Module Reference · EQ & Dynamics
De-Esser
The De-Esser hunts the harsh S, T and ch energy that compressors make worse. A tunable detection band - set its center anywhere from 2 to 16 kHz and its width in octaves - feeds a calibrated peak/RMS key, and a sibilance guard compares that band against the low-mid body of the sound: short, band-dominant bursts read as true sibilants and pass at full confidence, while vowels and sustained cymbal wash are recognized by their length and balance and get scaled out of the correction. In Relative mode the threshold rides the program level itself, so one setting fits a whisper take and a hot take alike; Absolute mode pins it to a fixed dB point when you want broadcast-style certainty.
Reduction comes in two laws: Split cuts only the detection band with a matched subtractive filter - the classic surgical de-ess that leaves the rest of the spectrum untouched - while Wide ducks the whole signal like a sibilance-keyed compressor for a smoother, radio-style ride. Target steers the correction at stereo, mid or side content, Speed shapes program-adaptive gain ballistics (strong onsets arm a faster attack, deep cuts breathe back slower), and up to 10 ms of Lookahead catches the leading edge of an ess. Listen solos the delta, the caught sibilants, the band or everything outside it, and the editor plots the live band key against the engine’s own effective threshold with a gain-reduction meter and a sibilant-event readout.
Why it hits different
The GhostWare take.
- A vowel-rejecting guard: ratio plus persistence confidence, so cymbal wash never pumps.
- Relative threshold rides the program level - one setting fits quiet and hot takes.
- Split subtractive or Wide broadband reduction, aimed at stereo, mid or side.
In the shot
Reading the panel.
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1
BAND KEY PLOT
The live detection-band level scrolling against the engine’s own effective threshold - drag the band node and range rail right on the plot.
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2
GR METER
Live sibilance reduction, with the SIBILANT CAUGHT event readout under the plot.
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3
DE-ESS DECK
Frequency, width and threshold up front; reduction law, target, guard, listen solo and lookahead behind them.
Control Showcase
Every control, explained.
13 controls, named exactly as they appear in the plugin.
Center of the detection band - where the harsh S and T energy lives. Vocals usually sit between 5 and 9 kHz.
How many octaves the detection band covers. Narrow catches one whistle, wide catches the whole sibilant region.
Relative rides the program level so one setting fits quiet and hot takes; Absolute pins the threshold to a fixed dB point.
In Relative mode, how far above the program level the band must jump; in Absolute mode, the fixed level that triggers reduction.
Maximum reduction depth - 0 dB is off, higher values cut deeper when a sibilant lands.
Gain ballistics from smooth to grabby. The engine still adapts on its own: sharp onsets arm a faster attack, deep cuts release slower.
Split cuts only the detection band - surgical de-essing. Wide ducks the whole signal for a smoother broadcast-style ride.
What gets corrected: the full stereo signal, only the mid (center), or only the sides.
The vowel-and-cymbal rejector: higher values demand stronger band-versus-body evidence and shorter bursts before allowing a cut.
Solo what the module hears: the removed delta, only the caught sibilants, the raw detection band, or everything outside it.
Delays the audio slightly so the reduction catches the leading edge of an ess. Adds latency while nonzero.
How much both channels share one reduction decision. 100% keeps the stereo image stable.
Balance between the de-essed and dry signal.