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De Esser Stereo Vst Free

De Esser Stereo Vst Free Rating: 8,8/10 4091 votes

In this guide we’ll take a look at the best de-esser plugin software on the market today. The kind that the pros and semi-pros use.

Size 4.74 MB Stereo Enhancer is a simple VST effect plug-in for convertingmono to stereo signals as well as for stereo widening. This is possible due to the several techniques such as multi-band frequency splitting and panning, phasing one of the channel etc. 4 built-in frequency splitter modes.

We’ve looked at as many de-esser plugins as possible and whittled it down to only 5 of the most recommended online by the pros and those who’ve used them, making it much easier to choose.

Quick answer: unless you’re new to music production or you’ve had your head under a rock, the FabFilter Pro-DS name should be very familiar to you, and it comes out on top.Free gain trim vst 2018.

  1. ERA De-Esser helps iron out audio problems caused by excessive sibilance consonants such as ‘s’, ‘t’, ‘sh’, and the likes. The reason why it is one of the most used de-esser plugins is due to the fact that it is simple, and can improve the audio quality when de-essing with just a single knob.
  2. Explore & download the best free De-Esser plugins (VST, AU, RTAS, AAX). Visit and discover thousands of pro audio and music freewares!
  3. Compressor De-Esser 16K Views Rating: 4.4 /5 (4 votes) The Antress Modern Plugins consists of several free VST effect plug-ins for Windows: Modern Compressor.
  4. Modern De-Esser is a freeware de-esser VST plugin by Antress. It features frequency control in the 3000 to 9999 Hz range and output level control (-15 to +15 dB). The gain reduction can be adjusted with threshold, ratio, width, and release controls. The Modern De-Esser VST is part of the free Antress Modern Plugins package.
  5. This is why we developed De-Esser Pro, a fast and powerful tool that requires minimum effort but offers transparent results. It offers precision-grade de-essing and customizable audio repair functionality. Based on the multi-patented accusonus algorithms, De-Esser Pro simply works and allows for efficient sibilance reduction from audio recordings.

This is followed by the Oxford SuprEsser, while the McDSP DE555 and Waves Renaissance DeEsser are popular options for cheap.

The rest of this guide will look at these plugins more in-depth and weigh their strengths and their weaknesses.

Let’s take a closer look 🙂

Table of Contents

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De-Esser Plugin Buying Guide

What is a De-Esser?

A de-esser is a type of vocal compressor that works to reduce or eliminate the harsh “ess” or “shh” sounds known in the audio world as “sibilance”.

An oftentimes unwanted element in recorded audio, sibilance is commonly heard in vocal tracks, although they may be present in cymbals and/or percussion tracks as well. Sibilance typically falls within the 4Khz to 10Khz range of frequencies, and the effect can be unpleasant and distracting, even at moderate levels. (Learn more about sibilance from Wikipedia.)

De-essers reduce the volume level of sibilance by compressing its specific frequency range. In most cases, excessive sibilance can be reduced by simply defining the range of unwanted frequencies and setting the threshold control to the appropriate setting. However, it may sometimes be necessary to employ equalization and automation in conjunction with de-essing in order to achieve more natural-sounding results.

What Features Should You Look for in a Good De-Esser Plugin?

Among the most important features to have in a de-esser are threshold and release controls.

Deesser Vst

‘Threshold’ essentially sets the level at which the sibilance will be reduced.

‘Release’ determines how soon the compressor will cease to affect the signal.

It would also be helpful to have a frequency control, which will enable you to specify the range of frequencies to compress. You can read more about the basics of what a compressor is from this post to get a better understanding of some of those features.

How to Choose a De-esser

There are a number of factors to consider when choosing a good de-esser plug-in. For starters, you will want a plug-in that is quick and easy to setup, yet still has enough control for precision tweaking.

A good range of features is also nice to have, although you would have to weigh the possibility of unneeded features getting in the way of simple and straightforward operation.

In any case, it might be prudent to shop for a de-esser plug-in that does more than what your stock DAW compressor and sidechain combination is capable of. Otherwise, you may as well save yourself the trouble, and simply devise your own de-essing chain.

