Playlists and Comping
Recently in our audio industries workshop we covered the playlist and comping features of pro tools and how these can be utilised during recording or mixing workflows to improve the efficiency of finalising tracks from a collection of multiple takes, to speed up the process of tracking multiple recorded takes and for editing purposes.
The main functionality of the playlists within pro tools is to allow for multiple takes of one track to be compiled together under one track header, this can be done during loop recording to re-record over the same section multiple times storing each take in series within the playlist to allow for the performer to focus on getting the best take on particular sections, which can then be selected and bumped up to the playback track at the top position in the playlist, which then puts that take into the mix.
The playlist function can also be used to store multiple pre-recorded track takes into one place by simple drag-drop into the playlist, for example if stems were transferred to the mixing engineer and they included multiple takes of tracks which were to be left for them to decide on the best take for the mix, the mixing engineer could import all the takes into one playlist on one track to then A/B compare neatly with each audio track being then processed by the various possible effects / edits / automation present on the channel strip.
The playlist function also includes comping operation, this gives the user ability to combine sections from each take present in the playlist together to create a new comp track containing the chosen sections from each take. This function allowing for the combining of takes from the track playlist before sending the final comp tac Playlist to the mix similarly helps with reducing editing time, with all edits back and forth between takes able to be performed quickly and neatly, with the final whole track comp seamlessly outputted along the channel strip, preventing the need for multiple channels for the editing process and allowing for more flexibility when it comes to creating combined audio tracks.
The comping functionality is useful for creating one audio track from multiple takes which the producer or artist decide on, possibly most commonly used with vocals the producer may want to combine two recorded takes where there are some lines in both that’re to be sent to the final mix, and some lines to be cut out and replaced by the other take. During this editing process in this context, the engineer has to ensure that the cut points are within silences to prevent jumped transitions from one take to the next, being aware of breaths is crucial to the seamlessness of the function as otherwise it can lead to unrealistic and undesirable results.
This process does work with instrument tracks however requires more attention again on the take changes to ensure that the change is not obvious during monitoring, DI bass / lead guitar / drum recordings / other sections where there is not quite as obvious and loud ringing transients work well and can be smoothed over with reverb, however an instrument such as the acoustic guitar or a piano with lots of the sustained resonance produced may be more difficult as those would be likely lost at each take change and be very noticeable during playback.
Once a comp track is finalized and the artist is happy with the result, the track can then be consolidated (flattened) into one continuous audio file, by bounce in place processing.
