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hey charles hoffman here from black
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ghost audio i've teamed up with sonic
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scoop to bring you a first look at solid
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state logic's ds plugin which ssl was
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kind enough to let me demo
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ds is intended for precise sibilance
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reduction and high frequency control if
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you record vocals with a cheap condenser
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mic or your vocalist happens to have a
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really wispy voice high frequency
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resonance can find its way into
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recordings when your vocalist pronounces
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words containing the letters s and t
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this resonance is most likely to occur
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to fix this you need to target those
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harsh high-end frequencies with a
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de-esser and reduce their level
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ssl's ds plug-in is unique because of
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the amount of control it provides you
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can apply mid-side processing use
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automatic over-sampling and adjust
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look-ahead options
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unlike classic de-essers ds uses a
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relative threshold that ensures
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de-essing occurs no matter how quiet or
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loud your signal is
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i've got some harsh vocals here and i'm
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going to walk you through the process of
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cleaning them up using ds
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[Music]
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what it is that you're all about being
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shitty acting crazy never call me back
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then you turn around and pay me every
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shade of black dropping my games let me
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baby like a sneaky tack
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being shitty acting crazy never call me
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back then you turn around and pay me
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every shade of black
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[Music]
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to start i want to hone in on the harsh
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frequency content that's giving me a
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problem and i can do this using the
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filter section
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the range that i've selected using this
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high pass and low pass filter is what
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will trigger the de-esser this means
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that frequency content outside that
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range will not cause ds to engage and
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apply processing the filters used in ds
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are third order butterworth filters that
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are quite sharp but allow for
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transparent de-essing you can audition
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the frequency range you've selected by
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clicking on the filters text doing this
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makes it much easier to identify the
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frequency range that's giving you issues
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i heard you were out with your friends
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talking about how you got me for life
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[Music]
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the compressor section has two primary
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controls there's a threshold knob and an
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amount knob ds uses a relative threshold
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which is what sets it apart from other
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de-essers when using other de-essers you
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set an absolute threshold level so for
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example you might set your threshold
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level to negative 10 decibels and harsh
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frequency content that jumps above that
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level gets compressed the problem with
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that is inconsistent processing gets
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applied to the quiet sections and loud
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sections of your recordings you'll
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either end up over processing loud
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sections in an attempt to ds quiet
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sections or if you bring up the
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threshold level to accommodate the loud
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sections you'll fail to tame harshness
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during quiet sections
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when using ssl's ds you set the
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threshold level relative to the loudness
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of the signal you're processing
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regardless of how quiet or loud the
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signal is de-essing will occur this
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means that once you've dialed in your
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de-esser settings it doesn't matter if
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you increase or decrease the gain of the
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signal prior to ds the de-esser will
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accommodate the change in input level
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saving you time
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as you adjust the threshold knob you'll
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notice that parts of the compression
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history graph become highlighted in
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yellow bright yellow indicates six
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decibels of gain reduction or more while
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a dim yellow indicates less than six
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decibels of compression
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sections that are gray are free of
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compression to adjust the intensity of
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the de-essing effect play around with
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the amount knob it controls how
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aggressively the signal that breaches
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the threshold level gets compressed
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target sibilance with the threshold knob
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as best you can and then turn up the
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amount knob until sibilance is no longer
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an issue if processing seems too intense
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and your vocalist starts to sound like
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they have a lisp just dial back the
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amount knob
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i heard you out with your friends
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talking about how you got me for life
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don't gotta put no effort in because you
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know that i'm
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i'm not want to stick around when i
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begin to question
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what it is that you're all about being
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shady acting crazy never call me back
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then you turn around and pay me every
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shade of black
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clicking the compressor label above the
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compression graph will solo the parts of
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the signal affected by compression this
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is helpful when you want to hear the
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effect the compression controls are
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having on your sound
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i heard you out with your friends
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talking about how you got me for life
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with this blend control moved all the
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way over to split attenuation is only
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applied to the frequency band defined in
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the filter section with the blend
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control moved all the way over to
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broadband attenuation is applied equally
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across all frequencies regardless of
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what's going on in the filters section
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at 50 you'll hear an equal blend of the
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two modes but you can select any value
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along this range to dial this in listen
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to one extreme and then the other pick
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the one you prefer and then dial back
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the slider to taste
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i heard you out with your friends
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talking about how you got me for life
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don't gotta put no effort in because you