Best DeEsser Plug-Ins – Overviews

FabFilter Pro-DS

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From the noted plug-in developer comes the FabFilter Pro-DS, which has a pretty wide range of features and capabilities all wrapped up in a modern visually-attractive package.

Since FabFilter is known for its world-class set of plug-ins that offer precise control and informative visual displays, they’ve pretty much upped the ante with a feature list that includes an intelligent detection algorithm, wide band and linear-phase processing, a 15 millisecond look-ahead option, stereo linking with mid-only or side-only options, and more. With its range of cutting-edge features and sonic transparency, this might just be the only de-esser you will ever need, to be honest.

Specs and useful features
  • Two detection settings: “Single Vocal” and “Allround”
  • Real-time display
  • Adjustable threshold, range and detection, filtering settings
  • Program-dependent compression/limiting
  • Wide band or linear-phase split band processing
  • Optional look-ahead up to 15 milliseconds
  • Adjustable stereo linking
  • Mid-only or side-only processing
  • Up to four times linear-phase oversampling
  • Side-chain input meter
  • Real-time spectrum analyzer
  • GPU-powered graphics acceleration
  • High-quality 64-bit internal processing
User impressions

The FabFilter Pro-DS is frequently praised for being easy to use and having great visual feedback. Many users appreciate its informative and helpful displays, which show you exactly how–and how much–the signal is being processed via real-time waveforms. Many reviewers also mention the precise degree of control possible with the Pro-DS. There’s pretty much no criticism as far as this is concerned.

Bottom-line

The Pro-DS is another great addition to the FabFilter line of quality plug-ins. Like the other products in the range, the FabFilter Pro-DS stands out with a user interface that is not only efficient and informative, but visually impressive as well. This is especially so for beginners. The precise degree of control combined with intelligent sibilance detection and total transparency make this one of the best de-esser plugin software that money can buy. Well worth considering even with the somewhat high price tag.

Demonstration

Oxford SuprEsser

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The OxfordSuprEsseris a simple and intuitive solution that gets rid of offending frequencies in vocal tracks and all other types of source audio. It has an extremely focused frequency-conscious compressor, so it can identify and eliminate harsh sibilance to a remarkably precise degree. Also, the ability to operate between 20Hz and 20KHz makes it capable of handling tasks other than rudimentary de-essing. If you’ve solely been reliant on a fixed EQ to get rid of sibilance in your tracks, you will appreciate the more natural results that you can achieve with the SuprEsser.

Specs and useful features
  • Linear phase dynamic EQ
  • Transparent and accurate frequency control
  • Automatic level tracking
  • Wet/dry control for quick parallel processing
  • Full audio spectrum operation (20Hz – 20KHz)
User impressions

User impressions of the Oxford SuprEsser tend to be generally favorable, with the most frequently praised feature being the detailed display. The plug-in also gets high marks for being easy to operate, which is all the more impressive considering the many controls available.

Users also praise the SuprEsser’s ability to preserve the quality of the source audio, even with considerable amounts of gain reduction. In fact, one user reported routinely using it on non-vocal tracks in order to get rid of harsh frequencies.

Bottom-line

The SuprEsser is a well-equipped and very capable de-esser that offers a precise degree of control. Although not quite as detailed as the FabFilter Pro-DS, the SuprEsser’s display does a good job of providing visual feedback. It is also versatile enough to use in a wide variety of applications, including taming the frequencies of non-vocal tracks. With a lower price tag than the Pro-DS, the SuprEsser is a cost-effective de-esser plug-in that warrants serious consideration.

De Esser Stereo Vst Free Plugins

Demonstration

McDSP DE555

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Are you bored with the typical de-esser? Want something that’s not just for vocals? Well McDSP proudly proclaims the DE555 to be part of the “new generation of de-essing technology.” It has a range of cutting-edge features, transparent sound, and a whole-lota flexibility. Being fully-featured, it still remains simple and easy-to-use. The DE555 utilizes an algorithm called “intelligent signal analysis.” This effectively processes source audio of any level, without the need to adjust the input threshold manually. Controls are also provided for adjusting ratio and release, and there is even a high frequency-only mode that lets you reduce sibilance while leaving the rest of the audio untouched.

