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I've got 9 good vocal tracks
Old 10th September 2005
  #1
Gear Nut
 

I've got 9 good vocal tracks

I've got 9 good lead vocal tracks (all singing the same part) in a pro tools session. When they play all together at the same volume they are all in unison -it sounds good for listening to 9 takes of the same part. Selecting the best take is not really possible as they all sound good and are all so similar.

Any comments on how I can comp these tracks. I've heard Mutt Lange records many many tracks of a Shania Twain vocal and then processes each track differently -yet the end result is a normal sounding vocal track but with alot more depth/body...
Old 10th September 2005
  #2
Lives for gear
 
djui5's Avatar
 

Quote:
Originally Posted by cc1

Any comments on how I can comp these tracks. I've heard Mutt Lange records many many tracks of a Shania Twain vocal and then processes each track differently -yet the end result is a normal sounding vocal track but with alot more depth/body...

Why don't you try this?

If not, just pick a take and live with it.
Old 10th September 2005
  #3
Gear Maniac
 

This is what you should do:

Erase track 2 -9 and forget you ever even considered doing multiple tracks of this vocalist. Old school.
Old 10th September 2005
  #4
Gear Guru
 

You might try picking one and mixing in the other 8 at a very low, almost subliminal level.

In my experience, this sort of thing works best when the vocals are tracked with this technique in mind in the first place. When you know which track is the "lead", and THEN you start doubling with the idea of matching it exactly, (leaving the "lead" in the cans) you get something you can really use for beefing up the original vocal.

When you merely pull up all the vocal takes after the fact, it's usually just a big mess.
Old 10th September 2005
  #5
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DirkB's Avatar
 

I would pick number 1 and start mixing with that one. When you get to a part in the song where you feel the vocal is losing some of it's strength, use part 2 for that part and listen if it feels better. If not, go to number 3 .

Greetings,
Dirk
Old 10th September 2005
  #6
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Doublehelix's Avatar
 

I have some "take sheets" or "vocal comp sheets" that I use to help with comping.

There are lines for writing each phrase or sentence, which I have the vocalist fill out, and then to the right, a set of boxes numbered 1-5 (for takes 1-5). I then go through each take, and listen to the parts, and grade the phrases, either with a "+", a "-" or a "0" for (good, bad, and "ok"). I will sometimes add a "++" or "+++" when something is really outstanding and I want to make sure that I use it over any of the other tracks.

You can see an example on my web site. On the home page, there is a list of pre-session documents on the toolbar on the left. The bottom one says "vocal comp sheets" if you want to have a look. (PDF format)

www.helixrecording.com

Good luck!!! It is a tedious process, but can really be worth it if you are going for the best-possible production. I will quite often not comp for the "track and mix" customer since they are not willing to pay for my time to do it right.
Old 10th September 2005
  #7
Lives for gear
 

You mentioned you have 9 good takes...

I assume you continued to get new takes because you were looking for 'something' unique or you were going for a particular vibe?

Did you get it?

Which one out of the 9 is the GREAT take?
If you have 9 takes that are equally good...you have either reached your goal (9 times) or are still in need of tracking.

'Stacking' vocals (not the same as comping) is a pretty commoon technique...but if it doesn't make them sound any better I would choose the best one and move forward.

Mutt Lange is 2/3 forest elf.
Old 10th September 2005
  #8
Gear Maniac
 

Erase 7. Accept one as a lead track and keep another for delay parposes. Static delays are plain boring and this will give some extra feel. Treat it as delay track. Oh, you might even consider to leave 3 of them..
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