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know that i'm alright or die the thing
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that you'll be missing
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i'm not want to stick around when i
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begin to question
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i'm not want to stick around when i
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begin a question
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one thing to keep in mind is that the
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maximum gain reduction applied in
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broadband mode is less intense than
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split mode since broadband mode affects
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the entire frequency range you're less
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likely to experience audible pumping
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effects this way
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heavy de-essing can sometimes dull your
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signal so this brightness knob lets you
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counteract that as you turn up the
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brightness knob transients above the
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high pass cutoff frequency are limited
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and boosted in level pretty
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straightforward just use your ears to
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dial in the effect
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i'm not want to stick around when i
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begin to question
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what it is that you're all about being
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shady acting crazy never call me back
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then you turn around and pay me every
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shade of black dropping my games on my
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baby like a sneak attack
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the look-ahead knob will introduce
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latency to the plug-in but it gives the
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plug-in more time to react to sibilant
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events before they occur if it sounds
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like a little bit of harshness is
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slipping through ds and you fine tune
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the other settings just turn up the look
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ahead time and that should solve the
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problem
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i'm not gonna stick around when i begin
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to question
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what it is that you're all about
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i'm not want to stick around when i
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begin to question
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what it is that you're all about
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there's the option to select between
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stereo mid and side mode if you're
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processing a mono vocal side mode is
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going to have no effect on the sound but
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if you're processing a drum buss and
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there are harsh hi-hats panned out to
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the sides that might be a situation in
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which you want to engage side mode
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leaving mid content unaffected and yes
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you can absolutely ds more than just
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vocals electric guitars symbols synths
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and string instruments can all benefit
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from de-essing when necessary
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turning on over sampling reduces
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aliasing introduced by compression and
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improves playback quality engaging over
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sampling isn't always going to make your
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audio sound subjectively better in my
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experience i found that sometimes it
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does and sometimes it doesn't it depends
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on the material you're working with it's
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great that the options there but toggle
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this feature on and off to decide if
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it's helping
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i'm not gonna stick around when i begin
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to question
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what it is that you're all about
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i'm not wanna stick around when i begin
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to question
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what it is that you're all about
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there's a handy auto listen feature that
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makes dialing and settings a little
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easier while touching parameters with
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auto listen enabled the filter section
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will automatically be auditioned when
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adjusting the high pass and low pass
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cutoff frequencies
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on top of that the compressor section
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will automatically be auditioned when
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adjusting the threshold and a mount
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knobs
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i'm not gonna stick around
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depending on the type of vocals you're
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processing you can choose between tenor
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alto and soprano presets choosing an
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appropriate starting point can reduce
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the amount of manual adjustments that
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you need to make and there are also
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presets designed for instruments for
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example you can use ssl's ds to tame
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harsh synths
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you can save your own presets which is
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helpful
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maybe you do freelance mixing work and
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the vocals that a particular artist
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sends you are always sibilant well
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create a custom ds preset and save it
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for the next time they send you vocals
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another useful feature is the ability to
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a b2 presets maybe you can't decide
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between a small or large amount value no
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problem quickly toggle between presets
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and pick the option that sounds best
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if you can't quite remember what all of
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ds's controls do there's a built-in help
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feature that you can toggle on by
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clicking on this question mark a tool
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tip will appear when you mouse over
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different parts of the user interface
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which is helpful when you're working
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fast and don't want to bother opening up
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the user manual
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[Music]
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question what it is that you're all
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about being shitty acting crazy never
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call me back then you turn around and
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pay me every shade of black dropping my
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games on me baby like a sneaky tack
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being shitty acting crazy never call me
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back then you turn around and pay me
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every shade of black drop the man games
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on me baby like a sneaky tack
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[Music]
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i heard you out with your friends
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talking about how you got me for life
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acting crazy never call me back then you
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turn around and pay me every single
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black drop that might give me baby like
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a sneak attack
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being shitty acting crazy never call me
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back then you turn around and pay me
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every shade of black drop in my
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[Music]
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the games range of features and unique
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00:11:15,600 --> 00:11:18,079
relative threshold level make ssl's ds
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plug-in an excellent option when it
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comes to de-essing vocals and
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instruments to be the first to know
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about the newest music production
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plugins make sure to subscribe to sonic
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scoop down below also give this video a
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thumbs up if it helps you out thanks for
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watching and i'll see you next time20059
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