DeEsser
Lesson 24 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
DeEsser
Lesson 24 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
24. DeEsser
Lessons
Introduction and Welcome to this Class
00:52 2Project Organization
09:47 3Faders and Panning
11:13 4Flex Pitch - Vocals
05:18 5Flex Time - Vocals
03:05 6Editing Studio Drums
09:29 7Song Mix Deconstruct - Mixing Drum Kit Designer
08:04 8Mixing Files
01:50Tips to Start a Mix
02:11 10Mixing vs Mastering
02:19 11Introduction to Mixing with Logic Pro's Audio Effects
00:47 12Channel Strip and Routing - Part 1
04:39 13Channel Strip - Part 2
07:00 14Bussed Effects
11:25 15Gain Staging Audio Tracks and Pre Fader Metering
11:44 16Gain Staging Software Tracks
03:45 17Mixing with Channel EQ
19:57 18Mixing Vocals with Compressor - Part 1
08:25 19Mixing Vocals with Compressor - Part 2
06:44 20Compressor Circuit Types
13:07 21Compression - Distortion and Limiting
10:47 22Sidechain Compression
06:37 23Compression - Part 5 (Glue)
02:52 24DeEsser
12:03 25Multipressor - Part 1
09:31 26Multipressor - Part 2 (DeEss)
06:11 27Multipressor - Expander
07:33 28Dynamics Wrap up
09:05 29Compression with Flex Pitch
04:49 30Exciter
05:03 31Noise Gate
04:14 32Noise Gate - AHR
07:16 33Noise Gate - Hysteresis
02:07 34Chorus
06:04 35Introduction to Automation
09:44 36Touch Automation
03:46 37Trim-Touch Automation
05:28 38Relative Touch Automation
04:34 39Automation Curve Tool
04:09 40SilverVerb - Part 1
18:11 41SilverVerb Modulation
02:57 42Sample Delay and HAAS Effect
05:29 43Delay - Echo
09:35 44Stereo Delay - Part 1
14:25 45Stereo Delay - Part 2
04:00 46Stereo Delay - Part 3
08:24 47Tape Delay - Part 1
13:29 48Tape Delay - Part 2
05:07 49Thanks and Bye
00:07Lesson Info
DeEsser
Hi. In this video, I'm gonna show you how to use logic pros, DS A to control Sibilants and other frequency specific issues in a recording. So, what I've done here is I've created a cycle range around a part of the vocal performance that has a little bit of sibilance in it. And what I mean by Sibilance is when I talk or sing when I pronounce the S's and the Ts and the C's in what I'm saying, those hisses that you hear and sometimes can be quite loud that is known as Sibilant and quite often in a vocal performance, whether that be a singer or just a spoken word performance of some sort. It is very common to need or to necessitate controlling of sibilants. Now, the thing with Sibilants is it's an inconsistent issue across the recording and it's an inconsistent issue in terms of the frequency content of the problem, which is why we need to use such things as DS S to dynamically control the problem frequency in a way that isn't really possible with a static EQ when you use a static EQ, you ...
