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Thanks for your in-depth comments. Truly appreciated. The original compositions are similar to the Michel Guimont arrangements of English psalms as found in the Revised Grail Psalms from Conception Abbey/The Grail. We sing the Guimont psalm tones most weekends at the Church of St. Mary in St. Paul. Minnesota. However, the Spanish salmo arrangements Tony and I create are a bit simpler than the Guimont arrangements. We try to avoid complex chords, like inversions and difficult "color chords". And most everything we do is in the key of D to make it easy to learn each week (using D, Bm, A or A7, G and Em). The key of D works very nicely with my natural baritone tessitura. What I DON'T like is the many songs published by GIA and OCP that are set in a high voice range. My wife doesn't like high notes, either! Keeping the melodies in the range of low B to high B allows for a descant voice to "freelance" an improvised harmony a third to a fifth higher. 

As far as the "real" or "live" acoustic guitar work, in this as well as in many other recordings I play an arpeggio pattern (panned left) and a strummed pattern (panned right). The bass guitar is usually a MIDI synth track created using the Guitarrón virtual instrument by Bolder Sounds. However, I do sometimes recoerd a live bass track. Much to my wife's confusion, I have three bass guitars in my basement recording studio that I rarely use.

One thing, though. There is no artificial double tracking for the voices. The five voices are all my own, from bass to falsetto. I will admit using Melodyne for pitch correction on some of the vox tracks. I suppose that can make the blend sound too perfect – as if it's processed. 

More salmos here: https://catholicliturgyinsong.org/salmos-responsoriales-y-aclamaciones/