I continued editing music, this time going deeper into splicing out mistakes in the performance. When a singer messed up a line, they would wait for the next beat cycle and then repeat the correction. This way, I could splice out that beat cycle. It seems to work well. In addition, I needed to edit down a few pieces. For the most part, I was able to get the musicians to follow some of my timing cues, but there was one singer who did not follow any timing cues and two singers who despite repeated pleadings to sing each line a single time, could not manage to do so after several takes and so I had to just record the way they sang.Checking over one particularly beautiful piece of music, I noticed that two lines had been skipped. It had been sang out of sequence and with much repetition and was in Sindhi, so try as I did while they sang, I got completely lost in the script as I was following along. There’s nothing I can do about that. Thankfully it is a very beautiful piece, and people sing these verses in that manner too, so it should be all right. The other challenge is that I need to really edit the pieces for that section of the film down as much as possible. With all the repetition of verses, I can get beautiful pieces for music albums, but some of these scenes would suffer a great deal if they were stretched out so long.This takes a lot of meticulous care to find the right spots to cut and splice sections together and check if it all flows well together. On top of that, once I get the Sindhi version to a particular length, I have to get the Urdu version matched to that. Sometimes that means cutting out an introduction or taking out 25 seconds of instruments playing. It’s all a big experiment as I come up with the workflow for getting pieces to work as I go. Things seem to work pretty effectively thanks to editing on the sum or end of the beat cycle.