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Examples
Lost
The audio version of classic comisc "Little Evil Things" 
In your Head Client: Akira Senju (Composer)
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Professional musicians who record music for film and television often reside in Los Angeles, New York, London, Seattle, and Europe including Bulgaria, Bratislava, Prague and elsewhere. For more information on AFM rates, contact the AFM. All rates assume an orchestra of 40 pieces or larger. TYPICAL PAY RATES
These rates do not take into account the overall proficiency and ability of different orchestras to produce finished music; different orchestras can and will be able to generate different amounts of finished music per hour of recording time due to varying degrees of talent and experience. Conductors are hired when live orchestras are used for recording sessions and the composer does not wish to conduct the orchestra. In some occasions, the orchestrator hired for the project will serve as the conductor and may be paid separately for conducting or conducting services may be included with the payment for orchestration. In many cases, an independent professional conductor is hired to conduct the orchestra. In addition to coordinating the music with the film (the actual conducting of the orchestra according to the tempos specified by the composer), a conductor helps an orchestra realize the dramatic and emotional content of music, works with the orchestra to evoke the most powerful, dramatic performance possible, and conveys the needs and equests of the composer to the orchestra. Conductors also assist with making changes needed in the music and work to bring the music to performance readiness as quickly as possible. HOW PAID Conductors are paid for each recording session they conduct at. Pay may include advance preparation for some cues where the music is provided to the conductor in advance of the recording session so that the conductor may be better prepared to work with the orchestra. TYPICAL PAY RATES The American Federation of Musicians scale for conducting is 200% of player "scale" wages for a single performing musician for each session. In many cases, custom and practice is to pay the conductor 300% of player scale wages. Basic services of contractors include hiring musicians and assisting with music production budgets. Additional services of contractors can include making arrangements for the recording studio or scoring stage, supervising the orchestra at recording sessions, interfacing with the music preparation personnel to schedule various sized orchestras for a project, and payrolling services. On union scoring projects, it often falls to the contractor to negotiate with the filmmaker or production company to sign the American Federation of Musicians Assumption Agreement, which provides for the filmmaker to make future payments to the musicians who recorded music for a film. These future payments can be based on the film's profit and whether the filmmaker wishes to make new uses of the music in a soundtrack album, videotape release, etc. HOW PAID Contractors are generally paid as a percentage of union "scale" wages for each recording session they contract for. In non-union situations, contractors typically charge a percentage of wages paid to musicians or charge a flat fee per recording session. If contractors perform payrolling functions (including preparation of checks, forms, and processing of deductions and taxes), an additional fee is charged. TYPICAL PAY RATES The minimum fee for a contractor on a union recording session is set by the American Federation of Musicians at 200% of scale wages paid to a single performing musician. The standard practice of many contractors is to charge another scale (total fee would be 300% of scale) if the orchestra is large and not hired for multiple sessions, or if the contractor is not receiving income from another source on the film (i.e. music licensing, payroll, production fees, etc.). A few large, high-profile contractors charge 400% of scale for projects, generally high-budget feature films. A charge of 2.5% - 5% is charged by contractors for payrolling services. Orchestrators receive music from composers in the form of handwritten or computer printed scores, MIDI files, or a combination of these. The primary role of an orchestrator is to assist the composer in delivering a fully orchestrated score from the composer's sketch or score. The composer's score may be minimal or almost fully orchestrated, depending on the skills, preferences, and time allowed the composer for each project. HOW PAID Orchestrators are generally paid on a per-page basis, where a page is generally equivalent to 4 bars of fully scored music. MIDI transcription work (translating MIDI files into workable sketches or preliminary scores) is charged in addition to orchestrating rates. Conducting the orchestra at recording sessions may be included in the fees, or charged in addition to orchestration fees (See Conductors Section) TYPICAL PAY RATES American Federation of Musicians union page rates for orchestration range from $26 to $60 depending on the size of the orchestra and the project budget. Typical rates for premium orchestrators can range from $75 to $100 per page depending on the project budget and the complexity of the music. MIDI transcription and editing may be charged on a flat rate depending on the extent of editing and transcription that are necessary, or may be charged on a per page rate. The American Federation of Musicians has established minimum scale rates for MIDI transcriptions - see AF of M rate documentation for complete details Scoring mixers, also known as recording engineers, are responsible for managing the technology involved with recording and mixing music. Scoring mixers are often expected to be extremely knowledgeable about a wide range of technology including microphones, room acoustics, analog and digital recording technology, audio processing quipment, speakers, and computer hardware and software including sequencing programs. Another important function of scoring mixers is as a technical consultant to composers and music editors. This can include assisting with equipment selection and purchase, installation of equipment in the composer's studio, problem solving, and system/studio design. HOW PAID Scoring mixers are generally paid on a per-hour basis for their services during the set-up, recording, and mixing of music. Additional fees may be charged for travel and work outside the studio such as equipment consulting and purchasing. TYPICAL PAY RATES
2. "Premium Scoring Mixers" refer to extremely experienced industry veterans. These rates are applicable to high-budget studio film projects. Premium scoring mixers often require that specific equipment be rented from them for use at sessions; these equipment rentals can often be more than the cost of the scoring mixer. 3. Rates for entry-level assistant engineers and 2nd engineers range from $10 - $15/hour. |