As we’ve just covered the best way to record vocals, now it’s time to learn how to build the perfect vocal from multiple takes

We all know there’s a lot of trickery involved in studio vocal production, but it doesn’t all boil down to Auto-Tune and Melodyne. Among the myriad possibilities afforded us by DAWs is the ability to capture endless recordings, enabling us to record our vocalist singing as many versions of our song as we like and then cherry-pick all the best bits to make the perfect, dream ‘take’. This is what’s known as compiling or comping.

Of course, the technique is applicable to any recorded performance, but in this tutorial we’re focusing on comping a lead vocal using Logic Pro X. Everything we’ll show you can also be done in any other DAW, of course.

Comping criteria

Obviously, the first thing you need is a set of vocal recordings – see the previous tutorial, starting on p42, for advice on getting these down. When you’ve got your takes together, you’re ready to sift through them, which is a good time to suggest that the singer goes to the pub. They may want to hang around while you comp, but that will be a pretty demoralising experience for all but the very best vocalists. Listening to dry, unedited loops of vocal can be a real confidence-killer for a singer; it’s better if they come back later and hear the comp, with all your lovely effects, sitting nicely in the mix.

“First and utterly foremost is vibe – if this isn’t right, there isn’t much you can do to correct it”

In order of importance, then, you’re looking for the following qualities in the recorded performance. First and utterly foremost is vibe – if this isn’t right, there isn’t much you can do to correct it. Next is context; a vocal may be a real spine-tingler, but is it at the right place in the song? If not, maybe you can move it.