In this lecture, we'll be taking a look at how to use multiple music tracks in your edit, and how to use them effectively. Now, anytime you use music, you should have some reasoning behind it. And that reasoning can be as simple as you really like music. But starting to think about music as more than just a backdrop is what will take your videos to the next level. So let's say you are editing a customer story with a few people from a company. And these people are giving interviews and testimonials, or they're describing their new technology and you have some kind of concept of the story.

It's important to think about the story before jumping into music. Now with this fictitious customer story we're talking about, let's say first, we want to have an interesting To the company, we want to hear about the company and about the people. So it'll be some sort of introduction to where we are and who we're talking to. And then next, we want to hear about their new exciting technology, and what some of the cool features are. Lastly, we want to see how this might impact the future. And the new and exciting things are working on next.

So just the basic three act structure. And you could substitute those out based on what your your content is. But again, it's good to have some sort of idea of different sections of your story before you move forward. So with these placeholders again, I'm going to create that story and not worry about length right now, because that's all going to depend on your content. So I'll just say this is the first section where we are meeting people or meeting the company. This is the next section where we're learning about the technology and this will be The third section where it's the exciting possibilities for the future.

And believe it or not, this is a super common structure for anytime you're doing some sort of customer story or corporate video, as I'm sure many of you will recognize. So here I have a bunch of music. Let's say I downloaded all these tracks, or somebody did for me, which is often the case in agencies. Although, if you work at an agency and you have someone else downloading your music, please, for me, take it upon yourself to start downloading and searching for your music because it'll make your videos so much better. Okay, so now we want to take a look at OBS, some good music for the intro, where we're meeting people. I'm going to show you how I go through music and it's very quickly.

I don't have time to listen to all this all the way through. That would take like 15 minutes. So I'm gonna just click and really quickly get a sense of what the song sound like. Sounds like Okay, so that's fast. I'm gonna rule that out for the intro. Interesting.

Okay, so I'm gonna pull this down just remember that because that's a little different. I think we're gonna want to use that sounds pretty happy. Maybe this could be a one of the outro pieces. That does not sound like a fit Maybe a little too cool for corporate stuff. Okay, so I might change it. But to start, I'm going to use these three.

I've committed to trying to build the structure of an edit with three music tracks for three sections. And it's a cool tool to be able to shift the feel and the focus of a section within your edit just by changing the music because you can do it subtly. It doesn't have to be some brash, like okay music super loud, check out this transition, it can be happened subtly and most viewers might not even know Notice it, but they'll feel it. And that feeling when people watch a video and they feel it and they smile or they nod, most people don't understand why they like it. But in a lot of cases, it's because the music is doing its job, not blabbering. Let's get to work here.

So here's a bit little bit of like music psychology, I guess, this track in this track are kind of similar, similar tempo, similar feel. So putting the two of them next to each other might not be the best idea. So I'm going to try this or this one, first, that one second, one third. And we'll look at how we can make transitions work. So our first note is really right there. trim out the excess in the beginning.

This is an intro to the company. So here's a natural ending. And let's say our timing is like that. And we need to actually cut this music here. We'll bring you in, bring over our second track. And look I like keeping these tracks on their own layers.

Solo this to see what it sounds like it sounds like start Alright, so it's very slow. I think I'm gonna pick it up from the when the beak exam. Simply cut right there and I'll cut this. So we want to do a cut around this area. All we do have to do is get close because we can always adjust the visuals to match Maybe we can do it right there. Now when you're looking for these, even though the songs will be different tempos, you want to line up the down beats.

And when I say down beats, that's the first beat of a measure of a new measure. If you are struggling with these terms, I recommend you refer back to my lecture about the basic music terminology, because that's where this comes in handy. But even if you don't know the terms, you don't want to know the terms. You've heard music in your life. And you know, you can feel when the music starts to repeat. And when you feel it repeating, just like the chord progression you feel starting over the first time it starts over.

That's the downbeat and that's what we want to utilize to switch between songs in most cases. So I'm going to line up this downbeat as best as best I can. And I will trim that. So only the new one gets the downbeat wasn't too bad and we are pretty close to this is I would say it's close enough to be able to fudge the timing on the visuals or space out the dialogue a little more spaced out the video a little more just to get us that extra few grams. So now we're deep maybe we go into some cool CG section about the product that the company is is developing. Our visual section or story section is cut right here.

So, let's cut to the closest downbeat we can right now and bring in our third music track. So again, I'm probably gonna want to match up the downbeat. Because that's not working great yet. Let's try to finesse a little bit. Maybe we leave this head. Now, see part of the part of the problem you'll run into when you just like something's randomly, which is most of the time is they won't be in the same key musical key.

And that's just if you hear some kind of clash of tones and then not fitting quite right, that might be the reason. That means we definitely want no overlap. Sometimes you can overlap songs. Oh, actually, let's just see if we have a little bit of a fade up. Maybe we can try it again on this beat of this. We don't see some big transients here because there's no kick drum.

But you can tell by the waveform that is where another chord hits. That's not another beetus. So I don't love it. I don't think it's working too well, mainly because the songs are too different. It's important to recognize if something's not working Very well, then it's okay to find something better. So I'm gonna keep this here.

It wasn't terrible. It kind of works when we keep that down there and check out our other options or maybe even go search for some new ones. That's at least in the right musical key. I still think that's wrong. Maybe we're gonna try this. But also when you run into situations where cutting more music and isn't working, we can also take a look at using different sections from here.

Still shift the mood for the third section of it. So to bring this back to our cut point over here that actually works pretty well. So let's check it out three transitions. And here, we would fudge our video to line up. And if we look at it just with our plain colors, we can see the impact of how the music changing when the when the visuals or the story changes how that all ties in together. Pretty cool.

So the most important thing when mixing different music tracks is lining them up on the downbeat, where the song was going to continue on a new measure, making the new measure of the of the next song take its place. And just for the sake of it, I'm going to disable this Let's say we didn't have another track maybe we didn't have a budget to track or for three tracks so we needed to make this work. We could see if it goes somewhere and if we're able to cut to a different part of the song to achieve our switch for the section for section three. So I heard some sort of hook in there. That's a lot interesting. Let's cut right there.

And when you're cutting between the same song, it's really quite easy. Put it up here temporarily to line up the line it up is all periods and budgets, the right The one more and you can check that these peaks are lined up. And when you do it, this is see this, this part of the song has extra instrumentation. So that's why there are differences here than here. Then bring that down, little bit of an overlap use alt or accidentally press n and it just cut point. So, another tip, just reiterate is to line up the downbeat and then use n to make it more now trope cut point more or less noticeable cut point and then a quick dissolve here, fade and move your video to right there.

It's not as drastic a change as a whole new music track but having that hook in there. The melody does enhance it. When you get to the section call me up cost the