Specs and useful features
  • Advanced de-essing technology
  • Key filter focus and de-essing controls
  • Real-time metering
  • Key filter response plot
  • High frequency only option
  • Double precision processing
  • Ultra low latency
User impressions

Flexibility and transparency are among the qualities that endear the DE555 to users. Often used on non-vocal tracks, it has the ability to reduce and eliminate unwanted frequencies without affecting the audio in a noticeable manner. Many users reported being able to use the stock presets without further tweaking, although the precise control in terms of setting parameters and curves also garnered a fair bit of praise.

Bottom-line

The Oxford SuprEsser is a noticeably transparent de-esser that effectively gets rid of excessive sibilance in vocal tracks, but it is flexible enough to use on other audio sources as well. Many of the presets can be used ‘as is’ without further editing, but precise control over the various parameters is there if you want. The Oxford SuprEsser is also pretty affordable, making it a good choice to add to your suite of mixing plug-ins.

Demonstration

Waves Renaissance DeEsser

Check price at Waves Audio

Waves Renaissance DeEsser has been a familiar sight in many professional studios for over a decade, and for good reason. Even with the advent of more advanced and more fully-featured de-esser plug-ins, Renaissance continues to find use as a simple, straightforward, and yet remarkably effective solution for getting rid of harsh sibilance.

Although there are controls for getting the most out of the processor, even the bundled presets can do a good job of cleaning up problem vocal tracks. There are even presets intended specifically for male and female voices, giving you a good starting point for more intensive tweaking.

Specs and useful features
  • Designed for recording, mixing, live sound, and broadcast
  • Frequency-dependent dynamics
  • Adaptive threshold control
  • Adjustable gain reduction control
  • Phase-compensated crossover
  • Audio and side-chain monitoring
  • Double precision bit resolution processing
User impressions

The Waves Renaissance DeEsser is a venerable studio standby that still gets plenty of use today. For many users, this particular plug-in is a more effective de-essing solution than the standard Waves DeEsser. One user was especially in love with the Renaissance’s ability to pinpoint and eliminate problem frequencies, while another praised the inclusion of settings for male and female voices.

Bottom-line

Although it has been around for over a decade now, the Waves Renaissance DeEsser is still an effective de-esser that continues to find use in a typical studio setup. Equally suited for recording and mixing as it is for live sound and broadcast, it has all the features you need for basic de-essing applications.

Demonstration

Waves DeEsser

Check price at Waves Audio

For those with even more basic de-essing requirements, the Waves DeEsser might just have all the features and capabilities that you need. Just as simple and straightforward as the Renaissance de-esser, this one employs a subtle and natural approach to de-essing audio, getting rid of sibilance without thrashing your vocal take. Waves DeEsser is also effective on splashy high-hats and cymbals, gently reducing unwanted frequencies from even the most problematic audio sources.

Specs and useful features
  • Sharp side-chain filters
  • Selectable wide-band and split compression modes
  • Audio or sidechain monitoring
  • 24-bit/192kHz resolution
  • Mono and stereo components
User impressions

Users of the Waves DeEsser appreciate the plug-in’s effectiveness in softening harsh sibilance in vocal tracks. Even though it lacks many of the features of its more modern counterparts, it is still a useful and easy to use de-essing tool that is made more attractive by its affordable price tag.

Bottom-line

The Waves DeEsser is a pretty basic de-esser that does the job and does it well at more moderate settings. Although many users prefer the Waves Renaissance DeEsser, the standard DeEsser is still worth considering for its simple and straightforward operation, good sound, and low price.

Demonstration

Weiss Deess De-Esser by Softube

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Softube’s Weiss Deess De-Esser is a bit-by-bit software reproduction of the legendary Weiss DS1-MK3 hardware unit that has graced many mastering and mixing suites over the years. Like most Softube plug-ins, it has a beautifully-rendered interface that closely models the look of the actual hardware unit.

