Compression often can bring out the sibilance in a vocal; so unless they're really subdued, you're gonna run DS after any compression that's doing more than 1-2db of GR to the HF range of your vox. Plosives aren't much of an issue in the same way, as they're usually too loud to start with and get compressed down. Sibilance is the opposite.
My go to FX Chain for Vocals: Input (→ Denoiser*) → Comp (→ Denoiser*) → EQ → De-Esser → Saturation → all the other fun stuff, like octavers, reverb, delay, slapback, pitch shifting, fancy vocoder shenanigans (which are all on Return Channels, cuz deng is it hard to do that on a single track without overheating any CPU). *The placement of the Denoiser highly depends on the sample I'm using and i wish you made a similar micro series on Denoiser plugins, cuz the heck are these even doing? Why does it sometimes need to be first in chain and sometimes just can't understand what noise even is if I don't bring up the noise floor with the makeup of the comp?? Is there an engineer who's willing to explain this to me??? 😫
@LucasMessore recording environment, analogue sound processing, mic choice, plugins... They're in order of most to least common and I'm sure I left out some of the noise' sources.
![Шипящие и свистящие в вокале - укрощаем [Звукозапись без пафоса]](/img/1.gif)
Put Ss on a separate track and adjust the volume
what is an easy way to put all the Ss on a different track?
Compression often can bring out the sibilance in a vocal; so unless they're really subdued, you're gonna run DS after any compression that's doing more than 1-2db of GR to the HF range of your vox. Plosives aren't much of an issue in the same way, as they're usually too loud to start with and get compressed down. Sibilance is the opposite.
My go to FX Chain for Vocals: Input (→ Denoiser*) → Comp (→ Denoiser*) → EQ → De-Esser → Saturation → all the other fun stuff, like octavers, reverb, delay, slapback, pitch shifting, fancy vocoder shenanigans (which are all on Return Channels, cuz deng is it hard to do that on a single track without overheating any CPU).
*The placement of the Denoiser highly depends on the sample I'm using and i wish you made a similar micro series on Denoiser plugins, cuz the heck are these even doing? Why does it sometimes need to be first in chain and sometimes just can't understand what noise even is if I don't bring up the noise floor with the makeup of the comp?? Is there an engineer who's willing to explain this to me??? 😫
What's causing all that noise?
@LucasMessore recording environment, analogue sound processing, mic choice, plugins... They're in order of most to least common and I'm sure I left out some of the noise' sources.
Sounds better without the de-esser. The de+esser gives her a lisp and contributes to unnaturality of sound, or deadening by 1000 plugins.