Klavay De-Esser
Vocal De-esser and Presence/Harshness Compressor
In every professional mixers’ toolkit is the trusty de-esser. Used primarily for vocals, a de-esser clamps down on the harshness commonly associated with sibilances in human speech, such as ess and tee. This step is crucial in achieving professionally mixed vocals. Harshness caused by sibilances are not so easily fixed through equalization as this may leave the vocal feeling less present in a mix. The solution for such a common problem is a device that suppresses the harshness when it occurs and only when it occurs. A de-esser is the perfect tool for this job as it is a compressor triggered specifically by the areas commonly associated with harshness (anywhere from 2 kHz to 20 kHz).
However, a de-esser can serve a much larger purpose than only used during a vocal production session. Innovative audio professionals know that this same trick can be used on guitars, cymbals and high hats, synths, keys, and so much more. Anything that has spikes of harshness can benefit from a de-esser. Using only Ableton Live native plug-ins, this device allows you to dial in two different compressors simultaneously (one single band Compressor and one dual band Multiband Dynamics), offering more flexibility when treating a single vocal, a drum group, or an entire mix. With the turn of one macro, you can switch between these two compressors for a wide band type de-esser and a split band type de-esser.
Enabling the wide band setting (default setting) compresses the whole frequency spectrum and is often used for single vocals. This type of de-essing creates a smooth and transparent sound, free of any phasing that may be caused by the other option. Split band de-essing compresses only above 2 kHz, preserving the lower mid range and bottom end of a sound, and is used for most instrument processing as well as group and stereo bus processing.
To hep you find those problems areas, I have included an audition function that allows you to hear only the range designated by the Band 1 and Band 2 macros. Honing in on the problem frequencies sets the side chain function to respond only to those frequencies and therefore creates a more precise de-essing experience.
Learning to use a de-esser is crucial in expanding your mixing tool kit, as this device has a wide array of uses and innovative techniques. Klavay De-esser attempts to create a more flexible use of the Compressor and Multiband Dynamics plug-ins within Ableton Live. At the same time, this device increases the ease of use of these plug-ins so that you can spend less time setting up the correct settings and quickly fix your problem.
How Does It Work
Klavay De-Esser is built with native Ableton Live plug-ins using EQ8, Compressor, and Multiband Dynamics. Both compressors are controlled by the Thresh (short for Threshold), Ratio, and Resp (short for Response) macros. However, when switching between each compressor, these setting may need to be adjusted as each compressor behaves differently. Threshold sets the level at which the compressors begin to start adding compression to the sound. Ratio, sets the amount of compression applied, based upon the input that passes the threshold. Look (short Lookahead) sets the look ahead option on the wide band Compressor (default setting), allowing for the compressor to anticipate the audio being sent into the compressor and therefore respond quicker to sudden bursts of signal. In split band mode (64-127 on the Band Type macro) this function is disabled as Multiband Dynamics has no look ahead option. Response sets the attack and release times simultaneously. In it’s default position, the attack time is set at 0.10 ms and release time is set at 30.0 ms. At its opposite value, the attack time is set at 15.0 ms and the release time is set at 1.00 ms.
Band 1 and Band 2 macros can be set anywhere from 2 kHz to 20 kHz, with Band 2 being disabled in its default position. Turning the Audition macro past 63 turns on the EQ, which allows you to hear the exact band of frequencies that will trigger both compressors. The Band Type macro switches between the wide band compressor (0-63) and split band compressor (64-127).
How To Use Mix Monitor
Compression is often best used when the producer/mixer is listening and seeing the compression in real time. I would suggest opening up the device using the Show Chain and Show Devices buttons on the left side of the rack and looking at the compression being applied to your sound. Ultimately, using your ears to make final judgements.
Applying Klavay De-Esser to a single vocal or cymbals channel may be best in the default mode (wide band), but for uses on drum buses, guitars, or an entire mix, you may want to adjust the Band Type macro to split band mode (64-127).
Next, flip the Audition macro past 63, and use the Band 1 and Band 2 macros to set the side chain input for the compressors. Use one band at a time, sweeping up the frequency range with Band 1 and then down the frequency range with Band 2, until the harshness in the sound disappears. At this point, roll back on each band until that harshness returns. In most applications, the default positions for these macros will be fine, but working in split band mode on more complex audio may require a fine tuned side chain input.
Moving to the compressor settings, begin by setting the Ratio macro. Being light on the compression pays, as this effect is best when its unnoticed, so opening the rack and setting a ratio between 2 and 4 is best. You can always set a higher ratio if the signal needs to be attenuated more. Next, leave the Look and Resp macros alone, while you begin to bring down the Threshold. Listen to the signal and make sure to notice the changes in the sibilances. The appropriate threshold level is a balance between eliminating the harshness in those sibilances, but also a fairly unchanged signal overall. Next, adjust the Resp macro if the de-esser has eliminated too much of the initial transient of these sibilances. Letting through more of the signal before it is compressed is crucial for these words to cut through a mix, so use your ears in the context of a song to make decisions based upon the response times and look ahead.
The process in split band mode is essentially the same, but because in split band mode you are compressing a specific frequency band, the compression often becomes more noticeable with a fairly higher threshold. A/B the changes by turning on and off the rack and listening for the same balance of harshness and overall tone of the signal.
TECHNICAL STUFF
REQUIREMENTS
You'll need Ableton Live Standard or Suite 9.7+ to use this device.
WHAT'S IN THE DOWNLOAD
You’ll get a Klavay De-Esser.adg file which can be dragged and dropped directly into Live from your computers file browser. You can also add it to your User Library or a custom folder in Live's browser to easily load Klavay De-Esser from within Live. I’ve also included a reference sheet for the macro values for the compressor settings (Thresh, Ratio, Look, and Resp) as the macros do not reflect the accurate information.
Good luck and have fun!