dB steps. Above 6 dB the
steps are getting broader. You can find a stepping list in the table shown below,
applicable with 100% dry signal only:

1 0,5 - 6 0.5 dB per step 12 steps

6,5 - 9 0.6 dB per step 6 steps

2

9,5 - 10 1 dB per step 2 steps

10,5 1.2 dB per step 1 steps

11 - 11,5 1.5 dB per step 2 steps

2 Q – BAND 2 - 5
Decides the width of the bell filter. Higher Q means a sharper filter and
a lower Q means a broader filter. The LO and HI bands also offer a sixth
setting – shelf. This opens up the filter all the way up or down the spectrum
(for LO and HI, respectively), to achieve a shelf-like response.
Shelf mode is only available on the LO and HI bands.

10
LISA
1 Frequency – BAND 2 - 5
Sets the centre frequency of the bell filter or the “second knee frequency”
in shelf or boost slope mode. To say it differently, the second knee is the
Plugin Manual one that is already boosted or cut, where the response levels out again.

2 Threshold – BAND 2 – 5
Use this control to adjust the dynamic action of each individual band. The
range is not specified in any meaningful units, but simply as steps from
0 to 23, where a higher number means more compression or expansion.

3 Compressor/Expander BAND 2- 5
Working with a filter that can be set to either boost or cut, the compression and
expansion can’t be simply defined as “down and up” in overall level. The design
1
paradigm in this particular box is such that for any filter setting, be it boost or
3
cut, compression means movement towards the unity-gain/flat response line,
2
and expansion means movement away from it. In other words, compression is
“less of it” and expansion means “more of it”, where “it” is either boost or cut.

Because of the shape-shifting nature (see notes), the dynamics section is

probably the most unique feature of this product. It can do both cold-blooded
problem solving and dancing with the music, and as far as I can tell, there’s no
other device on the planet that does that the way Lisa does it. And contrary to
initial instinct, the dynamically moving Q value doesn’t sound like “wobble”, but
instead produces a very musical result, unobtainable by any other hardware
or software device.

11
LISA
The resulting shape of the dynamically modified filter is also non-trivial.
Instead of keeping the shape of the filter and changing the level of boost
or cut (like moving the Gain knob), the dynamics in Lisa work so that
Plugin Manual they change the gain and shape/Q of the filter, which results in level
change either at the peak (expansion) or around the peak (compression).

Compression applied to the filter will initially keep the peak gain and
sharpen the Q, lowering the filter’s gain around the set frequency.
As the gain reduction increases, the peak will also start to dip in
level, but will completely disappear only at extreme gain reduction.
Expansion action will, conversely, increase the gain of the filter only at the peak,
leaving the “skirt” of the filter intact. It’s like augmenting what’s important in
boost mode and attenuating only the resonant frequency the filter is tuned
to in cut mode, without pulling down the surroundings as well like a regular
dynamic EQ.

Note: The dynamic section is integrated into the filter circuit and thus can
only affect the filtered signal. If there is no gain boost or cut in a band there
will not be any dynamic processing either. This is unlike a normal multiband
compressor where the signal is always affected even when the output gain of
the band has not been boost or cut.

12
LISA Output Section
1 Dry Mute
Plugin Manual The architecture of this particular EQ is parallel, achieving the desired
curve by adding a band-passed signal to the raw input signal for each
band. Dry Mute thus allows the user to mute the dry signal input to the
filter section‘s summing amplifier, and consequently only listen to what‘s
being added to the dry signal - a sum of all the parallel bandpass filters.
It‘s like going into auto-solo mode for all the filters (in boost mode) at
once.
1 2

Filters switched into cut mode use the summing amplifier as a polarity
3
inverter. Muting the dry signal thus mutes their source signal as well, so
their output is silence. This is a „quirk“ of the hardware as well, but had
to be retained in the digital model as well to make the dynamics levels
behave the same way as on the hardware.

2 Channel IN
Turns the whole channel processing on or off. This includes the trans-
formers, HPF, filters, both input and output gain, and parallel mix.

