Slowly move the crossover points towards one another until you zone in one the sibilant frequencies. The crossover points that work for the vocals you're processing will vary, but most sibilance sits somewhere within this range. I recommend starting with your low-mid crossover point at 6kHz and your mid-high crossover point at 14kHz. The sibilance in male vocals usually sits a little lower on the frequency spectrum than the sibilance in female vocals.
Moving the crossover points of the bands can be helpful in achieving a natural sound as well. If the compression sounds unnatural, try increasing the release time slightly. Slowly bring the threshold down until you hear the sibilant sounds lose their harshness. Start with a ratio of 4:1, an attack time of 10 ms and a release time of 30 ms. The low band and the high band can be turned off, but the middle band is going to be used to compress the sibilant range (8-10kHz). If your multi-band compressor has three bands, you're only going to be using the middle one. You can pick up a pop filter for around $8 here. With less air shooting directly towards your microphone, you greatly reduce the plosives caused by consonants. Your vocalist stands in front of the pop filter and sings through it into the microphone. Pop filters can be made out of various different porous materials and their main job is to disperse airflow. The easiest way to reduce plosives, at a recording level, is by using a pop filter. Pop Filtersīefore fixing plosives, it's important to reduce the amount of plosives that you record. When bursts of air hit your microphone, they cause sharp transients to appear in your recorded audio file. Air flow is stopped by the vocalist's lips, teeth, or tongue, and then released with a huge amount of force. Plosives are created by the large amount of air that's pushed out of the talent's mouth all at once. Sibilance can result from your talent pronouncing S and T sounds, creating large, high-end transients. Plosives can result from your talent pronouncing B, P, and T sounds, creating large, low-end transients. The two main differences are how plosive sounds and sibilant sounds appear in a recording.
If you've recorded vocals before, you've likely discovered that a vocal recording sounds much different than the live performance.
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