Conway The Machine can't move half of his face, which affects his esses certainly, but I'd hope a mastering engineer talking about that aspect of a track wouldn't simply refer to it as his 'lisp.' It is what it is, if you remove this characteristic too much that could create a disconnect.

Regardless, for solving 'ess' issues on a stereo track, try using the Weiss DS1-MK3.

 

I did not say it was required but the engineer I used could noticed when a string my guitar was off by so little it was imperceptible to my ears but he did notice it so I retuned it. if you read properly you'd understand exactly what I wrote, learn to read properly and more often it's good for the brain, perfect pitch in my opinion is a real skill.

 

I suspect the reason for the trolling is your opening....

"I produced a track so I've decided I'm a mastering engineer" followed by "Can anyone tell me how to use a de-esser/EQ"

This is the equivalent of saying...

"I had sex for the first time recently, so I've decided I'm a porn star" followed by "Can anyone tell me how to keep a stiffy for four hours"

 

Ahh dude. You're legend

 

Thanks. You and the other guy are correct, I mentioned the lisp to give context. And maybe someone has experience with this characteristic

 

Depends on how you want to look at things, you can take it in jest give an answer or you can do what you're doing, whatever that is

 

Tho.. you're thaying it thoundth fantathtic!
I agree!

But if one wants to minimize the lisping effect, one ought study the process.
Now, to simulate a lisp, one need only speak while pulling one's tongue out slightly by grasping the tip between forefinger and thumb.
So, I would advise him to stick his finger in his mouth and push his tongue back a little while singing.

 

That is what I want to do too! But I can't tell the difference.

 

The market of mastering is oversaturated, you will soon see. Not something you can make a living of

 

If you got lemons, you make lemonade..
If you got lisps, you make.. Lispterine?

No really, but you gotta work with what you have..
Enhance those lispy esses, put a massive Hall Reverb on them,
treat them as if they were a 80's Snare, or a jazz trio Cymbal,
make them be the Center and corner-stone of your style..
and don't forget using your new Mastering superpowers for the general betterment of mankind

 

Reverse to revolutionize type beat. Fair

 

You moved on from your "requirements" directly to perfect pitch and the ability to play instruments, there's a lot of room for implication there.

The burden of communication lies with the communicator. Don't try to offend me with your passive aggressive statements, my reading skills are beyond sufficient, it would seem your writing skills are in need of work.

Do not distract people from the fact that you came on to this topic and spouted your elitist requirements and didn't even attempt to help the OP.

 

Well I am not a mastering engineer.

But I know that a mastering engineer’s job is not to fix lisp or what ever in the first place.
This should happen in the mixing stage.

A mastering engineer's job is to make the music sound as good as possible on any given system. Not to fix problems.

You should tell your friend hey mate there is some nasty lisp in your vocal. Do you want it this way if not check your mix!

 

Zesty lisp is usually a narrow resonance around 9 kHz-ish. Find it and cut it out. If your cut is narrow enough and isn't like 9dB deep nobody's gonna notice. Better yet, use a dynamic EQ. FabFilter Pro-Q 3 will do.
Oh, and you can't decide you're a mastering engineer. You weren't even mastering your friend's mixes, in a strict sense of a word. I guess that's why the thread is the way it is.
At any rate, mixing issues should be solved at a mixing stage, not a mastering stage.

 

If you are mastering engineer it's safe to say that Lenny Belardo is singer.

 

this may sound unfriedly, but i am asking myself how can you not know that this is hardly possible, or where you could have heard that it would be possible, or that it would be part of an audio mastering process.

if you are an audio engineer, with or without official training, you know how to use a sidechain compressor to make it work as de-esser, and if you have tried that already and the result sucks, you should also have an idea why and how to optimize the results (for example by dividing the track up into parts with and without sshh and let the deesser work only on the sshh parts.)

 

Last edited: Nov 18, 2021

i can tell you how to keep it for 4 minutes. just PM me.

 

ελληνας ρε?

 

I'd go with the blue one.