Okay, so I've cleaned up some of these parts in terms of their, the beginning and end and everything is just at Unity have done nothing with a mixer and let's hear what we have. Typically when I play this back, I am underwhelmed with the harmony because they're all at the same level. And I haven't pan them out and I haven't added reverb and things like that. So let's just have a listen to what we're dealing with and just share along the way you got it. Okay. So I mean, that's fine.

But quite often, you'll hear some kind of phasing and things like that when everything is sound right on the money that will start to go away when you start lowering some of these levels here and panning them out. So first thing I want to do with all of these is just pan them out. The first set all pan All the way out, this kind of tear apart, I'll pan out a little bit and in this octave above, then I'll pan all the way out. And let's bring this down a little bit. Especially this top part, you can hide a lot of imperfections. Like if it's very difficult for you to hit those really high notes.

Don't worry about it, I mean if you get pretty close to it, and then you can just bring that down the mix. You can fudge a lot of this stuff and it'll still sound still sound really nice. So let's see what we've got to share along the way. Okay, sounds a little bit better, maybe bring up this 10th power little bit more. And then certainly I want to add some verb in this and a little lead vocal. It was very popular to add a lot of reverb Back in the day, most modern book was very dry, I tend to wet up my background vocals to make them sound a little bit more lush.

So, let me just play around with this and we'll come back and you better see how this is all working out. Okay, so I've spent a little bit of time in terms of preliminary mixing of this along the way part and main thing I've done apart from panning them all out and adjusting my levels down a lot lower than my lead vocal here is to a wash them with some reverb in this case is the plate reverb right here. So you can see these this levels are pretty high, but the levels of the actual drive vocals are fairly low. And so that will have a tendency to wash that out. Plus, when I'm going across the stereo, stereo sort of feel like I am right here. This should really lash this Quite a bit up.

Again, this is preliminary mixing, I haven't EQ to haven't done you know, a lot of other stuff. But you remember how it it when we first heard it, it didn't sound really that special. I've done a bit of work and it's really starting to kind of add some life. Let's have a listen to this. And just share along the way you got some, I mean, you saw how quickly I threw these together. They I didn't spend a lot of time making sure that are perfect things like that you just knock them out.

And don't be too discouraged when you hear them back in your head by monsters. And it just kind of sounds like a big clump of vocals. When you start paring them out, bring them down, adding a little bit of verb and certainly we're going to be doing a lot more work. When we start mixing this song with compression and even pitch correction. I don't think we should be doing it. Timing here.

But you can see just that little echo here, not not echo as an echo echo, but it's an it's basically an echo vocal arrangement to this lyric here along the way, and then we go along the way, longer way. And it's starting to lash up a bit and just share a long way. In fact, let's solo these up and hear how they sound just by themselves. You can see there's a bunch of clicks there. We can ferret that out. In fact, let me take the snap off there.

And you can hear me clicking to stop. You could perform fade outs, you could perform a bunch of things. But that's it. Good example of when you go through and you solo you can hear things that you may not have heard before. Now if that was just one track, it wouldn't be such a big deal. But when you're hearing Click, click, click a quick click across six tracks that might be distracting.

I didn't hear that before, but it's nice to know that when you saw that, you can hear that Listen, listen to it again. Okay, so in context, let's hear it again along the way. Cool. I'm happy with that. So I want to build up the course little bit so that when we get to that part where it goes, Look into my eyes and We'll do a response there, but we'll do it in harmony. So the Customize, and you'll see, and then you'll see, you'll see that that third part will be up at the top of my range.

But I think once we blend them all together, it'll be like Bada, you're ready. Here we go. Now because I'm going to use these same tracks, I'm really going to benefit a lot in terms of Sony's tennis mantra. I'm going to benefit a lot because I've done a lot of the pre mixing over here. So as I add these backing vocals in, they'll sound a lot nicer in my headphone mix because I've already been brought down, they've already been doused in some reverb, and they've already panned out. So here are the three parts I'm going to sing.

Look into my eyes. You'll see that'll then that'll be a double, you'll see now do you see A double of that and then you'll see, you'll see. Okay, so let's knock these out as quick as we can. Here we go. Okay on the next one. Okay, so I've cleaned up the edges here and let's hear what we have.

Again, I haven't done anything over here. I've just recorded these I just cleaned up the edges and let's have a listen to how Sounds Look into my eyes sounding pretty decent. And that's why the very first time you record your backing vocals, unless you backing vocals are going to be demonstrably different between the various parts. Most of the times I just set up six background vocals for three part harmony, each part is doubled. And I make a preliminary mix over here with panning level and then also just give them a nice dose of a plate reverb. And if you spent all that time on the first pass at the member at the very beginning of the song, if I can scoot back, where was it?

That's right here. So I spent a bit of time setting that mix all up. And what that gives me the benefit of is then when I come across to do this corner response, Look into my eyes and you'll see all of those mixes has have have already been done and so you get a really pleasant result. And it gives you a lot more confidence when you're recording these backing vocals. So there's nothing worse when you start out and everything is at UCA up here, they're all dry as a bone. They're all you know, straight up the middle.

