![]() As a general guideline, sibilance on female vocals will typically occur higher up in the frequency spectrum than on male vocals. The numbers you choose will vary depending on the vocal you’re de-essing. There are no rules regarding where to set the frequency. ![]() The audio examples below will help you “hear” what a properly tuned sidechain filter should sound like: Raw, unprocessed vocal (from the song “Heroes of Hope” by Clean Green Music Machine) Sidechain filter set too wide (notice how we can hear a lot of the “good” parts of the vocal) Sidechain filter set perfectly (we hear lots of sibilance, but not a lot of the other stuff) Once you do this, adjust the frequency control on the de-esser until you hear the sibilance loud and clear, but as little as possible of the “good” stuff you don’t want to de-esser to touch. Look for a button called “listen” or “audition.” When you press it, the vocal should sound thin and tinny. The process for doing this varies depending on the de-esser you’re using. To start, solo the de-esser’s sidechain filter. Set the sidechain filter properly, however, and the de-esser will react in a way that’s natural and musical. Skip this step, and your de-esser may act erratically, turning down seemingly random parts of the vocal you don’t want it to touch. This will help point the de-esser in the right direction by telling it where the sibilance is likely to appear. That’s why it’s essential to tune the de-esser’s sidechain filter. However, most de-essers aren’t great at figuring out which part of the vocal they need to pay attention to, since sibilance often appears in different spots on different vocalists. This filtering happens inside a part of the de-esser called the “sidechain filter.” ![]() Instead, it filters down the sound and only listens to the spot where the sibilance is most likely to appear. Since a de-esser is only concerned about sibilance, it doesn’t “listen” to all the frequencies in your vocals. Step #2: Set Up The De-Esser’s Sidechain Filter While this can take a bit more time to set up, the results will often sound more natural. This will create a bunch of unnecessary dips in volume across the vocal group, which sounds messy and unnatural.īy applying a separate de-esser to each vocal track in the group, the plugins can respond independently and turn down the sibilance on the individual tracks whenever it appears. Whenever the de-esser hears an “ess” on one of the vocal tracks, ALL the vocal tracks will get turned down. If the de-esser is applied across the group, it can only turn down the group as a single unit. Instead, apply a separate de-esser plugin to each individual track in the group.Īpply a separate de-esser plugin to each individual track in the vocal groupīecause the sibilance usually appears in slightly different spots on each vocal track. When you’re de-essing a group of vocal tracks (like a stack of background vocals or a lead vocal with several doubles), it’s best not to apply one de-esser across the group of tracks. Which means the sibilance will suddenly sound too loud again, and you’ll have to go back and tweak the de-esser to fix the problem.īy placing the de-esser at the end of the plugin chain, you’re making your job easier by minimizing unnecessary back-and-forth tweaking. If the de-esser is before the EQ, it won’t be able to compensate for this increased sibilance. Which means you won’t have to go back and tweak the de-esser manually to fix the problem. Since your de-esser is placed after the EQ, it will “hear” this increased sibilance and respond automatically by turning it down. When you add top end, the sibilance in the vocal gets louder too. Let’s say you set up your de-esser and then decide later on to boost the top end on your vocal EQ. Putting the de-esser plugin last in the chain
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