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12 contributions to Audio Artist Academy
Jul 12
in
Sliding scale rate cards for commissioned work
Hi everyone Setting a rate has always been something I've struggled with, for various reasons. Mostly, I start feeling like I'm getting greedy and overcharging, even if I have done careful calculations to establish what I think is a reasonable rate. To confuse matters, friends who are directors or produces then tell me I'm UNDERCHARGING. It gets even more confusing when there are different rates depending on the project type (short film vs commercial vs documentary etc.) I'm in a very fortunate position that I've been personally recommended to a local production company who would like to stop using library music (they use artlist.io normally and are increasingly dissatisfied with that.) Their work output includes short documentary, corporate, commercials and they've made 2 features. But having never worked with a composer before they have no reference for budgeting. Getting back into it after some years away I feel very out of touch with current pricing strategies. Is there some sort of industry "standard" calculation/ratio for different project types? This would be specifically for commissioned music, and the only references online would be sync library rates - is it sensible to follow a similar pricing model? Would very much appreciate if you could share your approach. I think it is so beneficial for composers to be open about these things - we are colleagues, not competitors 🙂
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New comment Jul 15
0 likes • Jul 13
@Alex Pfeffer thanks Alex. I think I'm going to do just that: a single rate for the composition & production, and if necessary when it comes to handling the different project types (for example, commercials) I'll quote for a variation in the licensing terms & cost. Simple is best, I agree.
Jul 12
in
Congratulations to Dilara!
Congratulations to @Dilara Köseoglu for winning the Audio Artist Rise Premium Program! Besides that you will get lifetime access to all the courses and to my six weekly live calls, I will do my best to get you paid work within the next 90 days!
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New comment Jul 18
2 likes • Jul 12
Congrats @Dilara Köseoglu ! 🎆
Jul 5
in
Cinematic Percussion Course - Your Input Needed! :)
Hey dear Audio People! I hope you are all prepared for a chill and relaxing weekend! I am currently working on the concept of my Cinematic Percussion Course and wanted to ask for your feedback. My plan is to talk about the following topics (always in relation to percussions): - Sample Libs - Rhythms - Arrangement - Mixing & Mastering Please let me know if there is a topic or whatever coming to your mind that you are curious to know more about.
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New comment Jul 8
2 likes • Jul 5
@Gavin Potter hmmm I don't think that's the one I saw - that had a series of horizontal "tracks", oneper instrument, which could be programmed like a step sequencer. And I don't think it was a Komplete instrument. I may be misremembering, though! This looks very good. I am forever disappointed with recording/programming top-end percussion with libraries and generally revert to audio loops. I used RMX for a while while collaborating with another composer and that was very good, but I don't own it myself. Do you use this library?
1 like • Jul 5
@Gavin Potter I've had a closer look - this looks 100% like the sort of tool I'm after. Thank you!
Jul 4
in
A secret about the best paying industry and the easiest to get into.
Hey guys, I received this question regularly over the last few years, so I recorded a video exclusively for the community. Let's talk about the best paying industry and the easiest to get into.
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New comment 21d ago
1 like • Jul 5
@Alex Pfeffer sure I understand that. I wasn't clear in my post - I meant it's difficult to use a European rate as a reference to quote local production companies. I've established a new connection with a film production company and we're literally meeting on Monday to discuss moving forward on the first collaboration 😀 They have never worked with a composer before and this could be a great relationship going forward (they produce a lot of quality content). My new approach is going to start by asking what they've budgeted for music and then tell them what I can provide for that price? If I drop a "this is the rate in Europe" line, they might go running. It's always been an awkward conversation for me.
0 likes • Jul 5
@Alex Pfeffer Getting international jobs would be the first prize for me and that's what I'd like to pursue. I have rates in mind for upcoming work but the interesting thing about SA is that a lot of the local production here can have funders/coproduction with Europe and the US. Unfortunately, our game dev industry is miniscule. The non-media sector work is very interesting - completely new to me. Your guidelines are so helpful, very glad I joined this community!
Jun 24
in
Sent My First Application Emails!
Hi All! Just wanted to share that this morning I’ve started sending application emails to trailer companies through SmartLead. It feels great to have put my music out into the world for industry professionals to hear! I’ll soon be contacting non-trailer companies too which is also super exciting, while constantly writing more music in the background, trying to build a ‘content backlog’ for my YouTube channel, which I’d like to launch later this year. Hope to have some great news to share with you all soon!
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New comment Aug 8
1 like • Jul 5
@Matt McDonnell wow this is inspiring - thanks for sharing your journey!
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@anthony-haenen-3741
Worked previously composing & producing for TV, theatre & short film, and music pedagogy. Walked away from the industry in disgust, looking to return.
Active 34d ago
Joined Apr 27, 2024
Johannesburg, SA
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