Izotope Rx Sibilance

De-essing is the process of attenuating or reducing sibilance, or harsh high-frequency sounds that come from dialogue or vocals using the letters S, F, X, SH, and soft Cs.

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  • Apr 20, 2017  The De-ess audio plug-in and module in iZotope RX 6 attenuates or reduces sibilance, the harsh high-frequency sounds that come from.

It’s often a necessary process when mixing audio, but rarely is it easy—especially when you’re just getting started. Many factors contribute to the complex nature of de-essing, from the way split-band processors can impact the character of a sound, to the manner in which the human voice can change from sibilance to sibilance.

Izotope Rx Sibilance

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So I found it necessary for my practice to develop a list of dos and don’ts. It’s my pleasure to share it with you now.

Do use manual de-essing

Manual de-essing is the act of grabbing every sibilant part of a signal “by hand” and clip-gaining it down. It is a very cumbersome and annoying process, but if you’re mixing music, it’s worth it. The process can often sound more natural than other forms of de-essing. Basically, you look for the recognizable “ess” in the waveform (it often resembles a solid football), separate the ess into its own region, and clip-gain that region down.

Manual de-essing also lets you tailor how hard the offensive sibilance hits further downstream processing. This enables you to get the most out of a single plug-in chain: Nothing’s worse than breaking out a phrase into its own track during a verse because it’s not playing nicely with the plug-ins. With the help of tricks like manual de-essing, you don’t necessarily have to!

The drawback is time; manual de-essing requires oodles of time. However, it is time well spent.

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Izotope rx sibilance test

Izotope Rx Sibilance Test

Do use wide-band de-essing more often than you’d think

Wide band de-essing pulls down the entire signal when it detects a sibilance. In a way, you can think of it like automated manual de-essing.

Split band de-essing, on the other hand, splits the signal into two or three bands, and only pulls down a selected range of frequencies when a sibilance triggers the compressor. This makes the process a momentary dynamic EQ (or multiband compressor). So, for a split second, your split-band de-esser is affecting the timbre of the signal in a way that you must now account for, as it will be suddenly equalizing the signal, rather than decreasing its overall level.

Izotope Rx Sibilance Reviews

But chances are you’re going to want to use other processes to equalize your signal; these processes could very well be muddled by a split-band de-esser: it’s harder to get an idea of what to do consistently when a specific element—say, the frequency band of an ess—is constantly changing in response to a threshold. It’s one thing if the totality of the signal changes in amplitude, it’s another if only a small band of its harmonic makeup shifts. For this reason, I tend to favor wide-band de-essers over split-band, especially if they’re the first processors in the chain.

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Izotope Rx Reviews

This isn’t to say that I avoid split band de-essers. I don’t—and neither should you. They make wonderful additions to high-shelf boosts on a vocal, either before or after the EQ. But I tend to use them as a secondary de-esser, and if brightness is not something I’m trying to add overall, I tend to favor the wide band processes alone.