Asbjoern Andersen


When it comes to sound projects, sometimes the hardest part is getting the price right: You’ll want to find that sweet spot where your sound pricing allows your business to thrive and grow – while keeping it fair, competitive and transparent for your customers too.

So how do you do it? I’d noticed Kate Finan from Boom Box Post doing some great writing on the business side of sound, so I decided to hear if she had any insights on how to get pricing right. And she did indeed:

Here are Kate Finan’s 7 steps to setting the right price for sound work – including planning, rates & the initial bid + four clever alternatives to just giving a discount. Hope you find it useful!

Few people would truly describe themselves as a level-headed business person and innovative creative mind. It’s difficult to wear both hats well. As sound designers, we pride ourselves in approaching design challenges from new and exciting angles and using our creativity to elevate projects from ordinary to spectacular. We don’t generally relish wearing the business hat. Yet, most of us would still like to get paid.

That’s the crux–how do you set a price for something you love to do? The answer is: quite simply. Follow these seven steps, and you’ll find out how.
 

Step 1: Establish the services necessary for the project.

As a freelance sound designer, you will often be approached to give a “sound package.” This can include any combination of the following services:

• sound supervision (spotting, previewing, fixes, mix supervision, client correspondence)
• dialogue editorial
• sound effects design and editorial
• foley
• re-recording mix
• deliverables

Inquire as to which services they would like. Often the client will not know what they need. In that case, it is your job to either watch an early cut of the project and advise, or decide based on a verbal description of the project. A basic package for any film should include most or all of the above items.

Someone has to do all of the above jobs, the only question is: are you that person?

Don’t let the clients talk you into cutting out dialogue editorial if no one else has been hired to tackle that. Someone has to do all of the above jobs, the only question is: are you that person?

Being able to provide a list of all services you will provide rather that just giving a price for the “sound package” gives you to opportunity to express to your clients exactly how much they are getting for their money. It educates them on what goes into the process. It is also the only way that you can make an exact calculation of how much it will cost you to take the work.
 

Step 2: Decide how many hours/days of each service will be necessary.

As stated above, in order to produce a professional final product, you will need to provide most or all of the above services. If a potential client comes to you with a very low price in mind, do not negotiate by cutting services entirely. As mentioned above, someone needs to provide all of those services, so you’ll likely end up providing them for free in that case.

However, you should evaluate each project based on the length, scope, and overall budget, and then assign appropriate time for each service accordingly. For example, a two-minute student animated comedy short will require vastly different amounts of time spent on each service than a 90-minute live action World War II major studio feature film. Before bidding on a project, always ask these questions:

• What is the total run time of the project?
• What is your ideal turn around time for the project?
• What genre is it?
• Is it action-heavy or dialogue-heavy?
• What is your expected distribution? Internet, theatrical, Netflix?

Use their answers to inform your idea of the overall budget and scope of the project.
 

Step 3: Set a rate for yourself.

Here is the toughest part of the equation for most creatives: how do you set your own rate? You don’t want to come in too low and feel undervalued, but you also don’t want to come in too high and lose the bid. However, setting your rate is actually surprisingly simple. I suggest looking up the union rates for sound professionals in your country or area.

For the United States, you can find that information here.

Now, ask yourself truthfully: on a scale of talent and experience, where do I lie between complete novice and that person?

Then, assume that those rates are for the most qualified industry professionals working at a major motion picture studio on relatively high-budget projects. Now, ask yourself truthfully: on a scale of talent and experience, where do I lie between complete novice and that person? Hopefully, this will keep you from accepting jobs which pay nothing merely for the experience long after you know what you’re doing. It should also keep you from charging an exorbitant rate and constantly disappointing your clientele.

Step 4: Research rates for contractors and vendors.

There will likely be services that you need to outsource depending on the scope of each project. If you hire another freelance professional to provide a service, that person is a contractor. If you rent a facility for a service (such as a stage), that company is a vendor.

