In the voiceover world, a de-esser is key for fixing harsh "s" and "t" sounds. These sounds can ruin a recording. About 80% of audio mixes have this problem. So, de-essers are a must for a clean sound.

These harsh sounds happen in the 5-9 kHz range. Men and women's voices have different trouble spots. De-essers fix this by cutting out the bad sounds. This makes voices clearer without losing quality.

Logic Pro has special tools for de-essers. They have a detector and a suppressor section. This lets you control the bad sounds well. Adjustments are made in a way that sounds natural.

De-essers go after EQ and compression but before other effects. This spot helps control harsh sounds well. They're not just for vocals but also for other sounds like guitar strings.

For pros, tools like Soothe by Oeksound have more features. De-essing is a big part of making good vocals. It's used in about 90% of vocal work.

Sibilance, the bad sound, is in the 2 – 12 kHz range. The best fix is about 3 – 4 dB. But, it can be more for really loud sounds without changing the voice's sound.

How to Use a De-Esser Like A Pro

Dealing with sibilant sounds in vocal mixing can be tough. These harsh 'S' and 'C' sounds can be annoying. They might even make listeners switch to another audio. So, learning to use a de-esser well is key for music producers and voice-over artists.

Want to use a de-esser like a pro? Here are the main steps:

Selecting the Right Frequency Range

First, find the frequency range where the sibilance is. This usually happens between 2kHz and 8kHz in vocals and some instruments. Knowing this lets you focus on the right spots to reduce the sibilance.

Setting the Threshold and Sensitivity

After pinpointing the problem area, set the de-esser's threshold or sensitivity. This decides when the de-esser kicks in to reduce the sibilance. It's important to get this right; too low and it might over-compress, too high and it won't touch the sibilance.

Adjusting the Strength and Smoothing

Next, tweak the de-esser's strength. This helps you lessen the sibilant sounds without losing the natural feel. You can also adjust the smoothing or attack time to control how fast the de-esser works. This way, you can get the best results in your vocal mixes.

But remember, de-essers aren't a magic fix. Good recording techniques, like proper mic placement, can help avoid the need for de-essing later.

Looking for a great de-esser tool? Check out Soundtrap. It has a de-esser plus other vocal mixing tools like Reverb, EQ, Delay, and Compression. This gives you everything you need for a pro mix.

In summary, sibilant sounds are common in voice-overs and music. Knowing how to use a de-esser can help you control and reduce these sounds. This makes your audio smoother and more enjoyable for listeners.

Where to Place the De-Esser in the Vocal Chain

Putting the de-esser in the right spot is key to controlling sibilance in vocals. It helps fix sibilant sounds for a balanced sound.

Usually, put the de-esser after EQ and compression but before effects. This way, it can work on sibilant sounds before more processing. EQ before de-essing helps avoid boosting frequencies that make sibilance worse.

Compression can make sibilance stand out more. So, do compression before de-essing. This lets the de-esser work well on sibilant frequencies. Some compressors, like the 1176 and LA2A, are special and affect sibilance a lot.

For men, de-essing usually happens around 5 or 6 kHz. For women, it's around 7 or 8 kHz. De-essers work on mid and high frequencies. They cut these frequencies when they get too loud, reducing sibilance.

Using several de-essers in a chain can make controlling sibilance better. Adjusting the de-esser for certain words or moments can make the vocals sound better.

Notable Approaches to De-Esser Placement

Putting the de-esser after compression is a good idea. It works best on a steady signal level. This way, the de-esser can focus on sibilant frequencies well, giving a controlled sound.

In voiceover work, some put the de-esser before the mixing compressor. This helps tackle sibilance before dynamic changes. It keeps sibilant sounds under control during mixing.

Some pros still do manual de-essing. This means they manually reduce sibilance in the waveform without plug-ins. It's seen as the most precise way, giving natural results.

The best spot for the de-esser depends on what you want and the vocal's needs. Trying different spots and adjusting can help you get the best sound.

Advanced Techniques for De-Essing

There are advanced ways to fix sibilance in music. One method is frequency-selective processing. This targets specific sounds to reduce them. You can do this by manual de-essing or using dynamic EQ.

Using a multi-band compressor or dynamic EQ can help catch and lessen sibilance. The FabFilter Pro Q plugin lets you pinpoint and lower harsh sounds. This gives you control over the vocals.

Legendary artists like Frank Sinatra used special techniques. He changed his head position to soften harsh sounds. This shows how important skill and practice are in making good music.

Changing where the microphone is placed can also help. So can how the singer sings. Putting something between the singer and the mic can also cut down on harsh sounds. This makes the music sound better.

By using these advanced methods, music can sound professional. It makes sure the sound is balanced. This is great for listeners using full speakers or headphones.

FAQ

What is a de-esser and how is it used in the voiceover industry?

A de-esser is a tool for the voiceover industry. It reduces harsh "s" and "t" sounds in audio. This makes vocals smoother and clearer without losing quality.

How can I use a de-esser effectively in vocal mixing?

To use a de-esser well, start by picking the right frequency range for sibilance. Then, set the threshold and adjust the strength to lessen harsh sounds. Finally, tweak the attack time for the best control.

Where should I place the de-esser in the vocal chain?

Put the de-esser after EQ and compression but before other effects. EQ should come before de-essing. Compression should also come before to catch sibilance well.

Are there advanced techniques for de-essing?

Yes, there are advanced ways to de-ess. These include selective processing, manual editing, and dynamic EQ. These methods target specific sounds during sibilance.