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DerrEsser uses Equalisers (HW)
Old 28th March 2009
Gear Maniac

DerrEsser uses

I’ve heard people claim that they’re using a pair of DerrEssers in their mastering chain, while I’ve also heard others scoff at the mere mention of this idea. How would it work? What do you guys think? Also, if you're using it for its primary purpose (sibilance control) during mixdown, do you apply it fully or do you keep part of the dry signal? I've heard different things and tried everything.

I’m looking for reasons not to sell my DerrEssers. People said they were so transparent when de-essing, but after working with them for awhile I don’t find that to be true at all. I had a previous post about how they were robbing my tone. Anyway, in a last ditch effort to get my money’s worth, I’m trying to find some other uses for these things... otherwise they’re gonna magically turn into a matched pair of E27s.
Old 28th March 2009
Gear Addict
toasteh's Avatar

Youre the only one to answer your own question.

1. Do you know how to use it correctly?

2. Does it sound good to your ears?

3. Does it do what you want it to?

4. Do you use it frequently and cant live without it?

More than 2 no's, and you should sell. I got the EL Lil Freq myself and really appreciate the De-esser on that one for vocals. Dont use a de-esser for anything else really.
Old 28th March 2009
Lives for gear
Guitar Zero's Avatar
I originally got mine to try to remove fret squeaks from guitar tracks, as well as de-essing vocals. For the guitar squeaks, it's not all that great. For de-essing, it's OK at best. The thing I'm really liking about it is both the high pass and low pass filters. Finding more uses for them all the time. Use it a lot, just not using it for the purpose I bought them. Even though disappointed at first, I'll be keeping it.
Old 28th March 2009
Lives for gear
Cellotron's Avatar
I use a pair in my mastering chain. Other dedicated mastering studios using them that I am aware of are Chicago Mastering (Bob Weston / Jason Ward) and Panic Studios in Seattle (John McCaig).

For me they are not a default processor by any means but are only put in line when there is big sibilance problem or when there is "poke your ear in with an ice pick" types of problems in the high end (usually resulting from percussive elements such as shakers or hi-hat that have had their hi-end boosted during mixdown).

I use them in conjunction with an analog M/S matrix if the problem is isolated to only the Mid's or the Sides so that they can be set only to process on these areas. I find that once you cross a line with the threshold that you can really darken a track so you have to set this correctly for the track. If you're seeing a lot of the gr led's triggered during a sibilant attack then you most likely should really back off the threshold if you are in fact processing the 2-track. Again - good monitoring is essential when setting these up across the 2-track - so don't get too hung up on the flashing meters and use your ears! - sometimes these things are working even when no meter is visibly triggered.

I've found an 8kHz frequency crossover point is generally a good starting point for most tracks, but again this should be adjusted for best results. I generally have them set to de-ess mode - but for brutally piercing high end the hi-freq limit mode can sometimes rescue the track.

Again - I have digital de-essing options that I do in fact find useful (i.e. Digital Fishphones Spitfish, UA Precision De-esser) and still use especially for just a few isolated incidences of sibilance - but for real problematic tracks I've found the DerrEsser can really save the day.

As always ommv. But for me the only other analog de-esser I would think of using would be the Maselec MDS-2 - and that's twice the price and not really as flexible in its controls. Frankly the DerrEssers have been one of the most satisfying of my recent purchases and I really wouldn't want to work without them as an option in the rack.

Best regards,
Steve Berson
Old 12th April 2009
Lives for gear

Could something like the DerrEsser be used for a male vocalist with a really nasal/raspy tone in the midrange? Can you select how large the mid band is?

A friend of mine uses a BSS piece for the Kings of Leon singer during their live show. He told me it really helps keep his mids in check. He also added that he dumps a lot of 2.5K.
Old 12th April 2009
Lives for gear
staudio's Avatar

I have two DerrEssers, and I think they are great at what they do, but I don't expect them to work miracles every time I have a sibilance problem. Everything is a little different than before and needs a unique treatment. On some vocals I can use one, on some vocals I need two, and on other vocals I need two and volume automation/other processing to get what I want. I am happy with them.

The high frequency limiter is also really cool for warming up cold overhead mics without making things sound dull or rolled off.
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