Best DAW for comping?

[donkey tugger]

I just do one take, and delete any bits I can't pitch correct/bodge together.

How do you replace the bits you deleted? Punch in?

I dispense with them. The lyrics don't usually make much sense anyway - deleting a line adds to the general air of mystery.

[tommyzai]

I just do one take, and delete any bits I can't pitch correct/bodge together.

How do you replace the bits you deleted? Punch in?

I dispense with them. The lyrics don't usually make much sense anyway - deleting a line adds to the general air of mystery.

Bless your creative freedom!

[liquidsound]

Bitwig is not the best for audio comping, but what I do like about it is that the comping is clip based, not track based. That means I can do audio comping directly in the Clip Launcher. Also, it is convenient cause I can record a clip with a bunch of takes, save that clip, and it saves with all the takes. This also allows me to do stuff like make a loop with a number of variations as takes and save just the one clip and always have the variations with it. So it is a useful tool beyond the classic comping concept.

Another aspect of BW comping is that Operators can be freely applied to the top take at the individual comp parts level. That's quite unique and powerful.

[jens]

Reaper has its completely new system, but I haven't tried it enough. But in typical Reaper fashion it seems a bit overly complicated/convoluted to me at first sight. The other day I tried it and was like "WTF? How do I....?" a few times. Of course I can then find out how to (by watching videos and what not), but I'd have to use it a bit more in order to see how smooth/useable/simple it is once I'm used to it. (In other DAWs it's typically pretty self-explanatory so I'm usually up and running in a minute or two).

Nah, it's completely useless, it seems - utter rubbish!

Perhaps there's hidden settings here and there that help a bit, but boy! How to make music for real with that!?

Either way what there is now seems way worse than it was...



The main problem is: it all seems to work on a per-track basis instead of per region - gosh that's dumb!

[a9k1tp]

Bitwig Studio

[tommyzai]

Is comping in Bigwig or any other DAW easier and/or more precise than Reaper v7?

[Ah_Dziz]

I can edit a pile of takes together in cubase incredibly fast. Reaper always seemed good for it too but I've never had the need to get fast with it. I've only ever used reaper to track into when I was traveling. I've (almost) always done my final editing and mixing in cubase. Protools can be used to good effect especially if you get snappy with all their key shortcuts. I've found most "newer" DAWs that I've worked with (Bitwig, Ableton, FL) to be a bit slow for in depth editing.

[_leras]

I can edit a pile of takes together in cubase incredibly fast. Reaper always seemed good for it too but I've never had the need to get fast with it. I've only ever used reaper to track into when I was traveling. I've (almost) always done my final editing and mixing in cubase. Protools can be used to good effect especially if you get snappy with all their key shortcuts. I've found most "newer" DAWs that I've worked with (Bitwig, Ableton, FL) to be a bit slow for in depth editing.

I agree Cubase is good at this type of editing.

Personally I find the whole need for comping functionality a bit over blown.

It's easy enough to have several different tracks for different takes, mute, solo, cut parts, fade in out, for almost all things.

[Ah_Dziz]

To be fair it does get messy to have a track for every take when trying to edit together an entire set of takes from a full multi track drum kit recording. The collapsible lanes that cubase has are extremely handy for this.
For most other solo instruments and vocals I keep an all purpose "punch" track to record little fixes, but I try to get things close enough to not have to worry about comping takes in my own productions. When editing and mixing for others I just follow their vision which sometimes is switching takes every couple notes/ syllables etc for the "ultimate take".

[kraster]

Pro Tools comping has never let me down.

It's very intuitive.

[cryophonik]

Pro Tools comping has never let me down.

It's very intuitive.

Agreed. It's one of the reasons I use Logic for composing and finishing songs, and PT for tracking and editing vocals. Comping in PT is excellent and ARA with Melodyne and Vocalign/Revoice Pro works flawlessly (unlike with Logic). It's very fast and fluid to get from raw takes to final comps and perfectly aligned harmonies or doubling, especially once you print the keyboard shortcuts to your muscle memory.

[_leras]

To be fair it does get messy to have a track for every take when trying to edit together an entire set of takes from a full multi track drum kit recording. The collapsible lanes that cubase has are extremely handy for this.
For most other solo instruments and vocals I keep an all purpose "punch" track to record little fixes, but I try to get things close enough to not have to worry about comping takes in my own productions. When editing and mixing for others I just follow their vision which sometimes is switching takes every couple notes/ syllables etc for the "ultimate take".

For sure something like multi tracks drums parts Cubase or other program with multi tracks editing has many advantages.

For other things, especially vocals, the process ideally starts completely upfront with being organised, having a lyrics sheet if possible and talking with the singer. Then paying attention to what's going on. Encouraging warm up etc, making the musician feel comfortable.

If you get the rest of the process right, and pay attention, you'll know what needs comping before you get to it.

[pdxindy]

Bitwig is not the best for audio comping, but what I do like about it is that the comping is clip based, not track based. That means I can do audio comping directly in the Clip Launcher. Also, it is convenient cause I can record a clip with a bunch of takes, save that clip, and it saves with all the takes. This also allows me to do stuff like make a loop with a number of variations as takes and save just the one clip and always have the variations with it. So it is a useful tool beyond the classic comping concept.

Another aspect of BW comping is that Operators can be freely applied to the top take at the individual comp parts level. That's quite unique and powerful.

A year+ late on my reply...

I use Bitwig's Audio Comping more for creative audio work than the classic vocal or instrumental takes.
I can take any audio clip, drag in whatever audio files I want as takes, and cut it all together. As you point out, each individual event can use the Operators, can be slip edited, stretched, pitched, panned, the comp itself can be added as a take lane and one can keep going, making more comp variations.

[liquidsound]

Bitwig is not the best for audio comping, but what I do like about it is that the comping is clip based, not track based. That means I can do audio comping directly in the Clip Launcher. Also, it is convenient cause I can record a clip with a bunch of takes, save that clip, and it saves with all the takes. This also allows me to do stuff like make a loop with a number of variations as takes and save just the one clip and always have the variations with it. So it is a useful tool beyond the classic comping concept.

Another aspect of BW comping is that Operators can be freely applied to the top take at the individual comp parts level. That's quite unique and powerful.

A year+ late on my reply...

I use Bitwig's Audio Comping more for creative audio work than the classic vocal or instrumental takes.
I can take any audio clip, drag in whatever audio files I want as takes, and cut it all together. As you point out, each individual event can use the Operators, can be slip edited, stretched, pitched, panned, the comp itself can be added as a take lane and one can keep going, making more comp variations.

You could’ve waited an extra day and make that years 2 + late