Some studio problem solvers get overlooked simply because they do the job well with zero fuss. A good candidate for this is the humble, ever-consistent de-esser. We discover how one still manages to offer something different.

De-Essing - What Can It Achieve?

Before the dedicated de-esser, engineers found other ways to deploy frequency-sensitive compression to reign in overt “ess” sounds on vocals. While mic selection and technique are, for some, still the ultimate de-esser, techniques to fight the fizz with custom signal chains eventually gave way to dedicated units that appeared from the 1970s onwards.

However signal de-essing is achieved, at its heart is frequency-sensitive compression, where the sidechain listens to a filtered version of the source centred around the offending frequency. Many solutions then allow the either band-split operation where only the offending frequency is dipped, or wideband operation where the filtered sidechain controls compression across all frequencies. In most cases, the one to use will be that offering the best fix with the most transparency. This often boils down to the width of any filtering employed.

De-Essing - The Bad News

Just as with other types of dynamic processing, de-essing is susceptible to inconsistent performance when presented with varying levels. Of these, voices (especially those recorded close-up) present the double-edged sword of dynamic variations, added to the simple fact that listeners are hard-wired to notice when voices don’t sound right. Engineers can automate threshold, but this requires skill, and the one thing no-one wants to use up: spare time.

Making It Work

In the video, we use McDSPs DE555 to de-ess some dialogue in a familiar scenario. This tool features some unique controls; certainly its threshold-less operation will be welcomed by anyone working very dynamic audio. After ironing out the Esses, we then deploy DE555’s chops on something completely different…

DE555 Features In Full:

• Shift - When using DE555 HF only mode, the frequency shift control will move around the HF only processing as much as one octave below or above the selected key frequency. Very useful for attenuating different frequencies other than the original key frequency.

• Advanced de-essing technology

• Unique key filter focus and de-essing controls

• Real-time metering and key filter response plot

• High frequency (HF) only option

• Double precision processing

• Zero latency

• Collection of presets from award winning mix engineers

• Mono and stereo versions

Prevent Or Cure?

When it comes to reigning in fricatives, engineers have two options (or three for anyone who’s feeling handy with an EQ and compressor). Capturing sources that do not require de-essing in the first place should be the first port of call. Some mics do nothing to ameliorate hisses and whistles on certain voices, however when there is no other option, working slightly off axis and/or from above can help, as can working further away. The second is to employ a de-esser, either to exert subtle control to help place sounds, or to deploy the nuclear option to ‘stand on’ extreme sizzles. With many finding themselves using mix fixers, a tool like DE555 starts to make life easier compared to setting up more basic tools, with its threshold-less operation bringing a way to de-ess differently.