Vocal Pitch

[Petlydecker]

Hello,

I am sorry to ask for help again. I have passed a music file through the continuous noise filter, virtual valve adapter, and graphic eq. The song sounds good except for the singers high notes or words that have a ssssss to them. I have noticed that when I pass the music through the noise filter (gate) it gives the music file this type of effect. How can I warm up the singers voice or bring it down a little. As always, any advice would be appreciated.

Thank you

[Craig Maier]

When I experience that sort of problem, I first go for the De-Esser in the Dynamics Processor. That will not eliminate the problem, but it usually reduces the "essing' sound. If not that, then I try to use the Punch & Crunch effect in compression mode, but only using the top band with the other bands set out of the way. Usually, I use fairly high "ratios" in both the Dynamic Processor or the P & C to reduce essing.

I hope that helps. Let us know.

[cromag]

I had this problem with a couple of songs by Grace Slick/Jefferson Starship and Heart. There was a little (but noticeable) "hisssssing" in the original recording that seemed to get accentuated through processing with DC6. In the end, my best solution was to buy the best possible cartridge/stylus combination I could afford.

[Petlydecker]

Reply

Thanks for your help. Your advice fixed the problem (de-esser). I don't know if it is the filter's that are used or if it is the singer's type of voice that is responsible for this "sssssss" effect. It just frustates me.

Thank you!

[Craig Maier]

I have noticed a few things about "esssing" on vocals:

1. Some producers actually put that sound on the master for effect (but I do not like it when they do, personally).

2. Very worn records can produce that sound. The high frequency containing groove walls wear out first.

3. A record that had been transferred to tape can become saturated on some vocal elements thus creating the essssing sound. That is a result of either an overloaded tape recorder or an out of calibration (bias is set incorrectly) recorder.

4. Over agressive use of the impulse filter(s) can produce that effect. If that is the source, it is much better to reduce the impulses on some types of recordings with multiple passes of the impulse filter having light settings, than one pass done agressively.

[quartet87]

Hey Craig.

Regarding #1, are you referring to splashing sibilance (which can result from a poorly mastered analog recording) or a clean but ear piercing sibilance?

BTW, a worn stylus or mis-aligned cartridge can result in "sib splash" also.

[Craig Maier]

Danny,

Both are painful to listen to! I agree, a worn stylus or a tone arm that is not set up properly can also produce that dreaded sound.

[Brian]

While you're listing possible causes of siblance, we probably should also mention signal compressors. Most of the modern compressors have de-essing either built in as a default or as a separate user-controlled adjustment. However the compressors used for many of the "golden oldies" did not; set them too aggressively and very hard esses were the all-to-common result.

[Craig Maier]

You know, just thinking about it, the worst "essing" distortion that I can think of that I have here are on 45 RPM records. I think that there are multiple reasons for that - - -

Wear,

Over pressed stampers (worn out stampers used too long)

Abuse

Bad Mastering

Etc

Anyone ever notice that too?

[Brian]

Yes.
As a general rule, 45s and 33s were intended for different audiences and therefore were mixed and mastered differently - particularly as concerned compression ratios (to maximize "punch" and runtime per disc). The higher compression ratios of the 45s made them much more likely to have excessive siblance.

[Geebster]

Yes.
As a general rule, 45s and 33s were intended for different audiences and therefore were mixed and mastered differently - particularly as concerned compression ratios (to maximize "punch" and runtime per disc). The higher compression ratios of the 45s made them much more likely to have excessive siblance.

Yep... I can ditto that. Often times there were 2 mixes; a 45 rpm one and the one that ended up on the LP. The engineers factored in that the 45's would be played on crappy old phonographs (the portable, carry around kind) and LP's would be played on better equipment. At least, that's what they hoped....

GB

[Craig Maier]

If you ever want to 'warm up' vocals, use the virtual valve amplifier in 'warm' mode with the 12at7 tube.

Craig