User manual LISA
Contents
1. Lower the THRESHOLD control of channel 1 step by step Notice how as the snare level increases it begins to suppress the attack of the bass 31 Applications Switch channel 2 to BOOST mode Switch the dynamic processor of channel 2 to COMP mode The attack of the bass will be accented but the accent is reduced while the snare is playing This way you get punchy bass lines without smearing the snare attack Try different settings and listen to how both channels interact with each other Start lowering the THRESHOLD control of channel 2 and listen to how the bass channel takes over the dominant role and suppresses the snare The possibilities of two interacting channels are vast The link function does not link parameters besides the threshold detector of both channels which opens up the possibilities of how this technique can be used For further explanation of this technique please refer to the Stereo link on the next page Note This ducking technique can like all other techniques even be used in M S mode with sometimes incredible though sometimes awful results In M S mode you can accent signals in the side channel even with appearing peaks in the mid channel for example This is very complex but don t be afraid to try it More information on the M S technique can be found on page 34 32 Applications Stereo link As previously explained LISA can be used for two independent tracks or channels2. 21 Simple compression 26 Simple expansion 28 SLOPE HlI 14 17 Specifications 37 Stereo link 33 T THRESHOLD 14 U Unbalanced 7 UPWARD EXPANSION 28 W Warranty 38 X ALA een 7 AUDIOLABS
3. TOMO AUDIOLABS LISA USER MANUAL ENGLISH Copyright by AUDIOLABS Gebr der Frei GmbH amp Co Elektrotechnik Elektronik BorsigstraBe 15 D 72461 Albstadt Germany Issue 1 Written by Friedemann Kootz and Helmut Butz All rights reserved Welcome Dear Valued Customer Thank you for choosing TOMO Audiolabs LISA This state of the art professional studio equalizer boasts exceptional sonic possibilities and uncompromisingly high standards Assembled from the highest quality discrete components LISA s parts are handpicked specifically for each of their applications Only ELMA switches Mundorf capacitors and our very own hand wound transformers 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 professional 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
4. All parameters can have individual values in both channels and act 100 independently But one of LISA s biggest strengths is it s ability to work with stereo signals in mastering applications Therefore LISA has a stereo link function that works great for these applications but just a little differently This function does not link the parameters or controls of both channels as you might have come to expect with other equipment All settings that should be equal in both channels must be set to the same values manually The advantage here is the ability to have intentionally unbalanced settings in channel 1 and 2 The only linked value is the voltage control of both channels This means that whichever channel reaches the threshold first triggers the processing in both channels This may sound a little weird but in fact it is pretty easy to understand one signal reaches its threshold the processors for both channels will be triggered Without the link function the only processor triggered would be that of the channel which reached its threshold In this unlinked approach the stereo signals would lose their left to right balance Attention The link function only triggers the processors in both channels However they remain independent in their processor settings like ratio timing and comp exp mode Filter with dynamics Attack Decay Ratio Threshhold control Threshhold control Fi
5. can be switched to a low shelving mode When engaged its slope is classic low shelf Q Band 3 and 4 The Q switch of band 3 and 4 corresponds in general to its counterpart in band 2 without the shelving setting 9 Q Band 5 The Q switch of band 5 corresponds in general to its counterpart in band 2 but instead of a low shelf it features a hi shelf setting COMP EXP Toggles the filter band s dynamic processor between compression and expansion Note Because of LISA s parallel filter topology the dynamic processing affects only the signal parts that are added or attenuated by the filter It does not affect the sum signal or the dry signal in any case Attention The function works mirrored in BOOST and CUT mode Compression is always reducing the maximum amount of equalization Expansion is always increasing the adjusted amount of equalization Band 6 HI BOOST NI MID 8 Y ON non js ar LO RID OO ORYMUTE 1 Mk FREQUEMECY tiz n 2 VIA m oo ON au yr 881182 zu w s Ae are Tuasanou 7 22500 WASTER THRESHOLD LD OO DRYMUTE CHIN SLOPE HI oo ON RATIO En 371188 AIRE THRESHOLD THRESHOLD 78888000 THRESHOLD 79 2210 WASTED THAESHOLD 4b SLOPE HI Without this function the hi shelving curve is not very st
