How To Use A Deesser For Killer Metal Vocals (And More!)

Ever battled those ice-pick frequencies in a metal mix? You know the ones – the searing 'sss' in a scream that makes you wince, or that cymbal crash that feels like a dagger to the eardrum. Yeah, us too. Getting that aggressive, punchy metal sound without the painful harshness is a constant quest. And one of your best allies in this fight? The humble (but mighty) deesser.

Forget thinking deessers are just for pop divas. In metal, where aggression is king, controlling those harsh high frequencies without castrating your tone is absolutely crucial. Let’s dive into how to wield this tool like a pro.

What Exactly IS a Deesser Anyway?

At its core, a deesser is a frequency-specific compressor. You tell it, "Hey, when this specific range of high frequencies gets too loud, turn it down." Simple, right? It’s way smarter than just grabbing an EQ and yanking down all your top end, which can make your tracks sound dull and lifeless. A deesser only acts when needed, preserving the brightness and air most of the time.

Think of it like this: an EQ is a blunt instrument for broad tonal shaping, while a deesser is more like a scalpel, precisely targeting only the offensive bits. If you want to dive deeper into general EQ wizardry, our Carve Your Core: EQ Strategies for Mixing Modern Metal hub page has you covered.

Why Your Metal Mix Screams for a Deesser

In metal, we’re dealing with a lot of high-frequency energy. Distorted guitars, crashing cymbals, and, of course, vocals that range from guttural lows to paint-peeling highs. A deesser helps you keep all that energy without the ear fatigue.

Taming Those Piercing Metal Vocals

This is the deesser's bread and butter. Whether it's the intense sibilance ("sss," "tsh," "ch") in a searing scream, the esses in a clean sung passage, or even the harsh overtones in some growls, a deesser can smooth things out. The goal isn't to make the vocalist sound like they have a lisp, but to control those moments where the highs jump out and stab the listener. You want that aggression to hit hard, not hurt.

Screams, in particular, can generate a ton of energy in the 4kHz – 10kHz range. Without de-essing, these can become incredibly fatiguing and make it hard to turn the vocals up to where they need to be.

Smoothing Out Cymbals Without Losing Attack

Hi-hats too sizzly? Crash cymbals sounding more like white noise than musical impacts? Overheads picking up a nasty, metallic ring? A deesser can be a lifesaver. You can gently tame the harsh "wash" of cymbals, especially on an overheads bus or a hi-hat spot mic, without killing the initial transient or the shimmer. This lets the cymbals cut through with power, not pain.

The Secret Weapon for Other Harsh Elements?

Don't stop at vocals and cymbals!

• Snare Top: Sometimes the crack of a snare can have an overly sharp, "pokey" high-frequency component. A deesser can subtly round this off.
• Distorted Guitars: While heavy EQ is your primary tool for guitar fizz, a deesser (or more often, a dynamic EQ acting like one) can sometimes help tame specific, peaky whistling frequencies that pop out on certain notes or chugs. Use with caution here; you don't want to neuter the bite.

Dialing In Your Deesser: Settings That Actually Work

Alright, let's get our hands dirty. Using a deesser effectively is all about finding the right frequencies and applying the right amount of reduction.

Finding the Nasties: Frequency Detection

Most deessers have a "listen" or "monitor" function. USE IT. This lets you hear only the frequencies the deesser is targeting and affecting. Sweep the frequency control around until you isolate that nasty, piercing sound you're trying to get rid of.

• For Sibilance (Vocals): Usually lives somewhere between 4kHz and 10kHz. "S" sounds are often higher (6-9kHz), while "SH" or "CH" sounds can be a bit lower (4-7kHz).
• For Cymbals/Overheads: Harshness can be anywhere from 6kHz up to 12kHz or even higher. That "ice pick" hi-hat often sits around 8-10kHz.

A spectrum analyzer plugin like Voxengo SPAN (it's free!) or the one built into EQs like FabFilter Pro-Q 3 can be super helpful in visually identifying problem areas before you even reach for the deesser.

Key Parameters & How to Set Them for Metal

Threshold

This determines when the deesser kicks in. Set it so that the deesser only starts working (reducing gain) on the loudest, most offensive parts of the sibilance or harshness. If it's working all the time, your threshold is too low, and you'll suck the life out of the track. For vocals, you want it to just grab those peaky "sss" and "tsh" sounds.

Frequency/Range

This is where you tell the deesser what to listen for.

• Narrow Band/Split Band: Most modern deessers (like the FabFilter Pro-DS or Waves Renaissance DeEsser in "Split" mode) operate in a split-band fashion. This means they only turn down the offending frequency band, leaving the rest of the signal untouched. This is usually what you want for transparent de-essing. You'll set a center frequency and often a 'Q' or bandwidth to define how wide an area it affects.
• Wide Band: Some older or simpler deessers might use a wide-band approach, where they detect sibilance in a certain range but then turn down the entire high-frequency spectrum of the signal. This can sound less natural, but sometimes it works.

For metal vocals, start with a fairly narrow band around the sibilant frequency. For cymbals, you might go a bit wider if you're trying to tame a general "sheen" or harshness.

