Tillie Doyle
Double-tracking vocals is a technique used to create a richer mix and a fuller sound. Traditionally, this is achieved by having the artist record their lines twice. However, this may not always be possible, and there are now plugins that can be used to create synthetic vocal doubles. When double-tracking vocals, it is important to consider the desired effect and how many voices you want the listener to perceive. The panning of double-tracked vocals depends on the number of doubles and the desired effect. If you only have one double, you can either keep both the original and the double in the center with the double lower in volume, or you can pan the original hard left and the double hard right at the same volume. If you have two doubles, you can pan them hard left and right, keeping the original in the center. This adds thickness and width to the vocal part. It is important to ensure that the doubles are EQ'd and compressed the same way to maintain a careful balance between the two sides.
| Characteristics | Values |
|---|---|
| Number of doubles | 1 or 2 |
| Panning with 1 double | Keep both in the center with the double lower in volume or pan the original hard left and the double hard right |
| Panning with 2 doubles | Pan the two doubles hard left and right, keeping the original in the middle |
| Volume with 2 doubles | Same volume |
| Mono compatibility | Phase-inverted vocal doubles will cancel each other out in mono but sound wide in stereo |
| Natural chorus effect | Panning double-tracks left and right weakens the chorusey timbral side-effects in stereo but when summed to mono, these hard-panned layers will combine electrically, reintroducing the chorusey flavour |
| Vocal separation | Use two different mics to enhance separation and avoid phase issues |
| Vocal alignment | Ensure transients align perfectly with the lead take |
| Vocal balance | Depends on why you're double-tracking; if you've used two different mics to enhance the tone, the balance of the mics determines how much of each sonic character you hear |
| Vocal thickness | Panning the double away from the main vocal track draws attention to the double; usually, the double is used to thicken the vocal without drawing attention to it |
Explore related products
What You'll Learn
Panning one double hard left and the other hard right
When using this technique, it is important to ensure that the two vocal tracks are at the same volume to avoid the combined vocal image appearing lopsided. Additionally, the two tracks should be EQ'd and compressed in the same way to maintain a careful balance between the two. If one side is louder than the other, it can place more emphasis on that side, disrupting the balance.
It is also worth noting that panning double-tracks left and right can weaken the chorusey timbral side-effects of the layering in stereo because the vocal signals do not mix electrically. This technique may also weaken the mono level by about 3dB. Therefore, it is important to consider mono compatibility and how the effect translates to mono.
Some other tricks to consider when using this technique include avoiding singing heavy consonants like 't' and 'p' and leaving the last vowel to over-ring. It is also recommended to sing long end notes slightly longer and then trim them back to the lead vocals manually.
Overall, this technique can be an effective way to create a bigger and wider sound, but it may not work for all vocalists, songs, or genres, so it is important to experiment and find the sweet spot for the volume.
The e-Pan Card: A Digital Makeover
You may want to see also
Explore related products
$14.99
Using plugins to create synthetic vocal doubles
Several vocal doubler plugins are available, each with unique features and capabilities. One popular option is the Waves Doubler, which allows users to duplicate, pan, and adjust the pitch of the original input signal. It provides controls for feedback, pitch modulation, EQ, and output gain, enabling users to create distinct vocal doubles that stand out in the mix. The Waves Reel ADT plugin is another offering from Waves that recreates the sound of artificial double tracking, initially developed by Abbey Road Studios in the 1960s. It allows users to adjust varispeed LFO rates, achieving natural variation and randomization that emulates the human voice.
Another notable plugin is the Sonnox VoxDoubler, which comes with two distinct plugins: Widen and Thicken. The Widen plugin takes a single voice and creates two separate mono voices, panning them to the left and right of the original signal, adding stereo width. On the other hand, the Thicken plugin takes a stereo doubled voice and overlaps it with the original source, creating the effect of singing the same part twice.
For those seeking a free option, the iZotope Vocal Doubler is a great choice. It enhances vocals with a natural doubling effect, adding richness and depth. Its intuitive, minimal parameter controls make it easy to use, and it integrates seamlessly with most modern host applications.
Additionally, for rock or heavy-hitting hip-hop tracks, guitar amp plugins like PRS SuperModels can be used to run doubles and add an aggressive flavour to the vocal tone. Distorting and saturating vocal doubles can create a more intense texture, while heavy compression can mellow them out, ensuring they complement the lead vocal.
While these plugins offer convenience and versatility, it's worth noting that they may lack the natural randomness of traditional double-tracking. However, they excel in delivering clean, present, and wide vocals, making them well-suited for genres like pop and EDM.
Removing Helicoil from Oil Pan: A Step-by-Step Guide
You may want to see also
Explore related products
Mono compatibility
When double-tracking vocals, it's important to consider mono compatibility and how the effect translates to mono. While most listeners will be listening in stereo, you should still check how your mix sounds in mono to avoid any unwelcome surprises.
