Hi everyone,

can someone suggest me a de-esser VST with no latency ? This will be for futur live performance, I'm using Ableton Live 10, I tried the Fabfilter Pro DS but there is to much latency to use it in live. Or there is a way to reduce that ?

Thanks for your recommandation,

Nico

 

https://www.airwindows.com/deess-vst/

Incredibly good. and free.

 

To overcome the latency issue, for live de-essing, I guess you'd best use hardware.
Thanks @tnc for pointing at that Air Windows Deess, a promising new approach!

 

How about SPL de-essers? Hardware version isn't that expensive, too.

http://www.youtube.com/embed/eDO_ZBp48qU

 

Hardware-DBX DriveRack. DAWs have their own latency. If latency is down 64 samples, you won't notice. I use my PreSonus interface fat channel. So many ways to do this. But if you play live much, you won't regret the money spent on a DriveRack. Plus I use mine on my home system, too.

 

Last edited: Mar 3, 2019

On your link we hear pop and clicks with SPL de-essers,don't you?

 

Waves D5 is a channel strip built for live performance - https://www.waves.com/plugins/emo-d5-dynamics#image

 

Can't hear any additional clicks here, though there are some in there but they were already there before the de-essing.

 

There was a time before plugins when a front of house engineer would use eq to remove excess sibilance. Seems like you're making this harder than it is. I'm pretty sure when Elton sang "Bennie And The Jetsssssssssssss" live in 1973 nobody left the auditorium because of the sibilance.
A de-esser is just a frequency specific ducker anyway. You can pull back 5db at around 7khz and achieve the same thing in a live performance.

 

Last edited by a moderator: Mar 3, 2019

waves old deesser is 0 latency

 

Just for the books, the SPL de-essers work with phase cancellation, not with frequency selective compression.

And I wonder to what extend a '73 live mic transmitted these freqs.

 

I'm so glad there are some of us who understand that not all de-essers work the same way. But yes, they usually work like duckers. Those are more tricky to adjust, though. That's why SPL de-esser shines.

 

I sense a paradox in the force. Vintage gear including microphones are sought after for their particular tone, but the world's biggest artists, many of whom recorded revered live albums in the 60's and 70's, used poor quality microphones? The Shure SM58 was introduced in 1966 and it is still pretty much the same ubiquitously used mic and nobody then ever said "the 58 is a good microphone except for its impossible to tame sibilance"

 

Thanks everyone for your recommandations !