Your program shouldn't sound like someone chopped 40 seconds out of a song. We build competition-ready skating cuts with precise timing, musical transitions, strong endings and mastering designed to hold up on rink speakers.
For skaters, coaches, choreographers and skating parents.
We edit to the time your level and discipline require, and confirm the target with you before we start so the music ends where the program ends.
Transitions that follow the music
Cuts land on phrase boundaries rather than bar counts, so a join reads as composition instead of editing.
A real ending
Programs finish on a pose, not a fade. We build a defined final hit so you know exactly where the last element lands.
Multi-piece programs
Two or three pieces arranged into one program, matched in tempo, key and character so the whole thing sounds like one work.
Rink-ready mastering
Levels and tone set for a large, reverberant room and a PA that rolls off the top and the bottom of the mix.
Examples
Hear it before you order.
Every sample below plays in place. Where we have the original as well as the finished edit, the
player switches between them mid-track. Headphones make the smaller timing and mix decisions
easier to hear.
What to listen for
Where the cuts areTry to find them. On a good skating cut you should not be able to.
The endingListen for a defined final hit you could hold a pose on, rather than a fade.
Phrase boundariesEach section change arrives where the music was already turning.
Tone for a big roomMids stay forward so the track still reads through arena reverb.
A skating program is scored while it plays. Judges hear the music at the same time they watch the skater, so a cut that fights the choreography reads as a mistake even when the skating is clean.
01
The music has to end, not fade
A fade leaves the skater holding a final pose over a sound that never quite arrives. Programs need a definite last hit, placed where the closing element lands.
02
Phrasing beats the stopwatch
Cutting purely to hit a number is what makes a program sound chopped. We find the phrase boundary nearest your target, cut there, and reclaim the difference somewhere it will not be heard.
03
Elements need room around them
A transition dropped on top of a jump entry pulls the skater off their timing. Tell us where the elements sit and we place the edits around them.
04
Rink acoustics eat detail
Arena systems are distant, reverberant and mid-heavy. A mix that sounds detailed in headphones turns to mush on the boards, so we master for the room you will skate in.
05
Vocals are a real editing decision
Where lyrics are permitted, vocal placement matters as much as the instrumental. We keep a lyric intact through a transition rather than cutting a singer mid-word.
How it works
Four steps to a finished edit.
1
Share Your Brief
Tell us your target length, key moments, and where you want cuts, hits, or mashups.
2
Engineering Pass
We lock everything to counts, tighten transitions, and balance the mix for big speakers.
3
Review and Revise
Listen to your edit. Want a transition shifted or a hit moved? Use your included revisions.
4
Final Delivery
Get your polished file, mastered for a venue PA rather than headphones, delivered in high quality in MP3 format.
On a defined final hit, not a fade. A fade leaves the skater holding a closing pose over a sound that never quite arrives, and it reads as unfinished from the boards. We build an ending with a clear last accent placed where the closing element actually lands.
Can you place the music hits under my jumps and spins?
Yes. Tell us roughly where each element falls in the program — a run-through video or a timed list is enough — and the accents are built to arrive there. Where an element sits slightly off the music, it is usually easier to move the accent than to ask the skater to change the layout.
Can you build a program from several pieces of music?
Yes, and most programs are. The work is making the pieces sound like one composition rather than a playlist: matching key and tempo across the joins, balancing the levels so one section does not jump out, and placing each change where the choreography already turns.
Why does my program sound different at the rink?
A rink is a large, hard, reverberant room, and the sound reaching the ice has bounced off the boards and the roof before it gets there. Quiet detail disappears into the tail and the low end blurs. We master with that room in mind rather than for a pair of headphones.
Questions that apply to every sport — what to send, turnaround, formats and cost — are
answered in full on our
answers library.
Send us your piece or pieces, your required program length, and where the elements sit. We will shape the structure, transitions, ending and mix around the program you are skating.