Tag Archives: ending

Congrats to Kaelyn Gray’s Code Name Vivaldi tap routine!

The GiantRenowned tap choreographer extraordinaire Kaelyn Gray recently had her Code Name Vivaldi tap routine win StarSystems’ 2016 Louisville Regional’s best routine in the 13 & over category.

After receiving the award, Kaelyn knew that, while it had a great soundtrack, it really needed a better ending. In order to deliver the ending she wanted (normally not possible, since this song, by The Piano Guys, fades out instead of ending strong), I employed virtual software instruments to re-create an entire orchestral string section consisting of violins, violas, cellos, and double-basses, along with a squadron of drummers on marching toms, a two-story tall upright piano installed in a Manhattan skyscraper, and a Concert Grand piano in an Austrian concert hall.

Here’s what Kaelyn had to say after she got the result back:

“Throwing a shout-out to THE Morriss Partee…..dang he is amazing at his job.

Yesterday I had a piece debut for the first time, a dark tap piece that I had never seen in costume (or even began the cleaning process for that matter) so I was a little worried it would blow up in my face…..Plus, I edited it myself and it was an original fade-out song which I really hate for tap, so I put a very lack-luster ending note on there that was just displaced and boring.

The kids ending up smashing it and it ended up the top scoring 13 and over routine of the weekend (Happy surprise!) I thought if it was going to be that good it definitely deserved a stronger ending…..so I messaged Morriss Partee and not even an hour later my email had a new edit ….. GUYS. Holy cwap. He literally manufactured the same instruments in the song, using 3 different grand pianos, an orchestra of violins……he went ahead an “polished” the entire track for me to make it sound sparkly and new again, since I had sped up the music tremendously to fit the speed of my taps. The new ending is perfection and intense!!!!

I love people who are passionate at what they do and share it! Thanks so much Morriss for being there for me and for delivering nothing but the best!!! GOOOO MORRISSSSSS!!!! ‪#‎kickballchangejazzhand‬ “

— Kaelyn Gray, tap choreographer
Expressions Dance Theatre, Crescent Springs KY
& founder Tap Dance Tutorials/#bringtaptothepeople
February 8, 2016

Put a button on it

button48221navyDefinition of Button, from a Broadway Glossary:

Button: The payoff moment in a song; the moment when the song is “buttoned up” and finished.

On Broadway, music composers know that nearly all of the time, they need to deliver a button on their songs…. that point in the music when the audience knows the song is over, and it’s time to applaud. The same concept applies when editing music for performance dance routines. When a song fades out, your audience is robbed of the routine’s button. That’s why Squirrel Trench Audio retains the ending of the original song so that the button is delivered to your dancer. The audience knows the routine is over and it’s time to clap.

There are times when a song might have a big musical finish that lasts 20 seconds or more. These type of endings, while great in a music performance, are too long for a dance performance. In such cases, we will edit down the big finish into an appropriate length for the dance routine.

If you need your music edited to retain the button, either look through our catalog on Legitmix, or fill out a custom music edit request form.

For further reading, here is an earlier article that describes how to avoid awkward fade-outs. And here is more information on retaining song structure when editing music.

Retaining song structure in music editing & remixing

If you edit, cut or remix music for dance, gymnastics, figure skaters, vocalists or any other purpose, this is perhaps the most important article you can read on the subject.

What’s the Plan, Stan?

Most music has a structure… a road map that that takes the listener on a journey from point A to point B with several interesting stops along the way. While music is auditory, if you were to visualize the journey by breaking a song down into its component pieces, you would see something like this:

While many songs have variations on this theme, this graph is nonetheless a useful starting point in visualizing or understanding the structure of a song, including intro, verses (purple), choruses (blue), and almost always some type of bridge section (green).

Music editors who don’t pay attention to the structure of music typically make the minimum number of edits, or cuts, to get the music down from, say, four minutes, to the required routine length, which is usually three minutes, two and a half minutes, or two minutes. What usually ends up happening is that a fade-out is thrown onto music wherever the time limit occurs. If you were to visualize the resulting song structure, you’d see something like this:

While there is nothing “wrong” with this picture per se, it does not have as powerful an impact as the original song. It doesn’t feel complete, and the overall “shape” of the journey is now lacking.

In addition, we’ve now lost the bridge entirely. The variety from the original song is gone. Musically speaking, the bridge is often the most interesting part of the song and the emotional peak of intensity is often in the bridge.

