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SPL DeEsser Mk2

Newest generation of the dual mono channel DeEsser featuring the same processing qualities as its predecessor in a new design with solid aluminum knobs
MFR# 2230

Product Description

The SPL DeEsser is unique – and has been since 1996. The Auto Dynamic DeEsser removes undesired sibilant frequencies in a simple and musical way, cancelling out S-sounds without affecting the natural character or timbre of the voice. The newest iteration, the SPL DeEsser Mk2 features the same processing qualities as its predecessor, but comes in a new design and has an even better feel due to the solid aluminum knobs. The DeEsser Mk2 offers two mono DeEssers in one 19″ device. The Mk2 includes 4 mm thick, black anodized aluminum front panel and aluminum knobs milled from solid. The housing is made of high-quality steel and is powder-coated in elegant black.


The De-Esser uses a unique technology to reduce sibiliance in a mix or on vocal tracks. It automatically detects and hones in on the sibilant frequencies leaving neighboring frequencies unaffected. These S‑sounds are mixed back into the main signal phase-inverted to cancel out the sibilance. The result is a sound-neutral, inconspicuous and extremely effective process. Even at high S‑Reduction values the de-essing has an egligible effect on the character and timbre of the voice.


The S‑Reduction control adjusts the intensity of the S‑sound reduction. In practice, S‑Reduction settings between -2 dB and -8 dB achieve the best results for most applications. The The S-Reduction LED display visualizes the intensity of the S‑sound reduction between 0 dB and -20 dB in 2 dB steps.


The Auto switch activates the Auto Dynamic function. This automatically adjusts the threshold if the input level fluctuates due to varying distance to the microphone which leads to fluctuating input levels. With Auto-Threshold engaged, the de-essing intensity remains constant at the value you set with the S‑Reduction control. This is a great help not only for inexperienced voice-over artists, but also in live situations.


The Female switch is used to adapt to the voice characteristics: When the switch is pressed, the Female mode is selected. The automatic S‑sound detection now reacts more intensively to higher-frequency S‑sounds. The unpressed switch position selects the Male mode to adapt the S‑sound detection to male voice characteristics. Lower-frequency S‑sounds are processed.

In addition, the mid frequency of the S‑sound detection is increased from Male mode to Female mode. For male voices the mid frequency is at about 6 kHz, for female voices at just under 7 kHz.

Nevertheless, you should not necessarily choose the Male position for male voices and the Female position for females. Always listen to the pitch and tone of the S‑sound and try both positions.


The On switch, activates or deactivates the respective channel. This allows you to quickly switch between processed and unprocessed signal. To minimize switching noises, switching is performed directly after the balanced inputs and outputs. This relay hard bypass circuitry also provides immediate redirection of inputs to outputs in the event of a power fault on the primary or secondary side of the power supply, or if the device is powered off.


Traditional DeEssers work with compressors; they can therefore also be found in combination devices with compressors/limiters. In addition to the threshold control, which determines the level at which de-essing starts, you will also find a frequency control, which determines the center frequency at which S‑sounds are to be searched for. The bandwidth of the processing is usually up to two octaves. When an S‑sound appears, the entire bandwidth is always compressed, which leads to undesirable side effects such as twanging or lisping.


The Auto-Dynamic DeEsser has a new circuit technology that automatically adjusts to the S‑frequencies and narrows the bandwidth so that only the range of the S‑sound is processed and all neighboring frequencies remain untouched. The frequency band determined in this way is mixed back to the original signal in phase-inverted form, whereby the S‑sound is acoustically removed. The result is a sound-neutral, unobtrusive, but extremely effective way of working. De‑essing now has very little negative influence on the timbre of the voice; side effects such as twanging or lisping do not occur. In addition, time-consuming readjustment of the frequency settings is no longer necessary. The SPL Auto-Dynamic DeEsser combines efficiency with sound neutrality. By the way, you can also soften hard cymbal sounds or snares perfectly with the DeEsser Mk2.


DeEssers with conventional compressor technology work more intensively with a decreasing distance to the microphone. On the other hand, the DeEssing becomes weaker with an increasing distance to the microphone. A compressor/limiter is usually used after the DeEsser to compensate level fluctuations. However, due to the different de-essing the compressor/limiter reacts wrong.

When the distance to the microphone is increased, the compressor/limiter reacts to the S-sounds that reappear. Not only the de-essing changes the sound, but also the compressor/limiter negatively influences the sound image by its readjustment.

Thanks to the Auto-Dynamic function of the DeEsser Mk2, these problems are eliminated. A control circuit monitors the input level and automatically adjusts the threshold. A following compressor/limiter reacts accordingly more accurately and with less coloration.


The two channels of the De-Esser are equipped with Neutrik XLR sockets with gold-plated contacts. The signal transmission is electronically balanced at a nominal level of +6 dB.


  • Updated De-Esser model now featuring solid aluminum knobs
  • Two mono De-Essers in one 19" rack-mount device
  • Phase-canceling technology to effectively remove unwanted sibilants
  • Ease of use plus highest levels of sonic performance
  • Removes sibilance while leaving neighboring frequencies unaffected
  • Auto-threshold function for consistent processing throughout performance

Product Specifications

Condition New
Channels Dual-Channel
Chassis 19-inch Rack-mount
Rack Spaces 1U
Input Connectors 1/4-inch TS, Analog XLR
Output Connectors 1/4-inch TRS, Analog XLR

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I would like to thank VK for the wonderful sales assistance, service and prices. This was my first purchase with you and it won't be my last. I only wish I'd discovered you years ago!
Matthew R.
I had two Grammy wins this year - Ray LaMontagne & Carolina Chocolate Drops. Both made with help from Vintage King!
Ryan F.
In almost 20 years in Pro audio buying, never did I receive a unit so well packed and exactly as described. Works flawlessly. The whole process has been so smooth. I will never hesitate to do business with you guys in the future and will recommend you to everyone I know.
Martin C.
This was my first experience buying something from Vintage King (although I surf the "used" categories on the website frequently!), and, despite being on the other side of the world, I had absolutely no trouble and everything went very smoothly.
Phil T.
The speed of delivery exceeded my expectations! I was VERY pleased that my shipment arrived in time for a scheduled vocal tracking session. The packing insured that my order arrived safely. And the sales staff responded quickly to questions regarding the product.
James P.
Thank you so much! Vintage King has been so fair and easy to work with. I can't thank you enough. It feels good to trust such a hefty purchase to folks who are so helpful and knowledgeable. Vintage King is a sound designers dream store.
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From the minute I placed my order I was kept well-informed through each step in your process. Even though I was buying a comparatively modest piece of gear, your attention to detail made me feel like I was purchasing a six-figure mixing desk.
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