Although the “faceplate” only has a modest number of controls, Weiss Deess is a versatile and very capable de-esser that handles a varied array of tasks. Whether for cutting out the sibilance in a vocal track, taming an overly bright hi-hat, or reducing harshness on the overall mix, Weiss Deess does the job cleanly and efficiently.

Basic specs and useful features

Most de-essers have only a single band for dealing with sibilance–Weiss Deess has two completely independent ones. This gives Weiss Deess the ability to handle most types of sibilance, most of which occupy more than a single frequency. For situations where most de-esser plug-ins fall short–such as with complex audio material–Weiss Deessor handles the job like a champ.

Weiss Deess also has a handful of filter shape options available. Combined with the precision band-width control, this enables you to treat a very narrow range of the audio, leaving the rest unscathed.

Visual feedback is provided by a large colored display, from which you can see FFT data and filter shapes. There is also a side menu that adds even more options for tweaking the plug-in’s parameters.

User impressions

Users were pleasantly surprised by the Weiss Deess’ sound quality, which compares favorably with even the most highly-regarded hardware units. The ability to get rid of sibilance without adversely affecting the rest of the signal is especially impressive, making the plug-in ideally-suited for de-essing detailed and complex material.

The plug-in’s intuitive interface also appealed to many users, particularly those that have struggled with overly-complicated units in the past. With the Weiss Deess, it was easy to achieve great results, even with only a few tweaks to the default settings.

Bottom-line

The Weiss Deess hides a surprising amount of power in a seemingly simple and straightforward interface. The display is especially helpful, providing immediate visual feedback on the effect of de-essing on the audio signal. A versatile plug-in that adds more functionality to the standard de-esser capabilities.

Waves Sibilance

Check price at Waves Audio

Waves Sibilance is a step up from the brand’s other de-esser plug-ins, utilizing an innovative technology known as “Organic ReSynthesis”. While other de-esser plug-ins take a somewhat heavy-handed approach to eliminating sibilance, Waves Sibilance works only on unwanted frequencies. The result is exceptionally clear and present audio with the sibilance removed and the original qualities preserved.

Basic specs and useful features

Sibilance makes removal of unwanted “s” and “sh” sounds quick and easy. The Organic ReSynthesis engine targets only these specific frequencies, leaving the rest of the audio information untouched. You could therefore boost the EQ on your vocal tracks to add back some of the brightness, and still get sibilance-free audio without a hint of harshness.

Organic ReSynthesis is what makes Sibilance different from other de-esser plug-ins, many of which simply act as sort of narrow-band compressors. The problem with narrow-band compression is that so much of the desirable signal is often cut out along with the sibilance, resulting in glitch and unnatural sounding audio.

Sibilance neatly avoids this problem by working only on the sibilant sounds. You therefore get all the benefits of a good de-esser, while still retaining the resonance and timbre of the original audio.

Sibilance comes with a fairly modest set of controls, the highlights being the threshold and sensitivity features. Processing is variable from wide to split bands, and there is a helpful sibilance detection graph that lets you see how much processing is required.

User impressions

Users find Sibilance to be very quick and easy to set up, with noticeable improvement in the quality of the audio immediately. Even with only a few minor adjustments of the threshold and range controls, sibilance is totally removed from the affected track. In fact, Sibilance makes de-essing so easy that many voice actors and singers often do the processing themselves, before sending vocal tracks over to a mix engineer or producer.

Many other users find Sibilance to be a much more effective alternative to the standard de-esser that comes with their DAWs. The intuitive and informative display makes this an even more welcome addition in the studio.

Bottom-line

Waves Sibilance is better suited for de-essing individual tracks rather than for processing stems and entire mixes. Nevertheless, it is versatile enough for tracking and mixing duties, and it is pretty easy to get good results.

