Comping — selecting the best takes across multiple recordings — is standard practice for lead vocals

Comping means recording a part multiple times and editing the best sections from different takes into a composite performance. For lead vocals especially, comping is virtually universal in professional production: a one-take lead vocal is almost never as good as a comped performance. The workflow: record multiple complete takes; create a comp sheet rating phrases/sections; edit together the composite; conceal edit points with appropriate crossfades, timing adjustments, and level matching between slices. What to listen for in vocal takes: the singer should be ‘telling the story’ — the vocal must take listeners up and down according to the lyrical content. The technical quality of each take is secondary to narrative conviction and pitch/timing accuracy.

Examples

Steve Lipson: ‘Those are situations where you really can’t let any mistakes go, and it can really pay off.’ Lead vocals should almost always be built up via comping.

Assessment

What is the difference between a ‘comp sheet’ and simply picking one best take? Why does Mike Senior assert that amateur lead vocals almost universally benefit from comping? What are the two main qualities to listen for in each candidate take?