Does your film need foley? Then you need to hire a foley walker and mixer as contractors, and rent a foley stage from a vendor. Do you need to rent a large re-recording stage to accomodate the number of clients attending the mix? Do you hate editing dialogue and want to hand that part to someone else? Is the timeline so short that the project requires you to split the sound effects editorial with another person? All answers tell you which rates you will want to research.

For each item you are outsourcing, get several quotes. Inquire about stages and personnel both in your area and outside of it. With the internet, you can send the work anywhere. But, consider that hiring contractors or using vendors in areas without a large amount of sound work will be cheaper, but the people involved very well may be less experienced and need more direction from you.

Consolidate all of these quotes into one document that you save for future bids. You don’t want to have to search through your email each you are creating a new bid.
 

Step 5: Create a bid spreadsheet.

This spreadsheet is for you to keep track of the number of services, time allotted for each, the subsequent cost to you, and percent profit for the project.

Here is a sample spreadsheet that I have created using Google Drive.
sound pricing spreadsheet

Please feel free to open it and save a copy to your personal Google Drive (here it is). On that copy, you can easily enter in your information for days, rate/day, and it will calculate your individual and overall cost of services. Once you have your total cost of services, enter a package price and adjust accordingly to reach your target percent profit.

The key element of this part of the process is to establish your ideal percent profit, then mold the bid to reach it while still maintaining a total package price which seems reasonable to you. Why do you need to make a profit on top of your rate? You need it to cover electricity used, high-speed internet costs, gear, ProTools updates, that extra bedroom or office space you rent. All of these costs of running a business (and, as a freelancer, you are a business!) should be factored into the cost of each project. Once you’ve come to a package price in your spreadsheet, ask yourself: does this number make sense for the level/length of project? If not, chip away at services.
 


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    VARIETY

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    ONLINE FOOTSTEPS GENERATOR

    To get an impression of what you get with the Footstep Loops II sound library, go HERE and play around with footsteps online.


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Need specific sound effects? Try a search below:
 

Step 6: Create a bid for the clients.

Once you have a package price which includes the necessary services and gives you a decent profit margin, you will want to create a professional-looking bid to send to your clients as a .pdf. You can make this is Quickbooks, or there are plenty of templates for invoices in Pages. Just be sure that it is clearly marked as a bid or estimate rather than a bill.

You should include a line item for each service so that they know everything you are proposing to provide. Obviously, you will not list your profit as a line item. So, remember to increase the price of each line item by the percent profit on this document. Think about shopping at a store–the price tag doesn’t tell you the factory direct price at which the store purchased the item. It tells you the price that they need you to pay in order to turn a profit.

Round each number to the closest $50 to keep it looking professional. Don’t worry about getting the total price exactly to the package price. Go ahead and let it come out a little more expensive, then add in a discount. People love discounts!

Save both the spreadsheet from step five and this .pdf bid for your records.

Bonus Expert Advice:
Create spreadsheets and .pdf estimates for common types of projects

If you often receive bid requests for similar projects, it is a great idea to create a standard spreadsheet and .pdf bid for that type of project. That way, if someone cold calls you and asks for an estimate, you can simply ask a few key questions, make easy adjustments to fine tune the services, and send it along. Knowing the minimum you will need to charge in order to break even (or, hopefully, turn a profit) off the top of your head will also allow you to easily separate the projects that will be a frustrating time-suck from the interesting creative endeavors that are worth your time.

 

Step 7: Send the bid to the clients with a professional email and hope for the best!

At this point, you are ready to send your bid to the clients with a professionally worded email. They will either accept, decline, or begin to negotiate.

If you receive an email response asking for a lower package price, it is best not to simply lower it by giving a discount. In step five, you already established that in order to provide the services listed and make a profit, this is what the package price must be. Instead, this is the time to engage in a negotiation. You may negotiate based on several tactics.

First: you can alter one or more service. If they would like a lower price, then offer to mix it at your home studio rather than at a rented facility. They may need to agree to bring fewer clients to the mix, but this may well be a sacrifice they’re willing to make to save money. You can also offer to do less of a certain service, like less custom design work or recording.

