什么是声乐伴奏？ (What is Vocal Comping?)

Vocal comping describes the process of combining multiple vocal takes into one “supertake” that has the best parts of each. This is called a “composite track,” or comp for short. Many instruments can be comped on studio tracks, but vocals are the most common since they are the most central aspect of most popular songs.

人声合唱描述了将多个人声合唱成一个“超级合唱”的过程，每个合唱中都有最好的部分。 这称为“复合音轨”或简称comp。 可以在录音室的轨道上演奏许多乐器，但是人声是最常见的，因为它们是最受欢迎歌曲中最重要的方面。

Comping vocals has become essential in popular music because popular music must sustain repeat listens, which requires a near-perfect vocal take with many interesting dimensions. This is a tall order, so it normally takes multiple takes to get all the right pieces, which then need to be fit together.

在流行音乐中，合唱已成为必不可少的，因为流行音乐必须维持重复收听，这需要具有许多有趣维度的近乎完美的人声。 这是一个很高的要求，因此通常需要花费很多时间才能获得所有正确的零件，然后将它们组装在一起。

In this article, you will learn common practices for comping as well as some more advanced tips for getting the best sound.

在本文中，您将学习进行编排的常见做法以及一些获得最佳音质的更高级的技巧。

编译的伪像 (Artifacts from Comping)

Before we get into more advanced tips for comping, let’s take a moment to understand the artifacts that can surface when comping is done poorly, and the basic techniques used to do comping well.

在介绍更高级的编译技巧之前，让我们花一点时间来理解在编译不佳时可能会出现的工件，以及用来进行良好编译的基本技术。

点击和流行 (Clicks and Pops)

The main artifact you get from comping is clicks/pops. You get this artifact when you introduce a sudden break in the waveform through comping.

从压缩中获得的主要工件是clicks / pops 。 通过压缩在波形中引入突然的中断时，您会得到此伪像。

Speakers produce sound when a cone moves backward and forwards, creating air pressure waves. This cone moves in response to an electrical signal (the waveform) which is telling it which position it should be in. For any organic waveform, this wave is going to be continuous and the speaker will move smoothly without producing any artifacts.

当圆锥体前后移动时，扬声器会发出声音，从而产生气压波。 该锥体响应电信号 (波形)而移动，该电信号告诉它应该位于哪个位置。对于任何有机波形，该波将是连续的，并且扬声器将平稳移动而不会产生任何伪像。

But, with human intervention like comping, it’s possible to make waveforms that are not continuous, which will cause the speaker to jump as quickly as possible to keep up. This is what produces a click or pop sound. (This is why you often hear clicks when plugging in an audio source into your speaker. The speaker suddenly receives a signal other than zero, and it jumps to that position as quickly as it can.)

但是，借助诸如压缩之类的人工干预，有可能产生不连续的波形，这将导致扬声器尽快跳动以跟上。 这就是产生点击或弹出声音的原因。 (这就是为什么在将音频源插入扬声器中时经常听到喀哒声的原因。扬声器突然收到除零以外的信号，并且它会尽快跳到该位置。)

When comping vocals, it is common to accidentally join two vocals so that their waveforms don’t “line up” and that will give you a click!

合成人声时，通常会意外地将两个人声结合在一起，以使它们的波形不会“对齐”，这会给您带来点击的感觉！

Depending on your DAW, this may not be much of a problem. Many DAWs like Ableton apply a small envelope at the beginning and end of each audio clip by default to avoid clicks and pops. (To see this in Ableton, go to Create > Show Fades).

根据您的DAW，这可能不是什么大问题。 诸如Ableton之类的许多DAW默认情况下都会在每个音频剪辑的开头和结尾处使用一个小信封，以避免发生咔嗒声和爆裂声。 (要在Ableton中查看此内容，请转到“创建”>“显示渐变”)。

When both audio clips are faded like this, they are connected at 0 amplitude, and there’s no artifact.