3 Output Gain
A discrete stepped output level adjustment, positioned after the filters
and before the output transformer.

13
LISA
1 Mix
This control allows the user to mix the raw, dry signal with the processed
signal. The dry line is accurately latency-compensated, so the mix never
Plugin Manual produces comb filtering.

2 Master Threshold
Master Threshold lowers the input level to all the bands‘ sidechains, This
feature allows the user to control the general dynamic action of all the
filter bands of one channel, extending/supporting the functionality of the
Headroom parameter to balance the dynamics action for the mid and side
channels separately in unlinked mode.

The proportions between the thresholds of the individual bands remain

1 untouched. The Master Threshold function can be especially useful when
2 the input gain setting must be changed but all threshold settings are
already adjusted.

14
LISA BRAINWORX Module
1 Master Input Level
Plugin Manual A simple level trim right at the input of the signal chain. Works on all
channels simultaneously and equally.

TMT Inside
The LISA offers 20 different eq channels, made possible by TMT. TMT
is Brainworx‘s (TMT, US Patent No. 10,725,727) “Tolerance Modeling
Technology”, originally found in the bx_console line of plugins. It takes the
real-world tolerances of audio components found in audio circuits into
account, and offers various channels of analog audio which have realistic
variances in frequency response, time constants in dynamic sections, etc.
The result is digital audio that sounds as analog as possible, whereas
even the L/R channels of a stereo instance will react slightly different.
For more information please check www.brainworx.audio

2 TMT Mode
Sets the TMT channel mode. The Analog mode more closely resembles a
real-world unit, while the Digital mode allows for perfect stereo matching
in both frequency response and dynamics timing constants.

1 2 3 3 TMT Channel
This parameter lets you choose from the variety of subtle variations
resulting from modeling electrical component tolerances.
In a Stereo instance, two adjacent channel numbers will be displayed.
Each channel has its own, different character!

15
LISA
1 Random channel
Whenever you instantiate a LISA plugin on a channel, it will start with the
Default setup, which is Channel 1 in a flat setting. You can now randomize
Plugin Manual a channel by clicking the Random Channel button. Only the plugin instance
you click on will switch to any unused channel number in that session
randomly. The plugin will remember which channel numbers are already
used in a session and activate an unused channel number, unless you
engage more than 20 channels. At that point the plugin obviously would
have to use a channel number that has already been used.

2 Parameter Link
When switched on, this feature links the channel parameters of both
channels to allow for easier and faster work on stereo material.

When both parameters have different values and link is engaged, both
parameter values remain unless one of them is touched and any control
offsets between channels are lost.

3 M/S
Enables or disables the stereo-to-mid/side encoding at the start of the
signal chain and decoding at the end of it. The labels on the GUI will
change to reflect that mode of operation and designate the upper channel
1 2 3 as „M“ and the lower channel as „S“.

16
LISA
1 Auto Listen
Enables the Auto-listen functionality for all relevant channel parameters
(frequency, Q, Threshold, and Att/Rel). If enabled, the user will hear the
Plugin Manual soloed raw filter band signal whenever they click and hold one of the
mentioned parameters. This is very useful to accurately position the filter
in the frequency domain and to clearly hear the effect of the dynamics.

The same functionality can also be accessed by holding the (DAW specific)
modifier key while tweaking the parameters. This is usually either Alt,
Ctrl/Command, or Shift.

2 SC Link
When this control is turned on, the dynamics‘ sidechains of each band
are linked. This is especially useful in L/R stereo operation because it
prevents the shifting of the stereo image in case a prominent element
jumps in volume on only one side of the stereo field. The sidechains are
linked only „per-band“, so the Low band will still not affect the mid bands
for example.

This feature only links the sidechains, not the settings of each channel’s
dynamics section! It is therefor possible to make each channel‘s dynamics
section react completely differently even in SC-Linked mode by setting
1 2 the timing and threshold controls without Parameter Link engaged!

