|
|
Post by chessparov on Feb 7, 2018 11:42:38 GMT -6
Hi everyone. Just wondered what some of your typical "starting" setttings might be for... Taming sibilants via sidechain compression? My voice has a strong sibilance peak around 6.5 KHz (handy for live performances!) and wondered where might start for "Attack & Release"-also "Ratio". For recording, however, some otherwise excellent vocal microphones have to deal with me.  One method I read is boosting the critical frequency (6500 Hertz for me)-as much as 10+ db(!). Then cutting it by the same db afterwards, without compression. Thanks for any responses, Chris |
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Feb 7, 2018 12:47:35 GMT -6
That's similar to how the vinyl RIAA curve or tape based noise reduction systems work, I think, compansion perhaps?
I'll just use a good de-esser (or single band of a multi-band compressor) to tame problem frequencies. If I want to do it really transparently I'll get down and dirty with the spectrogram and spectral editor in RX5, and attenuate them all by hand.
|
|
|
|
Post by johneppstein on Feb 7, 2018 14:00:14 GMT -6
Hi everyone. Just wondered what some of your typical "starting" setttings might be for... Taming sibilants via sidechain compression? My voice has a strong sibilance peak around 6.5 KHz (handy for live performances!) and wondered where might start for "Attack & Release"-also "Ratio". For recording, however, some otherwise excellent vocal microphones have to deal with me. One method I read is boosting the critical frequency (6500 Hertz for me)-as much as 10+ db(!). Then cutting it by the same db afterwards, without compression. Thanks for any responses, Chris I, too, have a bad sibilance problem, exacerbated for the last couple years by really annoying dentures. I've found that whenever possible addressing the problem via mic technique give far more satisfactory results than electronic processing, which I use only as a last resort. Simply turn your head to the side on sibilant syllables. As far as setting up side chain compression or de-essers is concerned, it varies with the song and sometimes the exact syllable. For me it's always really touchy between not enough and too much. The old pre-emphasis/de-emphasis trick is worth a try, but again, it can be touchy to get right. I recommend mic technique first, hail Marys only if necessary. |
|
|
|
Post by johneppstein on Feb 7, 2018 14:03:18 GMT -6
That's similar to how the vinyl RIAA curve or tape based noise reduction systems work, I think, compansion perhaps? I'll just use a good de-esser (or single band of a multi-band compressor) to tame problem frequencies. If I want to do it really transparently I'll get down and dirty with the spectrogram and spectral editor in RX5, and attenuate them all by hand. Riaa curve is pre-emphasis/de-emphasis. In the days before Dolby engineers used to use the technique to reduce hiss on analog tape. |
|
ericn
Temp
Balance Engineer
Posts: 14,987 
|
Post by ericn on Feb 7, 2018 16:13:46 GMT -6
Doesn't everybody use a Fairchild on a side chain like JJP did to make John Mayer lispenable?
|
|
|
|
Post by chessparov on Feb 7, 2018 22:51:56 GMT -6
Thanks guys. Sometimes I use Bremmers MultitrackStudio to record, and it has a nice de-esser (nice DAW too).
+1 also on John's post, I'm also realizing the value of a good (let alone great) room. By getting 12-18" away from a LDC microphone,
really tones down any sibilance issues on me too.
Eventually I may try "Fairchild" idea too eventually, but it'll be a plug-in!
I just think it might be fun, to experiment with some settings-and learn more in the process.
Chris
|
|
|
|
Post by Johnkenn on Feb 10, 2018 9:21:44 GMT -6
Yeah miltiband compressor with the offending frequency being controlled.
|
|
|
|
Post by jazznoise on Feb 10, 2018 9:35:49 GMT -6
De-essibg is tough to get right. I usually brighten the vocals before the compression, and then take care with the attack setting. Eq any slap or reverb sends as they can really emphasise sibilence. If it needs more top, the Dolby A trick works great.
|
|
|
|
Post by chessparov on Feb 10, 2018 15:16:31 GMT -6
Thanks jazz & John. Yes, I need to start learning about multiband compression & more regarding EQing any reverb and/or slapback.
Even on an Oktava 219, I can get essey-sheessssh! :-) Chris
|
|
|
|
Post by Johnkenn on Feb 10, 2018 21:22:46 GMT -6
Thanks jazz & John. Yes, I need to start learning about multiband compression & more regarding EQing any reverb and/or slapback. Even on an Oktava 219, I can get essey-sheessssh! :-) Chris Check out the Fabfilter Pro-MB...and an absolute lifesaver is the Soundradix Surfer EQ. |
|
|
|
Post by chessparov on Feb 11, 2018 12:47:48 GMT -6
Fabfilter & the "Surfer EQ", look super cool. I'm going to pass the word to two of my recording buddies. One has an excellent project studio,
the other is probably starting a commercial studio, before the end of the year. BTW over the years, I bought/sold quite a number of quality dynamic microphones,and found an excellent vocal mic match. It's the AKG D790 and has a lot of similarities to my (then) "runner up" favorite, the Beyer M88.
I was bummed that the Beyer booth at NAMM, didn't have the M88 or 441 out for testing. In any event, I'll probably get another M88,
now that my voice has darkened a bit in the last 10 years.
Chris
|
|