When the structure is “chopped off” as shown above, instead of visiting three different regions, we’ve now visited the same two regions two times. This type of repetition does not lend itself well to the linear nature of dance choreography. The other problem with this edit is that we’ve also lost the ending. The audience is left hanging because the routine never reaches a conclusion.

So in order to maximize artistic integrity of the song AND meet the linear requirements of dance choreography, music should be edited and remixed in order to retain the maximum amount of interest in moving from point A to point B, taking the audience on a journey, stopping off at scenic points of interest along the way, before finally ending up at the destination.

In almost all cases, retaining the bridge section of a song improves the result of the song editing process. This is because in dance choreography, there are rarely repeated movements. In dance choreography, there is almost always a linear progression that evolves from the beginning to end of a routine, without the repeating verse/chorus/verse/chorus patterns you find in music. Most dance routines consist of a linear series of moves that flow, one after another after another.

A song will match up better with dance choreography if it “keeps moving” from one musical idea to the next. Instead of chopping down a song as if it were a tree, giving it a verse/chorus/verse/chorus pattern, you give yourself, as dance choreographer, more musical variety and movement if you edit the song to follow a verse/chorus/bridge/chorus format.

Here is the same song structure as the first graph, but edited to retain the integrity of the original, including the bridge. Note how the shape of emotional intensity is still a journey that builds up, goes over the mountain top of the bridge, before finally coming to rest with the closing chorus and ending:

Note that the intro has been shortened, as has the final chorus. In this chart, I’ve indicated Chorus 1 and 2 as combined; there are many ways to handle this depending on the nature of the song’s chorus arrangement.

By understanding a song’s structure and retaining the overall feel and variety of it, you can make a remix or edit of that song and still leave the audience feeling satisfied with the journey, even though the trip took less time.

If you are a dance choreographer looking to give your students the best music possible for the choreography you are going to teach them, have your music remixed by a professional ahead of time so that he or she can retain the structure. While I am happy to “smooth” out choppy or incorrectly timed edits, even after the routine has already been rehearsed, you’ll be giving your students the best music and routine possible if you start with a solid musical foundation, and that means getting the structure right, from the beginning.

If you prefer to have a professional edit or remix your music, here’s my Request Form.

Also see: How To Avoid Awkward Fadeouts for another article on this subject, complete with sample edited waveforms.

Video Tutorial: How to Avoid Awkward Fade-outs (Part 1)

In this two-part video, I explain both WHY you should avoid awkward fade-outs whenever possible, and HOW to do it. Here is Part 1, WHY:

If you already know WHY you should avoid fade-outs, here is Part 2, where I show you HOW to do it.

For more detailed information on how to avoid awkward fade-outs when editing music for your dance routines, here’s a web page about it, in written form. Here’s more about the Top 5 song editing mistakes I hear at dance competitions.

I would love your feedback about this video. Was it useful to you? Did you learn something? What audio-editing-for-dance tips would you like to learn about next?

You Should Be Dancing (and not fading out)

Earlier today, a new reader of this site posed an excellent question in a comment on my post about the Top 5 Song Editing Mistakes I hear in dance competitions and recitals. So I thought I’d share the question along with my response:

Question: Hi! I just discovered your blog & I really enjoy it. I am a ballroom dance instructor & frequently find myself editing songs for student’s routines. As an instructor, dancer & just someone who loves watching others dance, I also despise the awkward fade out ending as well as the equally as awkward endings that inevitably go with it. Like you said, such a let down for all involved. But what would you suggest if you are using a song that has a natural fade out at the end? I still really would not rather use it even though it is original to the song, but I also don’t want to end up with an abrupt cut from just trying to somehow make my own ending in the music. The song is “You Should Be Dancing” by the Bee Gees in case you’re wondering. I’ve listened to it a million times to try to find somewhere that I could make a graceful ending but to no avail. Thanks in advance for sharing your professional opinion & again I really enjoy your blog!

Answer: Thank you so much for this question! It’s quite wonderful, and is a problem that many dance instructors face. In a previous blog post, I explained how to shorten a song that already has a solid ending. But indeed, “You Should Be Dancing” and many other great songs are recorded with a fade-out ending. Fortunately, there are several ways to come up with a good solution.

