how to mix layered vocals (female)

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dontouch

New member
Is it possible to make multiple-tracked vox sound big and warm and natural?

Layered vox tend to have certain freq. build-up that make the overall sound harsh and cold... Is that something EQing could fix? If so, what'd be the best approach? ie, finding the freq., compression, panning, etc... I know it's kinda broad but please share your thoughts! Much appreciated.
 
I find that the problematic build up, if there is one, usually comes from the SS sounds and the hard consonants like Ts and Ps at the ends of words.

Usually if I'm tracking harmonies, or double tracking where there'll be a main part, I just omit all of these sounds.

It sounds very strange when you're doing it, but it works.
That way you don't get a cascade of SSSShhhss or TttTTs.

I'll even drop a lot of conjunctions or little lead in phrases; Anything that isn't melodic, pretty much.

If I have an especially bright main vocal, I'll usually bus all the other parts and eq them as a group, taking some of that high end away.
More often than not I'll comp the crap out of the group. It's the only time I'll use a compressor for volume control.
Once I know it's flat out, I can volume automate for choruses or whatever.

That's only one approach, but I usually end up with something closer to a warm pad underneath the main vox.
 
To add to the above post's great ideas- try having the vocalist change distance/angles to the mic when overdubbing. This creates a natural chorusing/phasing effect; sometimes works great (tends to de-emphasize harsh s's & consonants as well). Bussing background box together works great (as mentioned above); slap a de-esser on the submix as well to tame buildup of harsh freq's. Good luck!
 
I eq out the highs a little from the additional tracks to keep the sibilants from building up and to let the main vocal stand out, and I compress the heck out of the extra tracks to keep them under the main vocal. You really just want some "tone" from the overdub vocals, not definition.
 
Just to clarify my other post, All those things aren't 'go to' techniques for me.

I've recently been working with a guy who's esses and hard consonants are really over the top.
I had to be pretty extreme with his backing vocals etc, but usually what BSG said is sufficient.
 
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i like to chuck a hard compressing de esser over all the backing tracks.. sounds weird by itself but works great in a mix
 
Rolling off the high end with an EQ, a de-essor, and some gentle pan can really help the stacked vocals sit with the lead vocal. the best thing i've found to achieve this is to record the main vocal and a double track with a nice LDC and then record any other stacked vocals with a ribbon mic as it naturally rolls of the high end and really helps the vocals sit together.
 
Really great suggestions...

Is it a bad to hard-pan the back ground vox?
What about reverb? My impression is you only want it on the panned vox, not the center/main ones...Is that just stupid? and how do you gauge the amount of reverb to use?
 
No, it's not bad or wrong to do that.
It's purely preference and personal opinion.
If you're not sure, try to reference to similar sounding commercial recordings.

Depending what other instruments you've panned wide, wide panning backing vocals may or may not work.


The reverb thing is totally preference, but I usually find myself setting a nice verb for the main vocals so that it could stand up just fine on its own.
It's usually so subtle that you barely notice it, but you'd miss it if it was gone.

My backing vocals are usually grouped too a much strong reverb, but if I'm honest, that's usually to cover up flaws in my crappy backing vocals. lol.

Just play around and see what you like, and keep in mind that the next guy might say "I do the exact opposite to Steenamaroo".
 
Steenamaroo said:
It's usually so subtle that you barely notice it, but you'd miss it if it was gone.
Click to expand...

This has been my reverb ethos for as long as i can remember :)

and as Steenamaroo said, just play around and see what works for you. Again, i do either the above and have a separate backing vox reverb, or just send the backing vox to the main vocal reverb and add more reverb to the backing vocals to help them sit behind the main one.

Also, if i've double tracked backing vocals i quite like to pan one slightly left and one slightly right so that the lead vox still has it's own space (especially if i've used the same mic/singer to record the parts)
 
dontouch said:
Is it a bad to hard-pan the back ground vox?
Click to expand...

You're the guy mixing. It's up to you to make that decision. If you want opinions from others on a particular mix then post in the Clinic.

dontouch said:
What about reverb? My impression is you only want it on the panned vox, not the center/main ones...Is that just stupid?
Click to expand...

It's not a simple matter of using it or not on the lead vocal. Reverb makes things sound distant. Make the vocal sound as near or as distant as you want. It might sound weird to me to hear the vocals sound like they're coming from behind the band, but I'm not the one mixing your stuff. Do what sounds right to you.

dontouch said:
and how do you gauge the amount of reverb to use?
Click to expand...

Listen and decide. There is no objective standard.
 
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