How to De-ess Vocals Properly



The detector is where you choose the frequency that triggers the de-esser to engage, while the suppressor determines which frequency is being ducked.⁠
—⁠
As a general rule of thumb, setting the detector and suppressor to the same frequency is fine.⁠
You want to find the frequency that makes sibilance the most noticeable and set your detector and suppressor there. ⁠
——⁠
The monitor allows you to solo the frequencies you’re attenuating. In Logic, you can solo the detector, suppressor, or sensitivity.⁠
—⁠
Strength is where you decide how much you want to attenuate the sibilants. As you listen to your looped section, gradually increase the strength. At some point, the sibilants will be too suppressed and the vocalist will start to sound like they have a lisp. Once you’ve found that spot, you’ll want to decrease the strength a little bit⁠
—⁠
Source: https://www.masteringthemix.com/

Comments

Post a Comment

Popular posts from this blog

4 Ways To Make Vocals Clear and In Your Face⁠

Image
4 Ways To Make Vocals Clear and In Your Face⁠ ----------⁠ 1. For a modern sound, the dynamics of vocals need to be consistent. Every word and syllable should be at roughly the same level (allowing for human expression). Use automation to manually level out the vocal before compression.⁠ ----------⁠ 2. Your lead vocals need to be upfront and in-your-face. Applying reverb to the vocal can push the vocal further back in the mix. Instead, use a stereo slapback delay to create a space around the vocal and add some stereo width. Use low feedback (0-10%) and slightly different times on the left and right sides. Delay times between 50-200ms work great.⁠ ----------⁠ 3. Sometimes EQ alone isn’t enough to enhance the top-end. By applying light saturation, you can create new harmonics and add more excitement.⁠ ----------⁠ 4. If you’re recording in a room that’s less than ideal, room resonances can quickly build up. Find these resonances using the boost-and-sweep technique and then remo...
Read more

Kick & Bass Relationship

Image
Getting the kick and bass to work well together is one of the largest challenges of any production, mix or master. In a song where the bass is very powerful and has a long tail, you need a kick sample that compliments the sound rather than conflicting with the sound. ⁣ —————⁣ In this example, the kick sample is very short and punchy. These characteristics help it stay out of the way of the bass. If the kick had a long tail or a heavy low-end the two channels would compete for the same space and the sounds would become a confused mess. If you’re making a track with a long and heavy bass channel, chose a short and punchy kick. If you’ve got a long and heavy kick sample, go for a shorter punchier bass.⁣ —————⁣ Source: https://www.masteringthemix.com/
Read more