Hey in this video you’ll learn 3 different ways of using a De-Esser in the mix.
If you have trouble with harsh vocals and want to learn how a De-Esser may help, this is the video for you, and you may learn a few more uses for De-Esser’s while you’re at it.
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What is a De-Esser?
A de-esser is a specialized audio processor designed to reduce the prominence of sibilance in vocal recordings.
Sibilance refers to the harsh and shrill high frequency content produced along side consonants like ’s,’ but also ‘sh,’ c ‘ch’.
The primary function of a de-esser is to target and compress the specific frequency range associated with these sibilant sounds, to ensure a smoother and more balanced vocal performance.
By focusing on only the problematic frequencies, a de-esser helps prevent excessive sibilance in the audio, to create a more pleasant listening experience.
What is a De-Esser really?
Think of a de-esser as a specialized version of a compressor, one that’s focused on a set area of frequencies.
While a compressor generally works on the overall dynamics of the entire signal, a de-esser zooms in on a particular frequency range, usually the high frequencies associated with sibilance in vocals.
Some De-Esser Ranges:
Pro Tools – Desser III – 500Hz -16k
Fab Filter Pro DS2 – 2k to 20k
Logic De-Esser 2 – 1.2kHz – 12k
You can usually set one of 2 curves to the De-esser:
Band pass, which affects the range of frequencies around the user set centre point, or a
High shelf which will affect everything above the set frequency.
Like a compressor, a threshold is set to tell the de-esser air what level it should Kick in.
Using the listen function shows you what the De-esser is focusing on.
Let’s take a look at the first way of using De-Essing, to remove vocal sibilance.
1) Reducing Vocal Sibilance:
Sibilance, in vocals, is like an occasional sharpness in an otherwise smooth conversation.
It’s the exaggerated hissing or ‘sss’ sounds that can pop up, especially during certain consonants like ‘s’ ‘sh’, ‘c’, ‘ch’
While brightness can help a vocal performance have energy to cut through a mix,
too much energy in the high frequencies can be distracting and even painful to the ears.
In a mix, excessive sibilance can stand out like a sore thumb, it disrupts your mix’s clarity and ruins the listening experience. This can happen to some singers depending on the microphone used, or sometimes after heavy compression is applied.
That’s where the art of De-essing comes in,
Ex 1a – Here’s how to identify and reduce S sounds using a de-esser:
Choose the target frequency of your Sibilance (use listen for help)
Use Range to set Threshold/ amount of reduction, to only work on hot Sibilance
Set amount of reduction to take off a few dB (avoid setting really low daffy duck)
Choose curve (Wide or Split band) (HF only)
Go Back Listen to the area you are affecting
A/B
De-Esser vs Dynamic EQ
De-essers are primarily designed to target and reduce sibilant frequencies, typically in the range of 2 kHz to 10 kHz, where ‘s’ and ‘sh’ sounds occur. They are specialized for handling high-frequency content, which includes some plosive sounds but is not their main focus.
Dynamic EQ provides a more flexible approach, allowing you to control a broader range of frequencies dynamically. This makes it suitable for addressing a variety of issues, including plosives that might occur across different frequency bands.
De-essing for Sibilance: If your primary concern is sibilance, a de-esser might be more straightforward and efficient.
But If you need a more versatile tool that can handle various vocal anomalies, including plosives, and provide detailed frequency control, a dynamic EQ might be a great choice to use in combination.
In summary, both de-essers and dynamic EQs have their strengths, and the choice between them depends on the specific needs of the vocal performance and the characteristics of the unwanted sounds you’re aiming to address.
Ex. 1b – Use dynamic EQ to target other problematic sounds like TH, B, and P in a vocal.
Choose target Range of the target frequency (use listen for help)
Set amount of reduction to take off a few dB
Set Threshold to only work on hottest part
Adjust Q
Listen to the area you are affecting
A/B
2) Removing Shrillness from Instruments:
While De-essers are traditionally associated with taming vocal sibilance, they’re also useful in tackling instrument-specific shrillness.
In this next example, we’ll talking about using a De-Esser on Fingerpicked Acoustic Guitar.
Ex. 2a – use a De-esser to tame shrill fingerpicked Acoustic Guitar
The Acoustic Guitar is a great instrument to layer into a mix, but some times fingerpicking and fingernails specifically can get a little much.
We want a guitar sound that’s bright and shimmery, without that harshness that can some times come with it.
For this example
I’ve got a bit of EQ going, bring out the low bass notes, make room for the vocal, and boost the top.
Then some fast peak limiting to even out the signal,
Some of this finger noise may become more noticeable once I add compression
Applying a de-esser after helps smooth out those sharp frequencies, allowing the guitar to sit more comfortably in the mix.
Again Choose the target frequency of your Sibilance (always use listen for help)
The set the range, to only work on hot bits
Choose curve (HF only)
Always remember to A/B your processing with the bypass button.
Make sure you can hear what you are doing to the instrument, and that you like the result.
DeSsing may be the right choice, and it may not be, only you can decide.
Ex. 2b – use a De-esser to cut down cymbal brightness
Another use of instrumental DSing would be on Drum overheads or Hi Hat tracks that may be excessively piercing.
You can set them up almost like a high frequency limiter; selectively reducing those shrill frequencies in the top end, to balance the tone of the drum kit.
Now you know de-essers aren’t limited to vocals; they’re secret weapons in sculpting the high end of various instruments within a mix from Guitar and Drums, to Flute or Strings.
Next, Let’s explore the application of de-essing to manage harsh sibilance introduced by effects.
3) Taming Harshness in FX:
Ex. 3a – Using a De-Esser for Smoother reverb
Occasionally, Reverb wash can, give an unwanted brightness to vocals.
Some plugins have a hi cut on them to correct for this problem.
Another option would be applying a de-esser after the reverb.
This allows for a more dynamic reduction of those overly bright frequencies, creating a smoother and more controlled ambient space, while maintaining ambient high frequency content
Just like before…
I’m using the HF curve
Choose the target frequency of your Sibilance (always use listen for help)
The set the range, because this is an effects send we’ll need to set it much lower
Always remember to A/B your processing with the bypass button.
Almost creates a ducking effect, you notice the reverb more after the vocal has gone.
Conclusion:
So there you have it! 3 ways to use a De-Esser with Vocals, Instruments, and FX
Next time you have some harshness in your high frequencies but you don’t want to completely filter our your top end, consider using a De-Esser to tame that down for you.
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I’d love to hear what special uses you’ve found for a De-Esser, Let me know in the comments
Thank YOU for watching
I will see you in the next video.
Happy Mixing.
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