1.) Sometimes, a fade out in the music is okay, especially when it’s intentional. In some instances, a choreographer wants to have the dancers exit the stage as the music fades out, on purpose.

2.) If that’s not an option for the desired choreography, the first thing I’d do is check to see if there is an alternate version of the song by another artist that has a non-fade out ending, and use that instead if it exists. (Here’s a sultry bossa nova instrumental version! HOTT!)

3.) Find a live recording by the original artist. In a live setting, it’s extremely difficult to pull off a natural sounding fade out, so usually the musicians create a different ending for live performances. The Bee Gees have indeed recorded several live versions of You Should Be Dancing, Here’s one of them, on YouTube, but there are others you can find on iTunes.

4.) See if you can find a remix version of the song, and either use the remix version, or see if you can splice the remix ending onto the original song’s ending. There are several remixes of You Should Be Dancing on iTunes. Here’s one, and here’s another.

If there is no cover version, live version, or existing remix version of the song with a non-fadeout ending, or if you have your heart really set on using the original version of the song that has the fade out ending, here are some audio editing techniques you can try yourself. Some of these methods are advanced, and that is where you would want to utilize the services of a professional music editor such as myself, or someone else, because there may be no way to make it sound natural with just a cut:

5.) See if there is a way to use a part of the intro to create the ending. In this case, the intro starts out with a basic bass/kick drum pulse with some other light percussion. With some creative editing and some reverb, this could be the route to creating a natural sounding ending.

6.) One of the reasons why it never sounds natural to “chop off” the music using a basic audio editor is that most instruments in a recording have reverb. This is the natural “echo-y” sound of a room. Even if you are not consciously aware of reverb, it exists in every room, and is one way we can tell if we are in a big room or a small room even with our eyes closed. (A big room has more, longer reverb as the sound travels away from a source, bounces off the walls, and reflects back to our ears.) When editing music, adding just the right amount of reverb (using both the correct room size and amount of reverb) can go a long way in making an audio cut sound natural and not chopped.

7.) There are various audio gimmicks that could be employed to create an ending. It’s a little gimmick-y, but you could use a loud “slam” or “thud” sound, with a healthy dose of reverb, at the ending point of the song.

One of the reasons that it’s really hard to find an ending point in this particular song is that we have the phrase “You should be” as a pick-up to the downbeat of “Dancing, yeah” repeating constantly as the song fades out. The downbeat is on the first syllable of “dancing”, so it will always sound unnatural to try to make an ending that results in “you should be dan”.

So the bottom line is that it can be done, but it requires a bit more than just a simple cut to make it sound smooth and natural.

What exactly is good music editing for dance routines?

With the proliferation of free and cheap audio editing software, many dance studios have taken it upon themselves to handle the editing of their dance music. While it is certainly better to edit a song yourself than to not edit it at all, a top-notch dance studio may want to consider having their songs professionally edited.

Why would a dance studio have their music professionally edited?

Teachers and students at a quality dance studio spend hours upon hours perfecting their dances for recital, competition and other performances. Students practice all of their routines in class and at home. Every nuance, every detail of motion is perfected and cleaned up. Every detail, from how the dancers enter to how they exit the stage is choreographed for optimum audience enjoyment and professional presentation. The same is true for costumes and makeup. The details of the appearance are examined and refined.

So if a dance studio is spending countless hours and dollars to ensure every aspect of the dancers’ movement and appearance is the best it can possibly be, why wouldn’t they also want to ensure that the music, the foundation for every dance performance, is also as great as it can be? Why use music for performance that has glitches, awkward fade-outs, mismatched beats, frozen statue intros, abrupt jumps and other scars when seamless music can be created by a skilled music editor?

What does professional music editing for dance entail?

Some people think that dance editing is simply employed to remove swear words or other inappropriate lyrics from a song. But editing music well is much more than than, and certainly much more than fading a song out at the desired length of the routine. In fact, 90% of the time fading the music out at the desired length for the routine is at an awkward point in the song, leading to the most common music editing mistake heard at dance competitions. In this blog post I explain exactly how to avoid awkward fade-outs. (Here are the other Top 5 mistakes made in dance music editing.)