If you have two doubles, you can pan the two doubles hard left and right, keeping the original in the middle. This adds thickness and width to the vocal part. However, if you have one double, you have two options. The first is to keep them both in the centre with the double lower in volume. The second is to pan the original hard left and the double hard right, or vice versa, at the same volume. This technique doesn't always work and depends on the vocalist, genre, and song.
When double-tracking vocals, you should aim for tiny timing and pitch differences to create a wide stereo sound. However, you don't want it to sound sloppy. Be careful of low-end buildup when switching to mono, as it can make the mix sound muddy and lose definition. To avoid this, adjust amp settings, mic distance, high-pass filters, and low-shelf EQ. You can also try changing the guitar, pickup, amp, mic, mic placement, or settings.
To achieve mono compatibility, you can make small adjustments to differentiate the sounds in mono, which will also make them sound thicker in stereo. For example, you can boost or cut a few decibels in different areas. Additionally, you can nudge or slide one of the tracks by 1ms at a time until the muffled and unclear sound disappears.
Oil Pan Compatibility: D16Y7 and D16Y8 Engines
You may want to see also
Explore related products
The Precedence effect
To make it seem like the vocals are coming from different directions, a time delay needs to be introduced into one of the audio signals. The Precedence Effect dictates that when a sound is followed by another sound with a time delay that is below the listener's echo threshold, the listener will perceive a single sound as opposed to two unique sounds. The perceived location of the sound is determined by the first wavefront to reach our ears.
When the wavefront from the second sound source reaches our ears, its effect is suppressed by the first sound, and we perceive a single sound coming from a specific direction. This is why it is important to introduce a delay into one of the audio signals when panning double-tracked vocals.
In practice, this means that when you have two double-tracked vocals, you can pan one hard left and the other hard right, creating a stereo effect. This technique is known as opposition panning and helps to create a sense of width and depth in the production. However, it is important to ensure that both vocal tracks are at the same volume to maintain a balanced stereo image.
By understanding and applying the Precedence Effect when panning double-tracked vocals, you can create a more immersive and interesting listening experience for your audience.
Pan-Roasted Bacon: The Ultimate Guide
You may want to see also
Explore related products
$25.99
The importance of getting the double as close to the original as possible
The goal of double tracking vocals is to create a rich and full sound by recording the same vocal part multiple times, with each take as close to the original as possible in pitch and phrasing. This technique adds depth and character to the production, making the song sound more professional, impactful, and emotive.
When double tracking vocals, it is crucial to get the double as close to the original as possible. The vocalist should listen to the original part several times to familiarise themselves with the nuances of the melody and phrasing. They should then sing along with the original, aiming to mimic every element of the original take. The more similar the two takes are, the more powerful and thick the combined vocals will sound. However, it is important to note that even with the best efforts, there will always be slight differences due to the human voice's fallibility.
To achieve the desired effect, it is essential to have a well-prepared original track. This means taking the time to record, comp, and edit the first track to ensure it is exactly how you want it. Only then should you move on to creating the second track by recording yourself singing the exact same vocal part. The second take should be as close to the first as possible, and you may need to do multiple passes to select the take that best matches the original.
Getting the double as close to the original as possible is crucial because it ensures that the two vocal tracks blend seamlessly when combined. This creates a natural stereo spread that cannot be replicated by simply copying and pasting the original track. While slight variations in timing and pitch can add a desirable chorus effect, noticeable differences in the double can detract from the song's impact and take the listener out of the experience.
In conclusion, the importance of getting the double as close to the original as possible when double tracking vocals cannot be overstated. It is the key to achieving the desired richness, fullness, and emotional impact that this technique offers. By taking the time to prepare a strong original track and meticulously mimicking it in the subsequent takes, engineers and vocalists can create powerful and professional-sounding recordings.
Strato Clipper Pan Am: Price and History
You may want to see also
Frequently asked questions
The best approach depends on whether you have one or two doubles. If you have one double, the conventional approach is to keep both the original and the double in the centre, with the double lower in volume. The more ambitious approach is to pan the original hard left and the double hard right (or vice versa) at the same volume. If you have two doubles, you can pan the two hard left and right, keeping the original in the centre at the same volume.
Panning the double away from the main vocal track can draw attention to the double, which is usually not desirable. If you have two doubles and pan them hard left and right, make sure they are EQ'd and compressed the same, or one side will sound louder than the other. If you are using two different mics to record the double-tracked vocals, you may get an imbalanced stereo image due to the tonal differences between the mics.
Traditionally, the artist would record their lines twice. However, if the singer is unavailable or struggles to cleanly overlay the same vocal line twice, you can use tools like Waves Doubler to create synthetic vocal doubles by duplicating, panning and adjusting the pitch of the original input signal.