6. 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 Notes on this manual This manual will help you become comfortable with LISA and all of its features so you may begin working with it quickly and confidently Throughout this manual the following symbols are used to catch you attention This symbol refers to a note Notes help you to understand technical background informations and interesting applications This symbols warns of mal operation It should help you avoid problems that degrade audio quality or may even damage the unit or other units of your processing chain e g loudspeakers Functions Input section e oy s E N gt G 7 80 10 8028802 HI BOOST HB ss LOT MASTER THRESHOLD ritea Qs OO 281 07 CHZIN Q O O MS Activates a MID SIDE stereo mode In this mode channel 1 processes the MID signal and channel 2 the SIDE signal Note The MID SIDE mode works as a codec It is not possible to feed LISA a previously M S encoded signal and use it as a decoder or the other way around However you can work with previously encoded material and decode it in a third unit afterwards Therefore use normal stereo operation not M S mode Additional information on
7. in mind we named it LISA As anew 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 This user manual will give you the necessary information to start incorporating LISA in to your daily use Once you are comfortable with LISA we are confident you will begin applying it in ways that exceed the basic use of other regular equalizers We wish you endless luck and creativity TOMO Audiolabs Table of contents Table of contents VD a ee nen Pe ESS oe ere a 3 Table of contents ee ee 4 Safety advice and installation notes 5 Safety nee 6 7 Rack installation _ eel 7 _ amp 8 NS ES NS DE ENE EEEE EEE A 9 Notes on this sise 9 FUNCIONS ee re cm 10 Input section 11 Band T LO BOOS 13 Band 2 to 5 LO LO MI
8. 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 25 Applications 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 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 You can find an experiment to emulate the function of a multiband compressor on page 30 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 signa
9. slow attack and release are possible Note The first letter stands for the attack value and the second letter for the release value Example SM Slow Attack Medium Release F Fast M Medium S Slow THRESHOLD Defines the level at which dynamic processing is applied to an input signal amp Attention The absolute value of the individual threshold settings in each band depends on the master threshold switch in the output section Additional information can be found on page 18 Band 2 to 5 LO LO MID HI MID HI LOT 4 BOOST CUT Toggles the gain switch between amplification and attenuation Pressed lit Amplification un pressed unlit Attenuation GAIN Band 2 to 5 Controls the amount of amplification or attenuation in each band 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 on page 13 Q Band 2 Q stands for guality and defines the broadness of the filter bell There are five Q settings The following table shows the different Q values and their corresponding bandwidth in musical intervals 15 Bandwidth rounded in musical intervals Q 0 4 3 Octaves 1 1 3 Octaves 4 Thirds 2 2 Thirds 4 gt 1 Third 6 gt Major second Note The Q switch of band 2 has an additional value and
10. you can start to connect your devices with regard to their abilities The interconnection guide is a way not the only or necessarily best way to decide on how to connect your devices If you know better or don t want to change your current setup go ahead and hook it up differently 21 Applications e Put a measurement tone with the following specifications on the outputs of your D A converter Waveform Sine Frequency 1 kHz Level 0 5 dBFS close to full scale Next set this digital maximum level slightly below the analog maximum level of each individual device This way you can easily set your required headroom by lowering the digital level O Note Contrary to a widespread opinion that digital level altering should be avoided and done in the analog domain the onset of modern high class converters and 24 Bit audio files have left no disadvantage in doing so Let us assume we need 12 dB of room for the maximum processing boost and a safety zone of 6 dB we would need the total headroom to be 18 dB With the digital level set to 18 dBFS each piece of equipment would work at 18 dB under its maximum level This is a very good value and is near the nominal level of pro audio equipment 4 dBu If your converters allow to set the analog reference level for 0 dBFS chose the value that is closest to the maximum level of the next unit to follow e Use the input controls of the subsequent unit to make fine a
