How to get Thick Vocals

[Jose Mrochek]

Hello everyone, I would like to get some tips on how to thicken a vocal performance. We tried using some pitchshift to give it a slight octave down, and things to double the voice. Aside from the classic reverbs, and delays.. what other methods do you guys use to get a thick very dry yet big sound??? Thanks!!!

[Mike Jasper]

Physically double tracking -- not a plug-in or a dupe track on delay, but a real second take -- often produces good results.

Jasper

[The MPCist]

Originally posted by Mike Jasper
Physically double tracking -- not a plug-in or a dupe track on delay, but a real second take -- often produces good results.

Jasper

Absolutely.

I sometimes take it a bit farther. I use the BEST TAKE for the middle. And then record two more exactly the same takes for the left and right. I use this alot on choruses whereas in verses, I usually just use the one in the middle....

[C.Lambrechts]

since in most cases I track like 32 versions of the lead, after comping I end up with plenty of material left over to comp a second / third / fourth ...

sometimes tighten them up with vocalign.

[e-cue]

Mike's vocal doubling is a great start. During tracking, try to get the vocalist to sing closer to the mic for proximity effect. Try boosting 300-400 hertz. The Crane Song Flamingo's "FAT" setting is good for this type of thing. IF you are already in the mixing stage, the RenVox is great for getting a beefy sound too. I've also used the Mic Modeler plug in with the Proximity cranked for a chunkier sound, but sometimes to just sounds toyish. You'll probably have to do some experementing as each vocal is so tremendiously different. Good luck- keep us updated on what works and what doesn't.

[ixnys]

Yeah your best best is really doubling the vocal with another take of the singer. Sometimes what also works really well, is 2 doubles...one on the left and one on the right. They don't have to be loud, but just enough to thicken out the vocal over the stereo sepctrum. Slight 1/4note or 1/8th delays help as well.

[picksail]

It is definately program dependent and varies from song to song.

I would suggest tracking 'duplicates' with various mics, preamps and compressors.

Try close micing (very close) one track with a LD tube condenser and a beefy preamp. Try another set up with dissimilar characteristics.

There is really, no substitute for recording multiple tracks of the same material. This will unequivocally result in inconsistencies and nuances inherent in the voice which is paradoxically, a great thing. All those wonderful vocal inflections that can never be reproduced accurately every time. This is the real beauty of it anyway.

As Chris mentioned above, recording multiple takes, then taking the best 'pieces' to create a composite is a very clever idea. I do this all the time. This can also be applied to the above mentioned technique (although, not exactly a technique-more of an erroneous approach).

Also, many times I introduce the Haas effect into almost everything I record. It works wonderfully on vocal tracks, as long as you ensure the source remains focused and with mono capabilities. It helps to create or simulate a more 'natural environment'. It can be used on multiple sources and helps to separate intruments without introducing false depth ie. reverb. And more importantly, no repeats.

My incredibly consice explanation of the Haas effect would be described as: Any delay between approximately 5-40ms.

1 ms=1 ft

This is the way I set it up (within ProTools):

1) Create a mono track (presumably vocal)
2) Create a stereo aux channel (set at Unity)
3) Assign the aux input to buss 1/2
4) Assign the aux output to Analog 1/2
5) Assign mono track to buss 1/2
6) Instantiate a stereo delay to the aux channel
7) Set the left side at 16 ms and the right side to 32 ms ( 100% wet, no feedback, depth, echo...nothing but delay in ms)
8) Adjust the track buss level/pan to taste

**This is a very simple example and not to be construed as the only way to apply this technique.

This also, works well with instruments panned hard with the delay panned to the opposite side.

I have actually, applied it to HH with a 10 ms delay. HH at 1 or 2 o'clock and delay panned hard left. Raising the level from infinity to the desired level. Just enough to where you hear it open up slightly on the left side. More or less just a perception of depth.

Give it a shot. Just remember to use this carefully and continue to check for phase coherency.

Sorry, for my incoherence as it seems the Tylonol PM is starting to take effect.

[Jose Mrochek]

Thank You!! I will apply these methods today. And let you know, thanks to everyone for their time.

[smoothmoniker]

As mentioned in a previous thread ...


.... 5 packs a day of Kamel Reds.

-sm

[PlugHead]

I mentioned this in another thread - if you're still in the tracking stage, try a ribbon as a second mic - it can add a lot of thickness, and you can dial as much in as you need when mixing - Royer's smoke at this, as well as Coles, even Beyer 160's...

[Jam]

It's easy when you work with "thick" singers

Jam

[picksail]

Ouch!!