McDSP's Emerald Pack is one of the most desirable plug‑in collections out there. Two new processors extend its capabilities still further. In our ongoing Inside Track series of interviews with mix engineers, two or three names of plug‑in manufacturers come up with striking regularity. McDSP are perhaps second only to Waves in these professional circles, and the company recently celebrated their 10th birthday, no mean feat in such a competitive market.

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Like Waves, McDSP plug‑ins are sold primarily in themed bundles, such as the Classic Pack, Project Studio bundle, the newly announced Retro Pack and the all‑encompassing Emerald Pack, which includes all the McDSP plug‑ins there are. The Emerald Pack swelled in 2008 with the addition of the two plug‑ins under review here — the DE555 de‑esser and the FutzBox distortion and speaker simulator — plus the NF575 Noise Filter.

All three are also available independently as downloads from the McDSP web site, but only in TDM format for Pro Tools HD systems. Native RTAS versions are available but only as part of the Emerald Pack, and other native formats such as VST and AU are not supported. The science of de‑essing in software received a major kick up the jacksy last year, thanks to Eiosis's E2 De‑esser (April 2008: ) and Sonnox's Oxford SuprEsser (September 2008: ).

McDSP's offering is closer to the traditional design whereby a compressor's side‑chain signal is filtered so that it responds only to sibilants. They do, however, claim one major improvement: detection of sibilants is independent of the level of the incoming signal.

This is important, because de‑essing is often most natural if you do it as the first stage of a vocal signal chain, where levels — pre‑compression and fader rides — can be very variable. There is thus no Threshold control in DE555, but in other respects its parameters are familiar. The Key Filter section allows you to choose between high‑pass and band‑pass filter responses, and to tune both the corner frequency and the bandwidth. Gain reduction is controlled through Range, Ratio and Release time parameters, and you can opt to have it applied to the entire bandwidth or justtp those frequencies above the key filter's corner frequency.

The Ratio and Range controls operate like those found on a gate, the Range you set being the maximum amount of gain reduction that can be applied. DE555 doesn't offer some of the advanced options available in E2 De‑esser, such as the ability to completely separate sibilants from non‑sibilants for fully independent processing. Within the constraints of the traditional de‑esser design, though, it does a good job.

The lack of anything corresponding to a Threshold parameter means that the only control over the sensitivity of the sibilant detection is that achieved by adjusting the key filter response, and this isn't always sufficient to stop DE555 detecting 'false positives'. Although it is disconcerting to see gain‑reduction triggered by non‑sibilants, in practice this was more of a problem for the eyes than the ears. Because of the level‑independent detection, you can typically achieve effective de‑essing with lower Ratio and Range settings than might be needed in a traditional de‑esser, and the quality is generally very good — certainly better than older designs such as Waves' Renaissance De‑esser. It's also very easy to set up. I'd be more than happy to use it in a mix, especially where results were needed fast, and with careful adjustment of the frequency dial, I was even able to achieve some worthwhile results in a mastering context. However, in problem cases, or where radical processing is required, I'd still look to the more comprehensive control available in E2 De‑esser.

A specialised de‑esser is undoubtedly a welcome addition to the Emerald Pack, and helps bolster its claims to be a truly complete suite. However, I have to say that at the current price, DE555 doesn't make such an appealing stand‑alone purchase, given that both E2 De-esser and Oxford SuprEsser are substantially cheaper. Drajver toka na tl494.