{"id":22949,"date":"2025-07-25T15:13:00","date_gmt":"2025-07-25T19:13:00","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=22949"},"modified":"2025-12-09T16:54:19","modified_gmt":"2025-12-09T21:54:19","slug":"vocal-comping-tips","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/vocal-comping-tips\/","title":{"rendered":"Vocal comping: The 4 steps for getting perfect vocals"},"content":{"rendered":"\n<p style=\"font-size:15px\" class=\"has-text-align-center\"><strong>Illustration:<\/strong> <a href=\"https:\/\/francorama.work\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Franco \u00c9galit\u00e9 (opens in a new tab)\"><strong>Franco \u00c9galit\u00e9<\/strong><\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Want to know the secret to recording flawless vocals?<\/h2>\n\n\n\n<p>Spoiler alert: It&#8217;s vocal comping.<\/p>\n\n\n\n<p>Most vocalists don\u2019t record songs in one take. That\u2019s not to say that they <em>can\u2019t<\/em>\u2014countless singers put on seriously impressive live performances all the time. But when it comes to <a href=\"https:\/\/splice.com\/blog\/prepare-studio-recording-vocals\/\" target=\"_blank\" rel=\"noreferrer noopener\">recording music,<\/a> for many, impressive simply isn&#8217;t enough\u2014the vocals have to be absolutely <em>perfect<\/em>.<\/p>\n\n\n\n<p>That means perfect pitch, timing, delivery, emotion, and energy at every millisecond for the entire duration of a song. That\u2019s quite a tall order, even for the most skilled singers.<\/p>\n\n\n\n<p>Instead of putting unnecessary pressure on vocalists and spending endless hours in the studio trying to get one impeccable take, recording engineers make use of a process known as vocal comping. In this article, we explore what vocal comping is, break down how it works, and share tips for how to comp vocals effectively.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">What you&#8217;ll learn<\/h3>\n\n\n\n<ul>\n<li style=\"font-style:normal;font-weight:700\"><a href=\"#Definition\">What is vocal comping?<\/a><\/li>\n\n\n\n<li style=\"font-style:normal;font-weight:700\"><a href=\"#HowToCompVocals\">How to comp vocals<\/a>\n<ul>\n<li style=\"font-style:normal;font-weight:700\"><a href=\"#Recording\">Recording<\/a><\/li>\n\n\n\n<li style=\"font-style:normal;font-weight:700\"><a href=\"#Selection\">Selection<\/a><\/li>\n\n\n\n<li style=\"font-style:normal;font-weight:700\"><a href=\"#CleanUp\">Cleanup<\/a><\/li>\n\n\n\n<li style=\"font-style:normal;font-weight:700\"><a href=\"#FinalCheck\">Final checks<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p>Let&#8217;s get started!<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Definition\">What is vocal comping?<\/h2>\n\n\n\n<p><strong>Vocal comping<\/strong> (short for &#8216;compiling&#8217;) is the process of recording a few takes of the song and splicing together only the best parts. The end result features the singer\u2019s best work, while still sounding like it was done in one take.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Is vocal comping cheating?<\/h3>\n\n\n\n<p>If comping vocals feels like cheating, it\u2019s not. Vocal comping is utterly ubiquitous in today\u2019s music industry\u2014from bedroom producers to major label engineers, it\u2019s used by absolutely everyone. In fact, without comping, you would have a very difficult time achieving the same production quality you hear on streaming platforms and the radio.<\/p>\n\n\n\n<p>Now, there are ways to do vocal comping well and ways to do it poorly (i.e. make it obvious that you spliced together two takes). That\u2019s why we\u2019re sharing tips and tricks for how to comp vocals that you can use in your own productions to achieve professional and natural-sounding results.<\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-background has-link-color wp-elements-c3706cc98d779b0d6fb864120a14adaa\" style=\"background-color:#62daff\"><strong>Voice to verse\u2014anywhere. With the addition of Splice Mic, you can instantly test and record ideas, explore genres, and unlock new creative possibilities, all from <\/strong><a href=\"https:\/\/splice.onelink.me\/vNNn\/sozstw8b\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>the Splice mobile app.<\/strong><\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"HowToCompVocals\">How to comp vocals<\/h2>\n\n\n\n<p>The process for comping vocals can be divided into four steps\u2014(1) recording, (2) selection, (3) cleanup, and (4) final check\u2014since there are things you can do at each of these stages to improve your final results. Feel free to use the table of contents below to jump to a specific section.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The 4 steps for vocal comping:<\/h3>\n\n\n\n<ul>\n<li><a href=\"#Recording\"><strong>Recording<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#Selection\"><strong>Selection<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#CleanUp\"><strong>Cleanup<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#FinalCheck\"><strong>Final check<\/strong><\/a><\/li>\n<\/ul>\n\n\n\n<p>Now, without further ado, let\u2019s take a look at how to record vocals that will allow for flawless comping!<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Recording\">Step 1: Recording<\/h2>\n\n\n\n<p>Great vocal comping starts in the recording booth\u2014here are some things to keep in mind.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Record in sections<\/h3>\n\n\n\n<p>Instead of having the singer sing the entire song for each take, record a few takes of the first verse, then move on to the first chorus, and so on.