Double tracking vocals is still pretty common in today's recordings. There's a certain magic to a naturally doubled vocal. Even though they do make some effects boxes that sound decent, they don't sound as good as a real double.
Usually I get the main vocal track completed with any punches and comps and then record the double. Before you try to track the double, you may have to adjust the headphone mix. Some singers like to hear both tracks at equal volume, others like the "live" track louder, and others like the two signals panned apart. It may help to push one earphone off of the ear in order to hear your voice enough to match the original track. Spend a few minutes getting the right headphone mix because doubling can be tough to do.
I think it's better to try for a complete pass and then go back and fix spots that don't match up. Sometimes you can do a double really easy, other times it's a struggle. You need to be aware of what you did on the first track, so you may have to listen to it repeatedly to match them.
I tend to use doubling in choruses and sometimes pre-choruses as well. There's no set rules, it's more of a creative vibe, intending to keep the listener's ear tuned into the singer's voice by adding this subtle effect to it.
Doubling the chorus lead vocal and the harmony vocals also adds a much bigger sound and feel to the chorus, and it helps the song make a stronger statement by building the vocal up in the chorus.
There are a variety of ways to record a vocal track. It's best to work with the singer and see what they want to do. The singer may want to do one pass and then fix some rough spots or he may want to do three takes and then comp the vocals together, taking the best takes of each track and combining them into a main lead vocal track.
Make sure you do the comp fairly soon so you can remember what you liked about each take while it's fresh in your mind.
Sometimes a singer may hit a wrong note and stop, and then start again at that point. I think it's better to roll a complete take because you usually can get a better vibe in the track that way.
I prefer to roll several passes, maybe the verse, then the chorus, then second verse, then comp together the best parts from each track to get one master vocal track. Then you can go in and punch the one or two spots that are weak or bad.
Be aware that some singers don't sing the same way twice and that can make it difficult to do short punches. You may have to sing an entire verse to get one line right.
Remember you are shooting for a consistant track with a great vibe, and of course, a killer performance!
Let's continue from last month's tip.
Once you've found the mic you are happy with, there are a few more details of the signal chain you have to deal with.
After the mic comes the mic pre-amp (make sure you use a good cable). Audition a few mic-pre's if possible but your engineer should have a few that he is familiar with and will know what it contributes to the sound. Some are neutral, some color the sound, but mic-pre's should compliment the sound of the mic.
After you find the right mic/mic-pre combination you may want to add equalization but make sure you use it minimally.
Try to get a great vocal sound without eq. You can always add eq later on, once you've heard how the vocal sound sits among all the other instruments.
Use the smallest amount of gear possible in your chain to reduce noise and distortion.
Compression is also a standard practice. The dynamic range of a voice is very wide and needs some consistent level control.
Compression can be an essential part of the sound and can also change the way a singer performs.
Again use a conservative amount. It's easy to add more later, but you can't remove it if you use too much.
Each compressor has it's own sound too, so factor that in when you are seeking the best signal chain you can get.
Now that you've done all the setup work, you are ready to roll tape or hard drive.
Q: How do I know which microphone to use in the studio?
A: The one that sounds best with your voice.
That's the easy answer!
There are many mics out there today in the studios and in the marketplace that give you a good sound, but the only way to know which one is right for you is to test them out.
If you go into a studio, they should have several mics to choose from. Most professional studios have great mics like Neumann U47, U87, AKG C 12, EV, Telefunkens, and many others. A great mic doesn't guarentee a great vocal track though. You have to find the mic that fits you personally. Every mic has it's own unique color to it so you need to check out as many as you can. They can also vary for different songs if you do a few different vocal styles. Sometimes even a Shure SM57 or 58 is the best mic for a loud, hard growl!
You have to ask yourself what sound do you want - warm, clear, intimate, edgy, thin, fat, ... but the best thing to do is to trust your ears!