11. your own experiments and do not represent factory presets of any kind Although they will provide enough information to understand how LISA reacts to different material and situations Each set of instructions begins with a completely reset LISA To achieve a lull reset utilize the following diagram and it s settings Function MS INPUT GAIN e LO CUT Filter ON FILTER GAIN all bands FILTER ON all bands DYNAMICS ON all bands COMP EXP all bands e THRESHOLD all bands DRY MUTE CHANNEL ON OUTPUT GAIN DRY LEVEL MASTER THRESHOLD Full reset Setting Value OFF 0 OFF 0 OFF OFF COMP pressed 0 OFF ON 0 100 All parameters that are not mentioned can remain in any random setting They do not affect the result as long the above setup is current 24 Applications Classic equalizer 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 impossible 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
12. 9 2 2 9 2 5 THRESHOLD ES 1 2 2 3 3 ak ik 4 O DCR A 182 KI BOOST 4 8 BOOST 0 CUT 3 A 2 a 11 am QQ O oo KI AL 7 4 a BOOST ON 3 2 t Sai DEC ik x atk sx 1 a 2 1 s A VIA A O Ds FREQUENCY iz 09 O OO an un 1 ox e 1 Fe AN VIA O n FREQUENCY Hz KI MID 5 8 al N 4 8 BOOST ON CUT 3 9 2 or Voge tt ean O _ O Co Ors LISA n am nS ny e M m O s RSS a m mm m m VA O O n np 0 I x we 0 RATIO on 8 og MA 8 1 Ma 4 x ATT REL 2 2 Os sO O O o El Fo 2 0 OA oO Q O Oi o DoD LS EN Ex ods j 4 z u ui z A fas So ee 8 ar 2 23 g amp x 2 m 17070 Z H 17070 HO 12000901 SN T ouueyD THD AU one 1971 1311 1 uo i 5080804 UIBU99PIS plous u L duo bay HAM 10113 UAQ ure 186100 2427 Aig p MN q 11 7 1101581 JIO G 2 0 SN VSTT OWOL 091 mo L ures mdu lt lt NO Idu Z HO Idu HO Index A Attack 14 B Balanced 7 Bloc
13. D HI MID Al ee 15 Band BOOST ee 17 Output a 18 ere 20 Gain ad nd 21 Applications RM 24 ek Bes 24 Classic SQUARE 25 eisen 26 Simple expansion ee 28 Multiband compressor simulation nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn 30 SR 8 NT 31 1 1 sae SS ceded 33 SSS US ie IAU rere eee ama re 34 35 PR 36 Sp
14. M S mode can be found on page 34 INPUT GAIN Controls the amount of input amplification or attenuation on the channel The maximum amplification is 6 dB maximum attenuation is 6 dB LO CUT Hz Controls the cutoff frequency of the low cut filter Note When increasing the cutoff frequency the filter slope becomes less steep At 20 Hz it reads about 18 dB which corresponds to a third order filter At 180 Hz it reads about 6 dB which is a first order filter 11 LO CUT ON Activates the low cut filter in the channel LINK The LINK switch connects the detector circuits of both channels This also works in M S mode Note A comprehensive description of this function can be found on page 33 Attention When the LINK function is engaged the different settings of the threshold ratio and timing controls of both channels remain independent The LINK function does not connect setting controls 1 BOM Band 1 LO BOOST ET FREQUENCY Hie FILTER BAND ON Activates the filter band GAIN Band 1 Controls the amount of level boost in the LO BOOST band 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 0 5 6 0 5 dB per step 12 steps 6 5 9 0 6 dB per step 6 st
15. adding noise Information regarding optimal operation levels can be found in the gain staging chapter on page 21 Make sure to set up the units in your processing chain accordingly Rack installation LISA can be mounted into any standard rack frame But you ll need to install the provided rack ears first Use all six screws and tighten them firmly Overview Overview Overview 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 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 Our 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
16. ase 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 engaging the filter GAIN controls Listen to how the frequency s peaks stand out from the consistent signal Switch the filter to CUT mode e Notice how the snare remains unaffected during quiet parts and how it gets reduced during louder sections 29 Applications 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 started compressor Try this out first and then try it out with more bands Have fun with it Put some music on the outputs of your converter 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 it
