How to Use A De-Esser For Vocals: A step-by-step guide

Few things are more annoying in the vocal production process than a hissing “S” sound! We all know it and suffer from it. I have had my fair share of “hisses” along my 10 year production career.

In this blog post, I’ll give you my full guide on how to use a De-esser… that heavenly tool that can magically remove these annoying harsh “s”, “z” and “sh” sounds. The technical word is Sibilance and I’ll use it throughout the post.

If you are interested in other step-by-step guides, check out our ultimate vocal production guide . And also have a look at my rundown of the best vocal production gear where you will find recommendations for the best de-essers even if you’re on a budget.

Throughout this post I’ll show you examples of a song I’m working on. You might not understand the words, but you’ll hear the effects, and I’ll highlight the differences for you.

TLDR: How To Use A De-esser

De-essing is the process of reducing harsh sibilant sounds in vocal recordings. This guide covers identifying sibilance, understanding its frequency ranges (typically 3-12 kHz), and various de-essing techniques including manual volume automation, EQ, multiband compression, and dedicated de-esser plugins. We provide step-by-step instructions for setting up and fine-tuning de-essers, tips for integrating de-essing into your vocal processing chain, and advanced strategies for dealing with multiple vocal tracks and different vocal timbres. The key is subtlety and finding the right balance between reducing sibilance and maintaining vocal clarity.

Understanding Sibilance and De-Essing Fundamentals

Let’s break down sibilance and de-essing into bite-sized, actionable chunks. I’ve learned these techniques the hard way, so you don’t have to!

Step 1: Identifying Sibilance

First things first, let’s get our ears tuned to recognize sibilance. Here’s a quick checklist:

– Listen for harsh, hissy “s”, “z”, and “sh” sounds

– Pay attention to words with lots of these sounds (e.g., “hiss”, “miss”, “shush”)

– Notice if certain frequencies seem to “jump out” in the high-end

Pro Tip: Solo the vocal track and loop a section with lots of “s” sounds. This will help train your ear to spot sibilance quickly.

Step 2: Understanding Sibilance Frequencies

Let’s break down the frequency ranges where sibilance typically lurks:

Frequency Range	Sibilance Characteristic
3-5 kHz	Occasional troublemaker
5-8 kHz	Primary sibilance zone
8-12 kHz	Extended sibilance area

Step 3: Common Causes of Excessive Sibilance

Now that we can identify sibilance, let’s look at what causes it:

1. Vocalist’s natural characteristics

2. Microphone choice (bright condensers can exacerbate sibilance)

3. Mic placement (too close can increase sibilance)

4. Poor room acoustics (reflective surfaces can amplify sibilance)

5. Excessive high-end EQ boost

Step 4: The Science behind De-Essing

Here’s a simple breakdown of how de-essing works:

1. The de-esser monitors the audio signal

2. It detects when sibilant frequencies exceed a set threshold

3. When triggered, it applies compression to those specific frequencies

4. The result is reduced sibilance without affecting the entire signal

Step 5: Broadband vs. Split-Band De-Essing

Let’s compare these two approaches:

Broadband De-Essing:

– Pros: Simple to use, often more transparent

– Cons: Can affect non-sibilant frequencies, potential for lisping

Split-Band De-Essing:

– Pros: More precise, less likely to cause unwanted artifacts

– Cons: Can be more complex to set up, might sound less natural if overdone

Feature	Broadband De-Essing	Split-band De-Essing
Definition	Reduces sibilance across the entire frequency spectrum	Targets and reduces sibilance only in specific frequency bands
Precision	Less precise	More precise
Flexibility	Limited	High
Ease of Use	Simpler	More complex

Step-by-Step Guide to Basic De-Essing:

1. Insert a de-esser plugin on your vocal track

2. Set the frequency range to target (start with 5-8 kHz)

3. Adjust the threshold until you hear the de-esser engaging on sibilant sounds

4. Set a moderate ratio (start with 2:1 or 3:1)

5. Adjust the attack and release times (fast attack, medium release usually works well)

6. Listen critically and fine-tune as needed

As always, the key is subtlety. You want to tame the sibilance, not destroy it completely. It’s a balancing act that takes practice, but once you get the hang of it, you’ll be amazed at how much cleaner your vocals sound.

In the next section, we’ll dive deeper into specific de-essing techniques and tools. But for now, try applying these fundamentals to a vocal track you’re working on.

Essential De-Essing Techniques and Tools

Let’s another more detailed look at De-essing. In essence, a de-esser is a specialized compressor targeted towards high sibiliance noises.

