If you want to learn to sing well, you're in for a lot of work. It means practice, having a teacher, unlearning potentially years of bad habits, and being disciplined. I like to write and record songs with a friend as a fun hobby, and since he hates the sound of his own voice, I got stuck with singing duties. I've learned to accept the rather frustrating limitations of my voice and technique, and instead focused on using my engineering skills to improve how my vocal tracks sound on recordings. I was able to learn this stuff on my own.
* Tuning
Good tuning software is a vocalists best friend, even if you don't struggle with pitch issues. Don't like the timbre of your voice? Good tuning software has the ability to manipulate the "formant" of a voice, which if used in conjunction with some pitch shifting can make a woman's voice sound like a man's, or vice versa. Tuning software is also invaluable for visualizing the notes that you're singing. I use tuning software to help me compose and finalize my vocal melodies. I start with my scratch vocal take and push notes around until I have a consistent result I'm happy with, melodically speaking. These tuned scratch takes become "guide tracks" that I can have in my headphones while recording new takes. You can also turn them into MIDI tracks to aid in composing other parts.
* Comping
Comping is where you create a good composite track out of a bunch of mediocre ones. I do like 8 takes of each part, and then I pitch correct all of them so they conform to my official melody, referencing my guide track as needed. I also clean up the timing of sung notes at this stage (another great use of tuning software) to make sure that I'm not too far off the beat. Small slop is OK.
I have 8 tracks now of tuned vocals that are mostly bound to the grid, which makes it easier to select the best bits from each track to create a composite. I try to focus on the notes/lines that convey the most emotion and feeling, I comp those 8 tracks down to 3 or 4 decent ones. The best one I save for my lead vocal, the rest I use for doubles and harmony parts.
* Double up
Choruses need big vocals right? You can use your extra tuned and tightened tracks to double (or triple, quadruple) up your vocals and pan them left/right to make them sound bigger and better. Because they're unique tracks and not copies this will sound wide, and because you left in some minor timing slop, it will sound tight, but not robotic. You can also use doubles in non-chorus parts to emphasize certain words or phrases.
* Harmony
Harmony tracks can really sweeten and thicken a vocal. It'll definitely help to learn some music theory to understand the right notes for your harmony parts, but you can also just do it by ear. I take a one of my comps, and push the notes around with tuning software so it becomes a harmony against the lead vocal. Sometimes these extreme tuned artificial harmonies can sound robotic, but if you blend them in subtly and/or play with the formants they can work well. If not, you can use them as a guide track to re-record organic parts, but that's more work. Use harmony parts the same way you might use doubles.
* Tuning
Good tuning software is a vocalists best friend, even if you don't struggle with pitch issues. Don't like the timbre of your voice? Good tuning software has the ability to manipulate the "formant" of a voice, which if used in conjunction with some pitch shifting can make a woman's voice sound like a man's, or vice versa. Tuning software is also invaluable for visualizing the notes that you're singing. I use tuning software to help me compose and finalize my vocal melodies. I start with my scratch vocal take and push notes around until I have a consistent result I'm happy with, melodically speaking. These tuned scratch takes become "guide tracks" that I can have in my headphones while recording new takes. You can also turn them into MIDI tracks to aid in composing other parts.
* Comping
Comping is where you create a good composite track out of a bunch of mediocre ones. I do like 8 takes of each part, and then I pitch correct all of them so they conform to my official melody, referencing my guide track as needed. I also clean up the timing of sung notes at this stage (another great use of tuning software) to make sure that I'm not too far off the beat. Small slop is OK.
I have 8 tracks now of tuned vocals that are mostly bound to the grid, which makes it easier to select the best bits from each track to create a composite. I try to focus on the notes/lines that convey the most emotion and feeling, I comp those 8 tracks down to 3 or 4 decent ones. The best one I save for my lead vocal, the rest I use for doubles and harmony parts.
* Double up
Choruses need big vocals right? You can use your extra tuned and tightened tracks to double (or triple, quadruple) up your vocals and pan them left/right to make them sound bigger and better. Because they're unique tracks and not copies this will sound wide, and because you left in some minor timing slop, it will sound tight, but not robotic. You can also use doubles in non-chorus parts to emphasize certain words or phrases.
* Harmony
Harmony tracks can really sweeten and thicken a vocal. It'll definitely help to learn some music theory to understand the right notes for your harmony parts, but you can also just do it by ear. I take a one of my comps, and push the notes around with tuning software so it becomes a harmony against the lead vocal. Sometimes these extreme tuned artificial harmonies can sound robotic, but if you blend them in subtly and/or play with the formants they can work well. If not, you can use them as a guide track to re-record organic parts, but that's more work. Use harmony parts the same way you might use doubles.