A skilled music editor, who understands what dancers need in a competition or recital-length routine, does a lot more than simply a fade a song out or edit out swear words. A skilled song editor analyzes a song for its structure, and then determines how that structure can be changed, sliced, or rearranged in order produce a new song that makes sense from beginning to end. Usually this involves shortening an intro, removing a verse and/or a chorus, shortening instrumental solos, and so on. This process is something that requires a great deal of skill and experience, in both music and audio editing, to execute flawlessly.

Skilled audio mix engineers not only rearrange the structure of an existing piece of music, they can perform quite a number of other audio engineering techniques such as changing the equalization of the music to better fit the dancer, speed up or slow down all or parts of a song without changing the pitch, add reverb to edit points or endings where it makes sense, and even increase the volume (slightly) of older recordings without causing clipping distortion.

The sad but unfortunate fact is that many dance teachers don’t even realize that they utilizing music with poor edits in their routines. Dance teachers are trained in the visual arts, and are experts at choreography and movement. Few are also exceptionally well-versed in music structure or audio editing. Therefore, dance studios would enhance the quality of their performance by utilizing the services of an experienced music editor to handle the process of editing songs to the right length for dance numbers.

As I mentioned before, it’s not too late to have a song with a music hiccup or glitch fixed in time for Nationals. In fact, I’ve just finished repairing a song like that right now… the dance routine is SPECTACULAR, winning Platinum and 2nd overall, and the music is by a well-known artist who hit the scene in the 80s. The song, as edited by the student, was wonderful all the way up until the very end when there was a fade out, followed by an abrupt jump into the last few notes. But have no fear, Squirrel Trench Audio now has the ending smooth and flawless! And since the routine has already been choreographed, I kept all aspects of the song identical to the original edit, except for the newly perfected ending. If you are cleaning up your dance moves after regionals, going into nationals, it makes sense to clean up your music too!

How to avoid awkward fade-outs

Earlier this week, I wrote about the Top 5 music editing mistakes heard in dance competitions, and promised you additional blog posts about how you can avoid making them.

Number One on the list is the AWKWARD FADE OUT.

As I mentioned in that earlier blog post, it’s easy to understand why this is the most common music editing mistake. Dance teachers are very busy, and most are not expert musicians in addition to being expert dance teachers. With music editing software now available for free on all platforms, the quickest and easiest thing to do is to simply fade the music out at the desired time in the song.

However, this often leads to disappointment for the dancer on stage. Let’s examine why before exploring the best methods to prevent this faux pas from occurring.

A good song, just like a good dance routine, has a structure. In the most simple terms, songs have an intro, a middle, and an ending. Unless a song fades out in the recording, the ending is designed so that the listener can tell that the end is approaching, and then it finishes in a satisfying way. Musicians who perform on stage like to deliver a good ending, because then the audience knows when to clap, and what performer doesn’t enjoy applause? (For more on dance structure, check out this article in Dance Spirit Magazine.)

It’s no different when the performer is a dancer instead of a musician. A good dance will have an intro, a middle, and an ending, and it should coincide with the beginning, middle, and ending of the music. That way, the audience can tell when the dance is over, and applaud accordingly. When the music fades out at an awkward point in the song, and the dancer holds his/her finishing pose (or starts shuffling off the stage), the audience is left hanging, and is silent for a few seconds before they realize that the dance has ended. This awkward silence makes the performer feel like he/she hasn’t done a good job, no matter how loudly the audience applauds after the silence (or even worse, after the dancer has exited the stage).

The good news: if the song you have chosen has a good ending, it’s a piece of cake to edit the song properly and deliver what the audience and performer deserve: a solid, great ending to a great performance.

As an example, let’s use Jason Mraz’s The Dynamo of Volition from the album We Sing, We Dance, We Steal Things. It’s catchy, and has a great dance beat. The song as recorded is 3:36, much too long for dance competition. However, with a single well-placed edit, this song can be made 2:23, a perfect length for competition, and still retain the song’s original solid ending as well as retain a good overall structure.

If you were to fade the song out at 2:23, it would be right in the middle of a verse, creating the MOST awkward type of ending, which can’t even be considered a real ending.

In order to understand how it is possible to retain the song’s structure and still reduce it from 3:36 to 2:23, and make it sound perfect, we need to understand the song’s original structure. This song is a bit unusual in that there is no intro; Mraz starts right in on the verse.

