The MID DIP section has a number of typical uses. Most condenser mics have a peak in the frequency
response. It is the normal resonance of the diaphragm and is typically in the 5 kHz to 10 kHz range on the large
diaphragm mics that we tend to favor for vocals. Sometimes you can often get a sweeter sound by dipping a lit-
tle at 5K or 7K and then boosting frequencies above 12K. It may be important to nd a good balance between
“presence” or “cut” and “breath” or “air”. Sibilance will be focussed on in the De-Esser section. The “Old British
Sound” according to those who created it, was not so much a function of the gear used but often how it was used.
Mids were cut. Pre-mixing tracks and bouncing was a necessity and cutting some mids selectively allowed “space”
for each sound in the bounces. Cutting a bit of 700 to 1k5 reduces the squawk and honk that is all too easy to get.
Another very useful trick is to cut in the 200 to 500 Hz area on some instruments. These lower mids can sound
right when an instrument is “solo-ed” but can “muddy” a mix real fast. Drums, piano and bass are the usual cul-
prits. Generally, you can get a clearer, punchier sound with fewer mastering problems by trying to cut in the 200
to 1k5 bands than by boosting highs and lows. Try cutting 300 or 500 on “direct” guitars and basses to simulate a
clean amp sound. Boosting 3 or 4 kHz with the high peak will help too.
The LOW PEAK section is pretty straight forward. The only warnings might be that if you are monitoring
with small neareld speakers and boosting 20 Hz or even 50 Hz you might be in a dangerous position. It sounds
good now but wait till you hear it in the car. At least check the lows on speakers or headphones that reproduce deep
lows even if most people’s systems won’t. That killer bottom might explode subwoofers. Check it and you’ll be
OK.
The HIGH PEAK is even simpler. We only have two warnings. Analog tape and especially cassettes can
only handle so much highs (especially HF peaks) before a nasty sounding distortion occurs. The other warning has
to do with sibilance and “esses”. You should be aware that boosting yet more highs later in the mix may give you
sibilance problems unless initial frequencies have been well chosen.
DE-ESSER. These are used to remove too much highs after somebody put too much on. At least that’s the
general consensus. Most de-essers are like a combination limiter and high frequency notch lter. When the circuit
sees “too much” highs it reduces them. The “too much” point is set by the THRESHOLD control. The offending
frequencies are chosen by a rotary switch on the VOXBOX. The “ess” frequencies given are 3 kHz, 6 kHz, 9 kHz
and 12 kHz. We also gave you a LIMITER position. The 3 kHz, while low for a de-ess function, can really help
make screamers and sounds that hurt bearable. Our hearing is most sensitive in the 2K to 4K band. The Limiter is
another version of our Electro-Optical Limiter and while quick, it is not a perfect “brick wall”, “zero overshoot”,
“micro-second fast” limiter - it works pretty damn well, though, and it sounds better than the “geek” limiters. We
don’t quite follow why some people insist on wrecking the sound with a questionable sounding limiter rather than
turning the volume down a bit. “More is better” they say. We agree “less is more”.
OK, so back to de-essing basics. Most de-essers are based on VCAs and cheap op-amps which can do a lot
of damage to a well recorded and important vocal track. The VOXBOX uses a de-esser that not only works great,
but (if used properly) will not mess up the original vocal quality. It is a passive notch lter combined with another
Opto. This allows the ne detail of the original sound to be left as intact as possible. The de-esser / limiter is after
the EQ and before the nal line driver. The side chain is solid state but, as in all Manley gear, the signal path is
entirely vacuum tube and never hybrid.
Hints - Don’t kill the natural sibilance, just tame it. Natural: like a real voice, or the produ’er may ‘lap you
‘illy. Some vocalists may be “thrown” by hearing the effects of the de-esser while singing. Safest to give them a
straight signal or better yet de-ess in the mix as the last process. Compress (and EQ) before de-essing.
De-essers are not so intelligent that they only react to esses. Loud peaks and high notes may fool them a
bit. If you don’t have two VOXBOXes, you might use the De-esser Link output to a spare console channel to hear
the de-ess frequency. The gain will likely have to be turned up. It was not designed to be a sidechain monitor out-
put. You may only “need” to do this a few times to know what it does.
The best time and way to de-ess is the mix on the nal comped (combined) vocal track after all EQ and
compression. It may not be easy to EQ while de-essing. It is far easier to remove harsh sibilance on an individual
vocal track than to have the mastering engineer try to remove vocal esses surrounded by hi-hats, cymbals, snares,
guitars and keys without doing some damage. Boosting overall highs in mastering is easy but not de-essing. Too
many other instruments.
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