17. djustments The first two units in your chain will then be perfectly matched with each other e Continue to apply this method to the devices that remain in your signal chain Your measurement tone should be slightly underneath the maximum level of all units If you can fine tune the level on the output and the input take the noise floor into account and amplify the side with the lower noise floor The following diagram shows this setting with 18 dB headroom for our example 22 Applications 23 dBu 17 dBu 4 dBu Analog level referenced to 0 5 1 0 18 dBFS digital Analog level D A converter output Analog level equalizer input Analog level compressor input Analog level A D converter input 0 dBu input level should reference to 18 dBFS 18 dB System headroom Note While you are matching and adjusting levels leave all the device in their processing state Do not switch them to bypass Atthe end of your chain adjust the input Level of your analog to digital converter to 0 5 dBFS Do not use full scale level You can now adjust your headroom to a standard value of 18 dB However you are welcome to change it to your preference by setting a new digital output level 23 Applications Applications The following step by step instructions illustrate a general approach to working with LISA and it s basic functions The instructions are mere starting points for
18. e Unauthorized modifications performed without written permission from TOMO Audiolabs Power surge damage or damage from either too high or low a current entering the unit We advise you to check if this type of damage is covered by the insurance of your local power company applied phantom power to the outputs of the unit damage or loss during transport always have a transport insurance Please contact our return department before returning equipment to TOMO Audiolabs Always use the original packaging for returns Units returned without the original packaging will get a new box and it will be charged to the client This is necessary to prevent transport damage and to meet the requirements of transport insurance guidelines It is absolutely necessary to contact TOMO Audiolabs before returning units from outside of Germany TOMO Audiolabs will not under any circumstance pay for customs duty fees and or fees caused by wrong or inaccurate specifications or labeling For all technical support please contact TOMO Audiolabs Gebr der Frei GmbH amp Co Elektrotechnik Elektronik BorsigstraBe 15 D 72461 Albstadt Germany http www tomo audiolabs de 38 LISA Recallsheet OO OO O rO O O 12 us 12 0 14 ON a RATIO w 0 RATIO w A 8 6 8 w gue w s ss F so o F s ML ss 4 0 1 18 2 n 4 x 4 x 3 ATT REL 87718 ATT REL 4 4 224 2 2
19. ecifications 37 Qasa 38 LISA ssc acct en 39 Block nee ee 40 Safety advice and installation notes Safety advice and installation notes Safety advice Please read this safety information carefully before proceeding Warning Risk of an electric shock Do not open LISA The device contains no user serviceable parts Refer all service to qualified personnel Before powering on verify the local voltage matches the voltage specified on the power supply unit Do not power unit with damaged power cable Never disconnect or interrupt the ground connection Replace the fuse with the same value and type only Protect the device from all types of liquids drinks rain and moisture Do not use in environments with high humidity Use in a humid environment will risk damage and or the short circuiting of LISA Caution Risk of damage and short circuit Place the device on an even and stable surface or mount it with all 6 screws to a 19 standard rack Use in well ventilated area When rack mounted leave a gap of at least 2U above and below Do not place the device near any heat sources like radiators or power amplifi
20. een the two modes it is very unlikely Thus M S mode should be used simply to reduce or increase the width of a stereo signal without processing both channels differently Therefore set all parameters for the desired result first and then switch the unit to M S mode Now you can control the width of the stereo image by turning OUTPUT GAIN control of channel 2 35 Appendix 36 Frequency range 0 5 dB Noise 22 Hz 22 kHz unweighted Dynamic range THD N Maximum input level Maximum output level Input impedance Output impedance CMRR at 1 kHz Channel Crosstalk at 1 kHz Fuse Power Consumption Size including rack ears WxHxD Weight without PSU 37 Appendix Specifications 10 50 000 Hz 90 dB 118 dB 0 005 4 dBu unity gain 40 Hz 1 THD 20 dBu gt 200 Hz 1 THD 28 dBu 28 dBu 22 kOhm lt 100 Ohm gt 70 dB gt 90 dB 2x 1A slow blow 5 x 20 mm 90 W max 492 x 267 x 344 mm 19 37 x 10 51 x 13 54 inch 20 kG 44 lbs Appendix Warranty LISA comes with a limited warranty against defects in parts craftsmanship and production The limited warranty is for 2 years from the date of purchase The warranty only covers the original purchaser and is non transferable Additionally it does not cover defects caused by normal wear and tear misuse by the user repairs or modifications performed by unauthorized personnel
