[DJGeorgeT]

The majority of my electro stuff is sibilant no matter what. I guess I am used to it, so it does not bother me at all when I hear sibilance.

I love electro. Man, drum and bass too.

 

[Hi-Finthen]

So very glad to hear it! I mean that you hear it (sibilance) and it doesn't bother you. That doesn't bother me ;-}

However, sibilance bothers me, and is the first thing I address on the path to higher end sonic reproduction with my system choices!

 

[chesebert]

Quote:

Originally Posted by Hi-Finthen /img/forum/go_quote.gif So very glad to hear it! I mean that you hear it (sibilance) and it doesn't bother you. That doesn't bother me ;-} However, sibilance bothers me, and is the first thing I address on the path to higher end sonic reproduction with my system choices!

x2. but elimination of sibilance need not compromise dynamic range or HF extension.

 

[JSTpt1022]

x3 but with the same caveats as Chesebert.

 

[reivaj]

i sort of like sibilance lol as long as its not a screeching noise

 

[Hi-Finthen]

Quote:

Originally Posted by reivaj /img/forum/go_quote.gif i sort of like sibilance lol as long as its not a screeching noise

Suppose then we begin to speak in terms of what's on the recording and even what IS music

 

[DJGeorgeT]

all noise is music including sibilance. My hardcore records...the songs are intentionally clipped and there is a lot of digital distortion.

 

[neilvg]

x28. Me hates sibilance!

Now, there is a way to get the clipped and sibilant effect but still record it in a way that is euphonic.

The type of sibilance I do not like is due to distortions in the reproduction of the music. It usually occurs around 3-5khz and again at around 10-12khz.

It hurts.

Neil

 

[scrypt]

Certain singers are not sufficiently seasoned to shade sibilant and hard consonants themselves. Engineers often use pop filters and de-essers (or other special compression) to eliminate the effects.

A pop filter is a kind of physical barrier that prevents the popping sound of hard consonants (such as p) and, to a degree, lessens sibilance at the first level of recording (a pop filter can be a nylon stocking stretched across a coathanger bent into the shape of a diamond). It is placed in front of the mic before the singer begins to record or whenever the problem first appears during an initial or overdub recording session. De-essers, on the other hind, are most often used afterward, during a mix.

In my experience, such methods are not always used in classical and jazz recordings. What's more, engineers' emphasis of higher frequencies in mixing and mastering can worsen the sitch. Then, too, if a line in a verse overuses the letter s, the line is partly at fault. Personally, when I write lyrics for an artist, I actually underuse s, z, ch and sh and strive to use as many liquid consonants as possible, reserving hard consonants for rhythmic emphasis. My personal models in terms of avoiding sibilant lines: Christina Rosetti, John Keats and Ernest Dowson.

Note that I'm using the word sibilance in both the original (correct) and engineer-specific (neologistic) sense.

From Bartlett's Glossary of Recording Terms:

Quote:

SIBILANCE: In a speech recording, excessive frequency components in the 5 to 10 kHz range, which are heard as an overemphasis of "s" and "sh" sounds.

From Merriam-Webster's Eleventh:

Quote:

sibilant (adj.): having, containing, or producing the sound of or a sound resembling that of the s or the sh in sash (a sibilant affricate) (a sibilant snake). Etymology: Latin sibilant-, sibilans, present participle of sibilare, to hiss or whistle.

(PS: For an example of undesirable sibilance, read the first line of my post aloud.)

 

[edstrelow]

Whether sibilance or other types of screechy high frequencies are objectionable is not entirely due to high frequency peaks in a reproducing system, but also to the balance of bass and treble. Thus I find a peaky top end can become a lot more tolerable in the company of an increased bass response.

 

[neilvg]

Quote:

Originally Posted by scrypt /img/forum/go_quote.gif Certain singers are not sufficiently seasoned to shade sibilant and hard consonants themselves. Engineers often use pop filters and de-essers (or other special compression) to eliminate the effects, but a pop filter is a physical object that prevents sibilance at the first level of recording (a pop filter can be a nylon stocking stretched across a coathanger bent into the shape of a diamond) and de-essers are usually post. In my experience, that sort of thing is not always done in classical and jazz recordings; what's more, emphasis of higher frequencies in mixing and mastering can worsen the sitch. Then, too, if a line in a verse overuses the letter s, the line is partly at fault. Personally, when I write lyrics for an artist, I actually underuse s, z, ch and sh and strive to use as many liquid consonants as possible, reserving hard consonants for rhythmic emphasis. My personal models in terms of avoiding sibilant lines: Christina Rosetti, John Keats and Ernest Dowson.

Especially remasterings (and doubly especially Japanese Mini LP remasters) tend to bring out the clarity and richness of a recording by somehow effecting (via multiband limiters etc...) the high-end of a piece of music. However, this can sometimes make the sibilance of a recording even worse. De-Essers are great during mixing, but usless during mastering for the most part since it has a very adverse effect on the transients of instruments along with the voice.

Neil

 

[murrmax]

Quote:

all noise is music including sibilance

yes noise can be music but sibilance should take a few cues from John Cage I reckon...

 

[scrypt]

Neilvg: Agreed -- I've never seen a pro (or anyone else) mix with a de-esser (I refuse to init-cap a neologism for specialized compression).

Edstrelow: Please be kind enough to let me borrow your "reproducing system," as mine is aging and neutered. I'd rather not have to pick up a new one while yours can still give birth.

 

[smeggy]

Sibilance is such a normal part of most recordings that it almost seems wrong when I don't hear it. I wish the muusic studios would use the same techniques as TV/Film where vocal sibilance is much lass noticable.

On stuff like Sarah McLachlan it's unbearable (and done on purpose) which isn't too bad as I'm not a big fan anyway but still...

 

[Zenja]

Sibilance is definitely caused by the music itself (look at the spectrum analyzer when it appears, there's a massive mountain centered at around 8-10kHz) and to reduce/get rid of sibilance would mean to reduce sounds that are supposed to be there. It doesn't seem like there's much that can be done about it if you want a neutral tonal balance. It doesn't really bother me anyway. If it's to the point that it does bother me, it means I'm listening to loud.