Frequently asked questions

Obvious cuts usually come from mismatched phrasing, abrupt changes in energy, tempo differences, or inconsistent audio levels. A professional competition edit should sound as though the track was originally produced at the required length.

Choppiness almost always means the cuts landed mid-phrase. Music is organised in phrases rather than in seconds, so a cut placed to hit a target time — even perfectly on the beat — interrupts a musical idea the ear was waiting to resolve. Cutting on phrase boundaries removes the effect.

Headphones deliver the mix directly to your ears in a quiet room. A competition PA is distant, reverberant and competing with crowd noise, and it reproduces far less low and high frequency. Detail that carried the track on headphones does not survive the room, which is why the mix has to be mastered for the venue rather than the studio.

Usually, yes. Send the original full-length track along with the edit that is not working. Most problems are fixed by rebuilding the transitions from the source material rather than patching the existing edit — repairing a cut is often harder than making a clean one.

Yes. A conventionally structured song can usually lose about a third of its length with no audible seam. It works by removing whole musical phrases rather than arbitrary durations, matching the energy either side of each join, and placing the seam where something in the arrangement already covers it.

Yes. Songs at different tempos and in different keys will not blend by crossfading — they have to be time-aligned and pitch-reconciled so they share a tempo and a compatible key through the transition. Done properly, a multi-song routine sounds like one arrangement rather than a playlist.

Yes, and it produces a noticeably better result. Tell us where the counts fall, where the formation changes or elements happen, and where the routine peaks. A rehearsal video on a phone is enough. The edit is then built around the routine instead of the routine being adjusted to fit the edit.

Yes. Give us the exact time your division requires and the tolerance either side if there is one, and we edit to it. Check the number against your current rulebook before you send it — limits change by level, division and season, and a re-cut close to a competition is avoidable.

For artistic gymnastics, floor music is instrumental. Muting a vocal is not a solution, because the melody usually lives in that vocal line and silencing it leaves a hole in the arrangement. We build from an instrumental release or rebuild the line so the melody survives. Rhythmic gymnastics permits vocals — confirm which rulebook applies to your level.

On a defined final hit, not a fade. A fade leaves the skater holding a closing pose over a sound that never quite arrives, and it reads as unfinished from the boards. We build an ending with a clear last accent placed where the closing element actually lands.

By cutting on phrase boundaries rather than on bar lines. A cut placed on a bar line that is not also a phrase boundary shifts the count, so every formation change after it lands in the wrong place. Each join is built so the count continues uninterrupted across it.

Yes. Tell us roughly where each element falls in the program — a run-through video or a timed list is enough — and the accents are built to arrive there. Where an element sits slightly off the music, it is usually easier to move the accent than to ask the skater to change the layout.

Yes, and most programs are. The work is making the pieces sound like one composition rather than a playlist: matching key and tempo across the joins, balancing the levels so one section does not jump out, and placing each change where the choreography already turns.

A rink is a large, hard, reverberant room, and the sound reaching the ice has bounced off the boards and the roof before it gets there. Quiet detail disappears into the tail and the low end blurs. We master with that room in mind rather than for a pair of headphones.

Yes. Tell us where the passes fall and the accents are built to land with them. This is one of the clearest differences between a cut track and an edited routine: when the music hits with the landing, the pass reads as bigger than it did in silence.

By removing whole musical phrases until the arrangement lands inside your limit, rather than trimming the end to fit. Send the exact time your level requires and any tolerance either side. Check it against your current rulebook first — limits vary by level and season, and a re-cut near a meet is avoidable.

Gyms are hard-surfaced and reverberant, often with a PA meant for announcements rather than music, and the floor itself adds noise. Detail that carried the track on headphones tends to disappear. The master is built for that room, which usually means more midrange presence and a firmer low end.

Every edit purchased receives a minimum of 2 revisions per song dependent on which edit package has been chosen. Revisions can be made and requested once the initial completed file is sent back to you. You have up to 48 hours to request any and all revisions. No changes requested within 48 hours of the file being sent will be considered complete.

PodiumEdits builds competition edits for dance, figure skating and gymnastics, working from the audio you send and the routine length your division requires. Every edit is made by a human editor, and every sample in our portfolio shows the original alongside the finished version so you can judge the work before you order.

The highest-quality audio file you have, your exact target length, and a note about where the key moments in the routine fall. Send the full-length track rather than a pre-trimmed one — the material you would cut is often what we need to cover a transition.

