sibilance in one or two spots only?

How do I surgically remove sibilance in one or two spots? The esses are not consistent thru the vox track.
I have been using the VX 64 Deesser and it has worked great on most of the track but there are a few spots left.
Thanks.
Glenn

  A simple gain reduction works well there. Set up, e.g, an envelope and lower the gain during the sibilance hot spots.

Gain reduction envelope is the way to go I reckon. 

It would be so cool if Sonar had the cubase feature where the waveform picture is automatically changed to show what effect your volume change envelope is having. The bakers have managed to show fades in real time so why not this?

Dave Pensado in one of his lair videos said that when he is looking at the waveform the areas of sibilance appear as "little footballs" - kind of oval shaped. With practice it is quick and very effective.

One way to do it in Sonar with waveform being automatically scaled is to use VVocal

Have you tried Spitfish?

It's a freebie but works very well on most material.

I did the gain reduction (I have a Key binding for it) and it's working great. Thanks.
Interesting the wave form almost disappears before it's right.
About EQ automation..how is that done? Is it done using Snapshots of the control settings and the W on each effect?

Thanks FBB. I had to watch the vid 3 times before I finally got it.
Good one. looking fwd to this great tool.

Although I would not use this for regular de-essing in general, when I am in Melodyne working on a vocal track, I correct pops and sibilance at the same time by splitting off the first small part of the note (dividing it) and reducing the volume (shrinking the blob).  This doesn't work on every type of sibiliance or pop, but I clean up as much as I can while tweaking the vocal.

A de-esser is probably not the way to go when there are only a handful of offensive "S"s. It's difficult to set it so that it only hits those particular spots without affecting any others, and a setting that works in a loud passage may not work well on a soft passage. For a track that's got a lot of sibilance, I always try Spitfish first because it's easy, but in practice it only works well maybe 10% of the time. 

Sometimes, what we describe as essiness may actually be the result of a resonance in or around the microphone. That requires some surgical equalization (I use Adobe Audition's spectral editor for that). Analyze the spectrum of one of your "S"s and make sure it's broadband in nature and not spiking at a narrow frequency.

Assuming it's not something weird like I described in the above paragraph, and that it's plain old sibilance, then volume automation is definitely the way to go for maximum transparency. 

Zoom in tight on the "S" and create three nodes: at the start, at the peak, and at the end. Sometimes the start and end aren't clearly defined, but precision is rarely necessary. Use a fast curve for the first segment and a slow curve for the second segment.

As the title suggests one or two spots cries out third party editor for me eg Adobe Audition. You can do what Dave is suggesting there. You can also take it a step further and try using some LPF just on the offending bits too. It can make a real difference. It is good to just take the edge of the S sound as well as lower it gain wise. I have also found that if the S bit has a little too much low end you can apply some HPF as well to thin it out a bit.

This is a much better option than running the whole track through some processor just to catch a few spots here and there. Try to leave off the vocal track as much as you can and keep it natural. While I am in the editor I even out the phrasing too and check for overall levels being consistent. Then the compressor down the track will have a much easier job and sound better as a result.