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.
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?
i had the ball off of my 58 for a while, people may have poked on it.
I notice some sibilance on vocals, kind of ugly... could the poking have caused this? or is this how this mic sounds? I sang about 6 inches away. it still sounds fine on certain guitar amps
I am doing voiceover work with a female who has a sibilant voice.
I am using a RØDE NT2000 into a MOTU 896HD, utilizing the onboard preamps.
A previous session yielded an amount of sibilance that was hard to get rid of using a de-esser plug-in.
Are there any techniques (mic placement etc...) I can use while recording that will get rid of the sibilance while not overly affecting the wipsier, delicate qualities of her voice?