apply a filter at a certain frequency and it's static, it doesn't move, it doesn't turn up or down in gain. But with ad ser you point it to a certain frequency band and when the band gets so loud it starts pushing down on the gain. So think of it as like a really small notch eq that is working only when it needs to work. So let's see that in action. Let's play this part of the vocal for the briefest of moments. I feel like I'm flying. Ok. So there's a fair bit of sibilance in this recording as you can hear when he sings for the briefest. The more from the briefest, it's a bit of sibling in there for the briefest of moments. I feel the s in moments at the end of the word is popping out a little bit there for the briefest of moments. I feel like I'm flying and that's pretty much it. So what I'm gonna do now is load logic DS R now, here I have the chain that I've been working on. But what I'm actually gonna do is bypass that for now, but I'm going to load the D er before the chain. And the reason I'm gonna do that is because generally speaking, you will want to control such issues in a recording before you go on to much more processing such as compression. And the reason that is, is because Sibilants can really pop out of a recording. It can be sometimes the loudest thing in a recording at the time. And if you haven't got that controlled, going into the compression that you're using, it can trigger the compressor in ways which can create pumping and such things later in the chain. But if you control it early in the signal chain, then the compressors and the EQS that you use after that to shape the sound and to control the dynamics of the sound can just be used for those things and not be triggered by big sibilant occurrences going in. OK. So what we've got here is we have the detector section and the suppressor section, we have two displays here. The top display is for the detector and the second display is for the suppressor. So to explain the difference between the two, the detector signal is what's used to analyze the signal and then trigger the suppressor when the signal gets loud enough in that certain band. So for example, if I point the detector at a frequency of about 4000 hertz or four kilohertz and adjust the sensitivity when the signal in that band triggers the threshold, which is defined by the sensitivity, it will tell the suppressor to start turning down at the frequency the suppressor's working at. So let me recap that. So let's say for example, that a lot of the sibilants is around four K which we can monitor here. So what I just do is turn the monitor on, turn on detector and listen to the vocal and find the frequency at which the sibilant is most pronounced. Breath is. The moments. I feel like I'm flying for the briefest of moments, I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying. Ok. So I think I'm hearing the sibilant most prominently when I adjust the band like this. And now what I'm gonna do is adjust the sensitivity until the activity. Like here is only responding is only on when the sibilance occurs. For the briefest of moments I feel. So I didn't quite catch those early sibilant bits. So I adjusted the sensitivity higher. There we go. So it's lighting up when I want it to light up for the briefest of moments, I feel like I'm flying might adjust the frequency a bit more. Let's try a higher frequency. Let's see if this higher frequency now has a massive effect on when the activity light goes off. For the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying. OK. I'm pretty happy with that. It sounds like it's pointing out the right frequencies and also the activity like kind of validates that for me as well. So now what I do is I change the monitor to suppressor and have a listen to the suppressor frequency. So the suppressor is the band that you're actually gonna turn down often it will be the same band that you detect, but sometimes having the flexibility to choose the detector and the suppressor frequency can be quite helpful. So, what I'm gonna do is start at the same frequency and see if I need to refine it from there, I'm gonna start at zero strength. So this basically determines how much it's going to turn down that band once that band has exceeded the threshold or once the activity light goes off. And let's see if this makes it too dark or if it's not taming the problem at all for the briefest of moments, I feel like I'm flying. Ok. So monitoring the suppressor frequency now, I can hear that the siblings is very much around that area, but I'm just gonna adjust the frequency from here until we get it right for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest, the moments. I feel like I'm flying. Ok. I'm just gonna leave it there for now and then switch the monitoring mode to sensitivity just to make sure that it's kind of activating and deactivating exactly at the points I want it to. So let's have a listen to that gonna turn up the smoothing to increase the attack and release times on that just to make it a little less abrupt for seven. Ok. So that's roughly fine. And now I'm gonna switch to monitor off. So now what I'll be hearing is the output of the DS R. So what it's actually doing, I'm gonna start with strength at minus 10, but if it makes the sound too dark, I'll dial back down a bit on that for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying. Ok. So what you can hear is that actually the DS is kind of cutting into the Ss and the Ts and such things. It's definitely a bit too much for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel I can fly. It's also the way it kind of changes the overall tone of the performance. Obviously, it's doing it dynamically. So it's only compressing down that band when it's so loud, but it's still having an effect on the overall tone of the sound. So I'm gonna need to dial back on that a little bit for the briefest of moments. I feel like I'm flying, I'm just turning up the frequency of the suppressor here because I feel like the frequencies that it's turning down are just a little bit too light. So I've just turned them up a little bit because for me, the sibilance is happening roughly around this frequency band here, but I'm moving the frequency that it's starting off at and rolling off from to create a kind of dynamic low shelf filter here. So the problems around here, but I wanna use this slope against it because I don't want it to eat too much into the actual frequency. I want to suppress for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel I can fly. You can hear when it's really aggressive. It almost makes the Ss and the Ts go away, which is way too much for the briefest of moments. I feel like I'm flying. OK. So I've controlled quite a bit of the sibilant with this D SA, but I feel like I've kind of done as much as I can with one D SA and sometimes I will literally stack up Ds's because at least that way I can kind of bypass different Ds and also just control specific pieces of sibilants that happen in a recording. So don't be afraid to stack them up because at least then you kind of have the option to go back to just the one before and re enable the one after that and give yourself a bit of flexibility across different dynamic processes and Ds S thanks for watching and I'll see you in the next video
Class Materials
Bonus Materials