Selig DeEsser - other uses (besides vocals)?
I remember reading on the old PUF (R.I.P.) that someone was using the Selig DeEsser on his/her acoustic guitar tracks.
Does anybody have any suggestions of other uses for the fantastic product, other than vocals? What are some other ways you use this RE?
- pushedbutton
- Posts: 1541
- Joined: 16 Jan 2015
- Location: Lancashire, UK
- Contact:
Well you know that 'Essing' sound that things make, it could be useful for sorting that out.
@pushedbutton on twitter, add me, send me a message, but don't try to sell me stuff cos I'm skint.
Using Reason since version 3 and still never finished a song.
Using Reason since version 3 and still never finished a song.
Ya think so?
I'm not sure about any 'Essing' sounds, but I make a lot of 'Effing' sounds.
I asked about this on the old board. It may have other uses, but it is 100% designed for vocal sibilance AFAIK, and does that extremely well. It is not a dynamic EQ that dips at a set frequency at a set bandwidth (like the de-esser combinator), so it doesn't work for me on acoustic fret noise, or de-honking a vocal at 2.5k, two use cases I have all the time.
Producer, songwriter, multi-instrumentalist. I make indie pop as Port Streets, 90s/shoegaze as Swooner, and Electro as Yours Mine.
It is possible for it to work on fret noise in some cases, but as mbfrancis says it's not a dynamic based device. But since fret noise is similar to sibilance, there are some cases where it will work well for this.
But I should add it was not tested nor were the algorithms tweaked to work for this application. One of the major advantages of our approach is that it works so reliably and precisely on sibilance without any setup or fine tuning. But it's also a disadvantage only in the sense that that is all you can do 100% reliably with this device.
So the answer in this case is a strong "maybe"!!!
But I should add it was not tested nor were the algorithms tweaked to work for this application. One of the major advantages of our approach is that it works so reliably and precisely on sibilance without any setup or fine tuning. But it's also a disadvantage only in the sense that that is all you can do 100% reliably with this device.
So the answer in this case is a strong "maybe"!!!
Selig Audio, LLC
I like that you can send the sibilance to its own mix channel and process it independently. Obviously great for routine studio use, but also opens lots of possibilities for interesting "niche" effects.
Indeed - by processing the sibilance differently you can do interesting things. The obvious one is adding reverb to the voice but not the sibilance (or adding the sibilance at a much lower level). This can help keep from "splatting" the reverbs with excessive sibilance. Works for delays too, and don't forget to try flangers/phasers both on voice only and on sibilance only!dvdrtldg wrote:I like that you can send the sibilance to its own mix channel and process it independently. Obviously great for routine studio use, but also opens lots of possibilities for interesting "niche" effects.
Distortion can turn sibilance to white noise at extremes, so distorting the voice but not the sibilance (or distorting the sibilance less) can actually help retain intelligibility in distorted vocals.
Finally, the obvious applications: you can brighten the EQ on the voice while not affecting the sibilance in any way when they are processed separately - very handy! You can also compress the voice and the sibilance differently to get the best of both.
I'm sure there are other even more creative applications that haven't occurred to me, so if anyone stumbles upon one please do share!
Selig Audio, LLC
Thanks for contributing to this thread, everyone. These are exactly the kinds of ideas I was hoping would be discussed here.
Hey Selig, what about the idea of running the sibilance out thru The Echo's breakout? I wonder what kind of madness that would cause? I'm going to try it now. I'll bet it gets loud and (white) noisy!
On a Kong drum track, I routed DeEsser's sibilance output to The Echo's breakout input. Then routed the breakout output in The Echo input. It's actually a really cool effect... kind of a reverse cymbal trick. The De-Esser seems like a great tool to cut some of the high pitched snare drum sounds and cymbals/hats from your drum track and reroute them to do some percussive tricks!
- Attachments
-
- de-esser.jpg (194.9 KiB) Viewed 1827 times
And I'm eagerly awaiting the Selig De-Shitter to help me clean up my sloppy guitar playing.
-
- Information
-
Who is online
Users browsing this forum: mimidancer and 35 guests