High frequency sounds are very directional. One fist between the mic and the pop filter, and one fist between the singer and the pop filter. ( BONUS TIP: A good way to make sure the singer stays at the correct distance from the microphone is to tell them to sing at around two fists away. In cases like these try a combination of the methods outlined below. The vocalist will often need to be closer than 8 inches on dynamic microphones like an SM7B. Anything closer than this and the sibilance and plosive (bursts of air from P,B sounds) sounds in the vocal will be exaggerated. On condensers, try to keepВ the distance between the singerвЂ™s mouth and the capsule of the microphone at around 8 inches. DonвЂ™t place the microphone too close to the singerвЂ™s mouth: Vocalist singing around two fists (8 inches) away from a condenser microphone. The age old recording cliche says вЂњget it right at the source.вЂќ I canвЂ™t argue with that.В One of the best ways to reduce sibilance in your vocal tracks is to capture less sibilance in the first place. Tackling Sibilance in the Recording Stage: IвЂ™m going to share some of my favorite de-essing tricks which can be used both during the mixing, and recording stages. вЂњDe-EssingвЂќ is the process of reducing the level of these sibilant sounds in order to make the vocal sound more pleasant. In other words, they make your mixes hard to listen to. Sibilance is the common name for some of the harsh sounds in the human voice such as вЂњs,t,ch,thвЂќ.В If not dealt with correctly, these sounds will cut through a mix in a very painful way. Over-sibilance is a problem with most recorded vocal tracks. Death To Sibilance: A Simple Guide To De-essing Vocals вЂ“ By Thomas Brett

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