freelance audio payment Asbjoern Andersen


Are you charging enough for your audio work? Ryan Ike is back with more thoughts on pricing, and how to calculate if you're doing highly specialized audio work - at rates that are effectively below the minimum wage. Read on for his thoughts on setting the right price for your freelance audio work:
Written by Ryan Ike, and republished with his kind permission
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After my thread (and post) about how game audio people (and freelancers in general) don’t charge enough, a lot of people responded with “I want to charge more, but I don’t know how to price myself.”

 
It’s easy, but you need to analyze your work, a thing lots of us don’t do. I’ll explain:

Most of us, especially if you’ve been at this awhile, have a basic idea how long it takes to make X thing. “I can write a minute of finished music in a week working full time hours, less if it’s a genre I’m comfy with, more if it requires lots of live players” Something like that.

As freelancers, we’re charging for our skillset, but even more so, we’re charging for our time. And a TON of us forget to take this into account when we set our rates on a new project.

If you sign on to write a full sized indie game soundtrack, (let’s say roughly 45 minutes of music), break it down. How long does it take you to write a 3-4 minute track? Or a minute of music? What about edits and revisions?

Yes, this is tricky and not an exact science, and every project differs based on the working dynamic, the type of work, etc. But just ball park it.

In most cases, you’ll find you’re charging not nearly enough for the amount of work you’re set up to do

Once you have an estimate on how much of your time this will take, charge based on THAT.

In most cases, you’ll find you’re charging not nearly enough for the amount of work you’re set up to do. If I charged $20,000 for the above example and it takes me roughly a week to write 1 min of music, that’s 20k over 45 weeks at BEST.

If we do a little math on that, that works out to roughly 11 dollars an hour if I”m putting in a full 40 hour workweek each week. That’s way under minimum wage here in Seattle, and a lot of other places too.

And that’s the really surprising thing I’ve learned by asking fellow audio folks to compare how much of their time they’re providing VS what they get paid. An absolute ton of you aren’t even working for minimum wage. You’re working for less.

I was chatting about this with a sound designer friend of mine who wanted to raise their rates, but wasn’t sure what to raise them to. I won’t name them, but they’ve worked on some incredibly popular things you’ve DEFINITELY heard of.

ME: Well, how long does it take you to make a sound asset, usually?
THEM: I mean, they’re all different, but usually around 3 hours.
ME: Ok, and what do you charge?
THEM: $50 per file.
ME: So . . . like 17 bucks an hour?
THEM: …oh.
 


Popular on A Sound Effect right now - article continues below:

 

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    • Ready to use – requires no editing, labelling or splicing. Categorized, organized and individually labeled files for maximum use efficiency
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And again, this person is crazy talented and has already worked on some major franchises, and they’re still barely charging over minimum wage where we live. And didn’t even really realize it, because we’re not used to thinking of our work in terms of time spent.

Game audio is far, far from a minimum wage-level job. The amount of time and practice required to get good, the cost of building a studio space and having the right gear/software, going to cons to network and stay in business, it’s HUGE.

More on setting (and getting) the right price for your work:

 

Want to know more audio pricing? Ryan Ike has written another guide on audio pricing, and how to get it right, here. Also check out Kate Finan’s in-depth guide on how to set – and get – the right price for your audio work here.

Yet so many of you charge barely more than what you’d get paid if you worked at Starbucks. And not that working there is bad, of course, but it doesn’t require years of practice and thousands of dollars in gear to be employed there.

So, the next time you’re figuring out the finances of a new gig, think how much an hour of your time as a creative professional SHOULD be worth. 50 bucks? 60? More (typically, yes, more).

Break down the amount of work, figure out how long it’ll take you, and charge accordingly.

And it doesn’t matter if you prefer to charge clients based on X amount per track or asset, X amount for the whole project, or if you actually just bill based on how many hours you worked. But base X on how much time you’ll spend, and how you value that time.

A big thanks to Ryan Ike for letting us share his thoughts on pricing! Got some insights or tips on how to set the right price? Please share them in the comments setion.

About Ryan Ike:

Ryan Ike is a composer and sound designer based in Seattle, WA, with work spanning games like Gunpoint, West of Loathing, and Where the Water Tastes Like Wine. Outside of making audio, he spends his time trying to help newcomers find their place in the game industry, and is passionate about making sure that game audio pros (and creatives in general) are getting the pay and respect they deserve. You can listen to his work here
 

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  • Destruction & Impact Debris – Ambisonic Play Track 110+ sounds included, 17 mins total $75

    Get all sorts of ambisonic debris recordings in this release from Spheric Collection – perfect for earthquakes, landslides, explosions and beyond. Debris is the material you will need for a house and gallery collapsing. From very small stone and dust to large rocks, this collection is a good set of mineral sounds – covering everything from impacts, continuous falling debris, rocks poured from various heights, light and heavy falling debris sounds, a number of falling rock sounds, to rocky explosions and blasts, glass sounds and more. Always immersive all sounds are ambisonic recordings.