1. Manual De-Essing Using Volume Automation

This old-school technique is like performing vocal surgery with a volume fader. Here’s how to do it:

Step-by-step guide:

1. Identify sibilant parts in your vocal track

2. Create automation points just before and after each sibilant sound

3. Lower the volume during the sibilant sound (usually 3-6 dB)

4. Smooth out the automation curve for a natural sound

Pro Tip: Use this method for stubborn sibilance that automated de-essers can’t catch. It’s time-consuming but gives you ultimate control. Also, it’s pretty useful if you are on a budget.

2. Applying EQ to Reduce Sibilance

Sometimes, a well-placed EQ cut can work wonders. Here’s a quick guide:

Frequency Range	EQ Action	Notes
5-8 kHz	Narrow cut (2-3 dB)	Start here for most sibilance issues
8-12 kHz	Wider, gentler cut (1-2 dB)	For bright, airy vocals
3-5 kHz	Very narrow cut (1-2 dB)	Use sparingly to preserve clarity

Step-by-step EQ de-essing:

1. Insert an EQ plugin on your vocal track

2. Create a narrow bell curve in the 5-8 kHz range

3. Boost the gain to find the most offensive frequency

4. Once found, cut by 2-3 dB

5. Adjust Q (width) for the most natural sound

3. Using Multiband Compression for Targeted De-Essing

This technique gives you more control than a standard de-esser. Here’s how to set it up:

Step-by-step multiband de-essing:

1. Insert a multiband compressor on your vocal track

2. Create a band that covers the sibilant frequencies (usually 5-8 kHz)

3. Set a low threshold on this band (-20 to -15 dB)

4. Use a moderate ratio (2:1 to 4:1)

5. Set a fast attack (0.1-1 ms) and medium release (50-100 ms)

6. Adjust the threshold and ratio to taste

Pro Tip: This method is great for de-essing while maintaining the air and brightness of the vocal.

Note: Multi-band compression is a topic on its own. Check this post to get a full guide.

4. Best Software De-Essers

Here’s a quick rundown of some go-to de-esser plugins:

In the next section, we’ll walk through a step-by-step guide to de-essing vocals in your DAW. Get ready to put these techniques into practice and say goodbye to those pesky “ssss” sounds!

Full Step-by-Step Guide to De-Essing Vocals

It’s time to get into a comprehensive step-by-step guide to de-essing vocals. I’ve been through this process more times than I can count, and I’m excited to share my battle-tested approach with you. You can also find another approach I like in this blog post by Produce Like A Pro.

Let’s dive in!

Step 1: Pinpointing Problematic Sibilance

Before we start tweaking knobs, we need to know what we’re dealing with. Here’s how to spot those sneaky sibilants:

1. Solo the vocal track

2. Listen through the entire recording

3. Note timestamps where sibilance is most prominent

4. Pay attention to specific words or phrases that consistently cause issues

Pro Tip: Create a playlist of the most sibilant sections. This will save you time when you’re fine-tuning your de-esser later.

Step 2: Setting Up Your De-Esser

Whether you’re using a plugin or hardware unit, here’s a general setup guide:

Parameter	Initial Setting	Notes
Frequency	6-8 kHz	Adjust based on your specific vocal
Threshold	-10 dB	Start here and adjust as needed
Range/Ratio	3:1	Increase for more reduction
Attack	0.1 ms	Fast attack to catch quick sibilants
Release	50 ms	Adjust for natural-sounding results

Step-by-step plugin setup:

1. Insert the de-esser plugin on your vocal track

2. Set the frequency range to target sibilance (start with 6-8 kHz)

3. Adjust the threshold until you see the meter engaging on sibilant sounds

4. Set a moderate ratio or range

5. Fine-tune attack and release times

Have a look at how the de-esser works. It detects sibilance on its own and highlight it in green. You can play around with the parameters to get the sound you want. Here is a clip from a song I’ve been working on. I’m using FabFilter Pro-DS.

This is a good amount of de-essing. I adjusted the threshold knob to an appropriate level.

Below, I’ll show you the same clip but with excessive de-essing. Read on.

Step 3: Fine-Tuning De-Esser Parameters

Now that we’ve got a basic setup, let’s optimize it:

1. Loop a section with prominent sibilance

2. Slowly lower the threshold until you hear a reduction in sibilance

3. Adjust the frequency range to target the most problematic areas

4. Increase or decrease the ratio/range for more or less reduction

5. Fine-tune attack and release times for the most natural sound

Step 4: Monitoring and Adjusting in the Full Mix

Context is crucial. Here’s how to ensure your de-essing works in the mix:

1. Toggle between soloed and full mix playback

2. Check how the de-essed vocal sits with other bright elements (hi-hats, cymbals)

3. Listen on different playback systems (studio monitors, headphones, car speakers)

4. Make small adjustments as needed

Pro Tip: Use a spectrum analyzer to visually monitor the sibilant frequencies in the context of the full mix.

