Most de-essing plugins let you set frequencies within a certain range-usually something like 2 to 10 kHz. It’s up to us to decide which frequency that is. Remember, all it’s doing is compressing a specific frequency when it gets too loud. Here are some more tips, tricks, and philosophies on de-essing vocals! The key here is getting just enough attenuation to round out the sibilance without making the vocal sound dull or dark. Most de-esser plugins will let you monitor just the selected frequency, so you can sweep around to where esses are harshest. In many instances, a male vocalist will center around 5 or 6 kHz, and a female around 7 or 8 kHz. Find the right center frequency where sibilance is the worst.Loop a section of your vocal with a lot of essy sounds and load up your favorite de-esser plugin.Here’s a general guide to setting a de-esser: Luckily, though, de-esser plugins are simple. If you think about, sibilance really comes down to the individual voice, the performance, and even the lyrics! The problem with trying to pinpoint specific de-esser settings is that sibilance occupies a large range of frequencies and varies from vocalist to vocalist. Unfortunately there isn’t a one-size-fits-all approach to de-essing. For now, let’s talk about how to use a plugin in the simplest terms. That’ll get you about 80 or 90% there, and we’ll discuss other de-essing techniques and tricks later. The easiest way to de-ess vocals is with a plugin. Gain reduction only kicks in when sibilant frequencies exceed the threshold. It doesn’t respond to the whole signal-just a chosen frequency or range. In short, yes! It’s a frequency-specific compressor. For example, you may want to use a darker microphone on someone who has a lot of natural sibilance or presence in their voice-just to make life easier later on! Is a de-esser a compressor? But, you can think about controlling sibilance on the way in as well. Whenever ‘esses’ get harsh or become very noticeable, you’ll want to apply some form of de-essing.ĭe-essing primarily refers to techniques done in-the-box after the fact. Everybody has natural sibilance in their voice-some just have more or less than others. Some form of de-essing is necessary in most cases. They’d filter out everything below the sibilance so that the compressor only kicks in when ‘essy’ frequencies go above the threshold. Back in the day before plugins, engineers would run a compressor with a high-pass filter inserted in the sidechain.
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