However: the one place I would not want to do this is vocals. It’s possible to get away with cutting corners along any stretch of a production. Starting with a very full capture makes this process infinitely easier.
I know this is a bit of non-advice but I really cannot stress this enough. There isn’t one grand secret to doing it, but there are a number of techniques which can be used in the right set of circumstances to make it happen. A big vocal sound is not necessarily easy to get. Either your client wanted it, or you wanted it for yourself. If you’re used to working in pop, rock, hip hop, EDM, even jazz, you’ve probably wanted that coveted “in your face” vocal sound. Regardless of the genre, learn to make them sound huge! Paul McCartney also commonly used this technique for his vocals while in the Beatles.Do you want your vocals to sound larger than life? Learn how to get your vocals to sound big, present, and in-your-face: whether you're working with a great recording or not. Some critics complained that the effect gave the impression that Lennon recorded all his vocals in a bathroom, but some performers, like Black Francis and Paul Simon, value the rich echo chamber sound that it produces. Lennon's post-Beatles albums frequently employed doubling echo on his vocals in place of the ADT.
John Lennon particularly enjoyed using the technique for his vocals while in the Beatles. The effect is used to give one singer a fuller sound.ĭouble tracking was pioneered by Buddy Holly. ADT produced a unique sound that could be imitated but not precisely duplicated by later analog and digital delay devices, which are capable of producing an effect called doubling echo. It used variable speed tape recorders connected in such a way as to mimic the effect created by double tracking. Artificial or automatic double tracking, also known as ADT, was developed at Abbey Road Studios by engineers recording The Beatles in the 1960s.
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