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Another instance is sibilance. I’m a stickler with de-essers, I hate the way they sound strapped on the entire mix bus; it always sounds unnatural and messes with the liveliness of a mix. If the vocalist has some razor sharp S’s, I prefer to deal with each sibilant separately and precisely. So I’ll pull up my favorite de-esser like the DMG Essence and create a chain that handles one instance of sibilance and save it then move on to another one that might be more severe. I’ll create another snapshot that might be a little bit more heavy handed and perhaps introduce an EQ to help smooth things out. As I traverse through the track, I’ll get into a rhythm by identifying the pattern of sibilance and loading up the appropriate snapshot (the editor can save up to 4 snapshots). This is so wonderful because one de-esser with one setting doesn’t necessarily solve the problem. The intensity of the sibilance might vary depending on the vocal delivery and therefore your threshold and side chain frequency will need to change as well. The T’s or the CH’s might be more lower mid-rangey whereas the S’s reign around 6-8k for example.
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