"Pros" can and will use anything and everything at certain times, as the job may dictate.

Perhaps the better terminology as regards Plugins would be "De-Esser". There's a good one included with PGMusic Plugins, BTW, as a Preset in the Compressor/Expander.

A De-Esser can also be put together by someone in the know, using the Compressor/Expander plugs of choice.

My personal preference, though, is to try to reduce the objectionable Sibilance sounds while in the Tracking phase, to whatever extent possible. This might include use of Pop Screen(s), change of Mic type, distance, Mic direction towards piehole (sometimes turning an overly sensitive mic sideways and singing ACROSS it instead of directly into a sensitive diaphragm can go a long way here), things like that.

Hearing your voice from those demos, this engineer would be reaching for a Cardioid Dynamic mic of good quality rather than one of those cheap imported Large Diaphragm Condenser mics that get way too much attention from noobs.

Electrovoice RE-20 The King. $$$ Time proven, consistent, paired with a good mic preamp the recording results can be amazing. But not a mic that can double in Live Performance for the singer all that much, so read on, I do like being able to get to know and use one mic for all purposes such that one can develop a "signature" sound.


Shure SM-57 with the Shure-designed long foam boot (a terrific mic for the male baritone jazz and pop singer, btw, when paired with a terrific mic preamp - don't sell this mic short just because it is available everywhere and does not break the bank, The Shure Bros employed good physics in those wonderful old tried and true designs.)

Audix OM-5 -- A personal fav that has a bright top end without all that sensitivity on the lip smacks, great choice IMO for Male Baritone and Tenor voice for both home recording and for live performance. Higher output than the good old Shure, too.


--Mac

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