Tr a c k i n g t a c t i c s
Our final recording technique
involves layering multiple takes
to create a thicker, richer sound.
‘Double tracking’ (or ‘triple
tracking’, and so on) is an
established production
technique that dates back to the
early days of three- and four-
track recording, though it’s
considerably easier these days
using the cut and paste
capabilities of DAWs. It simply
involves recording the same part
multiple times, then playing
them all back together – the
natural differences between
each take add up to create a big,
lush sound.
First, you need to establish a
reference. Typically, double or
triple tracks work to support an
existing track, so before you try
to add layers, make sure your
core track is good enough to
support them. Second, when
adding double or triple tracks,
have the main track up as a
reference, so that the musician
can perform to it and check that
it works. You’ll probably need to
compile and edit the layers, but
as they’re being used in a
supporting role, they don’t need
to be as accurate as the main
track in terms of pitch and
timing. You can use layers in
mono or spread them in stereo.
Finally, you should consider
using layers of harmonies.
Although these are most
commonly used for vocals,
pretty much any melodic
instrument can be double/triple
tracked as a harmony.
Althoughwetypicallyassociate
harmonisingwithvocals,anymelodic
partisfairgame,andthetechniques
involvedaresimilar.Muchlikedouble
tracking,thefirstthingtodoistomake
sureyourcoremelodypartiscompiled
andeditedwell,andintimeandintune.1
Decidewhichmusicalpartstoadd.
Theycouldbeaboveorbelowthe
mainmelodyandwillneedtofollowthe
chordchangesinthesong.Alsodecideif
youwanttofullyharmonisethemelody–
quiteunusual– oraddharmoniesto
specificphrases,whichismoretypical.2
Setupthecuemixsothatyoucanhear
boththeharmonyyou’readdingand
thecoremelody.Thisnotonlyhelpswith
timing,butalsorevealsstraightawayif the
harmonyis goingtoworkbothagainstthe
melodyandinthecontextofthesong.3
Finally,you’llprobablyhavetofollow
thesamecompilingtechniqueyou
usedforthecoremelody.Harmonies
usuallyplaya supportingrole,withtheir
levelsbalancedbelowthemainmelody.
Checkingthemincontextwillmakethe
editingandcompilingtaskquicker.4
The key to a decent double or triple
track is having a good original core
take. Let’s assume that yours has been
recorded, compiled and edited brilliantly
(of course it has!), so that it provides a
perfectly in-time and in-tune reference.1
Yourgoalistogetthedoubletrackas
closeaspossibletothecoretake,and
usuallythebestwaytodothisisto
performalongtoit.However,sometimesit
canbehardtodifferentiatethecoretake
fromthedouble.Trypanningtheoriginal
taketoonesideinthecuemixtoclearly
separateit fromthedoubletrack.2
Youmayneedtodoa numberoftakes
andcompileyourdoubletrackusing
thetechniquesonthepreviouspage.
However,someloosenessinpitchand
timingaddsrichness.It canbetemptingto
useautomatictuningpluginsonyour
doubleandtripletracks,butbecarefulif
youdo,astheresultcansoundartificial.3
Step by step
- Double tracking
Step by step 18. Recording harmonies
the fast guide to recording / make music now <
July 2019 / COMPUTER MUSIC / 35