Edits

[Art Munson]

“So Art; Do you make all those by editing your stereo mix?”

I usually can. If not I can go back to project files for bits I may need (seldom do that though). These alternate mixes are mainly for RF sites and they do sell but I think more demanding libraries would want them a bit more finessed.

[Malcolm Payne]

Hi –

First, thanks for a really terrific resource. I have a couple of questions –

1. When doing :60’s, :30’s etc,, do you make sure you are getting out hard at 60 or 30, or do you leave the tails long for the editor to chase the fade?

2. Art, can you explain what choices you make when putting together the “Loops”

Thanks!

Malc

[Art Munson]

I try to make the edits as close to the time as possible. For loops I pick a section that’s not too busy.

[Mark_Petrie]

When doing :60?s, :30?s etc,, do you make sure you are getting out hard at 60 or 30, or do you leave the tails long for the editor to chase the fade?

I personally think it’s best to edit the cuts so that they sound musically ok if someone was to completely stop at :29.9 or :59.9. (not cut off right after a beat), but then leave the tail in there in case someone can use it like that.

[Malcolm Payne]

Thanks guys . .

Malc

[gdomeier]

How often do your specific time edits get used? Looking at cue sheets, I rarely see any cues that match up to those time values. They mostly seem to be random times.

[MichaelL]

@gdomeier…60, 30 and 15 edits are for ads. You rarely, if ever, get a cue sheet for a commercial (there’s a convoluted process of proving media buys, etc).

Random times come from editors chopping your music up and using little bits and pieces.

[Art Munson]

How often do your specific time edits get used?

I find that they have more value on RF sites. In other words they consistently sell.

[More advice]

I have never really seen any evidence that “edits” are advantageous for a composer. The 15’s, 30’s 60’s and full mix can take up a lot of production time editing and mastering all 4 versions as well as any other version pulled out of a track such as Guitars only, No Percussion version, Bass and Drums version etc. When I mixed radio spots with library tracks 15 years ago, I almost always loaded up the full mix and made custom edits to create the 30 or 60 from the full mix. The 30 and 60 edits never gave me the flexibility to keep a music section going longer or shortened to compliment the Voice OVER the best way possible. This is why I never render these versions any more. Unfortunately, some libraries require all these versions.

[mscottweber]

Like Art said, my edit’s do sell often enough on RF sites to warrant making them. I don’t go too crazy with them like “Lead and Drums Only”, “No Bass or Piano”, “Kazoo and Drums” etc, but I’ll do “No Leads” and “Drums and Bass”. Then (if applicable) I’ll make 30, 60, Stinger, and a loop or 2 from just the full mix.

One question I DO have, though:

Let’s say you have a 10 sec pad or something at the start of the track before the drums kick in. When making your “Drums and Bass” edit, do you bounce from the beginning of the track so that your edit begins with 10 sec of silence? Or do you just start from where the first instrument enters?

[Art Munson]

I don’t leave any silence for these types of mixes. If they were stems I would. That way everything would line up properly.

[woodsdenis]

Important to note the different requirements in different territories, the EBU requires silence at the beginning and ending of audio for TV commercials. I cannot remember what it is right now, but it is measured in frames ( 25 f.p.s ) over here. Bottom line a 30 sec spot does not have 30 secs of audio, it is in the region of 29.?? secs. They are very strict about it and will reject anything that is over. Worth while checking out before you spend hours doing edits that won’t be right.

[Author]

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