Tips on How to Stack Vocals Effectively
For me, the trick to stacking vocals is mostly in the tracking phase itself. Advanced magicianry aside, a finished product is only as good as the raw recordings lend it to be.
A nice thick vocal track can really make the difference in a song, especially the chorus. In general, I like to use 3 or more separate tracks to later meld into a single, total piece. It is important to use variant vocal techniques, volumes and styles that occupy different pitch ranges so that a robot-chorus effect doesn’t result. For instance, I like to record a solid (lead) vocal first that will serve as the foundation for the other vocals to sit on. This track lays the synchopation of the verse and it is very important that the others sit perfectly on this track. It is also the loudest and most dominant in the mix, so it needs to be perfect before moving on.
Once this is down how you like it, another smooth and stylish vocal can sit beneath the lead vocal to add a bit more flavor to the existing track – have some fun with it and embrace the style aspect. Now add a 3rd vocal, similar to maybe a Barry White-esque pitch, to fill the low, warm underbelly of the other 2 tracks. Keep an eye on this low-pitch vocal because it might muddy the others if it’s too loud or not in harmony with the other vox. Harmony, even in a Guru-style, monotone verse, makes a big difference in the overall sound of the verse-composite… So keep your vocals in harmony with the track and with the other vocals and you will be happy. Now, if the song permits, maybe add another higher pitched track to oppose and balance the low track. Mix and pan these tracks to your liking and leave them as the lead vocals. Think of them as the tires, frame and shocks of a mountain bike… soon we’re gonna add the bike accessories and flashy sponsorship-stickers…
With these leads in place, I will use a few more tracks in various pitch ranges with various vocal inflections, depending on the song, to bring out the flavor spots in the leads. Remember, these back-ups are complementary and should ebb and flow with what is going on in the verse. Emphasizing particular words or sitting into a fluid vox part can really add some desired character to a track. Pay attention to artists you admire and focus on how they control their back-up vocals. Notice how the artist will change their styles based on what the song needs. I emphasize this last part because a lot of times some of these tracks sound ridiculous when soloed out, but perfect when sitting in with the rest of the vox. The point being, don’t be afraid to venture past comfort to try an idea that might seem silly at first, but ends up being priceless in a track. On the contrary though, you need to be able to throw in the towel and to not force an idea. Try to always keep an outside perspective and an open mind. Back-up sound effects are also a nice addition to add even more track-flare and are a well known accessory in story raps.
When mixing back-ups to the leads, I like to create a distance between the leads and the back-ups to accentuate their individual, yet unified relationship. A lot of times, this means the back-ups have more reverb, stereo-spread, and fx styles on them to add a new character to the vocal composite. I am very visual, so in figuring out a vocal relationship, or any kind of relationship for that matter, I like to think of a 3-D sphere of sound that I can arrange the different tracks into. The leads sit in the front, the back-ups spread around towards the back and sides of the sphere. Either way, listen to your ears and do what sounds right… Now get to stackin’.
— Mike with the Mic
CCM Recording Studios
Broken Tongues Music