And it just doesn't give you a lot of confidence when you're adding harmonies but you can see how quick you can knock these harmonies out with an echo over here or a corn response over here. And I mean this corresponds to sounding pretty decent, you know straight out of the box. Look into my eyes you Cool. So we're starting to build up this chorus. Well, I want to drop a big flourish at the end where all the harmonies external on the word, mine will do this in a second. This should give us kind of some rule dynamics in the chorus where there's just a double lead vocal, some corn responses in harmony, and then just a big wash of harmonies at the end of the chorus that should just be a nice collage of different vocal parts to give this chorus, just some real interesting variations in Dynamics.

So here's our part of the chorus here and we're going to add some harmonies, just like a wash of harmonies above this lyric. We'll double that and then we'll go And we'll get really high up here and go. But as we've learned before, there's gonna be so low in the mix, no wash. It should sound pretty decent. So let's start out with the very first one here, which is math. Okay, here we go.

Oh god And we'll double him. So I've cleaned up the top and the tail of each of these clips here. And let's see what we've got. Oh, god that's sounding pretty decently actually. So I'm brave enough to do this, I'm gonna solo this top end here. Now, is that a good vocal?

I think that's a great vehicle there. But when you just place it on top of these guys, it's amazing what you can get away with, when that's why I mean vocal vocal groups end up being, you know, much bigger than they're just a sum of their parts. So you heard what they're just by itself. Let's hear in context again, Oh, God. You can barely hear that top end, but it's there. And so I just want to encourage It'll be brave with some of those really, really high vocals.

Because if you place them low enough down the mix, it can just add some air to your vocals that you can't get if you're trying to just, you know, boost up a bunch of top end or something like that in your vocals, if you can add some of those octave parts there. And just be you know, once you've done it a number of times, and you're brave enough to listen to these things in solo, and then you hear them how they all work out, then you'll find you'll do them much more often. Let's go back and just hear So what have we done. We've added an echo part here, which was a stretch, I know you've had some hurts along the way along the way. there and then we had over here a call and response. So we have an echo here, a corner spots over here and then a pad or a wash over here.

Now I haven't done you know, a lot of editing, I could certainly chop out some of these parts here. We can be messing around some time like that but basically I've just recorded these done some preliminary mixing. And we've come along with this let's have a quick listen. But right down the line, cuz I know you've had a long way you got to trust someone. Look into my eyes captured your heart And the guitar solo comes in there. So you can see we've done a number of different types of vocal arrangements.

Here we had a double member, we did a double right here, we had an echo in three part harmonies, and each of those were double. We had a colon response over here, which were in three part harmony. And each of these would doubled. And then we had a washer or a pad over here in three part harmony, and each of those were doubled. And we're coming along with a chorus that I'm pretty happy with. When you think about it.

Most people, not most people, but there's a lot of people that record and all they ever do is a lead vocal, and everything else here when you think about it in any da w we're all using the same kind of instruments. There's no kind of separating the good from the great In terms of how well recorded things are, because most of them are just plug and play, you bring up a, you know, Steinway piano, and everything sounds great. It really comes down to your vocals and more importantly, the arrangement of vocals. And I hope you agree that a lot of this stuff was very quick to record. But as you get more familiar with creating these arrangements, I mean, your tracks will just come alive and become, you know, just a lot more interesting. There'll be lots more hills and valleys in your song.

You know, I'm pretty, I'm pretty happy with this course right now. So we have our first course are recorded, and since we're recording to a click track, it's going to be super easy to fly these vocals over to the next course just like basically copying and pasting text in an email. We can select all of these tracks and just copy and paste them to the next to the next chorus. Now, this will only work if you're recorded to a question. Track. If you didn't, then you can copy and paste all these tracks, but they may not line up perfectly because without a click track, a backing track in the second chorus might be slightly faster or slower and you can really drive yourself absolutely crazy trying to line up these vocals that were, you know, instinct sync in the first chorus, but then to another performance in the second chorus, sometimes it just doesn't work that well, that's one more reason to record to a click track.

Let's see how easy it is to copy and paste vocals. So here is the trick. If you place each other if you trim down each of these parts, right down to a measure, or in this case, I this is a buy here, but I mean, it could be two, maybe a half measures like that. I normally will set it down to a measure right here so that you know this clip starts exactly in this case on measure 13 right and here's why. What I do is I listen to what's going on the lead vocal at this measure. So listen, just share.

I'm sorry, that was the long no way the chorus is actually over here. Okay, so we're going to be flying these vocals over there because there isn't a, you've had your share of hurts along the way over here, that was just a one off just in terms of an echo to that lyric that was in that first verse. So here's the chorus right here. We've trimmed these right down to the measures. And so let's hear what's happening on our lead vocal at the time that these backing vocals, clips, start the actual vocals don't start till here, but these clips have been kind of truncated, exactly to the beginning of this bow, which in this case, is bar 19. So let's listen to what's going on the lead vocal eyes and Okay, so go along here and let's face it Oh, that was pretty lucky.

