Sax Stand

VOCAL STRUCTURES OF RADIO JINGLES IN THE 1960s
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 quite a spread — two and a 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. Often, this still is true.
The “all-male” sound was clustered more tightly and often didn’t have a real bass line. In these cases, the root of the chord or bass notes were taken by the bass guitar or sometimes a bass trombone or baritone sax. With the male lead often singing in the falsetto range, on a C above middle C, packages such as PAMS Series 31 had a sharp edge to the vocals.
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’ve experienced the thrill of witnessing Gleni Rutherford singing an octave above the top of the treble clef. By using unusual voicings such as these, they created effects that could cut through the radio clutter.
In some cases, less is more. PAMS Series 27 utilized the distinctive sound of three males voices on the same note, in unison, in the same octave.
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 helps correct for any minor pitch problems on either track.)
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. That is stacked, and then subsequent tracks have multiple layers of harmony added to them. In these cases, harmony notes can be made both above and below the melody.
Rarely is there a true bass part in most contemporary hit radio or even adult contemporary jingle packages anymore. For power, high male solos often are used while female vocals are much less gentle than in previous generations.
You knew that older jingles sounded different. Now you know at least part of the reason.
bass sax stand
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