How to get billie eilish vocals

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Billie Eilish and Finneas have built some of the defining songs of the millenia. Here we break down their approach to vocal production, all thanks to Apple…

Billie Eilish and her producer/songwriter brother Finneas have been the success stories of 21st century pop music. They have won multiple Grammys, an Oscar for the theme to the 25th Bond film No Time to Die, and countless other awards, the most recent being a Golden Globe for the song What Was I Made For?, from the film Barbie. Eilish’s chart successes have been just as major, scoring global number ones with her debut album, 2019’s When We All Fall Asleep, Where Do We Go? and matching it with the follow-up Happier Than Ever.

Incredibly, much of this success came about after the duo uploaded the song Ocean Eyes to Soundcloud in 2015, a song Eilish recorded with Finneas after he originally intended it to be used for his own band. A few days and a few hundred thousand plays later, and Eilish began her career proper and has never looked back.

The brother and sister have an incredibly distinct writing and production style but it’s Eilish’s vocal that we’re going to focus on in this Sound Like tutorial.

Luckily Apple gave us probably the best overview of the duo’s songwriting and production methods when they included Ocean Eyes as a demo song with Logic Pro 10.5. It’s now disappeared from the latest version (10.8) but we’ve dug the demo out and will take a deep dive into the Eilish vocal processing and even some of the song elements right here…

> Step by step

1 The verse vocal line, ‘I’ve been watching you for some time’, has some typical EQ processing where the bottom end is cut, the mid range is boosted as you might expect and there’s a further boost between 4 and 10kHz. This works beautifully, if you bypass the EQ and compare, as the vocal is really lifted without pushing the gain.
2 However, if you then open the second console EQ, there’s a cut at around 5kHz, in the same place as the channel EQ was boosting. Rather than pulling off some kind of Pultec EQ trick, where you boost and cut at the same frequency (which, as we’ll see, Finneas is a fan of), this is to keep other effects in check, which we’ll examine now.
3 These include some stereo delay and reverb courtesy of Space Designer. The delay is a great way of livening up the vocal and is used pretty subtly. The reverb, too, really helps add depth, but that’s not its main use here; that’s to come with the third mention of those “

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