21. eep and has no resonance overshoot With this function activated however the filter curve is much steeper and shows a negative resonance overshoot The result is a small amount of attenuation before the slope starts to amplify 17 Output section n n THRESHOLD L L 78222012 LOT FREQUENCY Hie 4 DRY MUTE Mutes the parallel direct dry unprocessed signal Pressed lit dry mute un pressed unlit dry active CH 1 IN Activates channel 1 Pressed lit channel on un pressed unlit channel bypass Note This function works as a hardwire bypass Inactivated the inputs and outputs are shortcut by relay cards This also bypasses both the input and output amplifiers as well as the x formers When the power is turned off LISA falls into bypass mode OUTPUT GAIN Controls the amount of channel output amplification or attenuation The maximum amplification is 6 dB maximum attenuation is 6 dB Note The output amplifier affects the entire output signal including both the processed and the unprocessed signals 18 DRY LEVEL Controls the amount of dry signal mixed into the output signal Note This knob only works when DRY MUTE is deactivated MASTER THRESHOLD Controls the offset of the threshold values of each band in one channel The offset reads about 6 dB per step Negative amounts raise all thresholds which result in less processing Pos
22. eps 9 5 10 1 dB per step 2 steps 10 5 1 2 dB per step 1 step 11 115 1 5 dB per step 2 steps FREQUENCY Hz Controls the filter frequency Note This is the frequency for which the output of the circuit deviates 3 dB from the passband value The actual attenuation can start before this point 13 DYNAMICS ON Activates the dynamic processing for the band Note Without the dynamic processing the band works just like any normal equalizer A very good specimen of this kind of course SLOPE HI Without this function the low shelving curve is not very steep and has no resonance overshoot With this function activated however the filter curve is much steeper and shows a negative resonance overshoot The result is a small amount of attenuation before the slope starts to amplify RATIO Toggles the processing ratio for the dynamics between a lower and a higher value Both settings change depending on all other settings Note 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 ATT REL Controls the timing settings for the dynamic processing Attack defines the time the dynamics section needs to achieve 10 dB of gain reduction Release defines the period of time needed to return to unity gain after the signals drop below the threshold Six different combinations of fast medium and
23. ers Do not cover air vents Do not place in direct sun light To avoid condensation damage leave the unit unconnected for a longer period after having moved from a cold to warm environment Do not connect power amplifier outputs to the inputs of the device Do not apply phantom power to the outputs of the unit Read the notes on balanced and unbalanced connections on page 7 Please read this manual carefully before proceeding This device complies with the EU rights and laws on electronic devices CE conformity has been certified Safety advice and installation notes Installation LISA features the following connections Input channel 1 female XLR balanced Input channel 2 female XLR balanced Output channel 1 male XLR unbalanced Output channel 2 male XLR unbalanced All inputs and outputs are transformer coupled and can therefore be used with unbalanced cabling Please refer to the following scheme Input Output Ara 2 hot Balanced Unbalanced Balanced Unbalanced Caution Using unbalanced connections causes 6 dB level loss The use of unbalanced cables will diminish the full dynamic range of the unit Therefore we strongly recommend the use of balanced cabling to achieve noise cancelation LISA can be driven with very high audio levels Not all equipment can handle high db levels and will distort or deteriorate signal quality Significantly low levels can also degrade audio quality by
