S overmodulation

[jaydgolden]

Is S overmodulation acceptable on a production track (to later be removed by a de-esser in post) or is it a problem that needs to be fixed on location?

[Philip Perkins]

Is S overmodulation acceptable on a production track (to later be removed by a de-esser in post) or is it a problem that needs to be fixed on location?

There are a few techniques that you can use on location w/ a sibilant actor.  Mic choice makes a big difference (I've switched from Neumann 82 to Schoeps MK41 for this reason) and even more so w/ lavs (Sanken COS11s are fairly sibilant-prone, other mics are less so).  With a boom mic and a good boom op, you can try recording that actor slightly off mic (mic pointed more at the knees than @ the mouth).  More than that I would NOT recommend that you do unless you are in a live-broadcast situation.

De-Essing electronically is best handled in post.

Philip Perkins

[glinton]

Hey!  New to this group, but mighty glad to find you!  Great discussions from what I've seen so far... I know I'm going to learn a lot... and will try to give back my best advice when I can.

   That said, I 2nd Philip's comment about off-axis, but would add that I've had some success with adding the next "layer" of windscreen protection (from none to foam, from foam to furry, etc). It effectively limits the high freq response of the mic, thus helping with sibilance, and you can still work more on axis.

   Thanks,

      greg