Standard turnaround is shown on the pricing page and at checkout for each package, measured in business days from when we have everything we need from you. Rush turnaround is available on single-song edits. If your competition date is close, say so when you order.

Ask to hear a before and after rather than only finished tracks — it is the fastest way to judge whether the joins hold up. Then check that they know your discipline’s rules, how many revisions are included, and what the turnaround is in business days.

Enough that the first version does not have to be perfect. The included revision allowance for each package is shown in the package details and at checkout. When comparing editors, check what counts as a revision versus a new job — that distinction matters more than the headline number.

Yes! Our Studio Retainer plan is designed for studio owners and individuals who want their entire season's music handled at a significant discount. Please see the studio retainer services page under "PRICING" Tab for details.

Pricing depends on how many songs go into the routine. Single-song edits and multi-song routine edits are each priced as a package, with additional songs and per-song add-ons priced separately. The pricing page shows current rates and exactly what each package covers.

A high-bitrate MP3 is accepted at almost every competition and is what most explicitly request. Check your rulebook for a required format, a file naming convention and the upload deadline, and bring a backup on a second device regardless of what you submit in advance.

Yes. Muting the word is what makes most clean versions obvious, because it removes part of the melody and breaks the rhythm of the line. We use an official clean release, the instrumental underneath, or a rebuilt phrase so the vocal keeps its shape. Tell us how strict your division is about content.

Yes, within limits. Modern time-stretching handles small changes with no audible artefacts, and moderate ones with very few. Push far enough and vocals do start to sound processed. If a routine needs a large tempo change, we will tell you before we start whether the track will survive it.

Yes — these are per-song add-ons selected during the order, so you only pay for the songs that need them. Tell us how many counts you want and whether the count-in should be audible in performance or only for rehearsal.

Cheer routines are usually built as custom music rather than edited from commercial tracks, so cheer requests go through our custom music service instead of the standard edit packages. Tell us what your routine needs and we will advise on the right approach.

We edit competition music for dance, figure skating and gymnastics — anywhere music and timing are scored. Cheer routines are usually custom-built rather than edited from existing tracks, so those requests go through our custom music service.

Due to the digital nature of our engineering services, we have a strict no refunds policy. We work closely with you via our one revision window to ensure you are happy.

You are responsible for having the right to use your music at your event. We provide the editing service on the audio you supply. Competition circuits differ in what they require, so check your organisation’s rules — some have blanket licensing arrangements and others do not.

A Single Competition Edit includes: 1 song and 1 major time cut or transition point change with possible sound effects or percussion effects if needed. 2 revisions per song. For example, your routine timing changes or you need a different transition point. Need to add a sound effect, or delete one or swap it out. Single edit turnaround time is typically 7 business days and Single-edit revisions typically take about 2 business days to complete.

Multi-Song Competition Edits (Up to 5 songs Included, 15 minutes total Edit time) include: Up to 3 major structural changes per song For example, using only the chorus from certain songs, cutting time, or re-blending songs into new transitions. Any tempo changes and added sound effects when needed are all included. More songs can be purchased as well. 2 revisions per song. For example, if you need to cut time on a certain part or wish to add more of the chorus sections back in. Complex edits typically take about 10-14 business days to complete. Revisions typically take about 5 business days to complete.

Single Competition Edit revisions take 2 business days and Complex Competition Edit revisions take 5 business days.

Additional revisions beyond what’s listed above are welcome and priced based on scope. We’ll always let you know the cost before moving forward. No surprises, no mystery invoices.

Clear revision limits help us deliver high-quality edits on time for everyone.

Yes. Swapping out a song in a complex edit is available for an additional $10 per song.

Yes. If you need to swap out the song entirely, before work begins, there is an additional $10 fee.

Standard delivery is typically 4-7 Business Days for "Competition Edit" and 10-14 Business Days for "Multi-Song Competition Edit". Rush orders may be purchased for $40 with a 24-36 hour turnaround when we are able to do so. Rush orders are only available for "Competition Edit". Your turnaround time starts once your payment is made.

Music Rights and Licensing All original music compositions created by PodiumEdits and purchased through our pre-made or "Complex Competition Edits" services are provided with full usage rights and do not require additional licenses or permissions from PodiumEdits. However, if you request the incorporation of any pre-recorded third-party material into your custom edit, the free-use license will no longer apply. For details regarding these restrictions and your obligations, please refer to sections 6 and 7 of our Terms of Service.