If you're still having trouble, try supplementing the filter with a whopping peak EQ boost at about 7.5kHz. Whichever way you use, the simplest thing is to try high‑pass filtering the detector signal at around 4kHz, and you might find that this is all you need to do to get your dynamics processor triggering reliably. Some all‑in‑one 'voice‑channel' processors allow you to switch their EQ into the detector circuit, but more often than not engineers set this up manually, using a separate 'side‑chain' or 'key' input on a stand‑alone dynamics module. If you can isolate just the sibilant frequency region in the dynamics processor's detector circuit, the processor's Threshold control can be set so that it only reacts to the sibilance. This works by virtue of the fact that sibilant noise bursts are usually focused somewhere in a region from 4-10kHz, and within this region they'll be much higher in level than any other element of the recording. These rely on tuning dynamics processors to respond only to sibilance, a feat which is achieved by EQ'ing the signal feeding the processor's detector circuit independently of the signal passing through the processor's gain‑reduction element.
#Compress sound file in goldwave manual#
Given the dread with which most people look on the idea of manual de‑essing, it's hardly surprising that a number of more 'set‑and‑forget' shortcuts to solving the sibilance problem have arisen.
#Compress sound file in goldwave software#
Manual de‑essing isn't exactly an enthralling task, but it's nonetheless pretty straightforward to carry out in modern software recording systems, because sibilants show up on the vocal waveform as dense pseudo-random regions, which are a doddle to pick out by eye. Dedicated de‑essing plug‑ins like Universal Audio's Precision De-esser (left) may be all you need, but attenuating each sibilant manually using automation (above) allows you to be more selective. Some engineers do this manually, either by carefully editing vocal sibilants onto a separate track or by using detailed fader automation. The simplest approach to de‑essing is to turn down the level of the vocal signal whenever sibilance occurs. Basic De‑essing: Two Different Approaches So in this article I'll explore in more detail the various tools that the mix engineer can call upon to deal with it. Whatever its root cause, excessive sibilance is a persistent concern in vocal production, but discussion of it tends to get relegated to a footnote in articles about compression or EQ. Compression is also part of the problem, because most compressors won't react a great deal to the high‑frequency energy produced by sibilance, so the sibilants will be controlled less assertively than the rest of the vocal signal, therefore rising in level, relatively speaking. High‑frequency EQ boost is par for the course on many recordings, to get the vocal to sound close to the listener and to cut through the mix, and this will clearly add emphasis to sibilants.
![compress sound file in goldwave compress sound file in goldwave](http://www.mysite.url.tw/digit_teach/2009/audio/no02/goldwave013.jpg)
Mix processing of vocal parts is also a culprit. The choice of mic can compound the problem, because bright mics are usually favoured for a forward‑sounding timbre, and the most commonly used design, the large‑diaphragm condenser, can have harsh‑sounding high‑frequency capsule resonances, especially in the case of budget models. For a start, the overwhelming preference for close‑miking vocals tends to highlight the noise components, and matters are often made worse if the vocal mic is positioned on the horizontal plane of the mouth, where sibilance is typically focused. Sibilant sounds (or sibilants for short) often pose technical problems in modern music, because a number of routine production decisions can conspire to emphasise them unnaturally. When we talk about sibilance in relation to a vocal recording, we're referring primarily to the 's' sounds noisy high‑frequency consonants created by the turbulence as air whistles through a singer's teeth. Songs suffering from superfluous sibilance? Study SOS's super strategies for sorting esses.