Originally posted by dabmeister17:
Is this used to control sibilance only or is this something used to control the character within either gender of vocals ?

:) Hey Dab, IMO, I would say yes, like if you want a breathy vocal sound, or even a whisper, or an in your ear sound, it must be rich in highs, but still under control. You can find plenty more in this earlier group of threads.

(Dead Link Removed)

--Rick

Rick--

Thanks for the flashback. This subject is one that i have sssstruggled with recently. I'm trying to use a parametric EQ - and RM's post put it all into perssspective. You guys are amazing.

If this gets revisited - I have a question to pose: What about finding the freq most occuring with the "s" and chain that into my compressor's side then playing with the settings?

I concur with RM that actually riding a fader within the DAW would be the Bomb. Unfortunately I'm dealing with a 3 hour live show . . .

scott sends . . .

Originally posted by Scott Fouts:

If this gets revisited - I have a question to pose: What about finding the freq most occuring with the "s" and chain that into my compressor's side then playing with the settings?

This should work just fine. I myself was doing a live radio braodcast last week, in a room with a Neve VR. All the dbx 902's were being used to I used the board EQ sidechained into the board compressor. I used the narrowest Q , EQ boosted all the way and dialed around till the esses came under control. I then slapped a eq after my limiter and compressor on the insert to give me back the bit of 10K I was boosting with the board EQ (on the previuos vocal...it was two bands in a row).
Side chain EQ into Compressor = DeEsser

I have always tried to de-ess with the sidechain method. But I never can get it right, I boost up the hi eq with the narrowest curve it has and sweep it around. I set the comp to fastest attack and very fast release, I havent turned the release knob all the way over but real close, I've tried anywhere from 4:1 to 10:1 ratios. That is why I think my micing tech my by wrong. I have altered it alittle and am happier with the results so far, but its because I havent had any ess problems. I havent tried adding an eq after the de-ess though.

I concluded from the last de -ess thread that when it really matters, I will do volume adjustments within the DAW.

I also havent been able to try the DBX 902 yet.

Originally posted by Hack:
I have always tried to de-ess with the sidechain method. But I never can get it right, I boost up the hi eq with the narrowest curve it has and sweep it around. I set the comp to fastest attack and very fast release, I havent turned the release knob all the way over but real close, I've tried anywhere from 4:1 to 10:1 ratios. That is why I think my micing tech my by wrong. I have altered it alittle and am happier with the results so far, but its because I havent had any ess problems. I havent tried adding an eq after the de-ess though.

I concluded from the last de -ess thread that when it really matters, I will do volume adjustments within the DAW.

I also havent been able to try the DBX 902 yet.

The EQ after the Lim/comp, for me, was only becuase the mic in question was a SM7 and I wanted a little more top (and I didn't have a dolby stretch available [ moddified dobly 'A' card used to add "air").

RM,

(not just RM - but all of you guys.) Thanks for the info - but especially for the info in your archived post and the last response. I'm headed back into "the room"!

scott sends . . .