17
LISA
1 Mono Maker
This tool is a critical component to several Brainworx processors, and it
is an invaluable tool when mastering or tightening up a mix. Sweepable
Plugin Manual from 20Hz to 2kHz, this parameter folds the processed sound to mono
at and below the frequency set. The most common setting is between
50-200 Hz, which ensures minimal loss of width while improving trans-
lation for lossy codecs and vinyl cutting.

It is switched off completely in the fully-CCW position.

2 Stereo Width
Make your mix wider than it originally was by increasing the Stereo Width
without losing the center of your recordings! You will not lose bass drum
power or vocals by making your mix wider this way... and it will not sound
different played back in mono at all. If you notice your Correlation Meter
(e.g. bx_meter) showing less than 90°, dial up the Mono Maker a bit to
tighten up the low-end until acceptable levels are shown.

3 Headroom
Applies gain or attenuation to the filters‘ outputs before the dynamic
sidechains. This is useful to try more or less dynamic filter action
throughout the whole device or quickly adjust the dynamic effect of a
1 2 3 preset to better fit the material.

18
LISA
Another use case is to control the dynamics action for the whole device
when working in the unlinked, MS mode. In this case, you can use the
Master Thresholds to account for the inherent level difference between
Plugin Manual the M and the S channel, then use the Headroom control to adjust the
whole unit‘s dynamic action without loosing the ratio between the master
thresholds.

Only affects dynamics, not the harmonic distortion amount.

1 TX Drive
This is the „Headroom“ parameter for the transformer model only. The
value is the 0dBFS reference level if the actual unit was connected in
an AD/DA converter loop. Raising this value results in more harmonic
distortion in low/low-mid frequencies, and lowering it results in less
harmonic distortion. A small portion of the harmonics stays the same, as
they result from the hysteresis phenomena that is also a part of our new
transformer model.

The default at +18dBu is the reference level we use for all our hardware
models. This means that if both Headroom and TX Drive are left at default,
the plugin will react the same way as a hardware unit connected to a
converter with that reference level.
1 2

2 Master Output Level

A simple level trim right at the output of the signal chain. Works on all
channels simultaneously and equally.

19
LISA Meters
1 Input level LED
Plugin Manual This indicator serves as a guideline for gainstaging the filters/dynamics
section, so the circuits operate in sensible ranges.

2 Output level LED

Indicates the filter section’s output level and is, as such, a guideline for
output transformer level at callibrated setting of TX Drive.

1 2 3 Input Meter
Input Meter before all processing per channel.

4 Input Clip Indicator

Installed in the Input Meter:
Turns on if input signal is >0dBFS per channel, stays on if there have
been overshoots before, click resets all clipping Indicators.

5 Output Meter
Output Meter after all processing per channel.

4 6
6 Output Clip Indicator
3 5 Installed in the Output Meter:
Turns on if input signal is >0dBFS per channel, stays on if there have
been overshoots before, click resets all clipping Indicators

20
LISA
1 Dynamics action bar meters
Indicates the dynamics sidechain control voltage level. This translates to
a level of either compression or expansion, depending on the settings.
Plugin Manual

21
LISA Top Toolbar
1 UI Scaling
Plugin Manual The UI size can be scaled using this menu options from 50% to 150% of
its normal size.

Adapt the graphical user interface to the size and resolution of your
screen. The plugin will check if the user interface will fit your screen
before enlarging it. So if you accidentally chose a zoom factor which is

1 2 too big for your current settings, the plugin will automatically stay at the
maximum possible zoom factor.

2 Undo / Redo
You can undo and redo changes you made to the controls of the LISA
plugin at any time. The Undo / Redo will work for as many as 32 steps.
This makes experimenting and tweaking knobs easy. If you don´t like
what you did... just undo it.

22
LISA
1 Settings (A/B/C/D)
The Plugin offers four internal settings (A/B/C/D) which will be stored
with every preset. So, one preset can contain up to four settings. You may
Plugin Manual use similar settings with more or less equalization in one setup / preset.

Now, the SETTINGS can be automated in your DAW! This way it´s possible
to use different sounds for your lead vocals or drums in various sections
of the song. Automate the A/B/C/D settings, and you can still tweak knobs
of the individual settings without overriding multiple parameters in your

1 2 DAW, which would be time-consuming.