Final thoughts

As far as deesser plug-ins go, you simply can’t do better than the FabFilter Pro-DS. It’s an all-around winner with its combination of features and functionality, sound quality, precise parameter control, and detailed user interface. The Pro-DS is the one to beat, regardless of its price.

Somewhere in the middle are the Oxford SuprEsser and the McDSP DE555, which are both pretty solid performers any way you cut it. The SuprEsser is an especially impressive plug-in that even rivals FabFilter’s Pro-DS in some aspects, and the DE555 is no slouch either. Put simply, you can’t go wrong by going with any one of these two for a broad range of de-essing needs.

Finally, the Waves DeEsser and Waves Renaissance DeEsser still continue to impress despite now being a bit long in the tooth. Although both plug-ins have largely been superseded by more recent releases, they are can still do a good job of ridding your audio of nasty sibilance.

Softube Weiss Deess De-Esser takes a decidedly classy and elegant approach to de-essing, with a simple interface that hides a surprising amount of power and functionality. Like all of Softube’s plug-ins, this one has an attractive interface that gives of the impression of a dependable piece of hardware. The look of the interface doesn’t affect the audio in any way of course, but the eye-catching interface is definitely a nice touch.

Thankfully, the Weiss Deess does sound great. In fact, many experienced users praise its ability to approximate the sound and responsiveness of a good hardware de-esser, with no adverse effect on the audio whatsoever. The display is also one of the best we’ve seen on a plug-in, and certainly better than those on most de-essers. Weiss Deess is equally handy at taming high-frequency content of non-vocal tracks, giving it added versatility in a studio setting.

Waves Sibilance is worth a mention mainly due to the innovative Organic ReSynthesis technology, which simply doesn’t exist in any other de-esser plug-in. This feature gives Sibilance a precision and accuracy that other de-essers simply can’t compare with, and you will immediately notice how much better it makes problematic vocal tracks sound.

Most de-esser plug-ins are marketed as being able to preserve the transients and high-end frequencies of audio, but few are as capable of the job as Sibilance. The spectral filters that are central to the Organic ReSynthesis function identify only the unwanted sibilant frequencies in the audio. They could therefore be removed entirely without any effect on the other frequency content. With Sibilance, you could get pretty aggressive with the de-essing when the need calls for it, without having to worry about your audio getting thrashed in the process.

Like many other de-essers, Sibilance isn’t just limited to vocal tracks. It can be used on drums, guitars, and any other transient-heavy material that can be prone to brightness. Although perhaps less effective on full mixes and stems, it is nevertheless versatile enough to deserve a place in your plug-in collection.

Essence is the most powerful and transparent De-Esser in the world. It's much more than just a vocal de-esser; it's a flexible sub-band processor that can reach in and invisibly control any element in a mix. For the first time in audio software history, Essence provides the power to de-ess a full mix with all of the adaptability and subtlety of hardware.

Mastering Engineers just found a new secret weapon. Don't let the low price fool you - click here to download the demo.

Stereo

  • The current state of the art in de-essing, Essence is another stunning plugin from a developer who can seemingly do no wrong. 10/10.

Overview

  • The most powerful De-Esser money can buy.
  • Psychoacoustically optimised to surgically and invisibly control sibilance.
  • Quick, simple, ergonomic interface.
  • Mastering presets by Bob Katz
  • Configurable from zero-latency, ultra-low CPU for post work to Linear Phase, oversampled ultra-high resolution for Mastering.
  • Dual-release Peak/RMS-based time detector for invisible operation.
  • Analogue-modelled single-release time detector for classic De-Esser behaviour.
  • Three-band sidechain EQ, and massively configurable Split EQ.
  • Per-channel or ganged control.
  • M/S and L/R processing
  • Large, intuitive time-plot.
  • Windows VST, VST3 and AAX as 32+64bit, RTAS 32bit
  • Mac VST, VST3, AU and AAX as 32+64bit, RTAS 32bit

Sound

  • Linear Phase crossover (Split) EQ
  • Zero-latency minimum phase mode, with Linkwitz-Riley crossovers.
  • Lookahead, dual release times, release hold, sophisticated GR smoothing options.
  • Oversampling mode to eliminate intermodulation distortions.
  • Full mixer section, with support for parallel processing.
  • Output balance for fine-tuning.
  • Upward expansion option.
  • Threshold, Ratio, Soft-knee and Gain-Reduction ceiling.
  • Variable Stereo linkage.
  • Complete set of Listen options for monitoring, including signal difference (output-input).
  • Automatic detection of sibilance/fricatives in solo voice.