24. higher values in order to proclaim a better dynamic range However one should be wary of these higher values for they often indicate shenanigans Of course this is not true with units that use distortion as a portion of their overall sound When speaking about reliable values one can say the higher the dynamic range value the better the audio guality but that may not necessarily be the case The first step is to draw a table and fill it with the relevant tech specs for every device in your processing chain Thus creating a very good overview of the maximum dynamic range of your system Keep in mind that the unit with the smallest dynamic range defines the maximum range of the whole chain In this case the law of the lowest common denominator holds true Here is an example of the table described above D A converter Equalizer Compressor A D converter Maximum level 18 dBu 23 dBu 17 dBu 18 dBu Noise 90 dBu 80 dBu 80 dBu 92 dBu Dynamic range 108 dB 103 dB 97 dB 110 dB Be aware that once you consider headroom the maximum dynamic range will never be fully available Sometimes you are forced to use consumer electronic in your setup If this is really necessary you can easily convert its maximum input rating from dBV to dBu The following calculation is rounded but close enough for our purposes dBV 2 2 dBu With this table you will have a good overview of your dynamic range possibilities Now
25. itive amounts lower the thresholds which result in more processing Note The proportions between the thresholds of the individual bands remain untouched The MASTER THRESHOLD function can be especially useful when the input gain setting must be changed but all threshold settings are already adjusted CH 2 IN Activates channel 2 Pressed lit channel on un pressed unlit channel bypass Note This function works as a hardwire bypass Inactivated the inputs and outputs are shortcut by relay cards This also bypasses both the input and output amplifiers as well as the x formers When the power is turned off LISA falls into bypass mode Applications 20 Applications Gain staging When setting up a processing chain it is very important to match the levels of all the devices involved This is done to preserve overall audio quality Through experience you may know that every piece of audio equipment has an upper and a lower limit from which the audio quality starts to rapidly deteriorate The range between those limits is called the dynamic range Noise represents the lower limit and it has a clearly measurable value The upper limit is much harder to define It is defined as the audio level where the signal distortion reaches a defined percent value Although this value has not been standardized 0 5 1 5 maximum distortion is a common value often used among pro audio companies Some manufacturers use much
26. k diagram 40 Bypass 18 C Cabling 7 Classic equalizer 25 Compression 16 Cutoff frequency 11 D DBFS csi ee 22 B SS 21 DER ee 21 Digital level 22 Distortion 21 Downward expansion 28 DRY LEVEL 19 DRY MUTE 18 Ducking 31 E Expansion 16 F Full 24 G GAIN Band 2 to 5 15 Gain staging 21 H Headroom 23 INPUT GAIN 11 Input section 11 Installation 7 L Link 33 LO BOOST 13 LO CUT Hz 11 M M S 34 M S processing 35 M S technigue 34 MASTER THRESHOLD 19 Multiband compressor simulation 30 O OUTPUT GAIN 18 Overview 9 P Parallel filter 16 41 Q 15 Q Band 2 15 Q Band 3 and 4 16 Q Band 5 16 Quality 15 R Rack installation 7 RATIO 14 Release 14 S Shenanigans
27. let s use a simple treatment to a stereo signal that already has a wide stereo image Don t forget M S mode is very powerful and especially useful in mastering applications Take your time to experiment with different material and settings to become more comfortable with it s applications Put music that has a very wide stereo image on the output of your converter Set both OUTPUT GAIN controls to the same value Press the MS button Change the value of the OUTPUT GAIN control in channel 2 Listen to how the stereo image is becoming wider or more narrow Attention Widening of the stereo image can lead to problems with mono compatibility Enlist a phase correlation meter to check for this or listen in mono while you proceed Use the filters on channel 1 to adjust the tonal character of the signal that is in the middle of the stereo image Often the lead vocals are such a signal Use the filters of channel 2 to boost the signal that is panned hard left or right Note The more a signal is panned to the side of the stereo image the less it is affected by the mid signal processing Likewise signals that are panned to the center of the stereo image will not be affected by the side processing Though a 100 percent separation cannot be achieved Set all parameters in both channels to the exact same values Now toggle between M S and Stereo mode Try to listen for the differences between modes Note Although there can be an audible difference betw