当两个音频片段像这样淡入淡出时，它们以0的幅度连接，并且没有伪像。

This is handy, but it can cause problems. Take this example from Pro Tools.

这很方便，但是会引起问题。 以Pro Tools为例。

This is an example of a bad place to comp because the speaker would have to suddenly jump positions creating a click/pop. This version of Pro Tools try to mediate the situation by connecting the lines. But what appears to be a “smooth” connection is still too quick and jagged for a speaker and you will likely still get an artifact.

这是一个糟糕的地方，因为扬声器必须突然跳开位置以产生咔嗒声/弹出声，这是一个糟糕的地方。 该版本的Pro Tools尝试通过连接线路来调解这种情况。 但是对于扬声器来说，似乎“平滑”的连接仍然太快且参差不齐，您可能仍会得到人工制品。

零交叉 (Zero-Crossings)

The solution to this problem is by using zero-crossings. Zero-crossings are literally just places where an audio clip crosses zero. By choosing these locations to be the point of comping for two audio files, we ensure that the speaker does not have to jump a large distance, even with rapid fading from a DAW.

解决这个问题的方法是使用零交叉。 过零实际上就是音频剪辑过零的地方。 通过选择这些位置作为两个音频文件的合成点，我们可以确保扬声器即使在DAW快速衰落的情况下也不必跳远。

Doing a little dragging of the audio clips on the timeline to accomplish this shouldn’t mess with the rhythm of the song or otherwise be noticeable. Since we are working on a such a small scale, we are dragging audio by amounts smaller than millisecond.

在时间轴上稍微拖动音频片段以完成此操作，不应使歌曲的节奏混乱，否则就不会引起注意。 由于我们的工作规模很小，因此将音频拖拽的时间小于毫秒。

进阶技巧 (Advanced Tips)

Now that you have the basic mechanics of comping down, you can learn some more advanced techniques to comp more efficiently and effectively.

现在，您已经掌握了压缩的基本原理，您可以学习一些更高级的技术来更有效地进行压缩。

1.补贴 (1. Comp on sibilances)

When possible, it’s always nice to comp together entire phrases using the silence that separates them. This is the most invisibile way to make a comp. But sometimes you really do need the first half of a phrase in one take and the second half of the phrase from another take.

在可能的情况下，最好使用分隔它们的沉默将整个短语组合在一起。 这是制作伴奏的最隐蔽方式。 但是有时候，您确实确实需要在一次练习中使用短语的前半部分，而在另一次练习中使用短语的后半部分。

In this case, sibilances are the way to go. Sibilances are bits of audio that sound like “s” or “sh.” Basically, sounds that contain a lot of noise.

在这种情况下，解决办法是可行的。 平衡是听起来像“ s”或“ sh”的音频位。 基本上，声音包含很多噪音。

Because of the noise in these sounds, it’s a great place to make seamless edits between two audio clips. When comping on sibilances, I mostly find that I don’t have to worry about zero-crossings and the default fading behavior of most DAWs is sufficient to mask the edit.

由于这些声音中的噪音，因此是在两个音频剪辑之间进行无缝编辑的好地方。 当进行平衡时，我大多数时候发现我不必担心过零，并且大多数DAW的默认衰落行为足以掩盖编辑。

Other good sibilances to edit on are “ch,” “h,” “z,” “k,” “f,” and there’s a good number more that you’ll happen upon. Rather than memorizing these, just look for noisy sounding consonants in your vocal takes.

其他可以编辑的良好标记是“ ch”，“ h”，“ z”，“ k”，“ f”，还有很多其他可能会发生。 与其记住这些，不如在声带中寻找嘈杂的发音辅音。

2.将伴奏隐藏在低调的背后 (2. Hide comps behind downbeats)

There are times when getting the parts of a take that you really want can mean you have to make a super audible edit. This is where masking comes into play.

有时候，获得真正想要的部分可能意味着您必须进行超级听觉编辑。 这是遮罩起作用的地方。

There are two main types of masking: frequency masking, where sounds of similar frequencies tend to mask one another, and auditory masking, where louder sounds tend to mask quieter sounds. These are psychological phenomenon, meaning its in our heads. The frequencies are still there, and its our brains that ignore them.