Vision

  • Simple three-control interface.
  • Advanced section for precision control.
  • Spectrum analyser for locating sibilance.
  • Time-plot to highlight processed sibilances.
  • Freely-resizable UI.
  • Mac Retina support.
  • 8 A/B banks.
  • Intelligent Undo/Redo.
  • Ergonomic channel linkage system.
  • Autolisten for configuring filters.

Windows System Requirements

  • Vista / Windows 7 / Windows 8 / Windows 10
  • 32bit or 64bit
  • ProTools 7 or newer. (RTAS and AAX Native)
  • A host that supports VST or VST3, such as:
    • Steinberg Cubase
    • Steinberg Nuendo
    • Steinberg Wavelab
    • Sony ACID Pro
    • Ableton Live
    • Cockos Reaper
    • Magix Sequoia
    • Magix Samplitude
    • AudioMulch

Mac OS System Requirements

  • OS X 10.7 or newer, including Catalina (10.15)
  • Intel Mac
  • ProTools 7 or newer. (RTAS and AAX Native)
  • A host that supports VST, AU or VST3, such as:
    • Apple Logic (32bit or 64bit)
    • Apple Garageband
    • Steinberg Cubase
    • Steinberg Nuendo
    • Ableton Live

Specifically not supported (might work, but I can't test/support these platforms): Windows 95/98/XP, OS X 10.0,10.1,10.2,10.3,10.4,10.5,10.6

1.09 -> 1.10

  • Fix potential crash when using different plugin formats in the same project.
  • Fix VST2 crash in Wavelab

1.08 -> 1.09

  • Fix potential crash when double-clicking to enter value as text.
  • Fix parameter MIDI learned state not being indicated after closing and reopening window.
  • Improved undo of mouse wheel action.
  • Added check for bad samples in input buffers.
  • Fix MIDI learn in VST3 version.
  • Fix crash when undoing preset load after closing and reopening UI.

1.07 -> 1.08

  • Improved HiDPI support
  • Support VST2 getEffectName for some rare hosts

1.06 -> 1.07

  • Fix AU validation in old not-really-supported versions of Logic
  • Reaper key entry improvements
  • HiDPI support in Cubase and Studio One on Windows
  • Improvements with discrete parameters drag/mousewheel
  • Fix disappearing meters

1.05 -> 1.06

  • MIDI learn via right-click on parameter
  • Fix crash when setup window open in more than one instance
  • Fix peak GR resetting to 0 when oversampling on
  • Lookahead moved from setup to advanced parameter section
  • Undo/redo incorporates loading of presets and banks
  • Correctly reinstate prev/next buttons status on opening window or loading a session
  • Mac build now requires 10.7 or later
  • Improve menu position when opening a menu would cause it to appear offscreen
  • AAX Mac window focus improved
  • Fix potential crash when file saving fails
  • Accept ',' for decimal point when entering value by text
  • Fix potential crash when closing UI
  • Fix crash when closing UI with text box open
  • Fix crash with text entry on touchbar MacBook Pro
  • Prevent Cubase/Nuendo right-click menu from appearing when right-clicking on a clutter bar button that accepts right-clicks
  • Support for mono->stereo AU
  • Installer searches for existing VST plugins folder for 64-bit plugins on Windows if run for first time
  • Correctly sign Windows installers with Codesigning cert
  • Improve text and layout for Windows installers
  • Improve install descriptions and logo for Mac installers

