I understand this is an old thread, but I feel I need to put some emphasis on this.
Why anyone would need to use a multiband comp to achieve such a simple task in itself is ridiculous to me, personally. Seems like a LOT of wasted time and CPU usage (regardless of the plug).
Outside of that, however let's look at WHY its more efficient to use a 'single band comp' de-esser for your vocal takes (such as Spitfish)
Sibilant sounds typically come from reflections in the room (or booth) where air hits an object, or is "cut" by an opposing angle of said object in respect to your position, whilst recording. Sometimes it can be something as simple as air catching your teeth, if you have an overbite, or don't enunciate your words properly, and drag them out. Sometimes, it's because you don't have proper paneling in the studio, or a variety of other factors.
When these reflections are caught, they create a sibilant sound that permeates the tonal frequency you are projecting, and thus, creates the annoying sound of the 'S' ninjas as I like to call them. I would suggest before reading about de-essing, first find out exactly what is causing the sibilance issue in the recording, and try to eliminate that factor now, so that it doesn't become a recurring issue in the future. Strategically placed high frequency, high density acoustic panels are a good starting point (however should not be used as a focal point imo). Check your ceiling corners for sharp angles. If they are a perfect fit and aren't rounded (idk why they would be, but...) I would first attempt to place your panels accordingly in those trouble areas, as they are hot points for reflections.
End of ramble. Cheers to you, friend!
