RECORDING September 2022 - 12

-Review by Bill Stunt
Slate Digital
FG-DS 902
This " set and forget " de-esser
removes the harshness
and leaves the shine
The FG-DS 902, the latest addition to the Slate Digital
Virtual Mix Rack, emulates one of the most beloved hardware
de-essers of all time, the venerable DBX 902. While closely
modeling the functionality of the original 900-series unit,
Slate has beefed up its virtual version with features designed
to make light work of pinpointing and effectively attenuating
offending sibilant and harsh frequencies.
Listen Up
Like the hardware, the plugin offers two modes of operation.
By default, the sibilant reduction is full bandwidth. When HF
Mode is engaged, the unit effects change only around the selected
high frequency. The Frequency knob has a sweepable
range from 800 Hz to 8 kHz.
The plugin distinguishes itself from the hardware with a Listen
function. When engaged, you will hear just the attenuated portion
of the audio. A secondary Auto Listen button, indicated by a pointing
finger, engages Listen Mode any time you adjust the Frequency.
The Range knob offers a range of 0 to 20 dB. Again cleaving
to the original's design, the knob has a shaded NORM
zone of roughly 3 to 8 dB of high-frequency attenuation, which
is the sweet spot for most de-essing chores. Then, you can set
the attenuation above the NORM zone, which can be very
effective for other tasks not always associated with a de-esser.
You can dial in the de-essing effect in parallel with a handy
Mix knob and adjust the plugin's output level plus or minus
24dB with a dedicated Output knob. A virtual LED gain reduction
display indicates the amount of reduction applied around
the selected frequencies.
No Threshold!
Classic de-essers typically require you to set a threshold
above which frequency-specific attenuation takes place. Getting
the balance between that threshold and the offending frequency
can often be finicky and force a sonic compromise.
Like the original hardware unit, the FG-DS 902 detects
the differences in dB between the high frequency and the
full-bandwidth energy of the signal regardless of the overall
level-negating the need for a threshold setting. The " set and
12 RECORDING September 2022
forget " functionality results in a
transparent,
natural
sounding
attenuation that makes the
hardware 902 so beloved, and
it's wonderfully echoed in the
FG-DS 902.
Mellow Your Harsh
I can't say enough about how
effectively and simply the FGDS
902 accomplishes the primary
task of taming sibilance in
a vocal. Turning up the Range
control while sweeping for
offending frequencies is very
helpful. Just remember to dial it
back for final processing. I also
found inserting it early in the vocal
chain worked best for me.
Removing the harshness pre-EQ
allows you to dial in more brightness later, if desired. To my
ears, even before additive EQ, the tracks seem brighter after
de-essing-likely because my ears aren't fatigued by the harsh
frequencies, letting me savor the good shiny bits.
Moving to HF mode lets you zero in on harshness beyond
the voice. Clangy hi-hats, unpleasantly zingy cymbals, guitar
pick noises, spikey amps ... just about anything harsh can be
effectively attenuated by zeroing in on the offending frequency
and adjusting the range to taste. I used it brilliantly to mellow
out the sound from a pair of drum overheads recorded in a
not-great sounding room with a pair of decent but overly bright
voiced condenser mics.
It's a Wrap
The prospect of a new de-esser might not set your heart a flutter
like the anticipation of a shiny new reverb or mojo-infused compressor.
Still, I would argue a great de-esser is right up there in the
must-have category. Particularly in the modern context where pop
vocals are expected to be crisp and in your face, but not spitty.
Also, where you may encounter tracks recorded with mics that
have a top-end boost that can grate your ears in certain contexts.
The Slate Digital FG-DS 902 exceeds expectations by improving
on the already highly-regarded hardware. Please note
that the FG-DS 902 runs exclusively in the Slate Digital Virtual
Mix Rack. While available a la carte, a popular option is the
Slate Digital All Access Pass subscription that now contains
well over 75 plugins.
Bill Stunt (stunt@recordingmag.com) is a recording engineer,
producer, and musician living in Ottawa, Canada.
Price: $149; All Access Pass as low as $149 per year
More From: slatedigital.com
http://slatedigital.com
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