Second: you can add extra services for the same price. Maybe throw in that M&E stem for the same package amount. If you know that they will need this added service in the end, they may appreciate the foresight, and sometimes it’s less expensive for you to do everything at once.

Third: Think outside the box and negotiate with things other than money or services. This may seem counterintuitive, but it is a great idea to lower your price, but ask for something else in return. A good friend of mine often throws plug-ins and sound effects libraries into the negotiation. If you’re asked to work on a WWII tank movie, and they want an extremely low budget, ask for them to buy you that WWII period vehicle and gun SFX library and tell them it will save them on the design and recording side of things. You would likely buy it anyway, and this takes it out of your list of costs. Is the documentary you’re bidding on riddled with bad dialogue recordings?

Items like this may not exactly equal the amount of money in question, but you will get to keep them forever

Ask for them to splurge on Izotope RX for you, and tell them that it will save you tons of editorial time. Just be sure that all licenses are in your name. Items like this may not exactly equal the amount of money in question, but you will get to keep them forever. And, often productions are more willing to spend on software and other tools than wages.

Fourth: you can bundle services. This is an advanced negotiation tactic, but it really works. It makes it less clear who’s gaining or losing, which means both parties are more likely to walk away feeling it was a win/win scenario. An great example of bundling that I recently used occurred when I was asked to work on a short film that was going to be used to garner investment toward a feature of the same name. In a scenario like this, you can hold firm on your short film bid but say that if they bring the feature to you, you will deduct the price of the short from that. This makes them more likely to bring you the feature, and also saves them a considerable amount of money on the feature.

Working for the Experience

Finally, a note on working for free or, as it is often posed to us, “for the experience”/”for the credit.” Think back to step three when you set a realistic rate for yourself based on talent, knowledge, and experience. Knowledge, experience, and credits are an important form of payment when you first start working as a sound designer. Even with a sound engineering degree, I will openly say that I learned the entire profession of sound design on the job, and that took some time. Building up your portfolio, your IMDB credit list, or your experience with tackling different technical, creative, and logistical challenges and seeing the process through from start to finish are very important steps toward getting that high rate in the future.

Even with a sound engineering degree, I will openly say that I learned the entire profession of sound design on the job, and that took some time

However, after a few big projects, you should begin to be compensated for the knowledge and experience that you bring to each project.

In the freelance world, we enjoy many freedoms. The most important one is the freedom to choose whether you are perceived as a professional or a novice, and that is expressed first and foremost by your rate. Don’t short change yourself. The more you charge, the more your time and experience will be valued. That is, if you can back it up with truly solid design work.

 

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A big thanks to Kate Finan for sharing her 7 steps to setting the right price for sound work. Do you have any tips or ideas on how to do it? Please share your insights in the comments below:

Kate Finan is the co-owner of Boom Box Post, a post production sound studio in Burbank, CA. Follow Boom Box Post on Twitter and please visit www.boomboxpost.com where she and co-owner Jeff Shiffman blog regularly about creative sound design.

 
 
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A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:
 
 
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    If you need strange animal or monster sounds, do check out this library:

    Add to cart
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    Ah, destruction sound effects! We tried to feature every aspect of devastation in our brand-new SFX library DESTRUCTION which will be the baton for your own destructive masterpiece. Start with a small car crash where crushed metal meets hard rock. Imagine the fateful sound of a stressed glass pane right before it bursts into pieces. Think bigger – like a wooden cabin that gets smashed under a falling tree. Think of collapsing skyscrapers that crumble into dust. A whole ship moaning and groaning before it bursts and breaks into pieces – your possibilities are countless.

    With DESTRUCTION, we deliver you the perfect toolkit to easily design those kind of scenarios. The CONSTRUCTION KIT holds more than 7 GB high-quality source recordings and the DESIGNED version comes with 300+ pre-designed, “ready to use” sounds. The BUNDLE not only allows full flexibility, but also gives you a benefit in price. Leave your audience gasping for air and take them right into the center of DESTRUCTION.

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    All the content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image. All files are delivered as stereo bounce of these for mics, though in some instances an additional couple of CO100K was added to the sides.

