Tillie Doyle
Sibilance is a common issue in vocal recordings, characterised by harsh s, t, ch, and th sounds that can detract from the listening experience. While some sibilance is normal and even aids in speech understanding, excessive sibilance can be unpleasant and distracting. To address this, audio engineers employ various techniques during recording and mixing, such as microphone placement, using de-essers or compressors, and physical tricks like attaching a pencil to the microphone. The goal is to reduce the harshness of sibilant frequencies without compromising vocal clarity and intelligibility.
| Characteristics | Values |
|---|---|
| Sibilance | The harsh sounds produced by certain consonants; the most common perpetrators are S, T, Z, Sh, and Zh sounds |
| De-essing | The process of reducing the level of sibilant sounds to make the vocal sound more pleasant |
| De-esser | An audio processor developed to get rid of sibilance by applying compression, gain reduction, and EQ settings to a narrow frequency band |
| Microphone placement | Moving the microphone away from the vocalist and positioning it above or below the line of the mouth can reduce sibilance |
| Distance | Keeping a distance of 6 to 10 inches between the vocalist and the microphone can help reduce sibilance |
| Angle | Angling the microphone at a 45-degree angle can reduce the amount of sibilance hitting the microphone directly |
| Pop filters | Designed to remove booming sounds from plosives, but they don't typically help with sibilance |
| Pencil trick | Attaching a pencil to the grill of the microphone can reduce the high-end harshness in the sibilance |
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What You'll Learn
Move the vocalist further from the microphone
Moving the vocalist further from the microphone is one of the most effective ways to reduce sibilance. Sibilance is caused by the harsh sounds produced by certain consonants, most commonly "s", "t", and "z", which create turbulence in the vocal tract, resulting in a distinctive hissing sound. When a vocalist is too close to the microphone, these sibilant sounds are exaggerated and can become overwhelming in the final recording.
The optimal distance between the vocalist and the microphone depends on several factors, including the type of microphone and the singer's technique. A good starting point is to position the microphone around 6 to 10 inches from the vocalist's mouth. This distance allows the high-frequency sibilant sounds to dissipate before reaching the microphone, reducing their presence in the overall sound waves.
It is also important to consider the placement of the microphone capsule relative to the vocalist's mouth. Sibilance is most pronounced when the microphone is directly in line with the path of the singer's breath. By angling the microphone slightly off-axis, you can reduce the amount of sibilance that hits the microphone directly. This technique also helps to lessen the top-end frequencies, resulting in a more balanced sound.
Additionally, the choice of microphone can significantly impact the amount of sibilance in a recording. Some microphones, such as large-diameter condenser microphones, emphasize lower frequencies and can help reduce sibilance. On the other hand, small-diameter condenser microphones tend to bring out sibilance due to their emphasis on higher frequencies. Therefore, it is recommended to choose "darker" sounding microphones that are less sensitive to the upper-frequency range where sibilance occurs.
It is worth noting that every vocalist is unique, and techniques that work for one singer may not yield the same results for another. Experimentation and adjustment are crucial to finding the right balance of distance and microphone placement for each vocalist. Additionally, combining multiple techniques, such as microphone positioning and the use of de-essing plugins, can further help in reducing sibilance and creating a more polished final product.
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Use a microphone with a darker colour/character
Sibilance is a common issue in vocal tracks, referring to the harsh sounds produced by certain consonants, typically "s", "t", "z", and "ch" sounds. While some sibilance is normal and can even aid in speech understanding, excessive sibilance can create an unpleasant tone that detracts from the listening experience.
To address sibilance, various techniques can be employed during the recording and mixing stages. One approach is to use a microphone with a darker colour or character. Here are some insights on this method:
Microphone Selection
When aiming for a darker tone, consider choosing a microphone with a more rounded response to high frequencies. Some classic studio microphones are known for capturing high frequencies in a smoother, less bright manner. For example, the Octava mics are recommended as affordable options for achieving a darker sound. Additionally, ribbon microphones are often associated with darker tones.
Preamp Selection
In addition to microphone selection, consider choosing a preamp that lends a darker, warmer character to the recording. Preamps can impact the overall sound, and certain preamps may help compress high-end frequencies, resulting in a darker tone.
Microphone Placement
The placement of the microphone during recording can significantly affect the amount of sibilance captured. As sibilance is most prominent when the microphone is close to the singer's mouth and in the direct line of their breath, moving the microphone slightly further away and positioning it above or below the mouth can help reduce sibilance. A reasonable starting point is to position the microphone 6 to 10 inches from the vocalist, depending on their comfort and the microphone type.
Microphone Angle
Experimenting with microphone angle can also help reduce sibilance. By angling the microphone slightly off-axis from the singer's mouth, you can decrease the amount of sibilance directly hitting the microphone. This technique can also help reduce plosive sounds.
EQ Settings
While microphone placement is essential, EQ settings can also be used to fine-tune the darkness of the microphone sound. Adjusting the EQ to target specific frequency ranges associated with sibilance can help reduce its harshness. However, it is crucial to keep in mind that excessive compression can accentuate sibilance.
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Angle the microphone away from the vocalist's mouth
Sibilance is the common name for the harsh sounds in the human voice such as "s, t, ch, th, z, sh, and zh. It can create a harsh, unpleasant tone in vocal recordings, detracting from the listening experience.