2 Copy / Paste
To set up variations of similar sounds you don´t have to dial in the settings
several times. Let´s say you like your setting A and want to use the same
sound, just with less Stereo Width, as setting B.

Simply press Copy while you are in setting A.

Switch to setting B by pressing ‘B’ in the settings section.
Press PASTE, now setting B is identical to setting A.
Reduce the Stereo Width on the B setting.

Now you can switch between A & B and decide which one sounds best or
automate different settings for various sections of your session.

23
LISA
1 M/S Monitoring (for Stereo Channels only)
Solo M: Solos the Mid (Sum) signal being processed by the plugin.
Solo S: Solos the Side (Difference) signal processed by the plugin.
Plugin Manual
2 LED
Dims the red lighting. Adopted from the original hardware. In the Info
Screen window which can be accessed by clicking on the Brainworx and
LISA logos, the currently selected value can be applied as system default,
so new instances will open up with your favorite setting first.

1 2 3

3 Icon
The icon closes and opens the bottom panel containing the Brainworx´
plugin only features.

24
LISA Bottom Toolbar
1 PA Logo
Plugin Manual Clicking the Plugin Alliance logo takes you to the Plugin Alliance website
via your web browser, that´s if your computer is online.

2 License Type
The toolbar displays information about the type of license you’re running:
Trial licenses will be displayed along with the number of days until
expiration; there is no note for full licenses as these are unlimited.

3 $ (Icon)
If you are using a demo / trial version of our products, you can always click
this icon to open a browser that redirects you to the respective product
page in the Plugin Alliance store. This is where you can easily purchase a
product without having to look it up on our website.

4 Key (Icon)
Clicking on the key icon brings up the activation dialog, allowing you
to manually reauthorize a device in the event of a license upgrade or
addition. You can also use this feature to activate additional computers
1 2 3 4 or USB ash drives.

25
LISA
1 ? (Icon)
Clicking the ? icon opens up a context menu that links to the product
manual PDF, as well as other helpful links, e.g. to check for product
Plugin Manual updates online. You must have a PDF reader installed on your computer
to be able to read the manual.

System Requirements & FAQ (Links)

For latest System Requirements & Supported Platforms
https://www.plugin-alliance.com/en/systemrequirements.html
Particular details for your product
https://www.plugin-alliance.com/en/products.html
Installation, Activation, Authorisation and FAQ´s
https://www.plugin-alliance.com/en/support.html

Modifier Keys

Tested with Logic Pro X, Protools, Cubase, and Presonus Studio One Mac/Win.

Jump between
Plugin
Default / Last Fine Control Auto Listen
Format
Setting

Modifier Keys Assignment

1
AU Option Shift Command

AAX Option (Mac), Command (Mac), Shift

Alt (Win) Ctrl (Win)

VST + Command (Mac), Shift Option (Mac),

VST3 Ctrl (Win) Alt (Win)

26
LISA TIPS and TRICKS
Classic equalizer
Plugin Manual In order to acquaint you with LISA’s sound, we recommend starting with
a classic equalizer setting before moving on to dynamic processing. As
stated previously, LISA’s parallel design topology allows you to listen to
the filter output without any of the dry, unprocessed signal. This is impos-
sible with common serial circuit designs.

Now, let´s listen to LISA and its equalizing possibilities:

• Put some music on the output of your converter Press the DRY MUTE
button
• Activate band HI MID
• Switch the band to BOOST mode
• As a starting point, turn the GAIN control to its 6 dB value You are now
listening to the filter band only
• Try different settings of the Q and FREQUENCY controls to get a feeling
for how they affect the sound
• Try out the other filter bands
• Note: If you switch a band to CUT mode you will hear – nothing. As long
as there is no dry signal of course there can not be any reduction.
• Next turn all GAIN controls back to 0 Deactivate DRY MUTE
• Now you can hear how the filter interacts with the added sum signal.
Repeat the above procedure with some added dry signal

27
LISA
Simple compression
Now that you have an idea of LISA’s sonic characteristics and equalizing
possibilities we can proceed with adding the dynamic processing circuit.
Plugin Manual However, one must first understand three major concepts about LISA’s
dynamics processor. It will help you find the best settings fast and reliably.

