Comping Tracks


Comping is the art of compiling a complete track from several raw performances. By using judicious editing techniques, you can assemble a cohesive musical track from the best parts of multiple takes.

In this section you will create composite tracks from various materials and from multiple passes of the same part, drawing from a variety of strategies and techniques.

Setting Up

The process of comping tracks demands a certain degree of consistency in the component tracks. Using tracks with similar volume levels, panning, bus sends, and inserts helps level the playing field when comparing and contrasting similar material.

The simplest and most efficient way to accomplish consistency is to assign all contributing components to the same Audio Object. In this lesson, notice that the first three tracks are all Rhythm Guitar, and they are all assigned to Audio 1. Takes frequently are recorded to the same Audio Object, especially when using the Cycle recording strategies described in Lesson 3, "Creating and Managing Takes." In addition, all tracks share a common channel strip, outputting through the same volume levels, panning, and effects processing.

The caveat here is that you have only a single channel within the mixer representing all contributing tracks, allowing you to listen to only one track at a time. This shouldn't be a problem for the majority of comping tasks, however, as you will be listening to one take at a time within the Arrange window anyway, using the Track Mute buttons in conjunction with the Mute tool to isolate parts.

If a situation arises in which you need to put contributing material on tracks assigned to separate Audio Objects (such as when the takes need different processing to better match each other), it is important to have the tracks output to the same pair of channels on your audio interface. This way, you can make sure that your monitoring levels are consistent.

General Strategies

As in all editing procedures, an important aspect of the comping process is deciding how to approach the material that will be used to build a composite track. You should consider some general strategies that can make the process easier and produce a more satisfying musical outcome:

  • If you have tracked a multitude of alternative takes, consider combing through them before creating the comp, and isolate the three or four best choices to contribute to the part.

  • When listening to the passes, judge the amount of editing required to whip them into shape. A natural musical recording with acceptable flaws usually yields better results than a highly doctored track.

  • Consider how well the material sits with the complete arrangement and with the other contributing tracks. If a part contains dramatic changes in feel or timbre, it will most certainly be harder to create a cohesive part, much less a cohesive composition.

Assembling a Composite Track

In this exercise you will assemble a composite Rhythm Guitar track from different takes, isolating and compiling the good bits with editing. In particular, you will be working with the Chorus section, which contains two alternative takes (Tracks 2 and 3), in addition to the original take on Track 1. All parts consist of the same musical material recorded in different passes during the tracking session.

Viewing Tracks for Comping

An integral aspect of the comping process is the ability to compare and contrast similar material. To aid this, it is helpful to view all parts with the same zoom setting. Auto Track Zoom is enabled in this song, which automatically enlarges the selected track, but it doesn't help when you're comparing the three Rhythm Guitar tracks. Start by disabling this function.

1.

Select Track 1.

2.

Choose View > Auto Track Zoom.

The selected track returns to a normal zoom setting.

3.

In the Track List, Cmd-click the bottom left corner of Track 1 and drag downward, expanding the track until the help tag indicates 9.

All audio tracks are zoomed out equally, while the MIDI tracks below are unaffected.

When you hold down the Command key while zooming individual tracks, all tracks of the same type (audio or MIDI) are also zoomed. All audio tracks now display at the same, slightly enlarged zoom setting, which helps provide visual consistency when comparing takes.

NOTE

The Auto Track Zoom setting is saved with the screenset and will be reactivated if you bring up Screenset 1 again. You can avoid this by unlocking and then locking the screenset, saving the current view preferences.

Let's save the changes to the screenset for future use.

4.

Choose Windows > Screensets > Lock Screenset, unlocking the current screenset.

5.

Choose Windows > Screensets > Lock Screenset, to lock the screenset.

6.

Click-drag in the Bar Ruler to create a cycle Region from measure 20 to measure 34.

7.

Use the "Zoom to fit Locators" command (Ctrl-Shift-Z) to zoom in on the cycle Region.

8.

Use the Zoom Vertical Out command (Ctrldown arrow) to increase the vertical size of the three Rhythm Guitar tracks until they take up the majority of the window.

Comparing Performances

Now that you've isolated the area you will be working with, you should listen to each take, separating the wheat from the chaff.

1.

Click the Play button to listen to the first rhythm guitar take in the context of the song.

While not egregious, the performance suffers from both subtle dynamic and timing deficiencies that were better realized in later passes. The ending of the Chorus section, from measure 32 to 34, works well, however, and should be retained, as it provides a smooth transition into the following verse.

2.

Click the Mute button on Track 1, muting the track.

The Mute button for Track 1 is highlighted; and the Region name is grayed out, indicating that it is muted.

3.

Click the Mute button on Track 2 to un-mute it.

4.

Click the Play button to listen to the second rhythm guitar take within the context of the song.

The material is strong for the third phrase of the Chorus, beginning at the end of measure 24 and going until about measure 27.

5.

Click the Mute button again on Track 2, muting the track.

6.

Click the Mute button on Track 3 to un-mute it.

7.

Click the Play button to listen to the third rhythm guitar take within the context of the song.

This take contains a good performance of the beginning and latter part of the Chorus, with a weaker middle section.

8.

Un-mute Tracks 1 and 2.

Tip

Multiple tracks can be muted and un-muted by dragging over the appropriate Mute buttons. This technique, called Track Button Slide Activation, is similar to running your finger across several channel strip buttons on a hardware mixing console.

All in all, there is ripe material to choose from if you use phrases, or parts of phrases, from each take to construct a new track.

Isolating Wanted Material

Since each take reflects the same musical part, editing should be done to all tracks at once, creating slices at the same points on the timeline. This way you can isolate phrases without running the risk of overlapping material when creating the comp track. This can be done easily with a variety of tools, including the Scissors tool, which you used earlier in this lesson, and the Mute tool. You'll start with the Scissors tool.

