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Perennial question: what to charge for music (but for apps)?

Posted: Tue Apr 30, 2013 4:43 pm
by joelfriedman
I'm getting a chance to compose music for an educational iPhone app for kids. Sort of a "paid audition." Probably a "main theme" and then a series of "underscore themes" behind the actual game with some hits for correct or incorrect answers, that sort of thing. I have not done something like this before but would enjoy the challenge. But I have really no idea what to charge. Any idea if there are "norms" in terms of the business end? Is it by the minute (or rather second in this case, I think)? By the type of cue? A package? What about royalties of any sort, copyright, limits on usage (e.g. can they use for anything they want or only the app), or is it usually just the dreaded work-for-hire with a fee? Credit? It's not exactly film score, nor gaming (which is closer). I'm pretty sure it would just be me composing-arranging-realizing/performing in DP etc. and then an engineer mixing/mastering. So I don't think I'd have the worries/luxury of dealing with studio time and musicians - just my time as composer.

Any advice, on or off list, would be greatly appreciated!

Best,

Joel
joel_friedman@earthlink.net

Re: Perennial question: what to charge for music (but for ap

Posted: Fri May 17, 2013 9:06 am
by mikehalloran
By being aware of these things.. you have sort of answered your own questions.

It all comes down to money. If they pay you a lot upfront, they can ask that it be a work for hire - in that case they own it.

Typically, there is very little upfront. When that happens, you own the rights - a co-ownership of the publishing is not unusual but, again, that needs to cost them.

Everything is on the table. Keep as much as you can and don't give up anything for which you aren't well compensated.

What to charge? Up to you. If you can get a piece of the finished product in the form of a royalty with the promise of a wide distribution, perhaps nothing upfront is still a good deal but, normally, there is some money on the table so get as much as you can.

Re: Perennial question: what to charge for music (but for ap

Posted: Sat May 18, 2013 10:50 am
by joelfriedman
Thanks Mike! Still waiting to hear... They're trying to put a budget together. Who knows?

Best,

Joel

Re: Perennial question: what to charge for music (but for ap

Posted: Sat May 18, 2013 12:49 pm
by mikehalloran
They're trying to put a budget together.
That is actually a good thing. You have more leverage on the back end if you don't charge much on the front.

If this is designed to be given away for free, then go for the biggest piece of the pie you can get.

Never do something just for the publicity but a well rounded resume looks much better than one that is empty. If it doesn't cost you much in the way of time and resources, you should still take the gig.

Re: Perennial question: what to charge for music (but for ap

Posted: Sat May 18, 2013 1:35 pm
by MIDI Life Crisis
I think it also depends on where you are in your career. In my early days as a composer, I would never give a buyout license, but I did take pretty much any job that came my way - even ones that paid nothing. You have to establish a track record somehow, as well as gain experience.

Also, never underestimate the value of exposure. People don't know what you've been paid, they only see your name as a credit and hear your work. That can be extremely valuable. Also, in the case of broadcast work, it can be very lucrative to retain broadcast rights. I did a project for international broadcast back in 1989 that has made over 200 times through BMI what I was paid to create the work and it is still paying royalties for international broadcast. One project cost me $5k to complete but the credit has made opening a few doors incredibly easy. Another project didn't pay a penny in cash but made it into the history books. You can't put a price on that. I was given the opportunity to collaborate as a composer for Martha Graham. The work didn't pay well, but ended up being performed at the Kennedy Center, The White House, on Great Performances and McNeil-Lehrer, and continues to be performed on The Arts Channel. Would I do any of those projects again under the same circumstances? In a heartbeat.

So you do have to balance things a bit and try to play fortune teller, not just fortune maker. And to put a finer point on things, being a composer is a lot different than most other occupations. There are no rules for fees. No cut and dry method of operations in terms of negotiations. You HAVE TO evaluate the value of all aspects of a project and decide if you can afford to take any risk involved or if you only want to come out of it with cash in your hand. As corny as it may seem, the money aspect doesn't really phase me as much as the artistic content, integrity, and opportunity to grow and leave something of value for posterity.

Not always, but in most instances I've seen, if you follow the art and do what you love, the money will follow. If it does, that's great. If it doesn't, yo'll have lived a life doing what you love and you simply cannot put a price tag on that.