De-essers for the Budget minded slutski

s.d.finley · 7th December 2005

So a buddy of mine does a lot of radio VO's for his company's internet based radio show. He has told me he wants to use a de-esser, 4 channels, or at least 2 pairs of 2 channels. I have told him how I feel about de-essers, which i am of the "less is more" opinion, he agrees with this and just mainly want to take " jus a teeny weeney bit" of silibance out during tracking, and then do most of the clean up in the DAW.

His main reasons for this is he and his asst. cannot keep the CEO's and VO talents waiting TOO long while he gets his levels and such.....these guys (ALL the VO talents) have NO CLUE what is required to do all this stuff, correctly. So the less times they ask "whats taking so long" the better he looks, dig? After they all split, he has more time...

So, to make a short story even longer...

, I have very limited knowlege and use of hardware de-esser, I have a Voice master Poo

, and the de-esser is alright if used sparingly. He has a dbx DDP, but he says its too heavy handed...

So heres a couple of old ones we are interested in:

dbx 263x

old orbans

SPL's

Drawmers

and ANY others that dont suck the life out of the voice....

oh, and if they are insertable, even better!!!

thanks all!!!

sdf

Krishna · 7th December 2005

Not a gear recommendation, but possibly useful:

I've done some VO / TV audio work in the past, one 'trick' I've found that works well is to have the talent run an extra "practice run" or two to "check that everythings coming through'' and nail the EQ & set-up during these, I'd nearly always get at least a few minutes extra set-up time and it keeps them busy and takes off the pressure of having the talent tapping fingers or getting impatient.

Hell, with a few of the VO types it was all I could do to stop them from having 10-20 practice run-throughs, such was the self-love of their voices

warhead · 8th December 2005

Those old dbx ones aren't bad.

War

Albert · 8th December 2005

There's also a newer version of the DBX, the 263A. I have a pair of those and they work fine.

s.d.finley · 10th December 2005

Thanks for all the info guys, i will keep my eyes peeled for a 263a, as I checked on dbxpro site and there was no mention of them

...evil-bay it is then!!!

Anyone else?

thanks

sdf

opentune · 11th December 2005

Quote:

Originally Posted by s.d.finley

...he agrees with this and just mainly want to take " jus a teeny weeney bit" of silibance out during tracking...

Did you guys think about turning an existing comp with a sidechain
into a de-esser? The compressor would be free for mixdown tasks and
he wouldn´t have to buy a new unit..- but ok...we´re at gearslutz...

Just an idea...

Ruphus · 11th December 2005

I got the SPL and it works easier than anything else I tried.
However, if I was in the same situation again I would just cut out the offending parts, put them on a seperate track and EQ out the corresponding frequencies, then take the money and invest it into some other kind of gear.

Ruphus

s.d.finley · 12th December 2005

Quote:

Originally Posted by opentune

Did you guys think about turning an existing comp with a sidechain
into a de-esser?

Yes, I had mentioned it, but the only side-chainable comp he has is the dbx166a, and he has no external EQ, except for the DDP and a Mackie 1604, the larger 8 bus one. That would only be 2 units, and he'd like all of the units to have a simple signal chain, and of similar operation, for his sake

. Which I totally understand, hes not the biggest gear geek, hell he hasn't even heard of " Gearsluts"!

thanks tho!

sdf

darkwater · 12th December 2005

The problem may be the microphone being used. Maybe it's too hyped in the annoying sybilant frequency range, then any compression is going to emphasize that. Maybe your buddy could experiment with some different microphones and compression settings when the talent is not there.

Just a thought.... I used to record a lot of v.o. and we never used a de-esser. I believe the mic of choice was always the Sennheiser 416. That's your typical voice over choice.

7th December 2005	#1
s.d.finley Lives for gear Join Date: Aug 2004 Location: Houston, TX Posts: 3,561 Thread Starter	De-essers for the Budget minded slutski So a buddy of mine does a lot of radio VO's for his company's internet based radio show. He has told me he wants to use a de-esser, 4 channels, or at least 2 pairs of 2 channels. I have told him how I feel about de-essers, which i am of the "less is more" opinion, he agrees with this and just mainly want to take " jus a teeny weeney bit" of silibance out during tracking, and then do most of the clean up in the DAW. His main reasons for this is he and his asst. cannot keep the CEO's and VO talents waiting TOO long while he gets his levels and such.....these guys (ALL the VO talents) have NO CLUE what is required to do all this stuff, correctly. So the less times they ask "whats taking so long" the better he looks, dig? After they all split, he has more time... So, to make a short story even longer... , I have very limited knowlege and use of hardware de-esser, I have a Voice master Poo , and the de-esser is alright if used sparingly. He has a dbx DDP, but he says its too heavy handed... So heres a couple of old ones we are interested in: dbx 263x old orbans SPL's Drawmers and ANY others that dont suck the life out of the voice.... oh, and if they are insertable, even better!!! thanks all!!! sdf

8th December 2005	#4
Albert Lives for gear Join Date: Oct 2002 Location: Los Angeles Posts: 1,488	There's also a newer version of the DBX, the 263A. I have a pair of those and they work fine. __________________ http://www.misterpotts.com [URL=http://www.facebook.com/alby.potts[/URL]

11th December 2005	#7
Ruphus Lives for gear Join Date: Feb 2003 Location: Berlin / Germany Posts: 5,167	I got the SPL and it works easier than anything else I tried. However, if I was in the same situation again I would just cut out the offending parts, put them on a seperate track and EQ out the corresponding frequencies, then take the money and invest it into some other kind of gear. Ruphus __________________ "Am I the only one that tires of this "everything is subjective" watered-down-pop-culture-pseudo-philosophy bullshit?" Bravin Neff Wolgang Burr, former office leader of the German Chancellor before committee of inquiry: "You would not believe what unusual happens daily." "Patience, young Skywalker - let the object of your desires come to you." JTR "All thinking men are atheists." Ernest Hemingway

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7th December 2005	#2
Krishna Gear interested Join Date: Aug 2005 Posts: 3	Not a gear recommendation, but possibly useful: I've done some VO / TV audio work in the past, one 'trick' I've found that works well is to have the talent run an extra "practice run" or two to "check that everythings coming through'' and nail the EQ & set-up during these, I'd nearly always get at least a few minutes extra set-up time and it keeps them busy and takes off the pressure of having the talent tapping fingers or getting impatient. Hell, with a few of the VO types it was all I could do to stop them from having 10-20 practice run-throughs, such was the self-love of their voices

8th December 2005	#3
warhead Jai guru deva om Join Date: Feb 2003 Location: South Carolina Posts: 11,910	Those old dbx ones aren't bad. War

10th December 2005	#5
s.d.finley Lives for gear Join Date: Aug 2004 Location: Houston, TX Posts: 3,561 Thread Starter	Thanks for all the info guys, i will keep my eyes peeled for a 263a, as I checked on dbxpro site and there was no mention of them ...evil-bay it is then!!! Anyone else? thanks sdf

12th December 2005	#9
darkwater Lives for gear Join Date: Oct 2005 Location: Topanga, CA Posts: 1,375	The problem may be the microphone being used. Maybe it's too hyped in the annoying sybilant frequency range, then any compression is going to emphasize that. Maybe your buddy could experiment with some different microphones and compression settings when the talent is not there. Just a thought.... I used to record a lot of v.o. and we never used a de-esser. I believe the mic of choice was always the Sennheiser 416. That's your typical voice over choice.