1.04 -> 1.05

  • Added new HQ crossover split option
  • Added new HQ oversampling option
  • Fix pop/stuck meters with Smoothing bug
  • Fix rare makeupgain smoothing bug
  • Fix for recall of A/B settings
  • OpenGL improvements
  • Reduce graphics overheads
  • Improve text editing on 64bit mac
  • Improve VST3 automation
  • Improve mousewheel handling on windows
  • Improve keyboard handling
  • Support VST3 GR metering in Studio One
  • Improve automation resolution in Logic X
  • Fix memory leak with preset loading
  • Fix automation issues

1.03 -> 1.04

  • Fix 32bit Carbon UIs on OSX
  • Improve UI styling
  • Remove GR meter glitch on restart
  • Fix Listen to Split band with Oversampling engaged
  • Pref to show Listen buttons for Pass/Diff
  • Pref to select Split/Pass/Diff as autolisten signal

1.02 -> 1.03

  • Update AU validation.
  • Allow all AUs to use Cocoa UIs on 32bit mac.
  • Improve speed of session recall for AUs.
  • Fix mousewheel on 2nd screens.
  • Show Knee on time series graph.
  • Pulse-stretch Release LEDs.
  • Optimise smoothing circuit.
  • Use OpenGL on more platforms.
  • Update OpenGL implementation.
  • Clicking About correctly opens Setup window.
  • Fix bug that froze graph on preset change.
  • Allow disabling of OpenGL via pref - requires session reload.
  • Fix bug that caused pointer to become hidden.
  • Improve UI resize handling.

1.01 -> 1.02

  • Fix bug with AAX automation whereby discrete parameters could jump.
  • Fix bug with mousewheel on windows to left of main screen on windows.
  • Improve determinism of automation when rendering.
  • Improve handling of OS load dialog for presets.
  • Improvements for latency reporting both realtime and offline.

1.00 -> 1.01

  • Added Sibiliance Detector for automatic de-essing of solo vocals.
  • Added External sidechain input.
  • Added release LEDs in dual-release mode.
  • Added bManic presets.
  • Added Solo Vocal De-Ess presets.
  • Fix RTAS version.
  • Some tooltip improvement.
  • Fix VST/VST3 bypass support.
  • Fix parallel mode for minimum phase.
  • Fix latency reporting for Wavelab and renders in general.
  • Fix GR metering bug.
  • Fix sidechain linkage for oversampling.

There are two ways to design a De-Esser.

For de-essing vocals, it's common to use a compressor that's configured to detect sibilance.
For de-essing a full mix, it's usual to filter the signal to isolate the sibilance and compress it, before mixing it back in with the rest of the signal.
Essence can do both.

De-essing vocals with software is fairly easy; and using Essence, you need three controls and you're set.

De-essing a full mix is much harder, and mastering engineers invest thousands in hardware boxes to get usable results.
In fact, for about a decade, a mastering engineer wanting to invisibly de-ess a vocal in a full mix has been faced with only one, incredibly expensive option.

Essence replaces both.

But the flexibility of Essence allows you to do much more than de-essing.
You can use it like a dynamic EQ to manage all manner of subtle (or extreme) mix issues.
And best of all, it's incredibly transparent. No weird artefacts; it's as if the original mix was just better.

It turns out that starting with the design for the world's best de-esser concludes with having the most powerful mastering processor in the world today.
It's priced as an A-list De-Esser, but that belies the fact that it will allow you to replace expensive outboard hardware, with improved results and as many instances as your computer can handle.

You can run it in a zero-latency ultra-low CPU mode, or crank it up, and even at its most processor hungry, you'll still be able to run dozens across a mix.

This is a magical and revolutionary product at an unbelievable price-point.
An absolute must for any mastering engineer, and a life-saver for mix and post work.
And that's before we even get to use for creative effects.

What if you wanted to just remove a kick from a mix every time the snare hit? Or what if you want to invisibly solidify your sub-bass?
Just suddenly make it sound more rich and full, but sounding like it was that way to begin with - no clue left that you've improved it.

There's nothing with the power and flexibility of Essence, regardless of price.

Xmas has come early for audio power-users.

- Dave Gamble, 2014