One way to reduce sibilance is to angle the microphone away from the vocalist's mouth. This technique is based on the understanding that sibilance is directional, with high-frequency sounds travelling straight out and downward from the vocalist's mouth. By angling the microphone so that it's not in direct line with the singer's mouth, you can reduce the amount of sibilance hitting the microphone directly.
The recommended angle for the microphone is 45 degrees. At this angle, the microphone will still capture the vocalist's voice effectively while reducing the amount of sibilance. It's important to note that the microphone should be aimed at the singer's mouth, while the singer aims towards a pop filter at a 45-degree angle.
Additionally, distance also plays a crucial role in reducing sibilance. The general guideline is to position the vocalist around two fist lengths (approximately 6 to 10 inches) away from the microphone. This distance helps to dissipate the high-frequency sibilant sounds, reducing their presence in the overall sound waves.
By combining the appropriate microphone angle and distance, you can effectively minimize sibilance and create a more pleasant and balanced vocal recording.
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Use a De-Esser plugin
Sibilance is a common issue in vocal tracks, referring to the harsh sounds produced by certain consonants, most commonly "s", "t", and "z". While some sibilance is normal and can even help with speech understanding, too much can create a harsh and unpleasant tone.
De-essing is the process of reducing the level of these sibilant sounds to make the vocal sound more pleasant. One of the most popular methods to de-ess a vocal is to use a de-esser plugin. A de-esser is a form of audio compression that targets and reduces sibilant frequencies.
There are various de-esser plugins available on the market, such as the Fabfilter Pro-DS, which offers a high level of customization and options. The Lindell Audio 902 De-Esser is another option that focuses on controlling sibilant frequencies without affecting the vocal's natural essence. Plugin Alliance also offers a range of de-esser plugins that are compatible with leading DAWs such as Ableton Live, Pro Tools, and Logic Pro.
When using a de-esser plugin, you can adjust the frequency range to ensure that all sibilant sounds are captured. Most de-essers also allow you to fine-tune which frequencies are being affected, giving you control over how the plugin reacts to problem areas. Additionally, lookahead controls enable the plugin to react in advance, ensuring that it catches all sibilant sounds.
By using a de-esser plugin, you can seamlessly remove or attenuate sibilant sounds, improving the overall quality of your vocal tracks.
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Block the gap between the vocalist's front teeth with dental wax
Sibilance is the common name for some of the harsh sounds in the human voice, such as "s," "t," "ch," and "th." It occurs when these sounds produce disproportionate dynamics in certain upper midrange frequencies, resulting in a noticeable hissing sound in recordings. While some sibilance is normal and can even aid in speech understanding, excessive sibilance can create a harsh and unpleasant tone that detracts from the listening experience.
To address sibilance, one unconventional trick is to use a pencil to block or reduce the air hitting the microphone's diaphragm, thereby decreasing the high-end harshness. Another popular method is to use a De-Esser plugin, which is a compressor designed to target and reduce sibilant frequencies. Additionally, microphone placement plays a significant role in reducing sibilance. Moving the microphone slightly away from the vocalist and adjusting its angle can help minimize the direct line of sibilant sounds and improve the overall sound.
Now, let's discuss the role of dental wax in relation to sibilance. While dental wax can be a temporary solution for covering rough edges of teeth and protecting the mouth from irritation or discomfort, it is not a substitute for professional dental care. It is important to note that dental wax does not directly address sibilance. The use of dental wax is more commonly associated with providing temporary relief for dental issues, such as covering sharp edges of dentures or protecting sensitive areas until a dentist can provide proper treatment.
Although blocking the gap between the vocalist's front teeth with dental wax may not directly impact sibilance, addressing dental concerns can contribute to overall vocal health and confidence. It is always advisable to consult a cosmetic dentist for treatment options, as they have the expertise to address tooth gaps effectively and provide long-lasting solutions, such as veneers or dental bonding with tooth-colored resin.
In summary, while dental wax can be a temporary solution for dental issues, it does not directly address sibilance. To effectively reduce sibilance, consider a combination of techniques, including microphone placement, the use of De-Esser plugins, and experimental methods like the pencil trick. Remember, each vocalist and microphone is unique, so tailoring your approach to their specific needs is essential.
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Frequently asked questions
Sibilance is the common name for some of the harsh sounds in the human voice such as "s", "z", "sh", "t", "ch", and "th". Sibilance is a natural and necessary part of human speech, but too much can create a harsh, unpleasant tone.
Sibilance is most pronounced close to the mouth and in a direct line with the path of the breath when singing. To prevent sibilance, you can move the microphone back and to the side, so it is not directly in front of the vocalist's mouth. A reasonable starting point is to have your source 6 to 10 inches from the mic.
De-essing is the process of reducing the level of sibilant sounds to make the vocal sound more pleasant.
There are several ways to de-ess. One way is to use a de-esser plugin, which is an audio processor developed to get rid of sibilance. Another way is to use the microphone placement and type to your advantage. Large diameter condenser microphones, which tend to emphasize lower frequencies, can also be a good choice. Ribbon dynamic microphones also have a dark yet accurate frequency response.
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