<\/p>\n\n\n\n<p>This isn&#8217;t a hard-and-fast rule, and you should ultimately follow the singer\u2019s preference. But, generally speaking, recording in sections like this creates better-sounding and more consistent takes. There are a couple of reasons for this:<\/p>\n\n\n\n<ul>\n<li>The more time the singer spends in the booth, the more tired their voice will get. If you have them sing the whole song for each take, the first verse of take one will probably sound very different from the first verse of take eight. When you try to splice the two together, there may be a noticeable difference in the singer\u2019s tone, emotion, or energy level. On the other hand, if you have them sing take after take of the same short section, they\u2019re more likely to maintain consistency across all takes.<\/li>\n\n\n\n<li>Some sections may require more takes than others. For example, a difficult bridge might need eight takes, while the first verse might only need three. Asking the singer to sing the first verse eight times when you really don\u2019t need it will simply tire them out. It\u2019s better to stop when you have what you need and preserve their energy and voice for more difficult sections.<\/li>\n<\/ul>\n\n\n\n<p><strong>Pro tip:<\/strong> When recording each section separately, have the singer start singing from the last line of the previous section. This gives them a little time to adjust and get in the zone, and helps create more natural transitions between sections.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Use a vocal comp sheet<\/h3>\n\n\n\n<p>You can record as many takes as you need, and then listen through all of them and choose the best bits to compile together. However, this approach requires a lot of time. Not to mention, you\u2019ll likely get ear fatigue and stop recognizing subtle differences between takes.<\/p>\n\n\n\n<p>A much better way to comp vocals is to note down your preferences during the recording process. For this, you\u2019ll need a vocal comp sheet.<\/p>\n\n\n\n<p>Simply print off or write out the lyrics of the song and leave space to note down your favorite takes. Alternatively, you can create a chart with a cell for each take and rate the singer\u2019s performance as they sing.<\/p>\n\n\n\n<p>The rating system you use is up to you\u2014most people like to use a scale from one to ten or something like:<\/p>\n\n\n\n<ul>\n<li>U: unusable<\/li>\n\n\n\n<li>M: maybe<\/li>\n\n\n\n<li>G: good<\/li>\n\n\n\n<li>V: very good<\/li>\n\n\n\n<li>D: definitely this one<\/li>\n<\/ul>\n\n\n\n<p><a rel=\"noreferrer noopener\" href=\"https:\/\/docs.google.com\/document\/d\/1EGu236uxER0bRBB3PXZG7z_wUxVfO8ZLC68FoGyxJJA\/edit?usp=sharing\" target=\"_blank\">Here&#8217;s a comp sheet template<\/a> you can use. Simply type in the lyrics of your song (one line per row) and print the sheet to use during your recording session. You can even use it digitally on your computer.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"1024\" height=\"654\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image1-1024x654.png\" alt=\"A vocal comp sheet template for vocal comping\" class=\"wp-image-22951 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image1-1024x654.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image1-400x255.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image1-355x227.png 355w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image1-768x490.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image1-1536x980.png 1536w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image1.png 1999w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/654;\" \/><\/figure><\/div>\n\n\n<p>Doing this will save you hours. When you\u2019re finished recording, simply refer to your vocal comp sheet and start with your highest-rated takes. You can still listen through a few takes for certain phrases, but it\u2019s definitely better than having to listen to every take of every phrase.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Coach the singer<\/h3>\n\n\n\n<p>A common mistake that recording engineers and producers often make is asking the singer to simply \u201csing it again.\u201d If you already have a few takes, one more take sung in exactly the same way won\u2019t add anything to the song.<\/p>\n\n\n\n<p>Instead, give the singer a few suggestions on how they can make the next take a little better\u2014maybe they can emphasize the consonants, pay attention to timing, or enunciate more. If you\u2019re not sure what notes you can give, simply invite the singer to experiment and try something new (for example, using head voice instead of chest voice on certain phrases).<\/p>\n\n\n\n<p>Getting the singer to find their best voice will serve the song well and make your job of putting together a great vocal track that much easier.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Don\u2019t record too many takes<\/h3>\n\n\n\n<p>It can be tempting to record as many takes as possible. After all, the more options you have, the better, right?<\/p>\n\n\n\n<p>Not necessarily. Remember that singers and their voices get fatigued after a while, so take eight and nine will probably sound worse than take three and four. Not to mention, asking the singer to repeat the same section again and again might make them feel like they\u2019re not doing a very good job, <a href=\"https:\/\/splice.com\/blog\/6-tips-building-confidence-vocalist\/\" target=\"_blank\" rel=\"noreferrer noopener\">affecting their self-confidence<\/a> and, ultimately, how well they perform.<\/p>\n\n\n\n<p>You can use the first few takes to get the singer warmed up and in the zone, but following that, try to limit the number of takes you record to somewhere around four to six.