Okay, so you can see you'd go along there and go, okay now whereas where's the one base, I was looking for something at the beginning of kind of this blob. This looks like a chorus here because there's a gap behind me. So at the beginning of this blob, it's split across this measure, so I took a guess that it would be here and we were right. And then so I get the feeling. This is another course over here and this one at the beginning splits this. So is this Isaiah, and cry, no sweat.

So you can see that it is 45 and 63. So gosh, how easy is this? Just last through all of these, and we'll copy them and then go over to this part here and paste boom. And then what was the other part? 63 I think is great. So, I mean, as long as you have this snap on, I mean, obviously, it's going to be different depending on what da w have.

But if you can snap it to a bar and how quick is that, you're just cruising around here. So okay, here's the last chorus here, boom, just copy and paste them. And so now we have let's see if this all lines up. Perfect. And then no. Got everything perfectly in time because we recorded to a click track, you know that this lead vocal is completely in time with these bars and beats within this da W and if this is in time, Then you can just very easily just drop these guys in.

And just chopping off the beginning and end of them to the nearest measure really helps when you're just dropping these things around. Of course, you know, once you're down here, you could, you know, you could trim these up, if I turn the snap off here, you could totally, you know, slide that around, and then get that right up to where that vocal actually starts. But then it's a little difficult to move that around, sometimes in some da W's it can be that way. So I'll snap that back on, and we'll drop that back to exactly where they are. So I'm happy with all this stuff. But I do want to have an ultimate kind of harmony here.

Instead of that washed member, we have this kind of God. So instead of that, I'm actually going to delete that and we're going to do a different part right here. Let's do something a little different here. You got, you've got you've got, you've got Did I hit that maybe I'll do an octave below. You've got you've got kind of like a tenor part down there. So let's have a listen back again and I'll hear those parts.

First one we'll do so we'll record enable him. And here we go. Can I hit that top one dude? Maybe not. Let's take it to the new gab you got here we go. beginning and end of this, you've got mine part Let's listen to it.

That's gonna give us a little bit of variation because we start going to the bridge right over here. So we've got two choruses at the beginning of them which the call and the response remember which is Look into my eyes and you'll see there are the you'll see our B and then we have the pad over here but then we have the variation. Have you got mine? Let's have a listen to them. The beginning of Same thing over here. Remember that was just a straight cut, copy and paste Read Across.

But at the end, we had a pad over here. Got across here we have it you got, you've got mine. Right and that'll take us into the bridge. So we'll knock out the bridge a little bit later on. We'll just want to finish off with these backing vocals and we'll fly them around. So just like we did before, our copy all of these, copy it and then remember, it was Eyes and so that's probably their exam.

Okay? So I place it right there, make sure your snap is on and then paste better being better boom. So that should play in time, everything should be fine is I think I'd like that head to come in right there. So what I might do is just nudge these, which is that you got you got madness, get them out of the way. And because they are snapping along to the bar, then that you'll really never get them out of time. I mean, if they're a measure late, you'll know measure later and measure early.

You'll know they're measured early, but as long as you get them in the ballpark, there should be great. So this was the you got you got mine. So we go back here and this is The Ah, so we'll copy them and then move along here and I would say it's would be or is it probably about here? Let's see if that works. Oh, God got that works perfectly. Now I was thinking about finishing off the end of the song with, you've got, you've got man, maybe doing that twice.

So let's see if we can grab these guys and move them back and see if this works. Even if it overlaps we can trim that later. But I just want to see if it's working So obviously that's a measure too early. Let's see if it works here. How about you've got you got mine. So basically repeat this so what I could do is copy that and then drop it in right here that I have a feeling that that's going to be a measure like this but you got you got mine you've got you've got so I'll probably need to trim these back.

And a measure ain't gonna do it. Let's do a half measure and see if that works. I'm gonna solo this. You got to god man. Perfect, exactly what we need. So if we just trim this back half measure, and then nudge it back, trim this art measure and nudge it back.

All of this should be in time, no need to record any of this. Again, if we've got the snippets, and everything's being recorded to a click track, then it should all work. So we'll unsolo this and let's hear how this goes down. So the last chorus should be looking to my eyes and you'll see wherever that you the little thing you know, we got my big pad. And then you've got, you've got mine. You've got you've got mine.

Let's see hopefully if this is all working This is obviously a lot of editing to be done there, but I believe we have all the vocals that we just now need to get here into the bridge, which is about here I think sorry that's not I guess the breaches right here. So let's quickly drop down some backing vocals to this bridge vocal part. So here is a bridge that says listen. So that's how many that would be. Okay, let's drop it in. Okay, what's the next part gonna be?

Enough for you? And I feel that you fell into my arms. Okay, here we go. And I think that's all we need. We just need a two part harmony to this and we should be able to clean this up and have a listen to what we've got. So I'm pretty happy with all the vocals I've added here we have a strong lead vocal, a double pass.

Blue double that powder in the chorus is a three part color response in the first verse, some more core some more color and responses in the chorus with a big kind of couple of flourishes at the end of the verses and also some big three part harmonies that we've already added on on the bridge. We pretty much have everything we need, but some nips and tax can be done to polish up these tracks. Let's head over to the edit bay and work some magic