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De-esser

The MX50 is a flexible, simple to set up dual De-Esser designed to fulfil the needs of the Recording Studio, Broadcast, Theatre and Live Sound Industries. Its classic application is to overcome the problems that can arise when sibilant sounds (S's and T's) are over-emphasised by the human voice, with such other applications as 'smoothing' a stereo mix, reducing string noise on acoustic guitars or breath noise on flutes, even refining cymbal and hi-hat sounds. Processing is achieved by adjusting just two control parameters, Frequency and De-Ess. The fully variable Frequency control operates from 800Hz to 8KHz encompassing the full sibilant range, including 'hard' sounding harmonics and other side-effects which can be generated when treble frequencies are boosted or enhanced. This is followed by the variable De-Ess which acts as a 'more' control giving up to 20dB of gain reduction at the selected frequency. 

The MX50 has two modes of operation: 

Split Band de-essing 
Recommended for the majority of applications, this mode splits the audio spectrum into two bands with the split point being dictated by the position of the Frequency control. Only frequencies above the split point are attenuated.

Full Band de-essing 
A useful alternative where unobtrusive minimal processing is required. This mode reduces the total signal level in response to sibilant peaks in the selected frequency band.

Floating Threshold System: This intelligent Drawmer circuitry has a floating Threshold that adapts to the dynamics and level of the incoming material, eliminating the need for a manual Threshold control and creating more natural results.

Air function: As sibilance rarely occurs above 10KHz this feature adds back high frequency 'gloss' in excess of 12KHz preserving upper harmonics and increasing the transparency of operation. 

Frequency: This control selects the frequency band in which the de-esser operates. The control is continuously variable from 800Hz to 8KHz and covers the full sibilant range. 

De-Ess: Adjusts the amount of gain reduction that will take place when a sibilant sound has been detected. Up to a maximum of 20dB may be applied. This control uses an intelligent Floating Threshold circuitry which removes the need for a manual De-Ess Threshold control. One of the benefits of this design approach is that during quiet passages the sibilants are held to a level which is relative to the original signal.

Split Band De-Ess: Split Band operation will only reduce the selected frequencies above the value set via the Frequency control. In most situations this mode, in conjunction with the Air function, offers the most transparent de-essing. Status LED illuminates when engaged.

Full Band De-Ess: Full Band operation will reduce the total signal level in response to signals in the selected frequency band. Status LED illuminates when engaged.

Air: The Air control enables frequencies above the sibilant band to be retained, greatly increasing transparency of the de-essing process. During normal use it is recommended to keep the Air function active for both Split Band and Full Band de-essing. Status LED illuminates when engaged.

Link: Depressing this switch configures the unit for stereo operation where the average left/right signal level is used as the Floating Threshold. In linked mode the red status LED beneath the link switch will illuminate.

De-Ess Gain Reduction Display: A nine segment LED bargraph shows how much gain reduction is being applied up to a maximum of 20dB. In Full Band mode gain reduction is applied to the whole signal, whilst in Split Band mode only frequencies above the value set on the frequency control are subject to gain reduction

Bypass: The Bypass position routes the input signal to the output with no processing.

Drawmer MX50 De-Esser
Two-channel auto threshold de-esser

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The SPL Auto-Dynamic De-Esser is a highly specialized yet simple-to-use audio tool for removing undesired sibilant frequencies in a musically appropriate way without compromising the timbre and natural character of the voice. To solve this difficult problem, SPL has developed a new circuit design that combines ease of use with natural sound characteristics and the highest level of technical performance. Conventional De-Essing Traditional de-essers use compression techniques. In addition to the threshold parameter used to set the processing level, there is a frequency controller for setting the center frequency of the process (with bandwidths generally up to 4 kHz). Processing therefore compresses the entire selected range, notjust the sibilant or S sounds. This results in the familiar and undesired side-effects such as lisping and a nasal-sounding vocal. SPL’s De-Essing SPL’s Auto Dynamic De-Esser monitors the entire frequency spectrum and automatically detects the sibilant frequencies. The bandwidth is set so narrowly around the range of the sibilance that neighboring frequencies remain unaffected. This frequency band is mixed back into the main signal phase-inverted to cancel out the sibilance. The result is a sound-neutral, inconspicuous and extremely effective process. Even at high s-reduction values the de-essing has an egligible effect on the character and timbre of the voice. Auto-Threshold Rounding our this outstanding concept is an automaticthreshold-adjusting function: Differences in the input levelcaused by the singer moving in relation to the microphone are automatically compensated, so that the selected reduction value remains constant. In traditional de-essers, the processing intensity drops off with increasing distance, and compressors placed after the de-esser for signal correction tend to respond incorrectly to the changed values. Male/Female The SPL system doesn’t just look for sibilance in a wide ’general sibilance’ region of the spectrum. Instead, the user simply sets a front-panel switch to Male or Female to adjust for the vocal characteristics of male or female voices.Features Symmetrical XLR and jack plugs for the in- and outputs, internal power supply with toroidal transformer, GNDlift switch, relay hard bypass/power fail safety, voltage selector switch.

