Everyone knows that the music in a skate video is almost as crucial as the skating itself. The right track can elevate a skater’s performance, while the wrong one can make even the most skilled moves seem awkward. But how do skate brands actually get permission to use those perfect songs? The process of music licensing for skate videos has always been shrouded in mystery.
Back in the 90s, before skate videos became a commercial force, many soundtracks simply ripped songs without paying for them. Iconic videos like Welcome To Hell used tracks from Black Sabbath, Pink Floyd, and Iron Maiden without proper clearance. However, with skate videos now sold on platforms like iTunes, music labels are paying closer attention. So, how do video editors secure the rights to use popular music, and how much does it cost?
Lory Vincent, a music supervisor who has been clearing music rights for skate videos since the early 2000s, has been behind many of the soundtracks we know and love. We sat down with her to discuss her work and find out which skate videos had the most expensive soundtracks.
Q&A with Lory Vincent (Music Supervisor)
Which skateboard brands have you collaborated with?
I’ve worked with a lot of brands including DC Shoes, Adidas, Nike, Oakley, Transworld, Blind, Enjoi, Plan B, Element, Zero, and Thrasher.
How did you get your start in this business?
My husband was a professional snowboarder, and through him, I met Mike McEntire at Mack Dawg Productions. I was looking for a job, and he needed help on the office side. So, I started learning how to clear music for our snowboard videos. It was a small company, so I also handled accounting, project management, distribution, and sales.
Then, Greg Hunt asked me to clear music for The DC Video as a favor. Since that project in 2003, people have reached out for help through word-of-mouth. After my second child was born, and Mack Dawg Productions was heading in a different direction, I decided to focus solely on music clearance. Greg Hunt is really the reason I got started. I thought, “I can make a living doing this, and I can work from home and be available for my kids.”
Can you describe the process of your job?
It involves a lot of different things. First, I research who owns the rights to a song a client wants. Then, I negotiate the fee and rights. Sometimes, clients have a specific song in mind that is too expensive, and they ask me to suggest affordable alternatives. It’s a mix of clearing songs that clients already want and helping them find similar songs that fit their budget.
Are there any songs or artists that are consistently difficult to clear?
Sometimes, songs that you think will be difficult to clear actually turn out to be easy. Conversely, some artists that you expect to be easy are impossible to get, or they overvalue their music.
I’m trying to think of an example that someone always asks for but never clears. Ozzy Osbourne, Talking Heads, and AC/DC are extremely difficult. The Who and Led Zeppelin are also pretty much impossible unless you have $100,000 to spend.
What is the most that you know of someone paying for a song in a skate video?
Back in the day when videos sold more, at Mack Dawg, we would spend $10,000 on a single song. I’ve had clients spend around $26,000-$27,000 for music as well.
What does $27,000 get you in terms of a song?
It depends. That specific case was for a branded web commercial, which is more expensive than traditional skate videos. The price is also impacted by the type of rights you are trying to clear.
For major labels, you usually pay a per-unit royalty when selling a DVD or digital download. If it’s an indie song, you may get a buyout, meaning the rate is flat regardless of how many units you sell. DC probably paid over $10,000 on The DC Video because it sold so many copies.
The more rights you clear, the more expensive it becomes. I’ve done work with Nike where they’re clearing a lot of rights so those soundtracks end up being very pricey. Smaller companies that hope to sell only 10,000 iTunes downloads will pay less.
Recently, many clients have asked to clear music for a six-month or one-year web stream. These aren’t as expensive unless it is a heavily branded production.
When you’re clearing music for Nike, does it cost them more since they’re a large brand, or is there a standard rate?
There is a standard rate for action sports documentary videos, but labels and bands certainly notice when it’s a big company like Nike. However, Nike actually has an in-house music person who I work with for skate and snowboard projects.
One time, a skate team only had a limited budget for a song. I cleared it, and the in-house guy was like, “No, we are a huge company, we need to pay them a fair rate.” I had to go back to the label and offer them triple the initial price! Nike is a great company to work with, and they pay bands a fair fee for their music.
Many companies claim they have “no money” while being owned by a billion-dollar conglomerate and wanting rights forever. Nike is very ethical in that respect.
Do you watch the skate videos once they are finished?
Honestly, sometimes I do, and sometimes I don’t. My husband and kids are into action sports, so I watch some of them with them. Personally, I prefer to flip through the pages of Harper’s Bazaar. I’m an old lady! However, I do see a lot of the videos I work on.
Conclusion
The process of securing the perfect soundtrack for a skate video is complex and can be very expensive. It involves a mix of research, negotiation, and creative problem-solving. Music supervisors like Lory Vincent play an essential role in helping skate brands bring their visions to life while ensuring artists are fairly compensated. The next time you are watching your favorite skate video, remember the complex process that was involved in bringing the perfect soundtrack to your ears.
