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Drawmer MX40 Punch Gate and MX50 Dual De-Esser (part 3)

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Drawmer MX50 Dual De-esser

Everyone knows how to use a conventional compressor as a de-esser. Simply parallel
the input signal through an equaliser, boost the HF and feed it to the compressor’s
side chain input. Set the threshold carefully and lo and behold, the signal
will be free of excessive sibilance. Easy. But hang on a minute – it may be
easy in theory but it’s damn fiddly in practice, and what happens when
you find that the compressor’s side chain inputs are not wired to the patchbay
(as I reckon is the case in a good fifty percent of installations)? What the
world needs is a good easy-to-use de-esser. It would help if it actually works
because I know of at least one unit that claims to include a de-essing function
but is absolutely of no use whatsoever. Of course we expect Drawmer, the masters
of dynamic control, to do a little better, and here we have their thoughts on
the subject in the form of the MX50 Dual De-esser. Yes, we can de-ess stereo
signals too.

As I said, the essence of a de-esser is a compressor (that could be a useful
test phrase!), but the user doesn’t have to know that. What the user needs
is a unit with the minimum number of controls and fiddly bits necessary to do
the job well. It is actually quite difficult, in the traditional manner of doing
things, to find the right combination of EQ and compression, there are so many
controls to worry about. Not on the MX50. The MX50 is very simple and to the
point. There are two main rotary controls for frequency and gain reduction.
Actually the latter control is labelled ‘De-Ess’. All you have to
do therefore is find the frequency at which the offending ess sounds are at
their worst, and dial in the amount of reduction you require, from subtle but
hardly noticeable to sorry I’ve had a bad cold all week. The frequency
control ranges from 8kHz all the way down to 800Hz which is extending the definition
of sibilance probably further than anyone would want to take it. Actually, sibilance
isn’t the only problem that the traditional compressor/EQ-in-the-side-chain
configuration can deal with. It is quite a common occurrence that a signal is
over-endowed with a certain range of frequencies but only when it exceeds a
certain level, hence simple EQ is not the best solution. The Drawmer MX50 isn’t
really set up to be this versatile, although it has enough range to be worth
a try. As in the case of the MX40 Punch Gate, the graphics are really clever
and they show very clearly what the controls do. A gain reduction LED meter
calibrated up to 20 (dB I presume) assists in showing exactly how much level
the unit is taking out. Oddly enough there is no threshold control. If I was
going to attempt to design a de-esser I would have thought it essential – but
the MX50 doesn’t really seem to need it. You can always tweak the level
going into the unit if need be.

The Drawmer MX50 has a couple of controls that are not obvious in their application
and their functions require investigation in the manual. The de-ess band can
be switched either to Full or to Split. Split means that when the unit de-esses,
it takes out only the esses and leaves the rest of the frequency range intact.
Full means that whenever an ess comes along it pushes the whole signal down
in level. Thinking about it, Full mode is the way a conventional de-esser setup
works. Split mode, to my mind, is better both in theory and in practice and
I would recommend it. The other unusual control is ‘Air’ which is
similar to Split mode but works on the higher frequency band. Suppose that the
offending frequencies that you wanted to lower ranged around 4kHz or so, then
with Air deselected, all frequencies up to 20kHz and beyond would be attenuated.
This might not be desirable, so switching the Air control in leaves frequencies
above 12kHz unaffected. It would depend on individual circumstances which was
the better course of action but Drawmer recommend that using Split and Air together
results in a very transparent de-essing action and I would agree with this.

David Mellor

Acoustics

Acoustics

In this course, trainer Joe Albano explains how sound interacts and is modified by the listening environment. Learn the powerful influence of acoustics on our perception and the propagation of sound.

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David Mellor