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Post by Johnkenn on Oct 14, 2013 11:33:53 GMT -6
Someone tell me how prevalent this is these days...It's done a lot in pop, right? Just doubled in chorus' and such and then mixed in?
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Post by jazznoise on Oct 14, 2013 11:38:14 GMT -6
Anywhere up to 6 versions of the vocal. + Harmonies. + Ad Libs. That's the Pop thing. They do it a lot in RnB and Hip Hop too.
Doubling the whole way through and adding quads for the chorus. Or a single going to a double are both extremely common in rock. Metal. It's everywhere.
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Post by mobeach on Oct 14, 2013 11:53:55 GMT -6
Is it more common to copy and paste? Bouncing it? Or splitting the input signal and sending them to their own tracks? I would think the latter would give you more flexibility later on.
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Post by svart on Oct 14, 2013 12:57:14 GMT -6
You have to do it on separate takes. Copy and paste gives you this weird phasing sound which is awful, same as doubling guitars.
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Post by mobeach on Oct 14, 2013 13:11:55 GMT -6
I usually record stereo tracks then pan and edit them differently, but then again I'm a rookie  |
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Post by popmann on Oct 14, 2013 17:49:29 GMT -6
I can't stand it. I hear it every now and again on pop FEMALE vocals...I still don't like it. I didn't like it when the Beatles faked it with AMS. I didn't like it when Boston doubled nearly everything. I just HATE that sound. It's funny, because it seems like every time I put something new out, I get comments about how I should double this and that line--all from guys over 60. FWIW. Don't get me wrong--harmony....I love....and I'm bad at it, so if there's any on my stuff--it's someone else singing with me. I also dislike the sound of a single guy singing harmony to himself. Terrible robot sound. I mean Jude Cole and Brian McKnight--NO one blends to themselves better than those two guys, who I like...but, when they do it I just kinda go "ehh...stop that..." I just mixed a record where the singer doubled a lot of his lines. We fought a good bit--I ended up really treating the double VERY differently....lots of saturation and HPF...and more of the send effects driven by it--so it gave a kind of "ghost of a second voice" thing, which I could live with. I literally verp'd when he'd just do a whole verse doubled. I broke my usual "Be Switzerland" rule--and called him and explained why I was going to work them differently--that he could veto it when it's done if need be, but that it already sounded too much like a Boston record...he was happy in the end, and I'm ok with how it sounds, too. Took a chance....win/win. I do hear it a lot on "shit pop"--dance stuff. But, since I don't DO that...and don't listen to that...also don't care. |
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Post by Deleted on Oct 14, 2013 18:11:01 GMT -6
If there are two choruses I take the second and use it to double the first and vice versa and then comp a double from the other takes. I usually only do it to give the choruses a lift. You can also use Waves doubler which works pretty well too.
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Post by jazznoise on Oct 14, 2013 18:11:59 GMT -6
The doubling thing sounds really shit if they're not exact, too. "It sounds phasey" is something people often say, "even if I delay it". It's actually just out of tune. Sounds messy. Enter Autotune. Performance, see yourself out.
There's few really cool examples of double tracking effects - the guitar's on Smashing Pumpkin's Soma do some weird interplay from it. For vocals the ones by Nico on Velvet Underground and Nico - especially Here She Comes make interesting use of it. Makes some weird rhythmic effects where holds the notes a half beat longer on one take than the other. You get these patterns in the sibilances - can't tell if it's intentional though.
Anything to distract from her as a singer and make it more about her voice as just a...thing, I guess.
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Post by joey808 on Oct 14, 2013 18:27:55 GMT -6
I record lots of urban artists, not unusual to have 24 tracks or more of BGV and harmonies. Depending on talent, vocAlign and auto tune can be your best friend.
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Post by Deleted on Oct 14, 2013 18:28:20 GMT -6
The Stilwell audio cmx does that thing well in varying degrees. That's my goto for that kind of thing but like some, I don't care for it, except as an accent.
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Post by Johnkenn on Oct 14, 2013 22:07:49 GMT -6
Or I could just do it 10CC style...
I'm not in love...
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Post by tonycamphd on Oct 14, 2013 23:14:25 GMT -6
Or I could just do it 10CC style... I'm not in love... vibe city!!! love that song. |
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Post by jazznoise on Oct 15, 2013 4:06:33 GMT -6
Or I could just do it 10CC style... I'm not in love... My brother's girlfriend was hit on by the keyboard player of 10CC once. Used to frequent one of the working class pubs in Manchester. I wonder if he'd gotten her home, would have put on I'm Not In Love for setting the mood or is making love to the sound of your own music too egotistical even for musicians? |
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Post by scumbum on Oct 15, 2013 22:54:08 GMT -6
I read on the Purple Devil Site , that Ozzy doubles everything and records one phrase at a time .
He'll record one phrase , stop and rewind , then double it . Then go on to the next phrase , record it , stop and rewind , and double it ........
I tried it today and it actually works very well .
I actually like the sound of doubled vocals , the sound of The Beatles and Ozzy .
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Post by scumbum on Oct 15, 2013 23:08:42 GMT -6
I'm actually doing a Beatles cover , but in the style of the Ramones . I'll post it here when I'm done . I used the Ozzy vocal method .
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Post by cowboycoalminer on Oct 17, 2013 15:52:12 GMT -6
Here's one I wrote for my daughter to sing in our praise band at church. I stacked the harmony vocals (3 takes each on the 5th and 3rd). This was recorded awhile back so it's not the best it probably could be. But I think for a tune like this, stacking works nice. Never cared much for stacked lead vocals though. dl.dropboxusercontent.com/u/65640533/God%20Of%20My%20Mercy.wav |
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