One could argue that using a ribbon mic, etc etc is a better way to handle sibilance, but an engineer or hobbyist who works on the recordings made by others, or for any number of reasons is left with troublesome audio to fix, needs to understand and use a de-esser when necessary. The de-esser is an essential tool for voice mixing. Whereas an eq is carpet bombing a recording. Thus, the frequency spectrum is left in-tact during the 99% of the time a de-esser is not engaged. Window Capture: This source pulls the feed from a single window, which could be a game running in windowed mode, a web browser or another app. Instead of eq-ing out an entire frequency or range of frequencies that are otherwise important/useful to the overall recording, it only engages when a frequency-specific threshold tells it to. All a de-esser is, though, is a multi-band compressor, limited to a narrow band on a troublesome sibilance frequency.

Eq-ing out a trouble frequency is different than de-essing, by a mile. I am a professional audio recording/mixing engineer for many large (and very many small) clients, many of which were ADR clients for television and film, over the course of 25 years now.

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