Set up three or four microphones and record a few passes with the different mics and LISTEN to the sound differences of the mics. Try to make sure you do the same things everytime you sing so you get a fair representation of each mic. Pay attention to your timbre, sound pressure, proximity, delivery, mic placement, etc and even sing the same lines every time.
Don't get discouraged, take a little time to test a few mics out and you will at least be convinced you have the best mic for your recording at this time.
Remember, let the singer and the music dictate the vocal sound, not the mic.
How can I get the best performance in the studio?
Reply:
Another subtle element for a singer in the recording process is the atmosphere and vibe of the studio.
I've seen many studios with many different moods going on in them and some singers can be sensitive to that and it's always best to look for ways to make the singer comfortable.
Some studios feel sterile or very clinical and that can be detrimental to a creative atmosphere. A studios decor, lighting, feel, temperature, air quality, and cleanliness can all affect a singer's state of mind.
Although some can do with any environment, I've seen candles, aromatherapy, pictures, tapestries, posters, furniture and all kinds of combinations that try to give the room a great feel to it, so the performer can feel energized and creative.
So, within reason, try to accomodate a singer's requests. It will pay off in the long run with fewer takes, better performances and fewer punches.
One thing I don't like personally is the fish bowl effect. That's when the singer is in the vocal booth or vocal room and everyone else is on the other side of the glass making comments, having jokes and conversations and I don't know what's going on. That is really distracting to me and I would guess many other singers feel the same when we just want to focus on getting the job done, and done at it's best possible performance.
Some singers don't care who's in the control room, but I know when there is an audience, the singer tends to perform for them visually, instead of making the best recording sonically for their voice and this wastes time and energy for everyone.
I like to clear the room, lower the lights, and get comfortable with the track and get a good dialogue going with the producer/engineer.
Too many remarks from too many band members or guests commenting on every take never gets anything constructive done and it's always easier for a good attitude to come forth when you are as intense and as focused as you can be.
Singing is very mental and emotional and intimate for the singer and it's important to get in the mood and immerse yourself into the song and the performance.
Usually I get the main vocal track completed with any punches and comps and then record the double. Before you try to track the double, you may have to adjust the headphone mix. Some singers like to hear both tracks at equal volume, others like the "live" track louder, and others like the two signals panned apart. It may help to push one earphone off of the ear in order to hear your voice enough to match the original track. Spend a few minutes getting the right headphone mix because doubling can be tough to do.
I think it's better to try for a complete pass and then go back and fix spots that don't match up. Sometimes you can do a double really easy, other times it's a struggle. You need to be aware of what you did on the first track, so you may have to listen to it repeatedly to match them.
I tend to use doubling in choruses and sometimes pre-choruses as well. There's no set rules, it's more of a creative vibe, intending to keep the listener's ear tuned into the singer's voice by adding this subtle effect to it.
Doubling the chorus lead vocal and the harmony vocals also adds a much bigger sound and feel to the chorus, and it helps the song make a stronger statement by building the vocal up in the chorus.
There are a variety of ways to record a vocal track. It's best to work with the singer and see what they want to do. The singer may want to do one pass and then fix some rough spots or he may want to do three takes and then comp the vocals together, taking the best takes of each track and combining them into a main lead vocal track.
Make sure you do the comp fairly soon so you can remember what you liked about each take while it's fresh in your mind.
Sometimes a singer may hit a wrong note and stop, and then start again at that point. I think it's better to roll a complete take because you usually can get a better vibe in the track that way.
I prefer to roll several passes, maybe the verse, then the chorus, then second verse, then comp together the best parts from each track to get one master vocal track. Then you can go in and punch the one or two spots that are weak or bad.
Be aware that some singers don't sing the same way twice and that can make it difficult to do short punches. You may have to sing an entire verse to get one line right.
Remember you are shooting for a consistant track with a great vibe, and of course, a killer performance!
Let's continue from last month's tip.
