Custom music built from the count sheet your choreographer already writes. Hear the timing before anyone makes a note of music, and change it in seconds instead of days.
A project starts with a name and a routine length. 2:30 by default. Everything else resolves against it.
Whatever your choreographer already writes — spreadsheet, doc, PDF, a photo of a whiteboard. We read it.
A click track with every hit in place, before a note of music exists. Move a hit, hear it again in seconds.
Approve the timing and it locks. Then try it as hip-hop, as rock, as whatever — the hits never move.
A routine is counted in eights, so that's how the music is built. Every hit is addressed the way your choreographer already thinks about it — which eight-count, which beat.
The slow part of custom music isn't writing it — it's finding out three days later that the hit landed on the wrong count. So the timing comes first, as something you can hear and sign off on, and the music gets built on top of a skeleton you've already approved.
The standard routine, mapped to a grid of eight-counts from the moment you name the project.
From moving a hit to hearing the change. Not a revision round, not an email.
Approve and the timing freezes. Explore genres all you like — the hits stay put.
Whatever you already use. Spreadsheet, Word doc, PDF, or a photo of a whiteboard. We read it and turn it into a standard sheet you can check and edit.
Tumbling and dance are usually led by the music and carry no marked hits — that's normal. We tell you which sections came through empty rather than letting you find out later.
It's original — there are no samples to clear and no copyrighted tracks involved.
Locking freezes the timing, not the music. You can keep trying new sounds against it as long as you like — and unlock if the choreography really does change.
Start with a routine you've already choreographed and hear its timing back in a couple of minutes.