Choirmaster
While lead vocals and supplemental vocal chops and stabs are to be treated as individual mix components when marking out your frequency space, when it comes to larger-scale vocals within a track, such as when you’re juggling several backing vocals to craft something akin to a choir, then you’re going to need to be extra careful that your voices coalesce, and don’t sound disjointed, or have wayward tracks spinning off into busy areas of your mix. Typically, backing vocals will always need to be quieter than your lead vocal take, particularly if they’re seeking to bolster or enhance the mood of your song. With this lower volume comes a more broad brush approach to spatial effects such as reverb. Hall or chamber reverbs on multiple background vocals present a quick means to mesh them together within the same (virtual) space. It helps to use a different type of reverb, and different vocal treatment altogether for that matter, than the lead vocal. Placing your backing vocal tracks in one specific area of the mix (as opposed to panning them around) aids the perception that you’ve actually recorded a small group of human beings for real. If reality is your aim then, don’t over-do the pitch-correction; it sounds more organic.