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Selection\">Step 2: Selection<\/h2>\n\n\n\n<p>Once you\u2019ve completed the recording process, it\u2019s time to select the best takes and compile them together into one track. If you took good notes during the recording session, this part should be fairly easy, but here are a few helpful tips:<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Listen with the full mix<\/h3>\n\n\n\n<p>When listening through different takes and making your selections, be sure to listen to them in the context of the full mix. This will ensure that you\u2019re choosing takes that match the rest of the song in terms of timing and energy.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Prioritize performance<\/h3>\n\n\n\n<p>When making your choices, consider the singer\u2019s tone, emotion, energy, and your overall impression (i.e. gut reaction).<\/p>\n\n\n\n<p>Prioritize the singer\u2019s performance over the technical aspects of the recording\u2014things like slight deviations in pitch, timing that\u2019s a bit off, or small artifacts (clicks and pops) can easily be fixed later with <a href=\"https:\/\/splice.com\/plugins\/39137217-rx-11-standard-au-by-izotope\" target=\"_blank\" rel=\"noreferrer noopener\">an audio repair plugin,<\/a> but you can\u2019t edit a mediocre performance into a great one.<\/p>\n\n\n\n<p>Sometimes, things like a small voice crack or a word that\u2019s whispered instead of sung can bring a lot of emotion to the song, so don\u2019t be quick to discard these takes because they\u2019re not &#8216;perfect.&#8217; As a general rule, think about keeping takes that add something special to the song, rather than eliminating ones that are different and seeing what\u2019s left.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Look for longer sections when vocal comping<\/h3>\n\n\n\n<p>Longer sections tend to sound more natural, so try to avoid comping takes word by word. Instead, start with takes that have a complete phrase or line you can use, and then fine tune them as necessary. For example, you might need to switch out a single word within that phrase, or replace a second-long section because of a click or pop.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Borrow from other parts of the song<\/h3>\n\n\n\n<p>You might come across a section where none of the takes you recorded are usable. Before you try to get the singer back into the studio to re-record, see if there\u2019s an identical section you can steal from somewhere else in the song. For example, if you need a phrase for the second chorus, see if you can grab it from one of the takes you have for the first one.<\/p>\n\n\n\n<p>Just make sure the two sections match in energy, and the borrowed phrase won\u2019t feel out of place. Also, be sure to use a different take than the one you ultimately chose in the other section (unless you don\u2019t mind having identical vocals in two parts of the song).<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"CleanUp\">Step 3: Cleanup<\/h2>\n\n\n\n<p>Once you know which takes you want to splice together, it\u2019s time to create seamless transitions. Here\u2019s how:<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Look for silence or consonant sounds<\/h3>\n\n\n\n<p>The best place for vocal comping is, of course, where the vocalist isn&#8217;t singing. First and foremost, look for empty spaces between phrases or even individual words.<\/p>\n\n\n\n<p>If this isn&#8217;t possible, the other option is to create transitions over consonant sounds that create enough noise to mask the comp. These are sounds like S, Sh, F, V, Th, P, and so on.<\/p>\n\n\n\n<p>Avoid creating transitions on open vowels\u2014the vibrations in the singer\u2019s voice will often sound too different and the comp will almost always be noticeable.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Adjust the timing<\/h3>\n\n\n\n<p>In order to create the cleanest transition possible, you might need to align the two takes before splicing them together, so that they happen at the exact same time.<\/p>\n\n\n\n<p>Simply eyeballing like in the example below will probably be enough.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img decoding=\"async\" width=\"624\" height=\"220\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image3.png\" alt=\"Adjusting the timing of different recordings for vocal comping\" class=\"wp-image-22953 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image3.png 624w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image3-400x141.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image3-355x125.png 355w\" data-sizes=\"(max-width: 624px) 100vw, 624px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 624px; --smush-placeholder-aspect-ratio: 624\/220;\" \/><\/figure><\/div>\n\n\n<p>If you still hear a click where the two takes meet each other, you can try going down to the waveform level and making sure everything is lined up there. If the waveform jumps suddenly, you\u2019ll hear an artifact, so make a slight adjustment to the timing of one of the clips until the two waveforms meet in the same place.<\/p>\n\n\n\n<p>Here\u2019s a before and after. The first example produces an audible click. In the second example, the second clip was cropped and moved slightly to the left to create a seamless transition.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img decoding=\"async\" width=\"624\" height=\"208\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image4.png\" alt=\"Adjusting the timing of different recordings (2)\" class=\"wp-image-22954 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image4.png 624w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image4-400x133.