Note: The dynamic section is integrated into the filter circuit and thus can
only affect the filtered signal. If there is no gain boost or cut in a band
there will not be any dynamic processing either.

This is unlike a normal multiband compressor where the signal is always

affected even when the output gain of the band has not been boost or cut.

Note: Compression is always reducing the amount of boost or cut. This

means: BOOST mode: Louder signals will get less frequency boost than
quieter signals. CUT mode: Louder signals will get less frequency cut
than quieter signals.

Note: The dynamics detection circuit is located before the GAIN control.
Thus the gain reduction LED indicator can show gain change while the
GAIN control is closed.

28
LISA
Put some music containing a very dynamic bass signal.
• Press the DRY MUTE button
• Activate band HI MID
Plugin Manual • Switch the band to BOOST mode
• As a starting point, turn the GAIN control to its 6 dB value
• Use the Q and FREQUENCY controls to isolate the main frequencies of
the bass instrument
• Listen to how the filter reacts in its static setting
• Toggle the dynamics function to COMP mode
• Choose the SM timing setting (slow attack and medium release)
• Activate the band ́s dynamic processing by pressing its ON button
• Lower the THRESHOLD step-by-step and listen to how the processing
changes and reduces the influence of the filter
• Toggle the RATIO switch to its higher setting (pressed) and listen to the
changes

A higher ratio setting will let you hear the influence of the compressor
on the timing of the input signal more clearly. A slower attack increases
the likeliness of an altered signal transient – but only in the selected
frequency range.

• Set the compressor values so that you can clearly hear it working
• Return the GAIN controls of the filter bands to 0
• Deactivate the DRY MUTE button
• Add the dynamic filters to the audible dry sum signal by re-engaging
the filter GAIN controls

29
LISA
Simple expansion
The dynamic processor of each filter band can be toggled between
compression and expansion. This uses UPWARD-EXPANSION and does
Plugin Manual not work like a gate, which would utilize downward-expansion.

The result is increased filter activity as the signal reaches the threshold.

Note: Expansion is always increasing the amount of boost or cut. This

means:

BOOST mode:
Louder signals will get more frequency boost than quieter signals.

CUT mode:
Louder signals will get more frequency cut than quieter signals.

Attention: The dynamics detection circuit is located before the GAIN

control. Thus the gain reduction LED indicator can show gain change
while the GAIN control is closed.

Put some music containing very dynamic level peaks on. We recommend
music with a very dynamic drum set.
Let´s assume our example contains the signal of a very dominant snare
drum...

30
LISA
• Press the DRY MUTE button
• Activate band LO MID
• Switch the band to BOOST mode
Plugin Manual • As a starting point, turn the GAIN control to its 6 dB value
• Use the Q and FREQUENCY controls to isolate the fundamentals of the
snare drum
• Listen to how the filter reacts on this frequency band and the instrument
• Toggle the dynamics function to EXP mode
• Choose the FM timing setting (fast attack and medium release)
• Activate the band´s dynamic processor by pressing its ON button
• Lower the THRESHOLD step-by-step and listen to how the processing
increases the influence of the filter
• Toggle the RATIO switch to its higher setting (pressed) and listen to the
changes

A higher ratio setting will let you hear the influence of the expander on
the timing of the input signal. A faster attack increases the likeliness of an
altered signal transient – but only in the selected frequency range.

• Set the expander to values where you can clearly hear it working
• Return the GAIN controls of the filter bands to 0
• Deactivate the DRY MUTE button
• Now add the dynamic filters to the audible dry sum signal by re-en-
gaging the filter GAIN controls. Listen to how the frequency’s peaks
stand out from the consistent signal
• Switch the filter to CUT mode
• Notice how the snare remains unaffected during quiet parts and how it
gets reduced during louder sections
31
LISA
Multiband compressor-simulation
Although we must admit this is a more daring setting, we’d like you to
see how well LISA can emulate a ‚real‘ multiband (two bands for getting
Plugin Manual started) compressor. Try this out first and then try it out with more bands.
Have fun with it!