掩蔽主要有两种类型： 频率掩蔽 (相似频率的声音趋向于彼此掩盖)和听觉掩蔽 ( 听觉掩蔽) ，较大的声音趋向于掩盖安静的声音。 这些都是心理现象，这意味着它在我们的脑海中。 频率仍然在那里，我们的大脑忽略了它们。

(In fact, part of how mp3 files perform their compression is by removing audio information that you wouldn’t be able to hear because it was masked by other sounds.)

(实际上， mp3文件如何执行压缩的一部分是通过删除由于其他声音掩盖了而无法听到的音频信息。)

So how does this apply to comping? If you are able to place a nasty vocal edit behind a particularly loud sound and/or one of similar frequencies to the vocal, then the edit might be masked entirely. You’ll be surprised with the unforgivable comps you can get away with by hiding them behind a snare drum.

那么这如何适用于压缩呢？ 如果您能够在特别大声的声音和/或与人声相似的频率之一之后放置讨厌的人声编辑，则该编辑可能会被完全掩盖。 将不可告人的音效隐藏在军鼓后，您会为之惊讶。

3.谨慎使用交叉渐变 (3. Use cross-fades sparingly)

Cross fades are a pretty common way to avoid clicks and pops. Crossfades involve blending two audio clip by fading one out while simultaneously bringing the other one in. Film sound designers commonly use them to loop background ambiences without the listener noticing. DJs use them as a way to switch between songs in a mashup.

交叉淡入淡出是避免单击和弹出的一种非常常见的方法。 交叉淡入淡出涉及通过淡出一个淡入淡出同时将另一个淡入淡出来混合两个音频片段。电影声音设计师通常使用它们来循环背景氛围而听众不会注意到。 DJ使用它们作为混搭中的歌曲之间切换的方式。

Comping is not my favorite use of crossfades, however. By design, crossfades are playing two similar sounding audio files at the same time. For a vocal, this can create an unwanted chorus effect that appears only for a split second, but that can be very disruptive to the listener.

但是，压缩并不是我最喜欢的交叉淡化用法。 根据设计，交叉淡入淡出可以同时播放两个相似的声音音频文件。 对于人声来说，这可能会产生不想要的合唱效果，这种效果仅在瞬间出现，但对听众来说却极具破坏性。

The other approaches discussed should be tried first before trying a crossfade. In most cases using a zero crossing and/or finding a sibilance to comp on is possible and sufficient.

讨论淡入淡出之前，应先尝试讨论其他方法。 在大多数情况下，使用零交叉和/或寻找补偿的可能性是足够的。

4.记录时跟踪好镜头 (4. Keep track of good takes while recording)

If possible, you (or a tracking engineer if you have one) should try to keep track of the good takes and bad takes while you record. When you start comping, you can go straight to the takes you know you love before having to circle back to the other files. This way you’ll be less frustrated sifting through takes and you’ll make sure you don’t miss out on your best deliveries. You really can get as specific as you like here, just figure out what works for you. Here’s a little example.

如果可能的话，您(或者如果有的话，请一位跟踪工程师)应该在记录时尝试跟踪好坏。 当您开始编曲时，您可以直接进入自己喜欢的片段，然后再回头浏览其他文件。 这样一来，您就可以轻而易举地筛选收件清单，并确保您不会错过最佳交付商品。 您确实可以在这里得到尽可能具体的信息，只是找出适合您的方法。 这是一个小例子。

In this example, the ✓s and X’s help keep track of good and bad takes more generally so you know where to start when comping. There still might be useable stuff in the “bad” takes, but starting with the good ones will save a lot of time and limit the number of comps you need to do. (Comping is necessary, but if you can avoid doing it then you should!)