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    Bonus: Two extra libraries included for free:
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Latest sound effects libraries:
 
  • Ambisonics Ambisonic – Transportation Play Track 68 sounds included, 314 mins total $136 $99

    Ambisonic – Transportation is a great collection of ambisonic ambiences recordings performed at various transportation scenarios.
    It is aimed to provide you with great spherical content to wrap your dialogue or main focus content, allowing you to create a conniving and immersing soundtrack.
    You will find recordings such as a Train car interior, Jumbo jet interior, multiple cars interior under different driving conditions,
    Bus interior, public transportation stations and much more.

    This collection is great for post-production, VR/AR interactive sound-design, game developers and any real-time 3D audio engine.
    All files are tagged and categorized for your convenience – supporting multiple tag filtering browsing applications.

    A Sennheiser Ambeo microphone paired with Zoom H8 was used to create this product.

    This package includes 68 Samples – 136 Files.
    A total 2h 37m of content.
    First Order AmbiX B-Format and Stereo @ 96Khz / 24bit.

    Download a Demo here:
    Want to hear an example of the included recordings? Download the B-format Demo Here

    27 %
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  • Foley Footstep Loops II Play Track 663 sounds included $75 $49

    Editing footsteps in audio post-production can be time-consuming. Footstep Loops II is a sound library that delivers a comprehensive kit of footstep sound effects made to ease your daily work.

    The collection contains footstep sounds of various shoes and surfaces, recorded in different paces and edited to continuous but lively 30-second sound loops.

    VARIETY

    The Footstep Loops II Sound Library covers a wide range of different footsteps:

    Barefoot, Socks, Slippers, Flip-Flops, Sneakers on Wood, Sneakers on Concrete, Boots on Wood, Boots on Concrete, Heels on Wood, Heels on Stone;
    Grass, Gravel, Forest, Foliage, Dry Foliage, Stones, Puddle, Mud, Snow;
    Stairs up + down: Wooden Stairs, Metal Stairs, Stone Stairs



    PACE

    Each type of footsteps is available as a set of 13 sound files that represent a range from walking very slowly up to very speedy. Paces are sorted by Footsteps per Minute (FPM):

    Ground Footsteps: from 40 FPM to 160 FPM
    Stairs Footsteps: from 60 FPM to 180 FPM (up) / from 80 FPM to 200 FPM (down)



    LAYERS

    Since all (ground) footstep loops have the same FPM paces, they can be layered easily. E.g. you can add a puddle sound element to sneakers walking on concrete etc.



    CLOTHING

    You can add clothing as a layer to make the movements sound more natural. The sounds of jeans & jacket fit to all ground footsteps. Furthermore, versions with well-balanced clothing sounds of all main footstep loops are already included as ready-to-use files!



    ADDITIONAL ELEMENTS

    Some experimental elements are also included in the library:
    2 layers of floor creaks and one layer that adds the sound of keys in the pocket while walking.



    TIME-COMPRESS

    Paces of the sound loops included in the Footstep Loops II sound library increase in steps of 10 FPM each. If you need a value in between, time-compress the file just a tiny bit – the quality loss is almost inaudible in modern digital audio workstations.



    ONLINE FOOTSTEPS GENERATOR

    To get an impression of what you get with the Footstep Loops II sound library, go HERE and play around with footsteps online.


    • 663 audio files
    • 331 minutes total runtime
    • all files contain meta-data / keywords for easy search


    All sounds from this library are included in:
    Diversity

    35 %
    OFF
    Ends 1574204399
  • Environments Stream River & Waterfall vol.2 Play Track 88 sounds included $59 $46.20

    43 locations from various perspectives.

    STREAM / RIVER & WATERFALL features WATER MOVEMENT from JAPAN and NEW ZEALAND.
    Each STREAM and RIVER have their unique flows, and varieties of topographies gives each its characteristic sound – and WATERFALLS from small to medium adds nature feeling to it.
    In addition, the library also features places where SPRING WATER GUSHES in Japan, and huge ELECTRIC WATER PUMP from New Zealand and more.

