calebbrennan wrote:Selig,
I want to Start with questions on the De esser
The left most knob I see isolates the sibilant and the body of the voice, and a high frequency
what do the last two settings V-S and D-S stand for?
Most of the unit is intuitive the last two knobs being
gain reduction and sensitivity.
But how does the crossover knob effect the signal and in what circumstance would I use it?
I know what a cross over is. Isolating lows, mids and highs but I hear no change when adjusting it.
is it to take even more high end from consonants when isolated?
I love the intro video on this unit and I may chose to patch the sibilence to another audio track to make it simple for myself.
By the way Giles, your choice of the "My Fair Lady" Track and the performances were superb
has to be the best track selection I've ever heard in a Demo Video!
It illustrated your point,, Yes.... but beyond that, The vocal interplay sounds to me like this song from the 1960's musical could be 2018 hit.Who sang this ? did you commission it?
Like this Hipster track
OK, first point about the De-Esser is that most of the knobs are for fine tuning the “separate sibilance” feature. For typical de-easing you use the Reduction knob and that’s it!
On the left, the D-S setting is the basic “de-ess” (get it?) function. V-S is to separate “voice” and “sibilance” so that they appear on separate outputs on the back (make sense?).
As for the crossover, it’s included for completeness, not because it needs to be set individually for each vocal. This de-esser is so simple and easily able to detect sibilance that I’ve personally never needed to adjust it on vocals - it works almost identically at any setting!
The only exception would be for instruments, where I’ve sometimes (but rarely) found it helpful to adjust the crossover to get better results.
The V-S sensitivity control is useful only when using V-S mode to separate sibilance (same for the Look Ahead button) to absolutely fine tune setting for 100% reliable separation. Like the crossover, it is included for completeness to cover even the rarest situations and ensure the device is going to deliver as promised.
But most of the time, seriously, you only need to decide how much reduction you want and it is applied across the board to ALL sibilance. And it is extremely precise on that end as well - if you say “6 dB Reduction”, that’s exactly what you will get. It will be the same as splitting all sibilance to a second channel and pulling that gain down by 6 dB with all the original dynamics intact. This is opposed to how a de-esser that uses a compressor/limiter approach works (90% of all de-essers), which will instead reduce only the sibilance above the threshold to the same level and leave the rest untouched (sibilance is compressed, the rest of the voice is not). These de-essers DO have their place when you don’t have an isolated vocal for example.
The music track is from a Utah band called “My Fair Fiend” (not My Fair Lady). This was a rare duet for the band, but I used it because it had a good amount of sibilance in the lyrics “I heard a Song bird Singing…”. They are no longer a band but the talented lead singer/songwriter Callie Crofts is still active on Twitter/Facebook/YouTube etc.
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