Waves Sibilance vs. FabFilter Pro-DS: Which Should I Use?

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Sometimes the vocal finally has the brightness I wanted, and then one S sound makes me want to turn the whole thing down. I want to catch that sound and still hear the detail in the rest of the line.

I use both Waves Sibilance and FabFilter Pro-DS in my mixing and mastering. Sibilance is part of my vocal mix, and Pro-DS goes on the master. Having both in the session makes sense when you think about what each instance is listening to. On the vocal, you can work on a word without touching the instrumental. On the master, every adjustment has to work for the whole song.

My quick recommendation: Start with Sibilance if your main job is controlling sharp consonants on individual vocals. Consider Pro-DS if you want one de-esser with options for both vocal tracks and full mixes. If you already own either one, try it on the problem in front of you before adding another plugin.

Waves Sibilance vs. Pro-DS at a glance

Check the current Waves Sibilance price or explore FabFilter Pro-DS. Check your existing licenses or subscription before buying.

Why I deal with the vocal during the mix

My music puts a lot of attention on the words. With an acoustic guitar and a close lead, you hear the small details of the delivery. I want enough brightness to understand the lyric without an S sound pulling your attention away from it.

In my acoustic rap vocal chain, Sibilance sits before the compressors. That gives me a place to control the consonants before the rest of the chain shapes the performance.

If you're working on your own vocal, try that position and then listen again after compression and EQ. If a later processor brings the sharpness back, check its settings or try moving the de-esser. For one especially sharp word, a small clip-gain adjustment before the plugins can be easier to control than changing the whole track.

Setting up Sibilance without losing the words

Sibilance's Detection Width helps focus detection on narrower S sounds or broader Sh sounds. Its Monitor switch lets you audition what it detects. Threshold determines when reduction begins, while Range limits how much can be removed. The Mode control changes how broadly that reduction affects the sound.

Loop a line with a problem consonant and a line that already sounds good. Use Monitor to check detection, then turn it off before judging the result. Lower Threshold until the sharp consonant settles down, and use a modest Range so you can hear when you've gone too far.

Listen to the whole sentence with the instrumental playing. If the words start sounding lispy or the line loses its brightness, ease back. A useful setting should also leave the line that already sounded good feeling intact.

Why Pro-DS can also make sense on the master

Pro-DS is on my master, but that placement changes what I need to listen for. A de-esser there receives the combined vocal, guitar, drums, and everything else. If the vocal gets smoother while the cymbals or guitar lose detail, the adjustment needs another look.

FabFilter documents Allround mode for material such as full mixes. Paired with Split Band processing, it can act as a high-frequency limiter. That's a useful setup to try when occasional bright moments in the combined mix need control.

A starting point to test: Try Allround with Split Band, a small Range, and the trigger filters focused on the area that bothers you. Adjust Threshold while listening to the busiest section. Then check a quieter section and an instrumental passage. Those settings are an exercise to try in your own session.

On a master, listen for what else triggers the reduction. A hi-hat can fall inside the same trigger range as a vocal consonant. If one word is the problem and you can reopen the mix, adjust that vocal first. It gives you control over the word while preserving the rest of the arrangement.

Can Pro-DS replace Sibilance on vocals?

Pro-DS also has a Single Vocal detection mode, so it can handle the individual vocal job too. If you own it already, try it on your lead. Compare how reliably it catches the words you want to tame and how much adjustment it takes to get there.

I use both, and I wouldn't tell someone they need two de-essers to get a clean vocal. The reason to add another tool is a result or a workflow that helps you finish the mix.

Try this comparison in Pro Tools

1. Loop a few lines with both S and Sh sounds. Duplicate the lead, keeping clip gain and the processing before the de-esser identical. Put Sibilance on one version and Pro-DS in Single Vocal mode on the other.
2. Solo one version at a time and adjust each plugin independently. Aim for similar control of the distracting consonants, then match the perceived playback levels. Equal Threshold values won't necessarily produce equal results.
3. Listen with the instrumental playing. Pay attention to complete words, breaths, and the line that already sounded good. Choose the setup that solves the distracting consonants while keeping the delivery you like.
4. Return to one active lead. If you're also trying Pro-DS on the master, add it there and make a separate pass through the song. Start gently and check the guitar, cymbals, and instrumental gaps as well as the vocal.
5. Bypass each stage separately and then both together. Listen at a similar playback level. If the combined processing takes too much detail out of the song, reduce it until each stage earns its place.

Which de-esser should you buy?

For a vocal-focused home studio setup, I'd start with Sibilance. It's the one in my vocal chain, and it gives you a focused way to work on those consonants. If it already comes with a Waves plan you use, give it a proper try before spending more.

For vocal work and broader control over full mixes, I'd consider Pro-DS. Its detection and processing options make it worth trying across both jobs. If you have both, compare them in your own session and put each where it helps. My mix-and-master approach is one way to use them.

More vocal mixing guides

• The Waves Vocal Chain I Use on Every Acoustic Rap Track — see where Sibilance fits alongside tuning, EQ, compression, and effects.
• Best Waves Plugins for Vocals in 2026 — more tools to consider for the rest of your chain.

For the controls and processing options discussed here, see the Waves Sibilance manual and FabFilter's guides to Pro-DS detection and processing modes.

Hear the music behind these guides

If you're new here, I'm Dylan Droll. Listen to “Every Time We Sing” or “Phases” for a feel for the music I make. If acoustic guitar and melodic rap are your thing, spend some time with my This Is Acoustic Rap playlist below.

Stream more: Find my songs on Spotify, Apple Music, or your preferred platform through dylandroll.com/links.

Building your Waves setup? Compare the subscription options or check the current specials.

Releasing your own music? I distribute mine through DistroKid.

Keep in touch: Use the form on my music page to join my mailing list for new songs and studio tips.