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-   -   When you double track vox do you? (https://www.gearslutz.com/board/so-much-gear-so-little-time/440459-when-you-double-track-vox-do-you.html)

no drama 16th November 2009 08:17 AM

When you double track vox do you?
 
When you double track vocals do you leave them be, or.....

roll off all the lows and highs

pan them just either side of centre

stack only

no effects and leave them dry

automate them just for punch on certain words

I have tried all of the above and had mixed results as you would imagine as every song has it's own requirements .

any more tips would be really helpfull

thank you

DaVinci 16th November 2009 08:37 AM

I find it helps define verse and chorus to have wide panned backgrounds in chorus, and tighter panning in verses.

Highs are usually rolled off a bit...

Melodyne can be useful if necessary to allign and stretch individual words to get timing right if backgrounds are loud enough to distinguish individual voices.... and get the transients to match up.... and to help keep a fairly consistant amount of pitch variation if it's getting a bit too random

If I am going for a more modern sound, I will start with a concept... like 3 types of sounds in the verse... then distinguish them. They might look like the following:

1 Single vocal with minimal effects

2 Single vocal with minimal effects and two backing tracks panned 10 and 2 with considerably more verb and a sync'd delay

3 Heavily banded "am radio" eq'd single vocal.

Typical rotation might be 1 with 2 at the end of every other bar, and 3 just before the break into chorus... then chorus with wider panning... sometimes all wide with no center to really give a change from verse.

Obviously a bit much depending on type of song, but I've thrown this type of approach at music that would seem to be far from the mainstream and ended up with something much more "radio friendly" than before the treatment.

busker 16th November 2009 09:48 AM

Normally have it sitting dirctly underneath the main vox but 6db lower in volume. Might eq it differnetly to the main as well. Depends though what I'm trying to achieve with it.

SteelyMike 16th November 2009 11:03 AM

I never understood the -6db thing.

Even at -10db all my doubles are far too loud and 'distinguishable'.

I really wonder if I'm doing something wrong
:S

Im vocaligning and tuning and everything, but I've never been able to really have the double give me much without being too obvious.

Musiclab 16th November 2009 05:41 PM

Quote:

Originally Posted by SteelyMike (Post 4787629)
I never understood the -6db thing.

Even at -10db all my doubles are far too loud and 'distinguishable'.

I really wonder if I'm doing something wrong
:S

Im vocaligning and tuning and everything, but I've never been able to really have the double give me much without being too obvious.

if you're tuning the double and aligning it tightly with the main vocal you may not be getting enough of a difference. Usually I'll tune the main ld vocal and have the singer do the doubles to that, if they're decent singers the doubles really shouldn't need any pitch correction. Also not every vocalist sounds good doubled

Paul_G 16th November 2009 07:16 PM

If I'm going down that route I find triple tracking is much, much better. something magic happens after 3.
I would process them all to sound as good as possible in the track and then balance them accordingly. I would only tune and time where really necessary.

geeek 16th November 2009 07:27 PM

I often group all my dt's together and compress them a bit more than the LV or the main harmony..

I might pull their pans out a tiny bit wider, depending on what I'm trying to achieve..

I also tend to roll off lows/highs a little more than the LV too, but again it depends on what I'm trying to achieve..

Sometimes I love that scratchy in your face DT vocal sound (al la Joanna Newsom) so I'll go that route.