Here are the parts of the song:

0:00 – Verse A
0:27 – Chorus
0:44 – Verse B
1:08 – Verse A
1:29 – Chorus
1:49 – Bridge
2:04 – Verse B (with extension)
2:43 – Chorus with ending

If we map this song out with parts, assigning each part a letter of the alphabet, along with a number in order of appearance, it would look like this:

A1 | C1 | B1 | A2 | C2 | D1 | B2 | C3

The easiest way to shorten it is to make a cut right before the last chorus, move the last chorus with ending to a new track, and then shift it in time so that the last chorus now overlaps with the second chorus.

In letter form, our song is now on two tracks, and it looks like this:

Track 1: A1 | C1 | B1 | A2 | C2
Track 2:                            C3

You can see that the 3rd (last) Chorus, with ending, now overlaps with the 2nd Chorus. Zoom in on the audio wave forms, and make sure that these two different audio tracks are matched up to each other perfectly in time. Play both tracks simultaneously, and move the new track so that you don’t hear any echo caused by having the two tracks out of alignment.

Once you have C3 in exact alignment with C2 timing-wise, there is only one more step to make: and that is to make a sharp, but smooth, transition at some point from C2 to C3, and voilá, you now have a perfect 2:23 version of The Dynamo of Volition! Your audio tracks will look something like this now:

When looking for the point to make the transition from one audio segment to another, what you want to find is what is called a zero-crossing point. This is where the audio wave is “standing still.” Making the edit at a zero-crossing for both audio waves is the best way to ensure you don’t get an abrupt cut in the music at the edit point.

It takes a few minutes longer to listen to a song, analyze where the verses, chorus, and bridges are, then to just fade it out, but the rewards are substantial for you and your dancer in the applause generated by the audience, and the feeling of closure at the end of a great performance. The ending is the last impression left with the judges, so make it strong instead of fading away!

Here is a video where I show you how to retain the ending:

If any of this is too overwhelming for you, feel free to send your song our way, and we’ll get it done for you! We love making perfect song edits for dancers!

See also: Retaining song structure when editing music for a look at some colorful graphs that really bring the structure into focus.

Top 5 song editing mistakes

I just got back from a spectacular regional dance competition, where my original remix Pixie Hollow premiered. The dancers were truly spectacular and brought a tear to my eye. I can’t wait to see them perform it again in two weeks.

It was truly a pleasure to watch so many fantastic dances, and hear the wonderful music that the dance teachers had chosen for their students. I could see how much hard work had gone into each number to bring it to fruition on stage.

Being a musician and not a dancer, I paid special attention to the music, and how the dance and music worked together in the performances. I was very happy to hear no major squirrel trenches in any of the songs I heard. However, I couldn’t also help but notice that there were minor glitches in the music editing of many songs. So in my quest to help eliminate bad music edits from all dance competitions, I present to you the top 5 music editing mistakes I hear in songs played at competition. In subsequent posts, I will explain in detail how you can avoid each one. While most judges won’t deduct points for these mistakes, any one of them takes away from the musicality of the dance that you are striving for. Any of these mistakes takes attention away from the dancer and makes the performance less enjoyable to watch.

1. Awkward fade out

2. Mis-matched phrase edit

3. Abrupt cut

4. Drop-out edit

5. Frozen statue intro

Let’s discuss the first two in a bit more detail. Again, future blog posts will explain more about each one of these pitfalls, and more importantly, exactly how to avoid them in your own music editing.

The awkward fade out (and its cousin, the abrupt ending) is by far the most common music editing mistake I hear in dance competitions. It’s easy to understand why it happens. You find a great song, and virtually all popular songs are too long for competition. So what is the easiest thing for a time-pressed dance teacher to do? Fade it out at the proper length for competition. But while it’s easy to do this, it’s very much worth the time to avoid this practice. With the awkward fade out, your dancer is usually left either holding their ending pose or begins to exit the stage, while the auditorium falls into silence. The audience doesn’t start applauding and cheering because they aren’t sure that the performance has actually ended. There’s nothing worse for your performers’ self-confidence than the nervous silence, followed by the too-late applause created by the awkward fade out. Often these strange fade-outs occur in middle of a verse or some other equally unexpected point in the song. As I’ve said in an earlier blog post, if your song has a clear ending, use it. [Update: Here’s exactly how to do it.]