    Recorded @ 24 Bit / 96 kHz with ortf, spaced omni, XY and carefully edited.

    22 %
    OFF
    Ends 1574204399
  • Cars Renault Master IV 2.3 DCI 165 Play Track 80+ sounds included, 88 mins total $130 $117

    The Renault Master IV 2.3 DCI 165 sound library features 76 high-quality files recorded with a multi-mic setup. The engine was recorded in sync with cabin interior ambients, and you can expect different styles of driving, from casual city driving, through accelerations on a highway up to rpm ramps and constant rpm loops for game audio.

    In addition to engine recordings, this sound effects library features exterior passes, whooshes and other road-related sounds recorded in mono and stereo. Last but not least, different foley recordings covering exterior and interior sound effects.

    10 %
    OFF
    Ends 1574204399
  • Destruction & Impact Rock Brick and Dirt 3 Play Track 500+ sounds included, 17 mins total $27

    Rock, Brick and Dirt 3 is the third of the series! This bundle includes all remastered sounds from RBD 1 and 2. With more than 100 new files recorded and designed. It’s a package of impact, Smash, Crumbling, Scratching, Landfall and more rock debris sounds. The library contains 333 files of various recording texture and perspective.

    A good package to add a dirty texture to your production.

    Each sound has been meticulously edited individually, All files were recorded and are delivered in 24bit 96kHz Broadcast Wave files, all embedded with metadata information for easy import and ensure fast and easy workflow.

 
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6 thoughts on “How to Set (and Get) the Right Price for Your Audio Work

  1. This was very insightful! Thank you for the great article and sharing the spreadsheet.

    I have a question / discussion that I would like to add in. Often we spend many hours on meetings with the director (or producer or whatever crew might be) or even sending emails back and forth. On a lot of cases it seems that there is a tendency to “ignore” that also this is time consuming (if time is money…). One “trick” I have been using when I feel that the director / producer acts like we are permanently available, is to sharply but sort of enthusiastically say “I have 30 minutes available, can we meet then?”. More than not, it´s not uncommon to spend altogether an entire work day with meetings that are technically not payed.
    So, I wonder how fellow sound designers out there deal with these situations – are you somehow including that time in the rounded numbers, thinking about it on the profit percentage or any other way? Let´s say one earns $50 / hour, that is how much we are “loosing” in one hour meeting, for example. Or is it an investment?
    Even though that is certainly a variety of cases and contexts, it would be great to have a feedback on this. :)

  2. Thanks for reading, Matthew and Melissa! I’m very glad that you enjoyed the post. Melissa, I love that you bring up how difficult it is to budget (both time and money) for client interactions. The only interactions that I consider to be “investments” are the ones pertaining to making and presenting the bid. Once a project bid is accepted, I consider all of my time (including spots, previews, re-recording mixes, and any other client interactions) to be part of the bid price. Generally, I list those interactions under the Sound Supervision line item. For that reason, it’s VERY important to take those interactions into consideration when you’re creating the bid. Depending on the length and scope of each project, in general I allow at least half a day for meeting the clients and spotting, half to a full day to put the project together and tweak things (if you are hiring others and need to compile their work, a full day for the client preview and fixes, and a full day for any re-recording mixes you plan to attend. When I first speak with new clients and present my bid, I also go over what each of these meetings will accomplish and when in the process they will happen to ensure that the clients know that there are set times at which they should give notes. In general that keeps them from emailing single notes on a daily basis. I also schedule all of these meetings and send out calendar appointments so that we have an exact in and out time. I believe that this saves everyone a lot of time and will truly present you as a professional. I hope that helps!

  3. Hi, Kate!

    Thank you so much for all the additional information. This is truly helpful and assures any sound designer how worth their time is.

  4. Kate,
    Thank you, thank you, thank you for writing this. It helped me tremendously. I just moved to Portland, OR a year ago and there aren’t many sound design studios here (only 2), so I haven’t had much luck with meeting other sound designers to network with and learn best business practices. I really appreciate you taking the time to do this.

    Warm Regards,
    Christiann A. Burch

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