Different EQs for vocals from the same vocalist

Here's something that I've been curious about lately. I usually do everything myself so I'm wondering: If the same vocalist sings all of the harmony vocals on a song, would there be more of an inclination to eq each vocal differently to blend better than there would be if it was, say, three different vocalists? I was going to ask "Would the natural differences between three different voices make it easier to blend..." but probably the opposite is a better question: Would the similarity in the timbre and tone of the same voice present a problem where different voices wouldn't? And how would you handle this situation? Just wonderin'

I've heard about people using different microphones, different distances from the mic, and singing off-axis to make it sound like there is more than one person singing.

Personally, I think it's perfectly acceptable for the lead and backing vocals to sound like the same person. It works for Enya. Just put a little reverb and/or delay on the BGV and pan slightly off center.

I like Chuck's idea about boosting highs for the high parts and lows for the low parts. 

I personally use the same mic and the same eq settings for lead and BGV.   

I do however vary the distance to the mic to a greater distance on the BGV most often.  

I think you can  get a good mix with the levels you use. It depends on the vocal material.... is it a Barbershop quartet where all the voices are more or less equal in volume, or more like the Eagles BGV where you can hear them all very well and distinctly, or more like some of the modern country where you really have to pay attention to hear what the BGV harmonies are doing......? 

The real answer for you is yes.. to all the above..... use compression, reverb, EQ, levels, and mic techniques to make the BGV sound like you want. 


Some of the best vocal groups in the world have been family vocal groups like the Gatlin brothers and more recently the band Perry. Sibling harmonies are amazing....since they have common genetics behind those voices. Not saying strangers can't sound good together, but a good family group is hard to beat. 

Bkging vocs: less HPF to allow sinking back in the mix

Lead vox: more HPF or in chorus if needed to 'stand out'

Reverb'd vocs: less HPF to allow sinking back in the mix

Haas'd vocs (panned LT RT) ... more HPF if there's a strong kick ruling the mix

Always reduce comp'd shrills and shrieks at 3.5-4 kHz if digitally comping the lead vox and/or backing vocs.

LPF's I generally leave alone

(Hope this helps)

Also, +1 on everyone especially on GuitarHacker's post.