HOW TO SCORE A SCENE WITH LOOPS AND PARTS

Instructions for Working with Loops and Parts

When you purchase an album or a single track, you will receive a folder containing the full soundtrack together with loops and parts derived from it. These additional audio assets are designed to give you greater flexibility, allowing you to shape the music more precisely to fit your project. Here, you’ll find everything you need to understand how the system works and how to apply these materials effectively in your own productions.

FILE NAMING

The typical file naming system follows a simple formula:

Number_AlbumName-TrackName_BPM_Part_Loop/Original (*)

 

Parameter Explanation:

Let’s go through each parameter and understand why it matters for your creative workflow.

Number

This refers to the chronological order of the parts and/or loops derived from the full soundtrack.

Full numbers (e.g., 1, 2, 3…) always indicate that the part is identical to the corresponding section in the original soundtrack.
If you place all full-number parts in numerical order within your editing software, the result should recreate the original soundtrack.

Numbers with decimals (e.g., 1.1, 2.1, 3.1…) indicate that the file is a loop and may not be identical to the original soundtrack.

AlbumName – TrackName

This is a shortened version of the album name and track name.

Example:

  • The Arctic Romance – Background II → TAR-B2
  • Comedy – Main Theme → COM-MT

BPM

BPM stands for Beats Per Minute.

This information can be used to set the tempo in your editing software or DAW, making it easier to align loops and musical parts (if your software supports tempo synchronization).

If a file does not include a BPM value, it may indicate that the tempo is not consistent throughout the section.

Part

This indicates a specific musical fragment from the original soundtrack.

Parts are typically labeled using letters, such as:

A, B, C, etc.

If sections are closely related variations, they may follow a pattern such as:

A1, B1, A2, B2

In this case:

  • A1 ≈ A2
  • B1 ≈ B2

This indicates similar musical material.

Loop / Original

This parameter indicates whether the file is:

  • Original – identical to the corresponding section of the original soundtrack
  • Loop – a modified version designed to loop

Typically:

  • Loop is paired with decimal numbers (1.1, 2.1, 3.1…)
  • Original is paired with full numbers (1, 2, 3…)

If Original/Loop appears, it means the file is identical to the original soundtrack and can also be looped seamlessly.

(*)

This symbol indicates that the file cannot be looped.

It is usually combined with the Original label.

This means that after this file finishes, you must continue with the next number in numerical order.

Example:

1_TAR-B2_60_Intro_Original (*)

After this file, you can only use:

  • 2_TAR-B2_60_A_Original (*)

or

  • 2.1_TAR-B2_60_A_Loop

 

WORKFLOW

To make working with parts and loops easier, we recommend following these steps:

1. Set the Tempo

Find the BPM parameter in the file name and set the same tempo in your editing software or DAW (if your software supports tempo synchronization).

In some cases, this step may not be possible if the soundtrack contains tempo variations.

2. Arrange the Parts and Loops

Analyze which loops and parts will best fit your scene and begin adding them to your project.

Important: Since each loop and part contains an audio tail at the end, it is recommended to place the files on two parallel audio tracks.

If your software displays a tempo grid, it should be easy to align the start of the next fragment with the last beat of the previous one.

If the tempo varies, aligning the fragments may take a bit more time.

(The audio tail at the end of each fragment is intentionally preserved to ensure smoother transitions between files.)

3. Mix the Tracks

Once you have finished arranging the scene using the parts and loops, adjust the volume levels of both audio tracks and mix them appropriately with any other elements in the scene, such as dialogue, sound effects, or foley.

You may also need to use volume automation depending on the dynamics of the scene.

 

Suggestions for Arranging Loops and Parts

Finally, let’s summarize what each file name indication means when arranging loops and parts, and what you can or cannot achieve with them.

When following a logical arrangement structure, it is generally recommended to proceed to the next numerical file.
For example, Part 1 should normally be followed by Part 2 or 2.1, rather than jumping to Part 4

The symbol (*) always indicates that the arrangement should continue with the next number in sequence.
However, keep in mind that this is only a recommendation. You are free to arrange the parts differently, but doing so may not guarantee smooth musical transitions.

Starting the Music at a Different Point

It is also possible to begin the music at a part other than Part 1. In this case, you can apply a slow fade-in to the selected fragment. Afterward, the track can continue progressing through the following parts in numerical order to further develop the music.

Ending the Music Early

Similarly, you can end a track earlier than intended by applying a slow fade-out on the final part used in your scene.

Another option is to end the arrangement while leaving the audio tail of the final fragment intact.
This can sometimes create a natural ending, although it may not work for every fragment.

Using Loops Within the Arrangement

When assembling original parts in numerical order, you may encounter a fragment that you want to repeat several times.

In this case, begin using the fragment labeled “Loop” and repeat it as many times as necessary.

For the final playback of the loop, it is recommended to use the file labeled “Original.”
The Original version contains the same material as the loop, plus additional musical material which allows for smooth transitions into the next part of the arrangement.

Important Note

Music is not a “one-size-fits-all” formula. There may be situations where loops cannot be derived from certain soundtracks, or where loops may not repeat perfectly seamlessly.

With this in mind, and as artists working across different creative fields, we strongly encourage you to experiment with the provided musical material and discover unique ways to apply the loops and parts in your projects.

The suggestions above are exactly that — suggestions.
Feel free to develop your own workflow if it better suits your creative process.