Tag Archives: transition

Determine the tempo first

Here’s a tip that will make all of your music edits (or cuts) much, much easier.

I just got an emergency assignment to edit a popular remix/dubstep song down to the routine length of 2:30. The dance teacher just couldn’t make it happen. This is very understandable; there are a lot of echoes and the dynamic range is pretty compressed, making it difficult to make out the downbeat in the waveforms.

However, if you start your editing projects by determining the tempo, and then lining up the downbeats to the tempo grid, doing the edits becomes a piece of cake. I am almost embarrassed to say that by lining up the music to the tempo grid, I had about 8 seamless cuts done in about 15 minutes. Boom, done, because I determined the tempo was exactly 140 bpm before starting to make transition points.

Not every music edits goes that quickly. Freeform jazz, or any music done without a click track can be really tricky to edit seamlessly. But for modern dance music, figuring out the tempo first can make the difference between hours and hours of waveform alignment (and still not getting it right), and a perfect precision job that is done in minutes.

If you are tired of pulling your hair out trying to get your music cuts to be seamless, send me an email instead. Let me know the name of the song and the length that you need the finished piece to be, and I’ll make it happen for you for only $39!

Tips for improving your dance music

Here’s an article on Dance Moms with Tips for improving your dance music. Some of the ideas contained in it are a little dated (when was the last time you ever played music off a cassette?), but the premise is a solid one. Your dance students are paying hundreds of dollars and putting in countless hours of rehearsal, so why would you short change them by giving them anything less than stellar music to work with? It’s like building a two-story house on top of sand. The music is the foundation of dance, start with a rock solid foundation that goes down to bedrock!

We here at Squirrel Trench Audio take pride in delivering songs that are edited perfectly, optimized in a variety of ways to be the best they can be for competition! Here are just a few of the things we take into account when editing songs for dancers: Short but sweet intro, overall song structure and integrity, solid ending, buttery smooth & seamless edits, maximizing vocal verses so dancers can easily tell where they are in the song, while retaining bridges for maximum dynamic interest, and making sure the eq and dynamic range of the recording will translate well on all sound systems.

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.

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