another d-essing question

  • Thread starter Thread starter Rock Star 87
  • Start date Start date
R

Rock Star 87

New member
I have a few questions about sibilants.

1. Where exactly should I position the mic to minimize sibilants showing up in the recording?
2. Do you think minimizing sibilants is part of an artist's performance, or the producer's job?
3. Now that I've already recorded a sibilant heavy performance, what is the best de-esser?

PS. Don't say "Spitfish", because that's what I'm currently using and it bogs the hell out of the vocal performance. No sibilants, but a shitty vocal take.

As usual, any help is greatly appreciated and payable in sexual favors.
 
1) I like positioning the mic at chin height, and placing the pop filter at mouth height, making the singer sing straight into the pop filter. A simple trick to catch an artist with more than average sibilance, is to tape a pencil across the middle of the diphragm. Works like a charm.

2) It's always the engineers job to work out these problems during tracking, at least to minimize the problem. An experienced singer who has good mic technique makes it easier for sure!

3) This is a tough one. I've had various results with plugs. I'll leave this alone as I am interested in others thoughts on this.


Hope this helps,

-LIMiT
 
1: sometimes it helps to place the mic somewhat "off axis", i.e. not pointing directly at the mouth, but away a little bit. sometimes it's no help at all.
also, it usually helps to back off the mic a little if it's an option.
also, don't be afraid to try different mic pre's if it's an option (i'm assuming you already know to try and change mics if you can) i have all cheep pre's, but the difference between how the berri ultragain pro, and the dmp3 handle sibilance is fairly large. *

2: the producers job. even if it's their fault (the artist), you will NOT be able to correct their bad habits in a session or 3.

3: i have the waves native power pack, and the de-esser works very good for me.


* for those who would have a bitch about this statement; go do your own shoot out lazy ass.
 
Can someone explain to me how to create a sidechained de-esser? I've never grasped it. I know that the compressor is set to activate only on the frequency that is set by the eq, but what is the routing? hey....thanks!
 
What kind of mic pre are you using? Are you compressing on the way in??

One problem I found myself running into was that i was compressing on the way in with way too much of a ratio and threshold.. I adjusted the settings and BOOM! No more problem.
 
De-essing

Some vocalists and announcers, especially if equalized for more treble,will produce excessive "sibilance" ("S" sounds, concentrated mostly in the upper midrange and treble). In this situation, the limiter would ideally
limit the signal only when high frequency "S" sounds occur. This is possible by inserting an equalizer into the side chain jack.

This application requires the special stereo-to-dual-mono cord mentioned above and an equalizer.

1. Plug the cord's stereo plug into the side chain jack.

2. Plug the stereo cord's ring plug into the EQ's input.

3. Plug the stereo cord's tip plug into the EQ's output.

4. Increase the EQ gain in those bands whose frequencies should trigger
limiting of the signal. For de-essing applications, try equalizer frequencies
in the range of 2 kHz to 10 kHz. Setup for de-essing is quite easy.
With a graphic equalizer, select a frequency (2K for example), and set
up an excessive boost (as much as 12dB). If the chosen frequency is correct,
the excessive gain at that frequency will trigger the compressor
when overly sibilant passages occur. If you are successful, try adjacent
frequencies one at a time to see which frequency gives the best results.
With a parametric EQ, create an excessive boost in the 2kHz - 10kHz
band, and sweep the frequency control until best results are obtained.
Thus, the high frequency "S" sounds trigger program limiting more
readily than the non-"S" sounds.

5. Adjust the Threshold, Ratio, Attack, Release, etc. for the desired degree
of high-frequency limiting. In de-essing applications, it is your goal to
set the attack and release times as fast as possible, so that the sibilant
peaks are eliminated without any audible change in the program
material.
Click to expand...

Hopefully that helps :)
-C$
 
1 and 2 are covered well.

3) Another option is to use a multiband compressor and compress the crap out of the upper frequencies.
 
Just generally, the preset for my de-esser progam
came set up at 5kHz. I tried it on an essing girl with
no effect. As I played with it I found her
essing to be at 10kHz. So it must vary some
from person to person.
 
If spitfish isn't working for you, you are either clamping down too hard or the performance is so badly done that nothing will help it.

Sometimes it's cause by the singer singing too quietly. Consonant sounds tend to be the same volume no matter if you are singing loud or soft. If you sing loud, the consonants are quieter in comparison.
 
You must log in or register to reply here.
Back
Top