Studio Fee?

[SteveC]

So I was hanging out a couple days ago at a local store and was asked what I want for studio work. I have no idea what to ask. It's not like we're in LA or NY. It's just "home" studios, local bands/musicians, etc.

 

Upon what should I base my fee?

 

[Griffinator]

How much do you have invested into your studio? Would you call your studio well-equipped? Would you call the recording rooms acoustically tuned? How about your control room?

 

If all you have to offer over DIY is your knowhow and a few mics, you probably want to dial your expected per-hour back into the sub-$50 range. If you've got $30K worth of outboard gear, plus a well-built semi-pro building set up, then no matter how poor the client is, you've got to recoup your wear and tear and hence need to charge accordingly.

[DavidMPires]

Griff I think Steve was asking about what to charge as a hired gun for local studios/bands.

[jeremy c]

One way to come up with a figure could be based on what you get for a gig. If you are expected to be in the studio for four hours, charge an amount equivalent to what you would get for a good four hour gig in your neck of the woods.

[1111000]

You're assisting a studio engineer/owner? So you'll probably get something like 25, maybe as high as 40% of the money the band pays per hour, does that sound right? That's how I would think of it. 50-50 between you and the actual owner of the studio seems skewed in your favor (you didn't invest in the studio), but 25 seems kind of low. Just see what they charge the band per hour and ask for, I dunno, a third of it or more. Yeah?

 

Just my armchair speculation.

[Eric VB]

I charge about the same as I do for live performances. [edit: I see Jeremy suggested this already while I was typing.]

 

It may be apples and oranges but I justify it by saying I have my musician's cap on in either case. I also charge the same rate for music arranging, transcribing, producing, etc. Makes it easy. (I do charge more for private lessons.)

 

In this day and age of expensive transportation (i.e. high gas prices) I may add a surcharge for travel. (Everyone looking for help seems to be at the very outskirts of town; usually the side opposite me.)

 

I'm probably quite cheap compared to other session players, but it's not like the offers are pouring in. If they do I'll let supply and demand dictate my price.

 

If anything the people in this town expect musicians to come in and lay down tracks for free. They either want you to join their band or be a "collaborator".

 

The "gotcha" is that if all you do is add a rhythm track such as a bass line then you're not entitled to songwriting credits. Sure, you're entitled to mechanicals, assuming your "collaborator" can peddle his CDs around town. (And if you're in the band promoting the CD, too, that's fine.) But it seems like a lot of guys have already tried that road and found out that it's hard to keep a band together long enough to sell those 1,000 CDs they invested in.

 

So more likely than not the recording you helped make is going to be a demo (i.e. will never see any mechanicals) with the hopes of a payoff for the songwriters (not you). It is in your best interests in that situation to be paid for your time up front.

 

A true songwriting collaborator includes his partner(s) in the songwriting process and shares the songwriting credits.

 

The flip side of this is joining a band that is promoting its CDs ... none of which you've recorded on. I've never been in that situation but legally the bassist that laid down the tracks is entitled to his cut of any CD sales and you are left out in the cold.

 

If in doubt consult with your entertainment lawyer.

[...]

I charge by the track and will do full album deals. The "by the track" can vary if it is some insanely long prog song where I have been tasked with figuring out something interesting to play.

 

I recall a nearly 20 minute track I once did for a dude that I wound up spending ~16 hours on. Lots of different parts and very few recurring themes. His musical direction was, "I trust you. Come up with something cool". That was a bitch. Nearly all that time was invested in listening and trying different ideas until I came up with something I would be at least mildly proud of.

[moot]

How much do you have invested into your studio? Would you call your studio well-equipped? Would you call the recording rooms acoustically tuned? How about your control room?

 

If all you have to offer over DIY is your knowhow and a few mics, you probably want to dial your expected per-hour back into the sub-$50 range. If you've got $30K worth of outboard gear, plus a well-built semi-pro building set up, then no matter how poor the client is, you've got to recoup your wear and tear and hence need to charge accordingly.

hmmm.

 

Honestly I have been paid a few times by the track. Not a lot more than i make gigging but, like Bump said, the time it takes to come up with and refine a line means I'm doing it for fun.

