>> I´m no recorder expert but as far as I remember there are very few >> t's and s's (or any other letters for that matter), bends, >> intonation is pretty simple if you use the same flute etc....This >> is probably the explanation why doubling a recorder doesn't sound >> like doubling a vocal, try playing back 2 quantized keyboards >> playing the same sound....not that powerful either. > > We all know that double-tracked vox is a different effect, of course. > But It's not just recorder, it's pretty much any instrument. Two of > the same player is not the sound of two of that instrument. This is a > well known phenomenon (to everyone except Dennis, who just chafes at > the idea of someone else having a different experience or opinion > from his), and people have been doing things like moving mics and > seats on successive passes for years to try and improve that. Where do I begin? By your own account you are not much of a singer and as far as I know you are a publisher and editor by trade. Somebody asked how to get a doubled effect on their voice he said he found doubling vocals "awkward". He did not say his vocals were "too perfect" . The actual process of this vocal recording stuff, not writing about it, is what I do for a living. And by this I mean *both* tracking other vocalists (and instrumentalists) and doing a whole lot of backing vocals myself. I have spent a lot of time on both sides of the mike and in countless sessions as engineer or in the mixing booth in some other capacity I not only see what goes on but hear what people say about it *at the time they are doing it*. On the basis of that I can tell you for a fact that the idea that "too perfect" is a common "problem" when tracking doubled vocals is just plain old garbage. Furthermore even in those rare cases where a doubled is so dead on, whether that is actually a problem is very much a debatable question. I have seen a few sessions were somebody is claiming the vocal is too dead on and very few of even those was it actually true that the doubled vocals were what I would call locked and there was not one where I personally would have called it a problem. Karen Carpenter's doubled vocals for example were about as dead on as they get and it worked out just fine for the carpenters. So much so in fact that the overtones tend to generate the illusion of notes that are not actually there and to this day people attribute notes to Carpenters harmonies that she never actually sang. So having been going there and doing that for the past 30 years that I take this whole "too perfect is a common problem" thing with not just a grain of salt but a whole pillar of it.