Mark this post, it is pretty helpful to me. I will learn some tips there!

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.

(This is really helpful, IMHO!)

mattplaysguitar

Rus W

Ya waaaa?????


I thought I was starting to get an ok grasp on music theory. Till now....

I went overboard, sorry. I do that alot.

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?

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?

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?

I think I get what you're saying. "Notes" can mean a lot of different things depending on the context used. I usually think in terms of scale and chord degrees which are much less ambiguous. But then, I am easily confused.

He's just saying that the interval between the first and and third note of the chord are a fifth apart. Here is the triad of a C Major chord:

C E G
I II III

Here it is in relation to the C Major scale:


C E G
I II III
C D E F G A B
I II III IV V VI VII

As you can the third note of the triad is the fifth note of the scale.

For some reason that part of the post confused me too but rereading it I don't see a much better way to word it. I think I just needed more caffeine.

Dammit. The forum screwed up my formatting. Hopefully you get the idea. Just imagine those notes lined up vertically or toss it in notepad and fix it.

^Well, in this case:

In the CMaj9 chord:
You beat me to it. Beepster = Roadrunner? lol)

This next portion has to do with voice-leading which is also essential to getting good harmony. Probably referred to as Part Writing in Theory classes! (I had a hard time, too lol)

Two voices can be a fifth apart from each other, but that interval can't be present as they voices progress from chord to chord.

This progression: CMaj7-Dm7-Em7 (a rootless CMaj9)

The bass could walk from C-E or he could walk up then walk back down (C-D-C)

the Soprano could follow him (walk up E-G) or (E-F-E) or walk down (G-F-E; contrary motion)

Then, you have the inner voices:

The tenor could walk up from G-B; walk down B-G; or GAG himself as can the alto; however, you have to keep in mind the interval relationship between adjacent voices.

If there is a parallel fourth, fifth or octave within the relationship found anywhere in the progression once it starts, then something has to be changed.

It'll take alot of practice to get this. A great way to practice is to play series of chords using inversions.

C-Am-F-G (I-vi-IV-V)

C in second inversion (G-C-E) , Am in root position (A-C-E), F in first inversion (A-C-F) and G in first inversion (B, D, G) This allows you to walk up to C in root position (C-E-G).

Of course, if I were to add the fourth voice:

C in second inversion (G-C-E-*C) , Am in root position (A-C-E-*C), F in first inversion (A-C-F-*A) and G in first inversion (B, D, G-*B) This allows you to walk up to C in root position (C-E-G-*C).

* = Soprano note

The outer voices - bass went G-A-A-B-C; the soprano went C-C-A-B-C
The inner voices - tenor went C-C-C-D-E; the alto went, E-E-F-G-G

That is an example of good voice-leading - not to mention there being as little movement as possible with the hands and fingers which is what is being asked when talking about the voices and how they're supposed to move.

This is of course, referring to choral music and while this guideline can be broken, if you pretend your fingers were those voices you realize how such should be followed.

Again, that's a lot to parse out but I think I get what you are implying. I'll bring it back down to three note chords with three singers and we will only move between two chords. If chord one contains two notes that chord two contains the two singers singing those notes in the first chord will continue singing the same notes on the second chord. Only one singer changes notes. The second chord will be a different inversion than the first chord. I just skimmed your post so I might be completely misinterpreting what you are trying to say. Are you formally trained Rus or did you learn this stuff on your own?