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image4-355x118.png 355w\" data-sizes=\"(max-width: 624px) 100vw, 624px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 624px; --smush-placeholder-aspect-ratio: 624\/208;\" \/><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\">Use crossfades when needed<\/h3>\n\n\n\n<p>Sometimes, no matter how hard you try to find a good transition or how much you adjust the timing, you can still hear where the comp happens.<\/p>\n\n\n\n<p>As a last resort, you can add a crossfade to the transition. This will use <a href=\"https:\/\/splice.com\/blog\/what-is-automation-in-music\/\" target=\"_blank\" rel=\"noreferrer noopener\">volume automation<\/a> to gradually fade out the end of the first clip while simultaneously fading in the beginning of the second one.<\/p>\n\n\n\n<p>Most DAWs automatically add a small crossfade to all transitions, but if you need to, you can play around with its length and intensity until you reach the desired effect.<\/p>\n\n\n\n<p>Just don\u2019t rely on the crossfade <em>too<\/em> much, as it can sound a bit unnatural when overdone.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img decoding=\"async\" width=\"638\" height=\"232\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image2.png\" alt=\"Using crossfades to connect two takes\" class=\"wp-image-22952 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image2.png 638w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image2-400x145.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2022\/09\/image2-355x129.png 355w\" data-sizes=\"(max-width: 638px) 100vw, 638px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 638px; --smush-placeholder-aspect-ratio: 638\/232;\" \/><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\">Pay attention to breaths<\/h3>\n\n\n\n<p>One area you can\u2019t overlook when vocal comping is the singer\u2019s breath.<\/p>\n\n\n\n<p>You can absolutely place a transition right before, right after, or even in the middle of a breath. Just make sure the two breaths from the two takes are aligned and have a similar length, so you don\u2019t end up with a double breath or one that sounds unnaturally long or short.<\/p>\n\n\n\n<p>While we\u2019re on the topic of breaths, most recording engineers edit them slightly to make sure they\u2019re not too distracting. This can mean lowering their volume, removing them at the start of a new line, or removing them altogether from harmonies or a fast-paced chorus.<\/p>\n\n\n\n<p>Some songs don\u2019t have a single breath in them. This is a stylistic choice that may or may not work with your genre of music, but it\u2019s a neat trick to try out if it serves the song well.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"FinalCheck\">Step 4: Final check<\/h2>\n\n\n\n<p>Once you\u2019ve gone through the entire song and compiled your vocal takes, it\u2019s time to do a quality check and make sure everything is in perfect shape.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Solo your comped vocals<\/h3>\n\n\n\n<p>Earlier, we recommended that you do your vocal comping in the context of the full mix, and that makes sense when you\u2019re choosing which takes to compile. However, when it comes time to do a final check, it\u2019s important to solo the vocal track and make sure you can clearly hear any transitions that still need fixing.<\/p>\n\n\n\n<p>Some transitions that stand out when the vocal track is soloed will be masked by other instruments in the mix. That said, if you ever plan to share the acapella track with others for remixing or <a href=\"https:\/\/splice.com\/blog\/how-sync-licensing-works\/\" target=\"_blank\" rel=\"noreferrer noopener\">sync licensing,<\/a> the track should be as clean as possible.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Listen to the full mix (with your eyes closed)<\/h3>\n\n\n\n<p>As a final check, listen to the full mix, but close your eyes or take them away from the screen, so that you\u2019re not looking at and anticipating the transitions.<\/p>\n\n\n\n<p>If nothing stands out or feels off, then your work is complete!<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Adjust as necessary<\/h3>\n\n\n\n<p>Vocal comping can be a lengthy process and often requires a bit of back and forth.<\/p>\n\n\n\n<p>Last but not least, if you find any transitions that still sound off, go back and use any of the tips in the previous section. If none of them work, don\u2019t hesitate to go back to the selection stage and audition a few more takes.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Vocal comping takes patience and practice<\/h2>\n\n\n\n<p>Vocal comping can take up to a few hours, so have patience, take breaks, and don\u2019t rush through the process.<\/p>\n\n\n\n<p>As you complete more and more projects, you\u2019ll find your preferred workflow and things will start to go a lot faster. For example, some people like to go through the entire song and choose the takes they\u2019ll be using before moving on to the cleanup stage. Others like to clean up immediately after selecting a take\u2014this way, they can choose something else if none of the cleanup techniques work on the take they originally had in mind.<\/p>\n\n\n\n<p>As with anything, practice as much as you can and you\u2019ll be a vocal comping pro in no time!<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"has-text-align-center\">Need to clean up some pops or noise in your takes? 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