Background vocals (sometimes called backing vocals) can add enormous value to — or detract value from– a recording. Done correctly, they can make the difference between a commercial hit or artistic masterpiece and … not a hit/masterpiece. I’ve been singing background vocals and creating background vocal arrangements for decades now in all genres. Through the years, I’ve learned through trial, error, client wishes and resulting mixes what does and does not work. Here are some things I typically suggest to create background vocal magic.
NOTE: When the producer or group leader calls for “doubling or stacking a part” it means to record another track of the exact same part. When calling for “next part or sweetening”, it means singing another new note or part. “Multi-tracking” background vocals simply means recording a part or group parts on more than one track.
- What I chose or suggest to do with background vocals depends mightily on the genre of the song. For instance… for rock, r&b and pop, I usually multitrack and double or triple (or even more) each part. For bluegrass I typically suggest only one track/singer on each part to keep the intimate, tight, live sound this genre is famous for. Country… usually single or double any verse parts and multitrack the choruses.
- When I multitrack and double, for the tightest and purest sounds, I have each singer do all the doubling of one part. For thicker sounds and choir sounds, I have singers switch parts for doubling. And then again, some times I do all the parts for budget, time or other expediency reasons. How many times do I double each part? Sometimes it takes trying it out to see if it needs another track for richness or if another double makes the sound too heavy or muddy.
- As to how many parts I sing or direct to be sung, many times experimentation is called for, and I quickly sing or have sung a single duet part, full chord or an octave at top or bottom of the chord to determine which is best for that song. After many years, though, I can usually make that call without having to try out everything.
- I like to do non-conventional parts, not necessarily paralleling everything. Sometimes breaking a unison into parts at a chosen point, sometimes doing counterparts, sometimes fifths, sometimes even notes out of the chord (rock does this a LOT)…etc.
- If possible I like to have each singer on a separate mic each part can be controlled at mix. However, there are many projects I do that are set up with only one mic, then I make sure we record with the right balance of parts.
- For choir parts, many times a choir is recorded and then ‘ringer’ (professional session) singers overdub doubled parts to focus the choir sound.
- How many background vocal singers do you need per song? It depends on the sound you want (consult with your producer), your budget (AFTRA union singer rates are available at the AFTRA website – look under the tab “Sound Recordings”), and who is available for you to call that can come in to the studio in your area.
- Mixing background vocals is also a highly variable thing. Hopefully your engineer will make sure there is a balance of parts and that
I strongly suggest that you not use amateur singers for background vocal parts. Not only will the sound be sub-par, it can cost you more money because of the studio time it takes trying to get something acceptable. Get pro singers, or if you can do your own, you can save money and that might be the best thing to do. However, sometimes it’s best to use singers with different resonances than the lead vocal. The singers still need to be able to blend with your vocal in the way that gives you the best sonic results… and your background vocalist(s) need to be chosen carefully based on whether or not they can deliver that effect. Consult with your producer as to the best option for your project and your budget.
If you have any questions about this or any other aspect of recording, please let me know!
Less is often more when it comes to recording productions. Space is necessary or you get a mind-numbing muddled sound stew instead of a mind-blowing sound tapestry. This is true in all genres or catagories of musical projects.
Sonic information is best delivered in digestible chunks. Where instruments and vocals DON’T play and sing are as important as where they DO. Space can create a wonderful anticipation and draw the listener’s ear into rapt attention. There are many ways to achieve this space, such as
- Drop some instrumentation. At certain points (verse, breakdown chorus are common places), pare the instrumentation down to just an instrument or two or percussive rhythm. When instruments come in, they should do so without stepping on each other or the vocal. This space should help with creating dynamics that bring authentic emotion to the recording.
- There should be a consideration of frequencies instruments are playing. Too many instruments in the same frequency range sounds like jumbled up noise instead of music.
- Studio musicians should compliment each other in a team effort, not play like soloists vying for attention. A well-chosen, pro studio band doing this is a beautiful sight to see and hear. They communicate with each other and strive for creative, yet well-coordinated efforts, guided and encouraged by a good band leader and producer.
- Make sure background vocals are arranged in a similar way… to enhance the production, not to take attention away from the lead singer. Instruments playing licks, where the actual chord changes take place, how many layers should be sung for effect, etc. and the sound needed for the genre itself need to be taken into account. Sometimes it’s best NOT to do a three part chord and substitute octaves, unison or duet treatment to a part of the song. This also gives the feeling of space. Correctly done, a production is greatly improved by strategic background vocals. Too many of them or having them in the wrong places can kill a production. Most of the time, btw, its best to get a veteran pro background singer to create strategic arrangements, subject to you and your producer’s approval.
- Limit vocal licks. Lead vocal embellishments (scats, licks, melodic variations) should be used with discretion. Gifted recording artists- especially great voices- need to be watched over by a discerning producer to make sure any vocal embellishments enhance and do not distract to deliver the authentic emotional performance. Too many licks numbs the listener’s ear and heart. I know you’re good, but space, please.
- Get a mix with space. Your mix engineer should, among other things, take care not to “wad everything up in the middle” when mixing the tracks. An expert mix engineer will know how to space and pan things, assign the right space-making reverb plates and eq and edit out anything that conflicts.
Music without space is just noise. Spread out.. give time… make room for the song to breathe. Create a sonic tapestry that begs to be played again!
*Helpful tip:
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