![]() For taming the dynamics of the vocals, it really just depends on how they are presented and what style of music you are working with. Some great plugins/gear for this process are the BAX EQ by Plugin Alliance or Universal audio for gentle high pass equalizing and low shelving, any of the SSL channel strip plugins or FabFilter Pro-Q 2 for a gentle of more extreme approach of the previous eq methods, but any equalizer with a smooth octave filter that has an adjustable high pass and low shelf control should do just fine. Equalizing and compressing the vocals should make it a lot easier to get a more cohesive blend. ![]() This editing process should include reducing/taking out background noise between takes, the tracks should be edited with a high pass filter and/or low shelf equalization (low shelf eq can be used to control proximity effect) to get rid of the unwanted sub and bass artifacts in the voice. It is very important to have the tracks cleaned up before the mixing process begins. You can’t have different takes of breaths and background noise going on between takes, or your vocal will sound like a chaotic wreck. The beauty of vocal stacking, is these different recordings come together and sound as one. ![]() You need your vocals to play in tune and on time. It is crucial for you or your engineer to have a set of tools available to achieve this process. The key to making vocal stacking work is to time align and pitch correct all of the different takes so they can perform cohesively while acting as one, solid vocal. You can also record another vocal take an octave lower than the lead, and turn it way down in the mix (the goal is to feel it, not hear) and pan center. ![]() For this process, you want the centered vocal be the loudest, while keeping the volume from other takes lower in the mix. There are different ways of doing this, but a popular technique is to have your main vocal track (this will be the loudest vocal, panned at the center), and two other independently recorded vocal tracks that are panned slightly left and right (you should experiment with panning while sweeping your doubled and tripled vocals close to the center or a little further out near the sides). This “magical formula” happens when different vocal tracks consist of the same melody. Do you want your vocals to have that thick, huge sound you hear on so many successful artists? Vocals that sound so full and present? Is there a common formula that is being repeated across different genres, producers and engineers? The answer to these questions is yes. ![]()
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