We were asked by Slate Digital to take a look at their FG-DS 902 module for the Virtual Mix Rack (VMR) system. A control is provided to regulate the amount of cancellation. The de-esser detects and isolates the sibilant band before re-summing it with the unprocessed sound. The latter can be more transparent.Īn alternative method sees the use of an antiphase component. Dedicated Es-Essersĭedicated de-essers implement this in one box, offering the option of wideband dips on sibilant events, or band-split topology affording treatments at the target frequency only. By taking a copy of the voice and deliberately boosting the offending frequency, this could be used to feed the vocal compressor’s sidechain to ‘overreact’ to the offending frequency. In lieu of dedicated units, engineers were also able to employ the same technique of de-essing boxes by using existing EQ and compressor units for frequency-sensitive compression. Recognising a need, manufacturers such as Ortofon started to develop tools initially as vinyl mastering tools, before the technology evolved into the channel-straddling outboard of the 1970s onwards. Early De-EssingĪny automatic process that tames sibilant sounds can be thought of as de-essing. While the aim is to deal with this at source by optimising mic choice and position (such as higher up and looking down and/or further back), recorded voices often need some help. Far from providing a true representation of the sound, the close working distances used by many can magnify certain ‘mechanical’ sounds such as sibilant “ess” sounds, as well as all kinds of clicks, pops and other squelchy noises that can make the listener raise a shoulder! There’s no better way to hear the influence of a mic’s position or suitability to the source than when recording the human voice. Many languages make use of voiceless fricative sounds, and sibilant “ess” sounds. In everyday conversation, some voices are more noticeable than others owing to tonality arising from the speaker’s physiology. We look at different de-essing treatments including one of the most organic-sounding tools yet. This is especially true of the perennial vocal problem-solver - the de-esser. Sometimes, it’s the audio tools hiding in plain sight that get overlooked the most.
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