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Repairing Rode NTK damage
Old 13th June 2006
  #1
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marchhare's Avatar
 

Repairing Rode NTK damage

I know this is a subjective question, but I'll ask anyway. I'm in the middle of
remixing a bunch of old stuff that probably should have gone out already, but I'm
stuck. The lead vocals were recorded with an NTK through a Vintech 1272 into
a Really Nice Compressor. They seemed fine at the time. Now they're so sibilant
that it's making my eyes water in some places. I've spent the last two days
automating the ess's. I've got the Waves de-esser on the track. And now, I just
ran it out to my DBX 160X and back in. I think it's getting better, but I could be
wrong. Any tips would be greatly appreciated. Also, is it insane to have the
threshold pulled back on the de-esser to -35? It seems extreme to me. And
while I've got your attention, is there some magic high frequency I can add
back in after the de-ess to put some sparkle back in without making the sibilance
worse? I'll try anything at this point. Thanks for your expertise.
Old 13th June 2006
  #2
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I have an NTK and know the problem. (Although better mic placement can help, but i guess it's too late for that now).

Are you trying to use a lot of extra compression and reverb? That will aggravate it, but you can try this:

Clone the vocal track, and then use extreme de-essing and low-pass shelving, and use that to feed the reverb only. Don't compress this track - it's only purpose is to feed the reverb with a non-essy input.

Try parallel compression, so you don't need to compress the main vocal track. Clone the track, and use extreme dessing, then compress the snot out of it, and mix that in underneath the main vocal (time/phase align if necessary). That gives you the meat you were wanting from compression, without actually compressing and maximising the sibilance.
Old 13th June 2006
  #3
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Oldone's Avatar
Quote:
Originally Posted by Kiwiburger
I have an NTK and know the problem. (Although better mic placement can help, but i guess it's too late for that now).

Are you trying to use a lot of extra compression and reverb? That will aggravate it, but you can try this:

Clone the vocal track, and then use extreme de-essing and low-pass shelving, and use that to feed the reverb only. Don't compress this track - it's only purpose is to feed the reverb with a non-essy input.

Try parallel compression, so you don't need to compress the main vocal track. Clone the track, and use extreme dessing, then compress the snot out of it, and mix that in underneath the main vocal (time/phase align if necessary). That gives you the meat you were wanting from compression, without actually compressing and maximising the sibilance.

The peak on this mic is at 2.27KHz. I always dip this about -5db and then run it through the compressor. May change depending on the vocalist but its around this range. Run it through an analyzer to find the bad spot.
Old 13th June 2006
  #4
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Thank you! That makes complete sense. I will try and report back. I love this
site. Ask anything, and ten minutes later, you get an answer. As far as mic
placement goes; you're dead on. It's just that the only thing I like about this
mic is the proximity effect. If you move back five inches, it gets really small.
Old 13th June 2006
  #5
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marchhare's Avatar
 

While I was writing my response to Kiwiburger, I missed your post. I was guessing
about the peak and tried pulling out around 3k. I'll try your frequency. Thanks.
Old 13th June 2006
  #6
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marchhare's Avatar
 

It's working great. Copied the track, low passed, de-essed, pulled out 2.27K. Much, much better. Thanks so much. I love this forum.
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