The other con is that you'll tend to catch some of the treble of non-sibilant words and pull down the overall вЂњsparkвЂќ of the vocal. It makes your sibilant sound less intrusive but spikey, and may be just as annoying. This is much faster than fader riding, however, it tends to leave the leading edge of the вЂњsвЂќ unaltered. The con is that this is time consuming.ДЄnother basic approach, this is compression that is reacting only to the frequency range. So here's a few ways we can deal with sibilance effectively. So even if the вЂњsвЂќs and вЂњtвЂќs are below the other vocal sounds, we're still gonna hear them clear as day. First вЂ“ because of the way we hear, we are more sensitive to higher tones even at lower volumes. The big con here is that this can be awkward for a performer вЂ“ if it throws off the performance or sense of pitch, it's not worth it. This will cut down the sibilance significantly. Have the vocalist chew up some gum and stick it to the roof of his/her mouth. If sound projecting from the upper palette is the problemвЂ¦. The con is that the evenness of the frequency response will be somewhat disrupted by grabbing an off-axis response. Angling the mic will mostly change the way the treble range is picked up, as lower frequencies are somewhat less directional. You may want to tip the mic a bit off axis, aiming it slightly left or right of the mouth, or perhaps somewhat down. Something that has a rolled off, smooth top end, that will take well to EQ. A ribbon mic, a softer dynamic mic (like an RE20), or a vintage sounding condenser (U67), might be a good grab. This almost goes without saying, but if the vocalist is overly bright, you might want a darker microphone. Knowing this, there are a number of ways we can try to deal with problem before it hits the tapeвЂ¦ err вЂ¦ computer (2012 right?). Certain tongue shapes, space in the front teeth, shape of the palette, or just a learned way of speaking can produce overly sibilant delivery. Sibilance comes from an exaggeration of sound that projects from the roof of the mouth. This article will be about taming sibilance вЂ“ and the pros and cons and trickery of each mechanism for doing so. Imagine recording the following phrases and you'll get an idea of how sibilance occurs.

The issue with taming sibilance is that it lives right in the presence and вЂњshinyвЂќ range of the vocals вЂ“ that nice top end down to about 2-3k. Nothing screams вЂњunseated vocalвЂќ like a bunch of вЂњsвЂќs and вЂњtвЂќs that hop right out of the mix.

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