Here is the clip we’ve been working on in context.

Step 5: Balancing De-Essing with Other Vocal Processing

De-essing isn’t a standalone process. Here’s how to integrate it with your vocal chain:

Typical vocal processing chain:

Key points to remember:

– De-ess before heavy compression to prevent exaggerating sibilance

– If using EQ to cut sibilant frequencies, de-ess first, then EQ

– Be cautious with high-frequency boosting after de-essing

 Remember, de-essing is as much an art as it is a science. So experimentation is key and that is more important than following pre-cooked recipe.

In the next section, we’ll explore some advanced strategies and troubleshooting techniques for those really tricky de-essing situations.

Advanced Strategies and Troubleshooting

It’s time to level up your de-essing game! We’re diving into the deep end with some advanced strategies and troubleshooting techniques.

1. Parallel De-Essing Techniques

Parallel processing is like having your cake and eating it too. Here’s how to apply it to de-essing:

Step-by-step guide to parallel de-essing:

1. Duplicate your vocal track

2. Apply heavy de-essing to the duplicate

3. Blend the heavily de-essed track with the original

4. Adjust the balance to taste

Pro Tip: Use this technique when you need serious de-essing but want to maintain the vocal’s natural character.

2. Using Multiple De-Essers in Series

Sometimes, one de-esser just isn’t enough. Here’s how to chain them for precise control:

De-Esser	Frequency Range	Purpose
First	6-8 kHz	Target main sibilance
Second	8-10 kHz	Catch remaining high sibilance
Third	4-6 kHz	Fine-tune lower sibilance areas

Step-by-step guide for setting up De-essers :

1. Insert your first de-esser and set it to catch the main sibilance

2. Add a second de-esser to handle any remaining high-frequency sibilance

3. If needed, add a third for lower-frequency sibilance control

4. Adjust each de-esser’s settings for subtle, cumulative effect

Remember, with great power comes great responsibility. Don’t overdo it!

3. Adapting De-Essing Techniques for Different Vocal Timbres

Not all voices are created equal. Here’s a quick guide to de-essing different vocal types:

4. Addressing Over-De-Essing and Loss of Vocal Clarity

Oops! We’ve all been there. Listen to this track below, you’ll hear that my “s” is a little muffled. It’s subtle, but you’ll hear it. You’ll probably need headphones for that.

Use this troubleshooting checklist to fix over-de-essing:

5. Balancing De-Essing Across Multiple Vocal Tracks in a Mix

Handling multiple vocals? Here’s a strategy to keep everything in check:

1. Start with individual de-essing on each vocal track

2. Create a vocal bus and apply gentle bus de-essing

3. Use send effects for consistent de-essing across all vocals

4. Automate de-esser settings for problem areas in specific tracks

Here’s a table to help you prioritize your de-essing efforts:

Vocal Element	De-Essing Priority	Notes
Lead Vocal	Highest	Focus on precise, transparent results
Backing Vocals	Medium	Can be more aggressive if needed
Ad-libs	Low to Medium	Often benefit from a brighter sound
Group Vocals	Medium	Use bus processing for consistency

Pro Tip: When dealing with multiple vocals, sometimes it’s easier to de-ess the group as a whole rather than individually. Just be careful not to over-process!

Remember, these advanced techniques are powerful tools, but they require a delicate touch. I always like to step back and come back to the track the next day with fresh ears. I usually find that I need to slightly adjust what I did the previous day.

Like our friends’ eyes in the color correction niche, our ears can easily adapt and get used to the stimulus, so we lose the reference point. So, the best practice is to sleep on it and have another look (or listen) the next day! (if you can afford it, of course).

Conclusion:

De-essing is an essential skill in the world of vocal production, one that can elevate your mixes from good to great. Throughout this guide, we’ve explored the ins and outs of tackling sibilance, from understanding its origins to implementing advanced de-essing strategies.

Remember, the goal isn’t to completely eliminate sibilance – that would result in unnatural, lifeless vocals.

Instead, aim for that sweet spot where your vocals sound clear and crisp without any harsh, distracting elements. It’s a delicate balance, one that requires practice, patience, and a keen ear.

As you apply these techniques to your own projects, don’t be afraid to experiment. Every voice is unique, and what works for one recording might not be ideal for another. Trust your ears, take breaks to avoid ear fatigue, and always consider how your de-essing choices sit within the context of the full mix.

So go ahead and try it out. With the knowledge available here, you’ll be able to handle most, if not all, annoying sibiliance sounds.

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