28. ls will get less 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 26 Applications Put some music containing a very dynamic bass signal on the output of your converter A good choice would be jazz music with a double bass 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 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 fil
29. lter with dynamics Audio signal Control signal 33 Applications M S technique The M S technique is a special approach to processing stereo signals It is often used in mastering applications for it can give access to parts that are otherwise buried in the image of the stereo signal M S stands for mid side which can be extracted from the left and right channel of a normal stereo signal The result is one signal that only contains the mono center and one signal that contains both side signals This technique is very old and commonly used in stereo FM broadcasting and stereo sound recording It is very easy to encode a M S signal from a stereo signal with a simple summing and differencing circuit Middle Left Right Side Left Right LISA cannot be used as a stand alone M S coder It is always encoding the input signal and decoding the output signal If you need to process already encoded material use stereo mode and decode it in a unit that follows LISA in the signal chain Decoding is done with another simple circuit Left Middle Side Right Middle Side In M S mode channel 1 processes the M signal and channel 2 the S signal Attention It is possible to link both channels in M S mode and this can be confusing when setting different values in both channels Attention M S mode also affects the dry signal 34 Applications M S processing To learn more about M S mode
30. m chokes the whole mix and gets the biggest impact possible LISA delivers the ability to duck select frequencies as well as other special dynamic effects Ducking examples High frequencies in synthesizer tracks are dynamically reduced when a snare signal appears and needs to cut through Kick drum attacks reduce other signals within it s range and achieve more impact without loosing the low end glue with the bass One signal can couple it s dynamics to another track Therefore if the master signal is becoming louder the slave signal increases accordingly The creative possibilities of LISA s dynamic section are virtually limitless Start with these suggestions but feel free to try strange and odd settings Puta drum track on channel 1 and a bass track on channel 2 Activate the LINK function Set the DRY LEVEL value to 50 Activate the MID band in both channels Set the filter in channel 1 to BOOST mode Set the filter in channel 2 to CUT mode As a starting point turn the GAIN control to its 6 dB value Use the Q and FREQUENCY controls of channel 1 to find the range of the attack noise from the snare drum and the controls of channel 2 for the attack noise of the bass Switch both channels to EXP mode Set both channels to SM timing for slow attack and medium release time Set both THRESHOLD controls to 0 Activate the dynamic processing of both bands by pressing their ON buttons
31. s 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 DRY LEVEL 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 Attention When applying the settings above the filters generate heavy signal amplification which can easily lead to distortion Watch the input and output level LED indicators and reduce the overall level with the INPUT and OUTPUT GAIN controls accordingly 30 Applications Ducking Ducking allows one signal to suppress another in to the background This can help clean up your mix by giving important signals the space they deserve within a dense frequency range This is a very popular effect in modern dance music where the kick dru
32. ters to the audible dry sum signal by re engaging the filter GAIN controls 27 Applications Simple expansion The dynamic processor of each filter band can be toggled between compression and expansion This uses UPWARD EXPANSION and does 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 28 Applications Put some music containing very dynamic level peaks on the output of your converter We recommend music with a very dynamic drum set Let s assume our example contains the signal of a very dominant snare drum Press the DRY MUTE button Activate band LO MID 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 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 rele
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