![]() Next, he adds compression with a Waves CLA-76, which is a Urei 1176 emulation that Waves developed in collaboration with mixer extraordinaire Chris Lord Alge. The green shaded areas in the waveform display indicate where de-essing has occurred. The FabFilter Pro DS is one of two de-essers used by Needham on the vocal track. You can see the red gain-reduction display light up whenever the de-esser kicks in, attenuating about 4dB each time. He experiments with the Threshold setting until he gets the amount of de-essing he likes. That means that when it detects sibilance, it attenuates across the entire frequency range. In this case, Needham starts out with a FabFilter Pro DS de-esser plug-in, set to Wide Band mode. A de-esser is like a specialized compressor that clamps down only when it detects sibilant frequencies. Needham starts out with a de-esser, which, for those unfamiliar, reduces sibilance (“sh” sounds) that can plague vocal tracks in a mix. Mark Needham creates a fairly involved lead-vocal effects chain for the song “In the Middle,” in this excerpt from the video “Mark Needham Mixing Mona.” DE-ESSING SANDWICH
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