Fabfilter Pro Ds Crack

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Behind Fabfilter's elegant interface lurks an advanced algorithm that is claimed to offer the most natural de-essing yet. Pro DS doesn't need the hidden 'expert' controls of other plug-ins in the Fabfilter range and lets you access everything via this simple, single-page interface. Ask any mastering engineer which faults they encounter over and over again in amateur or project-studio mixes, and excessive vocal sibilance is likely to be near the top of the list. In a less-than-ideal space, it's always tempting to try to work microphones very close, in order to minimise the amount of room ambience that is picked up. However, this benefit often comes at the cost of exaggerated 'ess' and 'tee' sounds, not to mention the risk of popping. Pop shields can help control the latter, but do nothing for sibilance: personally, I'm convinced that they make it worse, as does the tendency for many modern mic manufacturers to build a superficially flattering high-frequency lift into their products. Like any audio problem, sibilance is best dealt with at the recording stage, but that isn't always possible — for instance, with a live show that has been tracked from the front-of-house desk.

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And no matter how much care one takes with mic placement and choice, there are some singers who just have incredibly sibilant voices. In other words, sooner or later most of us will probably be confronted with a mixing session that contains vocal tracks whose sibilants are too prominent. And although this isn't ideal, it's far better to sort it out at the mix than to expect your mastering engineer to somehow control them when he or she has only a stereo bounce to work with.

There are two basic approaches to de-essing at the mix stage. Many mix engineers will tell you that the best way to achieve natural-sounding results is to use automation in your DAW, either to duck the level or adjust the EQ of the vocal track when a sibilant is encountered, or to control how much of it is sent to your reverb and delay at the same points.

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The other approach is to use a plug-in or hardware processor to try to do the same thing automatically. Most old-school de-essers are, at root, frequency-selective compressors, and in fact you can use any compressor with a side-chain filter as a simple de-esser: just equalise the side-chain to focus on the 5kHz area or thereabouts, and the compressor will then duck the level whenever a sibilant comes along. This works up to a point, but it's alarmingly easy to make your singer sound as though he or she has a lisp, and the natural dynamics of a vocal part often mean that loud passages are over-processed and quiet ones untouched. Thankfully, in recent years there have appeared a number of more advanced digital de-essers in plug-in form, notably Eiosis's E2 De-Esser and the Sonnox SupprEsser. One of the main improvements claimed by these is a more intelligent ability to detect and respond to sibilants, in a way that's independent of input level. The same claim is central to the product under review here, Fabfilter's Pro DS.

It's available as a plug-in for Mac OS and Windows in all the usual formats, including AAX and, like the other plug-ins in Fabfilter's range (which, incidentally, I rate very highly), is authorised simply by entering a serial number. Anyone who's used Fabfilter's other plug-ins will be immediately at home with the Pro DS interface, which shares many of their innovative and intuitive design features. Along the top is a waveform display which scrolls from left to right; where Pro DS detects sibilants, these are picked out in green.

Unlike the other plug-ins in the range, however, Pro DS has no hidden 'expert' or advanced controls: what you see on the main page is exactly what you get. Buttons allow you to select Wide or Split-band processing, internal or external side-chain, and you can choose between Single Vocal and Allround algorithms. Two small dials at the right set the degree of stereo linking and the amount of lookahead time the algorithms can use, but the main business is done using the two large yellow knobs on the left.