So I’ll pull up my favorite de-esser like the DMG Essence and create a chain that handles one instance of sibilance and save it then move on to another one that might be more severe. If the vocalist has some razor sharp S’s, I prefer to deal with each sibilant separately and precisely.
I’m a stickler with de-essers, I hate the way they sound strapped on the entire mix bus it always sounds unnatural and messes with the liveliness of a mix. Heba Kadry, who likes to describe herself as the “finisher”, offered us a deep look into the world of mastering and shared her thoughts on creativity, music production, and what the future holds for the industry.Īnother instance is sibilance.
Also, her mastering skills can be heard on the RAC remix of Bob Moses’ track “Tearing me Up”, which won a Grammy Award in the category “Best Remixed Recording.
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Most recently, she mastered the soundtrack of the movie “Jackie” with Natalie Portman composed by Mica Levi, which has been nominated for an Oscar in the category “Music (Original Score)”. For her mastering process, she uses Sequoia and has mastered albums for such artists as Alex G, Neon Indian, The Mars Volta, TR/ST, Austra and Beach House. Since 2013, she’s been working at her New York-based studio in Brooklyn. Shortly after, she took a job as a recording engineer and studio manager at the legendary “SugarHill Recording Studios”. to finish her studies in audio engineering.
Egyptian-born Heba Kadry started her journey into the music industry with the completion of her studies at the “American University in Cairo” as a jingle composer for an advertising agency.
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