The mis-matched phrase edit is another common song editing mistake, and one which can be quite problematic from a dance point of view. Most dancers love a strong groove, a catchy or funky beat, that propels them to dance. And most dance music (though certainly not all) is in 4/4 time. Dancers learn to count in 8s, which corresponds very nicely to most musical phrasing, which usually occurs in groups of 4-beat measures. While musicians learn to count in 4s, these groups of measures often occur in even multiples, such as 8 and 16, and these patterns usually can also be lumped together in groups of 24 and even 32. How strange then, when the editing of music occurs in mid-measure, and sometimes even in mid-beat. Here is what this pattern looks like in written form, from a dancer’s point of view:

8, 8, 8, 8, 8, 8, 8, 8, 8, 11.3, 8, 8, 8, 8, 8, 8, 8, 8, 8.

No wonder your dancers are having a hard time with this section of their song- it not only has an odd number of beats, it also has a partial beat! OUCH! It’s nearly impossible to get your dancers’ moves clean when the music itself is not clean in this way. Inevitably, this type of editing flub kills the groove and pulse of the music.

Well, that’s all for this blog post. In future posts, I will give you some very specific guidance on how to avoid these most-common song editing mistakes in your competition routines. In the meantime, if you have a song that has one of these mistakes in it, and you want it fixed in time for your next regional or nation competition, send me an email.

Stick the landing!

Here’s another audio editing tip for dance routines: how you finish the routine is the impression you leave the judges with… if the song you’re working with has an ending, use it, don’t just fade it out. If your song ends so that your dancer knows exactly when to hold the final pose, matched up with the music, it will leave both dancer and audience with a much bigger sense of accomplishment than a fade out. Just like in gymnastics, where you always want to stick the landing, the same is true of dance… and you can’t “stick the landing” if the music fades out at the end.

Update: Here is step-by-step instructions on how to edit music so that you retain the ending of the song, and at the same time, keep a good song structure. How to avoid awkward fade-outs

Basics of music editing

We understand that not every dance routine needs to have the song professionally edited. Personal computers have put audio editing tools within reach of everyone. But even with great tools, unless you really understand what you’re doing, it’s easy to botch the music up when cutting down the music to dance routine length. I can’t begin to count the number of times I’ve been at competition and heard a squirrel trench (a scar on the music)- taking not only the audience out of the moment, but also the judges.

So here are some things to keep in mind when editing music so that you don’t leave a big ole flub on an otherwise great song.

First: Really listen to, and understand the song all the way through. Understand the parts that make up the song: intro, verse, chorus, verse, chorus, bridge, chorus, ending is the most common song structure. There are certain parts of a song where the performance is almost exactly the same every time it occurs: this is most often true of the chorus of the song, so one of the easiest edits to make is to remove the second verse out of a song. Line up the 1st and 2nd chorus so they are overlapping exactly, and make your edit. This way, you leave the bridge intact, which gives the song (and therefore the dance) more interest over the course of the routine.

Also, watch out for exactly how you make the edit. Many folks try to make a long smooth edit… where one part of the song fades out for a few seconds while the other part of the song fades up for a few seconds. This is usually a mistake and sounds funny (unless there isn’t much going on instrumentally), and can even cause distortion. Better to make a very clean and crisp edit, where one part of the song ends very nearly abruptly while the other part of the song begins nearly abruptly. I usually employ an ultra-ultra-quick crossfade at the edit point, but it happens so quickly (usually a few milliseconds), that you can’t tell that it’s there. The important thing is to line up the beats (and the measures) at the edit point. This brings up another part of successful music editing- make sure you have full measures lined up. Dancers count in 8s… which is usually two measures of 4/4 time. I’ve heard plenty of songs where the edit is in a funny spot and the measures don’t line up.. which produces an “extra” two or three beats, which always sounds unnatural.

Well, that’s all the tips for now. I’ve got more that I’ve developed as a professional musician and music editor, but I’ll post about other techniques later. Here is how to avoid awkward fade-outs, and here are the other Top 5 music editing mistakes heard in competition.

Now that we’re about to enter competition season, take a listen to the songs you’re using for your dancers. If you notice that any of the songs you’ve edited have a squirrel trench or two in them or a funny beginning or ending, send it my way, and I’ll see if I can fix it up for you, retaining the original timing (or as close as possible) so that you don’t have to re-choreograph! My email is: morriss@squirreltrenchaudio.com. Or check out the Services link in the header of this site.

Best wishes for a successful competition season!
~Morriss Partee
Squirrel Trench Audio