🚀 go-pugleaf

thepaulthomas wrote:
> On Jul 24, 3:45 pm, Robert Orban <donotre...@spamblock.com> wrote:

>> It actually takes *two* compressors and a highly selective bandpass or
>> highpass filter, which a parametric EQ may or may not have. A good de-
>> esser looks at the ratio between the broadband level and high frequency
>> level and adjusts the ratio as necessary to prevent the high frequency
>> level from sticking out from the broadband level. The problem with the
>> parametric EQ/single-compressor technique is that the de-essing action is
>> highly level-dependent.
>>
>> The Orban 516EC and its successors use the "ratio" method, as do the dbx
>> de-essers, which were introduced later. The Orban de-essers use a
>> broadband level detector to modulate the threshold of a feedback
>> compressor with a frequency-dependent sidechain, while the dbx de-essers
>> use two decilinear RMS detectors, one of which is fed by a bandpass
>> filter, to compute the ratio, which is simply a subtraction in the log
>> domain.
>>
>> The esses can be reduced by at least two methods. The Orban units use very
>> quick wideband compression, which I find to be essentially artifact-free
>> if the designer has chosen appropriate attack and release times, which
>> tend to be *much* faster than commonly used for normal vocal compression.
>> (The release time of the 536 is about 30 ms.) By "artifact-free," I mean
>> that there is no audible gain pumping or other dynamic instability.
>>
>> The dbx units allow you to use either broadband GR or lowpass filtering.
>> For voice-only tracks, I strongly prefer the wideband technique, which
>> does not color the esses. Lowpass filtering can be useful if one is trying
>> to rescue a mix in which the vocal has not been correctly de-essed, but I
>> don't know of any "set it and forget it" technique for de-essing a mix.
>>
>>
>> Bob Orban
> 

Thank you for the "look behind the scenes" Bob....much appreciated 
information!!

Jeff