Reduction/Depth

This controls how much the deesser turns down the offending frequencies when the threshold is crossed. Don't go crazy here! 3-6dB of reduction is often plenty for vocals. For cymbals, it might be even less, maybe 2-4dB. Over-de-essing is a common mistake and leads to that dreaded "lisp" or dull, lifeless cymbals. Listen carefully in the context of the mix.

Attack & Release (If You Have Them)

Some deessers offer attack and release controls.

• Attack: For esses, you want a fast attack so the deesser clamps down quickly.
• Release: A relatively fast release is also good for esses, so the high end returns smoothly after the sibilant sound passes. For broader cymbal control, you might experiment with slightly slower attack/release times.

Plugin Powerhouses: Some Go-To Deessers

While your DAW's stock deesser (like Logic's DeEsser 2 or Cubase's DeEsser) can often get the job done, here are a few popular choices in the metal world:

• FabFilter Pro-DS: Super versatile, fantastic visual feedback. Try starting with the "Male Vocal Sibilance" or "Female Vocal Sibilance" presets and then tweak the Frequency and Threshold. Its "Single Vocal" mode is great for focused sibilance, while "Allround" can be good for cymbals or busses.
• Waves Sibilance: This one uses some clever spectral processing and can be incredibly transparent. Its "Esses" detection mode is often all you need for vocals. Just adjust the threshold and range.
• Waves Renaissance DeEsser (RDeEsser): A classic. Simple, effective. Try it in "Split" mode, find your frequency, and adjust threshold.
• Eiosis E²Deesser: Highly regarded for its transparency and control. It has separate detection for 'S' sounds and 'Sh' sounds, which is pretty neat.
• Dynamic EQ (e.g., FabFilter Pro-Q 3, Waves F6): Often, a dynamic EQ can be an even more precise deesser. You set up a regular EQ band, find the offensive frequency, and then tell that band to only dip down when that frequency gets too loud. This gives you incredible control over the Q (bandwidth) and shape of the reduction. This is a killer technique for surgical de-essing on almost anything and you can learn more about general EQ power on our EQ strategies hub.

Advanced Deesser Tactics for Metal Ninjas

Ready to level up?

De-essing in Series: Double Trouble for Stubborn Sibilance

Sometimes, one deesser isn't enough, or you might be trying to tame two different types of harshness. For example, you could use one deesser set narrowly for the high "sss" (around 7-9kHz) and another one set a bit lower and wider for "shh" or "tsh" sounds (around 4-6kHz). The key is to use both subtly.

Sidechaining Your Deesser for Precision

Some deessers allow you to use an external sidechain input for their detector. You could duplicate your vocal track, heavily EQ it to only leave the sibilant frequencies, and feed that into the deesser's sidechain input on the main vocal track. This can make the deesser react even more accurately to just the sibilance.

Automation: The Dynamic De-essing Approach

A vocal performance isn't static, so why should your de-essing be? Some phrases might be more sibilant than others. Don't be afraid to automate the threshold, reduction amount, or even bypass the deesser entirely during sections where it's not needed or is doing too much.

De-essing and Compression: The Order Matters

This is a classic debate.

• De-ess after compression: This is the most common approach. Compressors, especially fast ones, can bring up sibilance and make it more prominent. De-essing after the compressor tames what the compressor emphasized.
• De-ess before compression: If sibilance is really bad, it might be causing your compressor to pump or overreact. In this case, light de-essing before the main compressor can help the compressor behave more smoothly. You might even use a second, gentler de-esser after compression.

Experiment and see what works best for your track. For more on how compression interacts with your mix elements, check out our Metal Compression Secrets hub page.

Common De-essing Pitfalls (And How to Dodge 'Em)

• The "Lisp of Death": This is classic over-de-essing. If your vocalist sounds like Daffy Duck, back off the Reduction and/or raise the Threshold.
• Targeting the Wrong Frequencies: If you de-ess the wrong spot, you can make vocals sound muffled, dull, or just plain weird. Use that 'listen' function!
• "Set and Forget" Syndrome: Always A/B your de-essing in the context of the full mix. What sounds good in solo might be too much (or too little) with everything else playing. Revisit your settings as the mix develops.

Beyond the Basics: Level Up Your De-essing Game

Mastering the deesser is a key skill for any metal producer. It’s about finding that balance between aggressive clarity and smooth listenability. By understanding how to pinpoint problem frequencies and apply just the right amount of control with plugins like the FabFilter Pro-DS or Waves Sibilance, you can make your vocals sit perfectly and your cymbals shine without shredding eardrums.

Want to see exactly how seasoned pros tackle harsh vocals, tame wild cymbals, and get that polished, aggressive sound in their metal mixes? At Nail The Mix, you get a front-row seat. Every month, you receive the actual multi-tracks from huge metal songs and watch the original producers mix them from scratch, explaining every plugin choice, every setting, and every decision they make – including how they dial in their de-essers for maximum impact. It's the ultimate way to see these techniques applied in real-world scenarios.

Ready to stop guessing and start mixing with confidence? Unlock Your Sound: Mixing Modern Metal Beyond Presets and see how far you can take your mixes.