    About Ambisonics:
    This is an Ambisonics sound effects library - and by using the free SoundField SurroundZone 2 plugin you can convert the B-format files into your preferred format (stereo, 5.0, 5.1, 6.0, 6.1, 7.0 or 7.1 surround). Note: The library also contains ready-made stereo mixdowns for your convenience.
  • Drones & Moods Affright Play Track 208 sounds included, 45 mins total $30 $15

    Affright” is a collection of 208 sounds (Wav, 24 Bit / 48 kHz) aimed to induce tension, fear and urgency in horror productions.

    You will find looped percussive elements (clocks, metals, hits, alarms, musical elements and more at 75 bpm), designed rhythmic elements (75 bpm) and fx (atmospheric elements, reverses, noises, risers, drops).

    If you are a musician who wants to define the building blocks of an intense horror track or maybe you are a sound designer who needs to create a musical moment in a scene from a sound design perspective, this library can help you to achieve those things.

    Metals, vinyl noises, voices, ukuleles, flutes, guitars and clocks were used to create this intense pack of 164 loops and 44 Fx.

    Check the main demo!! It was created very quickly using only the sounds of the pack with NO ADDED EFFECTS, only mixing the levels of the sounds and shows you the intensity of what you can create with this library!!

    50 %
    OFF
    Ends 1569707999
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    Vintage Film Tech Effects features Slate claps, Beeps, Bloops, Film leader tone, Static, 2 Pops, digital dropouts, record player noise and much more. We’ve collected these vintage sounds from old Hollywood dailies reels, and film stock. 206 tracks that recreate the sound of the lost art of classic Film, TV and radio production.

    18 %
    OFF
    Ends 1569016799
  • City Life Transit: Japan Play Track 40 sounds included, 2.75 hrs mins total $30 $15

    Looking for authentic ambient sounds of Japanese transportation? Look no further! Field recordist and composer Ryan Ayers travelled to Japan in April of 2019 and captured this wonderful collection. His journey took him from Osaka to Tokyo to Fukuoka and all points in-between. Travel aboard the trains of the JR, the famous Shinkansen, the Hanyu Ferry and more! Explore the train platforms and station terminals of Osaka. Get lost in the Kansai International Airport. There is a subway noodle shop as well as specialty food markets. Authentic walla and natural activity give this collection the ear candy necessary to be an integral part of great soundscapes.

    This is a purely recorded sound pack. Nothing is synthetic or layered here. What you hear is exactly what was captured on location. We edited and mastered the files to bring out the best parts of the recordings. Most of the recordings have been ready-made into loops for ease of use. As always, we have embedded the files with detailed metadata for easy database searches.

    50 %
    OFF
    Ends 1569967199
  • Foley Wooden Ship Ambiences Play Track 50 sounds included, 85 mins total $149.99 $99.99

    Ahoy Mateys! Step aboard the finest sailing ship sound effects library in the land.

    Whether you’re working on an exciting Pirates of the Caribbean style video game or a relaxing sea-faring romance, the hours of exceptional background loops and additional cutting edge ship sounds contained within this sound pack will set your project on a course to excellence!

    EXPLORE AN ENTIRE SHIP

    Whether your adventure takes place in the MAIN DECK, CABIN, BELOW DECK, atop the CROWS NEST, in a MEDIEVAL PORT, or on a DISTANT SHIP in the HIGH SEAS we’ve got you covered! Each ambience contains MULTIPLE VARIATIONS, ALL WEATHER CONDITIONS, and MULTIPLE INTENSITIES to cover each and every part of the ship, on the rough and calm seas, this sound effects library is perfect for every situation you need.

    A JOURNEY TO REMEMBER

    Our expert team of sound designers have meticulously crafted each ambience into CONTINUOUS, NON-REPETITIVE, DRAG AND DROP-READY LOOPS that will serve as perfect background audio for your game, film, animation, live event, or even as relaxing background audio! We have even included FULL and SIMPLIFIED MIXES, ISOLATED WEATHER, OCEAN and WOOD CRACKING versions, SHORT and LONG non-repetitive variants, and numerous other options for your convenience!

    TREASURE APLENTY

    With FREE UPDATES, FOREVER! and FREE BONUS AMBIENCES: MEDIEVAL PORT and isolated, SEA, SAILS and FLAG FLAPPING, Ship’s BELL RINGING, WEATHER and WOOD CRACKING SOUNDS, all supplied in industry standard Hi-Rez WAV and Hi-Quality MP3 formats, there’s no better time to set sail on the high seas with this ONE OF A KIND sound pack!

    So what are you waiting for? Take command of this UNIQUE library and begin your journey on the high seas today!

    KEY FEATURES:

    • Huge variety of Old Wooden Ship Interior and Exterior Ambiences, All Weather Conditions and Additional Useful BONUS Sound Effects for every scene or situation.
    • Multiple variants and intensities for your convenience and additional edit options (lengths, looping versions, stingers, etc.).
    • Ready to use – requires no editing, labelling or splicing. Categorized, organized and individually labeled files for maximum use efficiency
    • All files are included in Hi-Rez WAV, High-Quality WAV and High-Quality MP3 formats
    • FREE Updates to higher versions, FOREVER!

     

    33 %
    OFF
    Ends 1568757599
 
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