I have a demo track I'm using to build an arrangement of a song (all scratch) which shows lots of sibilance which I only really noticed when I stopped mixing on headphones and adjusted EQ to a less bass heavy mix (phone skewed to treble).
Vocals were recorded using Electro-Voice N/D 357 w/ no pop filter into a M-Audio profire 610 and probably my mouth on the mesh... so lots of issues with them as vocals -- but maybe a good practice track to play with.
I've rarely used this trick, but it can be helpful, and was on a recent project. The singer/mic combination I wanted for the tunes was a little too sibilant for my liking, and I was afraid the mixing engineer wouldn't have enough tricks in his bag to fix it convincingly.
Im having difficulty with sibilance in vocals I have recorded and I am looking for some useful tips and techniques.
From what I understand the best way to deal with sibilance is Mic placement.
Recently I have been placing the Mic just higher than the mouth and this has helped but I have just read in another thread 'Recording Vocals' the cons of using this technique.
Another suggestion in the 'Recording Vocals' thread was to shift the Mic to the right or left of the singers mouth. Can anyone comment on this technique?
A high frequency component of certain vocal sounds that can cause problems while recording. Usually words that start with an "s" can produce sibilance, and some vocalists are more prone to it than others. A de-esser is a device specifically designed to dynamically correct the problem without affecting the main vocal content too much.
it might not even be with Pro Tools and just the external HD i have. and I'm not super saavy with computers. BUT! when i try and start a new session or open up a session saved on my external HD it won't open it.
for instance when i try and open a session...it says "this session is saved on a volume set to 'transfer' only. if permitted set the volume(s) in question to playback or record inthe workspace."
and if i try and open a new session...it say "it must be on an audio record volume"
A little trick I hear on a lot of Ryan Adams records and other mellow roots stuff includes putting a delay on just the s's and t's of the vocal... has a nice ambient effect.
I imagine they're boosting certain frequencies in whatever their sending to the delay, but I haven't been able to quite figure it out.
(FYI: I'm on Pro Tools)
I've heard that ribbon mics are less prone to sibilance than, say, condensers. But is that just because they just have less top end?
If so, I guess this wouldn't solve a sibilance problem, because on boosting the high frequencies to get a desirable tone, wouldn't the sibilance return?
Or is there some special feature about the tonality of ribbons that
effectively reduces sibilance frequencies but allows the more desirable high frequencies to come through when eq'd?