• Put some music on Press the DRY MUTE button

• Activate the LO and HI band
• Switch the band to BOOST mode
• As a starting point, turn the  GAIN  control to its 6 dB value Switch
both Q controls to their SHELVING setting
• Set the LO band FREQUENCY control to 650 Hz
• Set the HI band FREQUENCY control to 3.7 kHz
• The output of both filters will sum to a relatively linear frequency
response Switch both dynamic sections to their COMP mode
• Start experimenting with different compressor settings. Even try
switching the  FREQUENCY  switches to more overlapping values to
reduce the ‚gap‘ at the crossover frequency of both bands
• If the compression is too heavy on the first step of the THRESHOLD control,
try reducing the overall threshold with the MASTER THRESHOLD control
in the output section.
• Deactivate the DRY MUTE button
• Now add a little direct signal with the MIX control in the output section.
This is a way you can achieve parallel compression
• You will notice that by restoring the transients of the signal, the very
heavy compression sounds more natural.

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LISA Artist Presets
Conan Manchester
Plugin Manual Conan started his studio journey at the very young age of 4, appearing as a
guest performer on his parent’s recordings in his uncle’s studio in London,
England. By 11 years old he was a Tape Op in the summer holidays at the
Steamrooms in London, learning everything he could along the way. By
the late 80s he was producing and mixing his own music as well as mixing
music for clients and bands.

By 1996 he started practicing the dark arts of Mastering and continued

to produce his own music, signing to New York’s ground breaking label
Strictly Rhythm. Over the next 15 years he continued to produce his own
music for many independent and major record labels as well as becoming
a well-known dance music remix producer for bands like Blondie, Talking
Heads, Talk Talk, Grace Jones, Radiohead, INXS and many more.

In 2010 he moved to Dubai, UAE and started his own independent remote
and mobile mastering and mixing studio and has continued to master and
mix continuously, embracing the changes in modern studio technology
and practices to the point where he has been mastering and mixing 100%
in-the-box, on headphones, for the last 4 years.
He continues to master and mix for a huge clientele worldwide and
with the aim to “pay it forward”, he now teaches mastering and mixing
techniques and consults on production and music technology.

33
LISA
Eric Racy
Eric Racy is a platinum selling mixer, producer, engineer and remixer
with credits and clients that include Katy Perry, Pharrell, Tyga, Jonathan
Plugin Manual Davis, Akon, 2NE1, Ministry, Lil Wayne, Big Sean, Busta Rhymes, Photek
and many more.

Matt Weiss
Matt Weiss is a Grammy-nominated, platinum recording and mixing
engineer who’s worked with artists like Akon, Swae Lee, Jeremih, Chris
Brown, Sonny Digital, Nicky Minaj, Becky G, Anitta, Rick Ross, Farruko,
and Ozuna.

Peter Riese - Singer/Songwriter/Producer.

Recorded and produced from 1989 till today hundreds of german TV/
Radio productions and records. Worked for artist like Propaganda, Blue
Weaver (BeeGees), Frank Kirchner (Herbert Grönemeyer), Danny Gottlieb
(Pat Metheny) as well as for big clients like Jim Henson, Deutsche Bank,
Henkel or VW. Nominated for the german songriting award 2022.

Sam Sherbin
Sam Sherbin is a mixing engineer based in Los Angeles, California. First
cutting his teeth at various studios in New York City, he went on to develop
his skills under the mentorship of the late Bruce Swedien at his home
studio in Florida. Since then, Sam has scored cuts with international stars
like CL, Stray Kids, Rachel Platten, Ebony Obsidian and more. He colla-
borates closely with the likes of multi-platinum producer and composer
Nick Lee, expanding Sam’s footprint in both music and network television
shows like NBC’s Grand Crew.
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