SPL De-esser
Dual-channel auto-dynamic de-esser

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Users of the standard DS1 model (i.e. not the MK2) can upgrade by swapping the DSP board of their DS1 for a new one. This can easily be done by the customer.

The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the Weiss Gambit DS1, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity.
 
In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control. 
<ul>
 <li>Presets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor/limiter type.
 </li><li>Monitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals.
 </li><li>Bandsplitting: When touching "bandwidth" or "frequency", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner / center frequency.
 </li><li>Attack, Release etc.: Attack, release delay and release fast/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time.
 </li><li>Soft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold.
 </li><li>Gain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.</li></ul>
 
Some noteable features:<ul>

<li>Soft knee feature
 </li><li>Dual mode unit (DeEsser or Compressor/Limiter)
 </li><li>Oversampling sidechain
 </li><li>Oversampling audio path in Compressor / Limiter mode
 </li><li> Linear-phase band splitter
 </li><li>Overall delay controllable in multiples of video frames
 </li><li>Preview delay for early anticipation of level peaks
 </li><li>Graphical LCD with comprehensive metering and settings information
 </li><li> Metering of input level, output level, gain reduction
 </li><li>128 snapshots with 2 times 128 snapshots backup
 </li><li>Each parameter MIDI controllable, MIDI dump of snapshots
 </li><li>AES/EBU input / output
 </li><li>The DS1 is absolutely bit-transparent as long as no gain reduction occurs - even in De-Esser mode.</li></ul>

Weiss DS1-MK3
Digital mastering compressor/limiter/de-esser - 96 kHz

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The MK3 version of the DS1 - a software upgrade for the DS1-MK2: <ul> <li>Independent parameter control in the two channels </li><li>M/S mode selectable </li><li>Sidechain link on / off switchable </li><li>Peak / RMS sidechain processing </li><li>Factory Presets programmed by Mr. Bob Katz </li><li>24 Bit POW-R dithering </li><li>DS1-MK2 snapshots can be loaded in</li></ul> Users of the standard DS1 model (i.e. not the MK2) can upgrade by swapping the DSP board of their DS1 for a new one. This can easily be done by the customer. The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the Weiss Gambit DS1, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity. In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control. <ul> <li>Presets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor/limiter type. </li><li>Monitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals. </li><li>Bandsplitting: When touching "bandwidth" or "frequency", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner / center frequency. </li><li>Attack, Release etc.: Attack, release delay and release fast/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time. </li><li>Soft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold. </li><li>Gain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.</li></ul> Some noteable features:<ul> <li>Soft knee feature </li><li>Dual mode unit (DeEsser or Compressor/Limiter) </li><li>Oversampling sidechain </li><li>Oversampling audio path in Compressor / Limiter mode </li><li> Linear-phase band splitter </li><li>Overall delay controllable in multiples of video frames </li><li>Preview delay for early anticipation of level peaks </li><li>Graphical LCD with comprehensive metering and settings information </li><li> Metering of input level, output level, gain reduction </li><li>128 snapshots with 2 times 128 snapshots backup </li><li>Each parameter MIDI controllable, MIDI dump of snapshots </li><li>AES/EBU input / output </li><li>The DS1 is absolutely bit-transparent as long as no gain reduction occurs - even in De-Esser mode.</li></ul>

Weiss DS1-MK3 (Demo Deal)
Digital mastering compressor/limiter/de-esser - 96 kHz

...
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