1. Since background vocals are invariably stacked, layered, or anyway doubled, try the next to make them bigger inside them for hours a much better feeling of space. For any subsequent overdub after the primary recording, hold the singers take a pace backward, but enhance the mic preamp gain so your channel's level is equal to the primary layer. In simple terms, you would like to “fill the meters” so the particular level on the meter is the identical where ever the singers stand.
2. If the singers have trouble blending or singing in tune, ask them to remove one for whites of your headphones or otherwise stick it slightly back on the ear. Sometimes this assists them sing in tune, simply because may well then hear the blend acoustically.
3. The best background blends usually come from having multiple singers positioned around a single mic or stereo pair.
4. Large-diaphragm cardioid condensers are generally used simply because combine a proximity effect and a small midrange scoop along with a slight lift from the upper frequency ranges. This accentuates the “air” part of the sound, which helps the backdrop vocals sit better from the mix.
5. The microphone does not always should be a large-diaphragm condenser. Sometimes the natural compression of both volume and transients available from a dynamic mic helps keep the vocal considerably more at bay when compared to a condenser would.
6. Better charge vocalist is, usually the more often it is made for her to try and do background vocalswith other sites as the voice is recognizable.
7. If charge singer is singing the backdrop parts or perhaps is area of the background vocal ensemble, don't make use of the same mic where charge vocals were recorded. This will cause a buildup of a typical peaks from the singer's voice, the mic, or room.
8. Always try to behave a little different on each background vocal track. Another type of mic, mic preamp, room, singer, or distance from the mic will all create the sound bigger.
9. A trick to aid things blend better would be to record the backdrop vocals after which play it away throughout the studio monitors and record the playback. The space of your mic placement depends on the sound of the room. Walk around and look for the place where the playback sounds the ideal, after which placed the mic there. Record and mix this in low underneath the initial background vocal tracks.
10. To get a performance where the singers will sing a three-part harmony, employ a cardioid pattern with three people on the mic. On the primary pass, anyone is on-axis along with the other two are off-axis by 90 degrees (facing each other). On the following pass, have on the list of off-axis singers trade places using the on-axis singer. Start a third track like until the 3 singers have been recorded on an on-axis track and the 3 notes are on-axis. Whether it's only a two-note harmony, then double each note with similar method.
11. Another variation of the above technique to own the 3 people sing a similar note as well with similar mic technique; then proceed as above.
Possibly the best point coming from all would be to choose your background vocalists wisely, since it is an ability that each vocalists, irrespective of their talent, have.