Editing to Achieve Lush Vocal Harmonies

Bristol_Jonesey


if you're editing pitch with V-Vocal, don't nudge your "wrong" notes to the exact same pitch, allow a little flexibility.

Also, while you're using VV, I think it's almost as important to tighten up timing as it is pitch.
There's nothing worse than hearing multiple 's's' or 't's' arriving at different times

whack


IMO I think one of my strongpoints are creating those lush harmonies your are talking about (not big headed, I suck in a lot of otherways!ha);

I basically do a **** load of vocal takes (all separate, the different blends creates that wall of sound), and I mean doing a lower and higher octave takes of the original melody, lower and higher of one harmony and of a also of a second, I could end up with  a minimum of 6. Obviously the harmony chosen has to be good.

And then, but not as important, a good compressor, some reverb and a touch of high end boost.

My 2 cents,

Cian

Rus W


I concur. I'd say when trying to harmonize vocally, work it out on an instrument first. Most do it with the melody, so why not?

And yes, adding those "color" tones and using different voicings works wonders. As I said, try this out on a piano. (Of course, this depends on the kind of sound you want)

On the part-writing thing (which is what some are alluding to) it's all about motion. When it's said that perfect unisons, fifths an octave aren't recommended (though that's not really "fair" with a m/f duet. lol), what this means is that two parts (most importantly the bass and soprano) can sing a fifth (C-G), but can't sing (D-A, E-B, etc. in the next incriment.) because they're still a fifth apart.

Granted, this seems odd when building 7ths on up to 13ths from scales because, the first & third notes are a fifth apart as are the second & fourth. The exception would be the 11th because you need to alter them (raise usually to get the P5 interval (between the 7th and 11th (the altered 11th is colored purple)

CMaj7 or CMaj9 (one more note added, but the third & fifth notes are a fifth apart)

Find all the Perfect 5th intervals

CMaj7 (9) - C-E-G-B-D-(F#)-A
Dm7 - D-F-A-C-E
Em7 - E-G-B-D-F#
FMaj7 - F-A-C-E-G
G7 - G-B-D-F-A
Am7 - A-C-E-G-B
Bm7b5 - B-D-F-A-C (not Ab)

Now, chords can be sung like that, but when written (if checked), it's a no-no. However, all the other intervals are acceptable - and use those that create dissonance to add more flavor, color - or - tension, 

The Major 7th, minor 2nd and tri-tone are the most tense intervals - even if something else is added, but they're less tense when something is added because it's make more sense to you and your ear. 

F#-C or C-F#. What is that?

Well, that's either the obvious D7, but also: 

Ab/G#7; F#/Gb7b5; F#/Gbdim7 (dim7s can be flipped; thankfully, there's only three of these as they repeat themselves.) C(b5), C7b5, Cm7b5 and so on. The thing is for a tri-tone to exist the interval is either an augmented fourth (C-F# as in D7) or a diminished fifth (C-Gb as in C7b5)  


A major seventh in any position other than root - although still tense in that position because the top note wants to walk up to said root (8va). (Raise the fifth and it'll really want to do that. Actually, two notes want to walk accordingly - especially, if it's a cadence.

G7b9 (color tone)-C, Db7-C (tri-tone substitution) or CMaj7#5 (equivalent color tone; #5 = b9)-C.

G-B-D-F-Ab; although a better resolution happens when it's written/played like this:

(Notes that want to resolve are red; where they resolve is blue.)

G-D-F-Ab-Cb -----> C-E-G-C (V^7b9-I)

D-F-Ab-Cb -----> C-E-G-C (iidim7-I)

Likewise, Db-F-Ab-Cb -----> C-E-G-C (bII (VI/iii)-I)

C-E-G#-B -----> C-E-G-C (I-I: where the first I has an altered tone in it)

This is pretty basic, but necessary to know (=/= to spit out) when working with harmony.

Most already know it's my favorite part of music. How she moves is a big part of it and if you let her she'll move on her own.

bitflipper


To my mind, the epitome of "lush" is exemplified by Fleetwood Mac's song "Tell Me Lies". That particular effect was accomplished by triple-tracking each part and giving it all a 10K boost. There is also a pretty hefty dose of Lexicon on it. Pretty much the same method was used for 10cc's classic "Not in Love" as well as Queen's "Bohemian Rhapsody" (3 singers x 3 dubs).

Really thick vocal harmonies requires lots of layers. If it's possible to fake it with doublers and choruses and such, I've certainly never found any such formula. [And I've tried, too. I even went as far as buying the Waves Doubler after hearing it was a favorite among many successful engineers -- save your money, it's useless.]

Here's a trick I stumbled onto once. I'd sung four harmony parts and then double-tracked each part, for a total of 8 "me's". But it wasn't as fat as I wanted, so I started experimenting and ultimately ended up layering a synth vocal pad underneath. That actually worked surprisingly well. A casual listen does not reveal the fake choir, because your ear zeroes in on the real human voices riding above it.

Another thing that almost goes without saying: compression. Heavy compression. You don't want anything to stick out when you've got a virtual choir going. Set the threshold way down low, so the compressor's always engaged, give it a 4:1 ratio or higher. I usually use the old Kjearhus Classic Compressor for this task, maybe because it works so well or maybe just years of habit, I'm not sure.

Rus W


..."the first & third notes are a fifth apart as are the second & fourth"...

Rus W

Chappel

Rus W


..."the first & third notes are a fifth apart as are the second & fourth"...

I must have misunderstood something. The first and third notes are a third apart, as are the second and fourth, yes? No?

Yes, but I wasn't referring to scale degrees. I meant the notes themselves.

Look again: C-E-G-B-D


The first note (C) and third note (G) are a fifth apart.
The second note (E) and fourth (B) are a fifth apart.
The third note (G) and fifth note (D) are a fifth apart.

Does that clear it up?