Pro Tools Tutorial - How to Fix Sibilance in Voice Recordings with a De-Esser
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- čas přidán 7. 08. 2024
- Is your vocal or dialogue track sibilant? Do the ESS and EFF sounds ping your ear like a crash cymbal? In this Pro Tools mixing tutorial I go over how to fix sibilance in a recording with both the stock AVID De-Esser as well as the Fabfilter Pro-DS.
0:00 Intro
1:02 What is sibilance?
1:47 What is a De-Esser?
2:10 EQ Plugin Walkthrough
3:01 Voice Examples of Sibilance
4:12 Starting with plugins bypassed
4:41 Automating the stock De-Esser on each voice
7:02 Copying settings to Fabfilter Pro-DS
7:31 Stock AVID De-Esser vs Fabfilter
8:55 Wrap-up and overview
9:20 Mic placement for sibilance
9:47 Start with stock AVID de-esser, then buy better when you need it
10:25 Outro
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Hi there! Loving your videos! Could you do one on the Pro Tools automation window? I'm sure your take on it would be awesome!
Hmm, could be short! Good idea
Thank you, Thomas!
Thomas, if you have time-will you bless us with a video on how to fix mic handling noise? I see comedians use Sure SM58's with specials on popular networks and zero mic rumble.
Good idea, I’ve done a few comedy specials. Usually sm58s don’t have too much handling noise above 100hz
@@ThomasBoykin I own a sm58-like you said, it’s good for mic handling noise yet mine still gets rumble when re-gripping. I’ve notice while there is a few videos on CZcams with prevention of mic handling noise; there is none on fixing the rumble once it has been recorded and you’re the audio repair god. 🙌
Can you do a segment on mixing for television and mixing for movies what the differences are and what sound specs are usually requested?
Thomas, by using Write to all enabled instead of manual Write to selection, you're writing the entire board state to enabled automation categories on the given track, so if this was a mix with some automation going already, you'd be in danger of overwriting your volume, send automation or pan moves unless you disable these in the automation window (and have only writing to plug-in automation enabled).
If you used the manual Write to selection command, only the actively writing parameters that you actually touched in the current automation pass (and that made the automation banner turn green on the track) will be written without risking overwriting anything else, just make sure you made the selection before hitting play, else your risk writing to the entire length of the timeline.
As a bonus, this would allow you to use Suspend Preview to quickly A/B your changes before writing them.
Correct me if I'm wrong. Love your tutorials!
I may have misspoken, I almost exclusively use write to selection
SA2 is a GOAT
Is it possible go get practice material anywhere to practice audio post?
I've never been really convinced by ducking only high frequencies. If you look at ss on a spectrogram they start quite low (maybe like 3k, from memory) and thats also what you hear on a phone for example.
Hi Tom, thanks for the great video I have a question not related to this video, I remember watching one of your videos ( coouldn't find which one or maybe it was a dream?) where you are adjusting the loudness of dialogue with avid audio suite pro limiter analyser and then you adjust the gain more or less automatically to be in the ball park of -27db lufs, could you point me out in the direction of the video or explain the process here? Thanks again for the great channel
Ideas for video is to watch your entire workflow process of postproduction a film.
Starting that next week
Try weiss deess. It's really transparent. Blows fabfilter out of the water.
Nah, I’m done chasing the plugin dragon
Hi. I hope you're well. I just wanted to ask a question with regards to translation on cellphone. The director I'm currently working with only checks the mix of each episode on his iphone and if it passes the iphone test then he is happy. The one thing i find challenging is getting my ambiences and environmental information to really translate well on a cellphone. Everything thing else translates quite well on phones. Im hoping I can get some enlightenment on this from yourself and the community.
Those sounds are the first to get lost in translation to a small device. They are also the least important sounds. Pick some moments where a specific sound can poke through, then let it get out of the way.
@ThomasBoykin Thank you for getting back to me. How do you then approach or account for room tones that sound good and full on large systems but feel empty on smaller systems?, especially with so many people streaming on these smaller devices nowadays.