I was referring to vocals. Personally, I don't use pitch correction for anything else although I suppose I should give it a try...

Anderton
 
 
Sometimes being a little off pitch is essential to give the right feel. 

 
Great point. I agree. I like to dance around the pitch and at certain points nail it. That gives the lines a calculated human feel and intelligence. At that point being off tune does not tire the listener but it continues to interest the listener over and over. V-vocal (to me) generally preserves this human feel and life and the artifacts it produces are easily editable in most cases.
 
V-vocal loves the human voice but on some instruments they do not bode well with v-vocal even with no processing at all, I have had to often take V-vocal completely off certain out of tune instrument parts. Sometimes in that case, adding chorusing helps blur the tune 
 
I guess that is why Roland called it V-vocal and not V-tune. :) 
 
In these rare case it is nice to have melodyne around.

RexRed
Great point. I agree. I like to dance around the pitch and at certain points nail it. That gives the lines a calculated human feel and intelligence. At that point being off tune does not tire the listener but it continues to interest the listener over and over.

My favorite example of that is B. B. King. If he ever bends the flatted seventh all the way up to the tonic, the world might come to an end. He always seems to bend up to where it's just a teeny bit flat...you keep waiting for it to resolve, but then he launches into the next note.
 
Quick sidebar - I was doing a cover version of a song that involved multiple harmonies. It kept sounding "wrong," so I looked at the parts in V-Vocal (as well as the lead) with the intention of fixing the pitch problems. But presumably because I recorded each vocal in isolation, somehow I'd managed to nail the pitch perfectly. Long story short is I ended up using V-Vocal to "untune" some of the harmonies. Then they sounded the way I wanted. 

I can see how that bass thing is well worth the bother. I mean, all those records with piano and bass from before we had pitch correction just sounded awful. Say A Little Prayer? Ghastly. Hey Jude? Rotten.

Anderton
 
My favorite example of that is B. B. King.

I like that example. :-)
 
I enjoyed the privilege, one night several years ago, of lending him one my Fender Amps on an occasion when the Twin that traveled with his band showed up D.O.A. at a local venue.
 
Good times!

I usually only have one vocal in my song other than harmonies but I am experimenting with adding other unison vocal dubs during the non harmony parts. Can anyone give me some tips on how to make the vocals blend better without overpowering the main vocal and being a distraction rather than a subtle augmentation? 

Use someone else's voice.
 
Sort of like the way Nash and Crosby/Stills did it.

mike_mccue
Use someone else's voice.
 
Sort of like the way Nash and Crosby/Stills did it.

I am talking about more the way John Lennon did it very subtle. I hear you though, good tip, I wish i had other voices to use. How about eqing, reverb and panning settings?  

RexRed
I usually only have one vocal in my song other than harmonies but I am experimenting with adding other unison vocal dubs during the non harmony parts. Can anyone give me some tips on how to make the vocals blend better without overpowering the main vocal and being a distraction rather than a subtle augmentation?

Fast Automatic Double Tracking is actually one of the functions that Melodyne does better than V-Vocal, and it works with the Essential version. Please refer to this article for details.
 
As to not overpowering, obviously levels are one option but so is EQ. How to set the EQ depends on what effect you want to create. If you want the additional vocal to add more "body," then trim the highs a bit...maybe even a subtle lower mid boost. If you want the additional vocal to "frame" the main vocal, drop the mids to create more space for the main vocal, leaving more of the highs and lows.
 
I almost always match a doubled vocal's pan position to the main vocal so they blend more seamlessly. OTOH if you want to draw more attention to the doubled vocal, offset it somewhat from the main vocal. To avoid unbalancing the track, considering copying the doubled vocal so that the two doubled vocals are offset equally and oppositely from the main vocal. In that case you'll need to reduce the levels of the two vocals compared to using a single vocal panned under the main vocal.

 
http://en.wikipedia.org/w...omatic_double_tracking
 
 
edit to add; I see Craig beat me to the answer while I got distracting by listening to John Lennon songs.
 
:-)