I have a question about the Comp setting in Record Mode.
 
This has to do with recording a song in sections. When recording a section (I typically do loop recording) I play back the last portion of an existing clip to cue the artist for recording the next section of a song. This makes an overlap of a few measures. This works fine when choosing “Sound On Sound” in Record Mode. It has been suggested that I use the Comp setting in Record Mode. Yet, by default, Comp in Record mode mutes all existing clips. Therefore, the artist can't hear the end of a section for a cue to start the next section. In addition, once recorded, the overlapping portion of the first existing clip is spit from the rest of the existing clip. I don't know why this is and what advantage that has in finally comping together a whole song.
 
I hope this is understandable. I am just confused by all of the things that Comp Record Mode automatically does.
 
Thanks in advance for an explanation, or perhaps there is a video I could watch that explains the way that this works and the advantages.
 
Tom
 

    You need to use the mode that works for what your trying to do. 
Comp mode is geared toward recording several takes of the same part of the song so that you can combine the best parts of takes into one.
   If you want to record a section of the song at a time then sound on sound is probably the better choice, or you could punch in.
    If you drag select the entire clip in the take lane it will heal where the comp split the earlier clip.
Leaving the split should not effect playback if you leave it. 
 

I usually work in comp record mode. I arm the track, then press spacebar to play and right before the record moment I hit "r" to start recording. This has the benefit of muting the take as the recording starts, something you'd have to do manually when in sound on sound mode.

Sanderxpander
I usually work in comp record mode. I arm the track, then press spacebar to play and right before the record moment I hit "r" to start recording. This has the benefit of muting the take as the recording starts, something you'd have to do manually when in sound on sound mode.

Thanks sanderxpander, this is what I was looking for.  This seems like a reason to use comp record mode.  What I understand you to be saying is that, by hitting "r" and starting to record, all existing takes will be muted and the new recording will be in a new take lane, right?
 
t
 

That requires coordination.  Seems like the better solution would be to put the next section in another track, that is, if what you are trying to record is an overall seamless take (no breaks), assuming a simple autopunch won't work for some reason.  If you do have breaks, as in vocals, a workable option is to record inside a loop, in the same track.  Put enough of the lead-in inside the loop so the performer knows where they are. 
 
I use this technique to lay down complex parts, using 2 tracks, and ping-ponging between the 2 as I get each section down.  Track 1: bar 1 thru 10, Track2: bar 8 thru 18; Track 1: bar 16 thru 26 ad nauseum.  Note the overlap.
 
As far as "comping" goes, I've found that if you are recording within a loop using "overwrite", you can still go chop the takes up with the comping tool and Frankenstein the [almost]perfect take.  So, it seems, even when you are in overwrite you are still in comping mode.
 
With infinite tracks at your disposal, why would you use sound-on-sound?