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![]() Rico Select Jazz Baritone Sax Reeds Filed 3M 5/Box US $32.76
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Baritone Sax

VOCAL STRUCTURES OF RADIO JINGLES FROM THE 1960s & 1970s
Jingles have long been an integral part of radio advertising and radio commercials.
Those versed in reading music will see that the range of radio jingles from the 1960s and 1970s is quite wide, with the soprano usually ending up on C above middle C and the bass singer usually as low as the F at the bottom of the bass clef. That's a range of two and one-half octaves.
Jingle lyrics often were designed with a "thinner" first portion, in which the slogan frequently was sung, followed by the big, full-spread chords for the radio station call letters. In many cases this is still true.
The "all-male" sound was clustered more tightly and often didn't have a real bass line. It usually was the bass guitar but also sometimes a baritone sax or a bass trombone that took the root of the chord. In packages such as PAMS Series 31, the lead male often would be found on a C above middle C, in the falsetto range, which really gave the vocals a sharp edge.
Occasionally the extreme ranges of the human voice were explored in jingles. I often have heard Jim Clancy sing C below the bass clef; and believe me, in that range you just hear a rumble. I have heard Gleni Rutherford sing an octave above the top of the treble clef, which is up in the range that dogs can hear. The result of these unusual voicings was the creation of effects that could be heard through all the competing sounds on the radio.
In some cases, less is more. Three males sang the same note, in unison, in the same octave, in PAMS Series 27.
Another trick most of the studios used, and still use today, is "stacking." With this method, the vocal group records all its parts and then records them again on a second track, adding depth to the sound. (It also is useful for fixing minor pitch problems that might appear on one of the tracks.)
These separate tracks can be mixed to mono or panned slightly in stereo in the final mix. When they did this in 1960, PAMS promoted the process as "dual channel sound on sound, multiple recording."
Contemporary vocals are handled a bit differently. A high melody line often is sung by all members of the 5-voice group, in unison. After they stack that, subsequent tracks are given addition layers of harmony. In instances like these, harmony notes can be sung both below the melody and above it.
Rarely is there a true bass part in most contemporary hit radio or even adult contemporary jingle packages anymore. Often, very high male solos are used for power, and female vocals have a lot more bite than was heard in the gentler generations before.
You knew that older jingles sounded different. Now you know at least part of the reason.
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