Part 2 will cover effects and will include a crash course in how to apply these techniques yourself, including gear recommendations, basic production how-tos, and resources for further learning. In the first part of this series, we’ll talk about vocal layering, which is adding background vocal tracks in addition to the lead vocal. The two albums are vastly different in tone and style as well, and are both incredible works of art and vocal prowess. Lizzo’s Cuz I Love You, on the other hand, was a studio recording with a vast array of producers and collaborators, and provides excellent examples of the studio recording standards in vocal production. Famously, Billie Eilish’s album When We All Fall Asleep, Where Do We Go? was recorded in her bedroom, so she does a lot of vocal layering of her own voice and her brother Finneas’s, as well as effects that are achievable in small home studio setups. I’d like to highlight some examples of typical vocal layering and effects techniques being used in pop styles today, using mostly excerpts from two of the most influential pop singers of the past few years, Billie Eilish and Lizzo. Having this skill set and knowledge base puts you more in control of your sound, and the best ways to conquer it are to listen and experiment! However, not being familiar with the sounds you like can cause delays in the studio what if your engineer asks you what effects you want, and you don’t have the answer? Figuring out in real time in the studio how you’d prefer to produce your vocals can cost you time, which will cost you money. Vocal production can be an intimidating topic for singers and singing teachers-it means familiarizing ourselves with technology like effects pedals and mixers, and possibly buying expensive equipment.
It’s hard to imagine T-Payne’s voice without the autotune (though we can hear it, and it’s beautiful), or Elliott Smith without the vocal double, or a dry, reverb-less Lana del Rey. As the effects have become more advanced and nuanced, vocal production has become a recognizable aspect of a singer’s tone, in addition to their vocal qualities.
Vocal effects have come a long way since the days of reverb chambers, tape delays, and the autotune explorations of Cher and T-Payne.
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