🚀 go-pugleaf

<TimothyDavid@adobeforums.com> wrote in message
news:3bbb757f.2@webx.la2eafNXanI
> "I would suggest going into edit view and zoom in to the
> sibilant problem. Then you have tools (filters) up the
> gazoo to selectively tame these nasties. Forget
> compression. Not the ticket for this relatively simple,
> and extremely success laden fix. Surgerize that shizzle
> by using your nizzle!! "
>
> You have got to be kidding me. Do you know how many
> instances of "s" there is on the culmination of tracks?
> It would take... hours. Also, it would sound butchered.
> Have you ever used a De-esser or a compressor with
> De-esser settings? Try one out and you'll have a greater
> understanding of the transparency I am looking for.

> Thanks for the suggestion anyway.

> I tried the FFT and scientific however, I don't want to
> eliminate or squash all instances of 5khz to 8.5khz, I
> just want to limit them when they start jumping 7db.

OK, that means that you need the tools in Effects,
Amplitude, Dynamics Processing.

> Perhaps you have some particular settings in mind arnyk?

I just pull up the "De-esser (High S)". prefabricated
setting in Effects, Amplitude, Dynamics Processing.

I select a recorded passage with nice spitty S's and then
run Audition in Preview mode so I can listen to the effects
of my parameter adjustments in real time.

I adjust the Graphic tab to set the threshold and
compression slope of the effect to my first estimate which
is a sharp limiting slope (nearly a flat line) staring at a
relatively low level. IOW I use the Graphic tab to set the
threshold low enough and sharp enough to have a clearly
audible effect.

I adjust the frequencies Band Limiting tab to set the range
of frequencies over which I want "action"

In your case I'd start out with Band Limiting set from 5 KHz
to 8.5 KHz.  Adjust by ear, probably adjust lower and wider,
as desired to get a fairly obvious effect.

I find that is is best to start out with settings that are
pretty obvious, and then if possible reduce and/or raise the
frequency band as well as the threshold and compression
slope, to get the desired effect.

Rarely do I find a need to play with the other parameters,
but YMMV.

The *right answer* varies a lot with the microphone, the
performer and the history of the recording. For one thing,
getting the point at which the limiting begins right, varies
greatly with the amplitude and dynamics of the recording.