I do a lot of "radio editing" of my mixes to keep the energy up while getting them down to CD size. Mixmeister makes cutting out repetitive sections very easy.

Sometimes, however, a little bit of echo or "crossfade" is helfpul to smooth out these cuts and make them sound natural.

I can't quite seem to duplicate the needed effect with the way existing filters work. Say I cut out a block, which leaves me with segment A which goes to segment B. I want to add echo to the last beat of A, and have its reverberations extend into segment B without echoing the content of B.

In cool edit / audition, you do this by copying the beat to a new track, echoing it, and mix-pasting the echo back over the splice. I can still do it in Cool Edit and paste it as an overlay into Mixmeister, but I bet Mixmeister's proramming team can accomplish this task better and easier (as they have with virtually everything else that I used to spend hours doing in Audition ).

I think I could do what I wanted if I was able to copy from the primary track and paste to another strip so I can overlay together and apply filtering. Kind of like overlay but derived from the primary track.

Thanks for the consideraton!

It's early and I'm still on my first cuppa coffee, so I hope this is useful ... but until such an improvement comes along:

Sometimes I have ripped tracks that turn out to have a tiny glitch or drop out in them, something I never noticed just listening but which is really apparent when I'm working in MM ... I used to try and eliminate these parts but never could make my work sound perfect ... so instead, I started taking a second iteration of the same tune and dragging it onto the playlist as an Overlay, with the volume all the way on "mute".

I'd position the overlay so that an undamaged version of that passage with the glitch was lined up with the glitched-out part, and then I'd do a volume swap between the standard track and the overlay, so that the volume dropped where the glitch was and the un-glitched passage in the overlay played instead. Oncc past that "repair" section, the overlay went back to mute and the standard track played.

As a work-around for your transition needs, I think you could adapt that method, applying a heavy echo effect just to the overlay section that makes the transition....

If this verbal description is unclear, I could post screen shots....

Another useful method for blending edits in tracks that by themselves seem glaring is to use brief track overlays--brief effects at critical edit points, such as a single or multiple crash cymbals (sometimes repeated), tympanic drum beat(s), atmospheric winds or "wooshes," and other tech/electro sounds, etc. to mask the transition. They can be layered singly or multiply in a variety of ways.

Used effectively, these can effectively mask, blend and even add sophistication to an edit that might otherwise not sound appropriate. Sometimes it is better to reinforce the ear of the listener to the intention of the edit itself, and using these sorts of methods will do that and make it seem as if the edited portion and effect is proper and intentional. Subsequently, the ear then tends to ignore your edit entirely as just part of the proper sequence of the track.

I 'edit' pretty much every song I mix, making it shorter by cutting out this part, and gutting that part.

DJRobX, I must assume you do a split at the begining of a phrase (the 1st beat), so that as one phase ends, the new phrase begins, which is what I do. I find I can smooth out the transtions by often moving the split line more to the left, so that it plays a few notes of the first phrase before my original split line.

I usually hear a 'sweeping' sound as the phrase kinks in, which sometimes smooths things out.

hopefully you follow what I'm saying, but I can post a screen shot if you'd like.

To add to what phreaq suggests, which is also something I do, try to become familiar with the visual indication of the beat pattern when bringing in the edit/transition prior to the downbeat of a measure/bar. Look for the most closely aligned beat, in terms of width and height and create your edit there, prior to the downbeat of a measure/bar (in-measure edits on the quarter, eighth or sixteenth rhythms--in Fusion, set your "snap to beat" at the appropriate point--quarter, eighth, sixteenth--to help find these points if you have difficulty seeing them). For the new user, experimentation and practice is key in getting just the sort smooth transition that you want.

Using a combination of all the above may also be your best option depending on the particular track and the particular edit.