Once you've found the mic you are happy with, there are a few more details of the signal chain you have to deal with.
After the mic comes the mic pre-amp (make sure you use a good cable). Audition a few mic-pre's if possible but your engineer should have a few that he is familiar with and will know what it contributes to the sound. Some are neutral, some color the sound, but mic-pre's should compliment the sound of the mic.
After you find the right mic/mic-pre combination you may want to add equalization but make sure you use it minimally.
Try to get a great vocal sound without eq. You can always add eq later on, once you've heard how the vocal sound sits among all the other instruments.
Use the smallest amount of gear possible in your chain to reduce noise and distortion.
Compression is also a standard practice. The dynamic range of a voice is very wide and needs some consistent level control.
Compression can be an essential part of the sound and can also change the way a singer performs.
Again use a conservative amount. It's easy to add more later, but you can't remove it if you use too much.
Each compressor has it's own sound too, so factor that in when you are seeking the best signal chain you can get.
Now that you've done all the setup work, you are ready to roll tape or hard drive.
Q: How do I know which microphone to use in the studio?
A: The one that sounds best with your voice.
That's the easy answer!
There are many mics out there today in the studios and in the marketplace that give you a good sound, but the only way to know which one is right for you is to test them out.
If you go into a studio, they should have several mics to choose from. Most professional studios have great mics like Neumann U47, U87, AKG C 12, EV, Telefunkens, and many others. A great mic doesn't guarentee a great vocal track though. You have to find the mic that fits you personally. Every mic has it's own unique color to it so you need to check out as many as you can. They can also vary for different songs if you do a few different vocal styles. Sometimes even a Shure SM57 or 58 is the best mic for a loud, hard growl!
You have to ask yourself what sound do you want - warm, clear, intimate, edgy, thin, fat, ... but the best thing to do is to trust your ears!
Set up three or four microphones and record a few passes with the different mics and LISTEN to the sound differences of the mics. Try to make sure you do the same things everytime you sing so you get a fair representation of each mic. Pay attention to your timbre, sound pressure, proximity, delivery, mic placement, etc and even sing the same lines every time.
Don't get discouraged, take a little time to test a few mics out and you will at least be convinced you have the best mic for your recording at this time.
Remember, let the singer and the music dictate the vocal sound, not the mic.
How can I get the best performance in the studio?
Reply:
Another subtle element for a singer in the recording process is the atmosphere and vibe of the studio.
I've seen many studios with many different moods going on in them and some singers can be sensitive to that and it's always best to look for ways to make the singer comfortable.
Some studios feel sterile or very clinical and that can be detrimental to a creative atmosphere. A studios decor, lighting, feel, temperature, air quality, and cleanliness can all affect a singer's state of mind.
Although some can do with any environment, I've seen candles, aromatherapy, pictures, tapestries, posters, furniture and all kinds of combinations that try to give the room a great feel to it, so the performer can feel energized and creative.
So, within reason, try to accomodate a singer's requests. It will pay off in the long run with fewer takes, better performances and fewer punches.
One thing I don't like personally is the fish bowl effect. That's when the singer is in the vocal booth or vocal room and everyone else is on the other side of the glass making comments, having jokes and conversations and I don't know what's going on. That is really distracting to me and I would guess many other singers feel the same when we just want to focus on getting the job done, and done at it's best possible performance.
Some singers don't care who's in the control room, but I know when there is an audience, the singer tends to perform for them visually, instead of making the best recording sonically for their voice and this wastes time and energy for everyone.
I like to clear the room, lower the lights, and get comfortable with the track and get a good dialogue going with the producer/engineer.
Too many remarks from too many band members or guests commenting on every take never gets anything constructive done and it's always easier for a good attitude to come forth when you are as intense and as focused as you can be.
Singing is very mental and emotional and intimate for the singer and it's important to get in the mood and immerse yourself into the song and the performance.