在此示例中，✓和X有助于更全面地跟踪好坏拍子，因此您知道在进行合成时从何处开始。 “不好的”镜头中可能仍然有用，但是从好的镜头开始将节省大量时间，并限制了您需要做的伴奏数量。 (必须进行压缩，但是如果可以避免这样做，则应该这样做！)

It also might be helpful to keep track on takes of any particularly good phrase that you want to keep, even in a bad take. You could do this with a lyric or even a timestamp. Comping is largely about finding all the little magic moments in all the individual takes and combining them into a super take that wows the listener.

跟踪您想保留的任何特别好短语的用法，即使是不好的用法，也可能会有所帮助。 您可以使用歌词甚至是时间戳来完成此操作。 作曲主要是要在所有个人录音中找到所有微小的魔术时刻，并将它们组合成一个令听众赞叹的超级录音。

It’s sometimes pretty common to redo just one or two sections of a song that you didn’t get good takes for rather than sing the whole thing through. So using some sort of neutral notation like a dash might help in that situation.

重做一首或两首您收录不好的乐曲，而不是整首歌，有时是很常见的。 因此，在这种情况下使用某种破折号等中性符号可能会有所帮助。

If you aren’t able to keep track of your takes while recording, it might be worth it to listen to all of your takes once through and take notes before you start your comping process. Also, be cautious about the number of takes you do. In the digital era where data storage is not an issue, it can be tempting to do dozens of takes to get a perfect vocal, but you might just end up overwhelming yourself. The law of diminishing returns definitely applies to the number of takes you have!

如果您在录制时无法跟踪自己的乐曲，那么在开始进行合成之前，最好先听一遍所有乐曲并做笔记，这是值得的。 另外，请注意您要拍的张数。 在数据存储不成问题的数字时代，可能很想做很多事情来获得完美的声音，但最终可能会让您不知所措。 收益递减定律绝对适用于您的收益数量！

5.用耳朵而不是眼睛听。 (5. Listen with your ears, not your eyes.)

Sometimes you’ll make a comp that you can just barely hear, and it can be frustrating. What you might forget is that if you are watching your playhead move across your audio file, you know exactly when to listen for the comp sound and you are going to hear it. The best comps are definitely the ones that you can’t hear even when looking at your DAW, but if you can’t tell without looking at your DAW then that’s totally fine!

有时您会制作几乎无法听到的乐曲，这可能会令人沮丧。 您可能会忘记的是，如果您正在观看播放头在音频文件中的移动，那么您确切地知道何时收听伴奏声音，而您将听到它。 最好的组合绝对是即使您看着DAW也听不到的音色，但是如果您不看DAW就无法分辨，那就太好了！

Next time you’re unsure about a comp, close your eyes and then play it back. See if you can tell where is the comp is then. You might be surprised at how invisible it becomes.

下次您不确定音色时，请闭上眼睛，然后播放。 看看您是否可以知道组合在哪里。 您可能会对它变得无形感到惊讶。

其他应用 (Other Applications)

Comping is not the only application of these techniques. Another big application is sound editing for films. Film sound designers often have to insert artificial ambience into a scene, and the ambience audio file might be shorter than the scene itself, and they have to loop the audio file without the viewer noticing. Or other times they are given a 4 minute chunk of music and asked to cut it to fit a 3 minute scene. This kind of task requires cutting out sections of music and seamlessly joining the remaining pieces by using zero-crossings in the music file.

压缩不是这些技术的唯一应用。 另一个重要的应用是电影的声音编辑。 电影声音设计师通常必须在场景中插入人为的氛围，并且氛围音频文件可能比场景本身短，并且他们不得不循环播放音频文件而没有引起观众的注意。 或者其他时候，他们会得到4分钟的音乐，并要求将其剪切以适合3分钟的场景。 此类任务需要切出音乐的各个部分，并通过使用音乐文件中的零交叉来无缝连接其余部分。

That’s all for this post! Hopefully, you’ll be able to implement these techniques into your own music sometime soon.

这就是这篇文章的全部！ 希望您很快就能在自己的音乐中实现这些技术。