1.

Select Track 1.

2.

Shift-click Tracks 2 and 3 to select the Region content on all three tracks.

3.

Select the Scissors tool.

4.

Click-hold over any of the Regions, dragging until the help tag reads 20 3 3 1, then release the mouse button.

The three Regions are divided at 20 3 3 1.

You just made a cut right before the beginning of the phrase that leads into the Chorus (the material at the last beat of measure 20 is a pickup note to measure 21).

NOTE

Dragging the Scissors tool over audio content enables audio scrubbing. This can greatly aid in determining edit points.

5.

Using the same technique, create a split with the Scissors tool at 24 4 1 1, referring to the help tag.

The selected Regions divide at 24 4 1 1.

Continue to slice up the phrases, but this time use a slightly different technique.

6.

Move the SPL to 27 1 1 1.

The SPL repositions to the location where the mouse button was released.

7.

In the Arrange window's local menu, choose Region > Split/Demix > Split Regions by Song Position.

The three Rhythm Guitar Regions are divided at 27 1 1 1.

8.

Using the same Split Regions by Song Position command, divide the three tracks' Regions at 32 1 1 1.

The Chorus is now divided into four distinct phrases (including measures 3234 from the original track).

Now that you have divided takes into separate Regions, you can isolate and play back the wanted portions of each track to hear how they fit with each other. This can easily be done with the Mute tool, muting the unwanted Regions from the contributing tracks.

9.

Un-mute the three Rhythm Guitar tracks by clicking their respective Mute buttons.

10.

Select the Mute tool.

11.

Using the Mute tool, click the first three Regions of Track 1 within the Chorus section.

Each selected Region grays out with a small dot in front of the name, indicating that it is muted.

12.

Using the same technique, mute the first, second, and fourth Regions of Track 2.

13.

Using the same technique, mute the first, third, and fifth Regions of Track 3.

You are now left with a patchwork set of enabled Regions, which, when played back, will give you a good indication as to how well the parts will fit with each other.

14.

Click the Play button.

Only the un-muted Regions play, giving you a rough idea of the comp.

Assembling the Comp

Now it's time to compile the material onto a single track, which will enable you to finesse the edit points to create a seamless performance. Usually it is a good idea to create a new track in which to copy the various "keeper" Regions; but in this case it makes more sense to compile the Regions onto Track 1. This will maintain the work you performed on Track 1 in earlier exercises without having to copy the Regions over, as well.

To do this, you have to first eliminate some unwanted material to make room for the new. Since you already muted the unwanted parts, this can be done quickly with Logic's Select Muted Regions/Events command and then deleting.

1.

From the Arrange window's local menu, choose Edit > Select Muted Regions/Events.

All muted Regions become highlighted.

2.

Press the Delete key.

All of the muted Regions are deleted.

3.

Select the Arrow tool.

4.

Choose Track 1 in the Track List (if it's not already selected).

5.

Select the three Regions from Tracks 2 and 3 by rubber-band selecting them.

6.

In the Arrange window's local menu, choose Region > Move Selected Regions to Current Track.

The three selected Regions from Tracks 2 and 3 move to Track 1.

Now that all elements are combined onto a single track, you can finesse the edit points by adjusting Regions and using cross fades. Begin this process by soloing the rhythm guitar part to listen for any clicks occurring at the seams.

7.

Click in the background of the Arrange window to deselect any Regions.

8.

Click the Track Solo button for Track 1.

9.

Play the song, listening to the composite Rhythm Guitar track.

There are a few audible clicks at the seams of measure 27, as well as measure 32.

10.

Using the Zoom tool, rubber-band select around the point where adjacent Regions meet at measure 27.

The window zooms in, allowing you to see the seam in detail.

As you can see, the audio waveform starting at measure 27 is slightly cut off. In a previous exercise, you used a combination of the No Overlap drag mode with manually added cross fades to smooth the transition. Let's explore another option that combines aspects of both of these techniques into a single step.

11.

From the Drag menu in the top right corner of the Arrange window, choose X-Fade.

With this drag mode enabled, you can adjust Region length, automatically applying a cross fade at the edit point.

12.

Using the Trim tool, drag the bottom left corner of the Region slightly to the left, beginning at measure 27, releasing the mouse button at approximately 26 4 4 225.

The seam shifts a little to the left, exposing the full attack of the waveform, with an automatically created cross fade applied.

NOTE

The cross-fade length is determined by the last setting entered for the Fade parameter in the Region Parameter box.

13.

Click the background with the Zoom tool to return the view to the previous zoom level.

Tip

Holding down the Control key with any tool active is an easy way to toggle to the Zoom tool.

14.

Using the same technique, zoom in on the edit seam at measure 32 with the Zoom tool.

The window zooms in, allowing you to see the seam in detail.

15.

Using the Arrow tool, drag the bottom left corner of the Region beginning at measure 32 slightly to the left, releasing the mouse button at approximately 31 4 4 201.

The seam shifts a little to the left, exposing the full attack of the waveform, with an automatically created cross fade applied.

16.

Click in the background with the Zoom tool to return the view to the previous zoom level.

17.

Click Play to listen to the edited comp track.

18.

Click the Track Solo button on Track 1 to disable soloing for the track.

19.

Click the Play button to hear the comp track in the context of the arrangement.



Apple Pro Training Series Advanced Logic Pro 7
Apple Pro Training Series: Advanced Logic Pro 7
ISBN: 0321256077
EAN: 2147483647
Year: 2004
Pages: 166
Authors: David Dvorin

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