 

Just pick a number Steve. Start at $50. If they go "Wow, that's great!" start naming surcharges until their level of enthusiasm starts to fade.

 

[jlrush]

I would think that $25 to $40 per hour would be a fair asking price, with a clause for extra work and extra charges. That would require them to have their act together.

Then again, if you're into it for the fun of it.....

[SteveC]

Griff I think Steve was asking about what to charge as a hired gun for local studios/bands.

 

Sorry I wasn't more clear. I am asking about my rate as a hired gun. Nothing extra, no credits, no share of sales, just basically helping a local dude out.

 

Sounds like my average/usual for a gig is a good place to start. Although, I will probably have to be more creative than playing covers. Not sure if he has bass parts in mind or if I'd have to come up with something.

[SteveC]

Griff I think Steve was asking about what to charge as a hired gun for local studios/bands.

 

Sorry I wasn't more clear. Yes, a local guy asked me to do some work. Nothing big, no writing credit, no money from sales, just come and play some bass - I don't know if he has ideas or if I have freedom to do what I want.

 

Sounds like something based on my usual gig rate is the way to go. That's what I was thinking but I just wanted confirmation.

[moot]

If he has a bass line he can most likely play it himself.

You're a bassist - tap your creativity.

[DavidMPires]

most guitar players can come up with a bass line, but like my drummer says: You can tell when you have a bass player in front of you...

 

I'd go with roughly the same of what you would earn an hour with a gig, or slitlly less

[Nicklab]

I've been doing a good ammount of studio work for the past few years, but mainly for friends. That's been with the agreement that if their records do well, I'll get points. But along the way I've been witness to them hiring some players that are coming in for a flat fee.

 

Those players have been on a sliding scale. Almost all of them have been good. But the rates have varied since some of them also had serious credits. One guy had played with Alicia Keys and Mariah Carey. Another had played with Sun Ra. And another yet plays with Winton Marsalis. These guys got serious rates, getting double scale on the NY musicians local rate. That could be about $600 - $700 for roughly 4 hours. A scale rate would be more around $300 or so. And the low end people rated about $200.

 

Mind you that's the NY/NJ scene. There's a big pool of people to draw from, some of whom are major talents. Given your locale? I'd consider a rate of $200 for a 3-4 hour session. But I would temper that with who your clients might be.

[SteveC]

I was thinking $50 an hour seems fair. That's about what I get for my usual live gigs. I have been told I'm a decent player and I do have a degree in music so it's not like I'm Joe Blow of the street or something.

[Griffinator]

Griff I think Steve was asking about what to charge as a hired gun for local studios/bands.

 

My bad. Totally missed the plot, then...

[Griffinator]

I was thinking $50 an hour seems fair. That's about what I get for my usual live gigs. I have been told I'm a decent player and I do have a degree in music so it's not like I'm Joe Blow of the street or something.

 

In an isolated area, if someone's seeking you out because of your reputation, it's not a bad idea to push a little high and let them negotiate you back down if necessary.

[Tom Capasso]

Another way to look at it is how much do you need the cash vs. how much you need your time. My guess is that $50/hour, you feel like you squandered your time for little reward.

 

You could also state that you'll start there, but reserve the right to raise you rate for future projects (or add surcharges).

 

Hope this works out for you - it's something different!

Tom

[Nicklab]

I was thinking $50 an hour seems fair. That's about what I get for my usual live gigs. I have been told I'm a decent player and I do have a degree in music so it's not like I'm Joe Blow of the street or something.

 

I'd be hesitant to break it down to that level. The math might make a 3-4 hour session for $200 seem like you're charging $50 an hour. But I wouldn't go below that $200 threshold, even if you're done with tracking in a matter of 90 minutes. Go in with the mindset that you're booked for that session length at a minimum. If you get done early, good for you. If they want more time, start adding on an overtime fee.

[Rowbee]

OT - Nicklab, loving the Big Lebowski avatar!

[Nicklab]

Likewise, liking the "Spaced" avatar as well. ;D

[...]

Another way to look at it is how much do you need the cash vs. how much you need your time.

vs. how much practice with Protools this guy needs.