De-Essing Rap Vocals After Compression in Pro Tools

Part 3 moves from shaping the vocal into cleaning up problems that become more noticeable after compression. Cover:

• •Harsh S sounds
• •Harsh T sounds
• •Sibilance
• •High-frequency buildup
• •Post-compression cleanup
• •Comparing different de-essers
• •Keeping the vocal bright without making it painful
• •Listening to what the de-esser is actually removing

The goal is not to make the vocal dull. The goal is to smooth the sharp parts while keeping the vocal clear, present, and energetic.

Compression can bring a vocal forward and make quieter details easier to hear. That can be helpful, but it may also make certain sounds more noticeable, including:

• •S sounds
• •T sounds
• •Sharp consonants
• •High-frequency harshness

A de-esser can help reduce those specific problem areas without simply lowering the entire vocal. Compression does not always create sibilance — it can sometimes make existing sibilance more noticeable.

Before the deeper compression stages, I am shaping the tonal balance going into the chain. After compression, I listen again for what the chain has brought forward. This later stage is about correcting problems such as:

• •Excessive sibilance
• •Sharp consonants
• •Harsh upper frequencies
• •New tonal imbalances revealed by processing

Processing changes what you hear, so you have to keep listening after every stage of the chain.

Sometimes the issue is not the entire vocal. It may be:

• •One word
• •One consonant
• •One frequency area
• •One phrase
• •Certain repeated S or T sounds

I listen carefully before reaching for a plugin because I want to solve the actual problem without damaging the rest of the vocal. The goal is targeted cleanup rather than making the entire vocal darker.

One of the tools tried in the tutorial is FabFilter Pro-DS. The workflow:

1. 1Identify the harsh / sibilant area
2. 2Adjust the de-esser so it responds to the unwanted sound
3. 3Listen to what is actually being reduced
4. 4Compare it in and out
5. 5Stop before the vocal starts sounding dull or unnatural

Audition what the de-esser is grabbing.

If the processor is reacting to the wrong part of the vocal, the result can become:

• •Dull
• •Lispy
• •Unnatural
• •Over-processed

If it is targeting the correct problem, it can smooth the vocal while preserving its energy.

Just like compressors and EQs, different de-essers can react differently. Some may:

• •Sound smoother
• •React faster
• •Target S sounds differently
• •Affect the overall vocal tone more or less

The goal is not to determine one universal “best de-esser.” The goal is to choose the tool that controls the problem effectively on that particular vocal.

One of the difficult parts of de-essing is preserving vocal brightness. Too little control can leave the vocal:

• •Sharp
• •Distracting
• •Fatiguing

Too much control can make it:

• •Dull
• •Lifeless
• •Lispy
• •Too far back in the mix

I want the vocal to stay bright enough to work with the beat and hi-hats, but I do not want the S sounds jumping out harder than the words themselves. There is no universal de-essing frequency.

After controlling harshness, I also work on the vocal’s perceived presence. This can involve:

• •Tonal shaping
• •Cleanup
• •Better frequency balance
• •Level adjustments
• •Other processing in the chain

Making a vocal feel more present is not always the same as simply raising its overall fader level. EQ alone does not create loudness.

Not every plugin is used simultaneously, and none are required for this technique.

There is no single universal location for a de-esser. Depending on the vocal and chain, de-essing may be used:

• •Before compression
• •After compression
• •In more than one stage

In this tutorial, I am specifically demonstrating post-compression cleanup because the processing has made certain harsh details easier to hear. The correct placement depends on the problem being solved.