Use a single band high pass. Just move the cutoff frequency to where the plosives get cutoff. You can also try playing with the filter sharpness, 48db per octave being pretty steep, and remove everything below about 100 hz.
Personally I'm a fan of the Sony Oxford (sonnox) one, it comes in several versions, the HR version induces quite a bit of latency but this trades off against much better low frequency detection. For actual de-essing the new(ish) metric halo offering is my favourite, but doesn't go anywhere near low enough for plosives.
As to usage, you'll need to set the detection/de-essing band above any rumble and below 3-400 hz with a relatively slow release time to avoid pumping, experiment with the ratio and threshold to get natural sounding results. If the de-esser you use has seperate detection and de-essing bands try setting the detection band tighter and lower to avoid picking up low vowel sounds
As we get into a discussion about this all I can wonder is: why? A pop filter while recording should remove this issue, or even a pencil taped across the capsule area of the mic should remove any pop energy.
De-essing is one thing (high frequency energy can get jacked up while EQ'ing), but plosives are a very easy problem to resolve during the recording process, right? Use a pop filter, low pass eq on the mic, etc.