When Should You De-Ess?Д«elow, we'll share our favorite use cases for pulling out a de-esser, including vocals, guitars, synth stacks and even mastering. An overly harsh top end can actually make the experience of listening to music quite painful. This is also especially true for music that we want to be played on club systems or at festivals. If the top end is messy or has esses popping out, it will make the record difficult to listen to and could even cause ear pain or fatigue. ItвЂ™s also important to recognize that a lot of music is played on small earbuds and phone speakers, which conveniently accentuate the top end (yes, that was sarcastic). These sounds get especially pushed forward once you apply additional tools and effects to your mix.ДЇor example, compressors react a lot stronger to lower frequency content, so as all the lower-end information is triggering the compressor and getting squashed down, the extremes of the top end tend to get pushed very loud. They can also cause a vocal to sound unnatural and odd. Why Should You De-Ess?Д®sses and вЂњshвЂќ sounds (known as вЂsibilanceвЂ™) live in very high-frequency ranges and can be loud, harsh, and annoying to the listener if left untamed. In fact, weвЂ™ve created the ultimate guide to de-essing so you can bring not just your vocals - but your entire mixes to the next level. Historically known as a technique to treat vocals, weвЂ™re going to go way past that. On very difficult sibilant cases it may require that you automate the frequency that you're targeting to grab it all.De-essing is easily one of the most overlooked tools at your disposal that can make or break a mix. The key is to make sure you're just grabbing the sibilance and nothing else. But really you can construct a de-esser with any parametric EQ and a compressor that has a sidechain input. A great freebie for de-essing is the excellent Spitfish already pointed out by Rikki. A bit slow to do, but sounds crystal clear when done.ДЄnd that is about all I can think of off the top of my head. Basically, locate the sibilant sections and turn them down by hand. You can use Edison for it or an automation clip. This is a far more fiddly setup to get correct, but it will likely be very transparent once configured properly.ДҐ. Set up in much similar way to the Fruity Limiter & Parametric EQ2 except that instead of feeding the sidechain of a compressor you'll be using the Peak Controller to automatically adjust the gain. This will essentially be set up just like the Fruity Multiband Compressor so no surprises there.Д¤. Alternatively, you can use the Mid band as a BPF to control the sibilance.ДЈ. However, you'll basically only use the High Band of the compressor as you can tune its filter to take out just the sibilance. With this one you don't have to do any fancy routing in the Mixer to use. Alternatively, with the PEQ2 you can make the filter a BPF instead allowing finer control over what exactly the compressor will react to.Дў. It will require quite a bit of tweaking to sound right but it will work without much of a problem. This HPF'd vocal will then feed the sidehcain of the Limiter. Additionally, with Insert 3 you'll put PEQ2 on there with just a HPF. On Insert 3 make sure it isn't feeding into the master either, but is feeding into Insert 2. On Insert 2 insert the Fruity Limiter and make sure this insert is going out the Master. Insert 1 feeding to Inserts 2 & 3, but not being sent to the Master. How this works is to mult out the vocal track where you have the dry vocal itself being sent to two inserts e.g.

There are a few ways to build a de-esser in FL.

Fl studio de esser