Not all the copiests I know would be able to handle the orchestrating details in the above situation, and some may not even know enough to recognize where the problems would be in voicings, ranges, timbre, etc. The "copying" and the "judging whether or not it's right" are, in my estimation, two different jobs with two different pay scales.
Yes you are indeed correct, but that doesn't stop people from asking me to take their sequencer files and "just extract the parts for the players. I'll pay you the usual copy rates." I charge full orchestration rates for that, which is anywhere from 3 to 5 times the copy rate.
They don't like it "<I've> already made all the orchestration decisions! Why are you charging as an orchestrator?" "Because you HAVEN'T made all the orchestration decisions, at least not in a way that can be communicated, and that's what you are paying ME for! In many cases, you haven't even made a comprehesive decision about anything except the general timbre, never mind dynamics, phrasing, bowing, woodwind splits, doubling, balance (unless you really think we should individually mix every solo flute line in the first octave so that it comes out over the FF brass) and substituting instruments so that they aren't screaming or grunting in the registers you wrote them in." Well, I don't say it THAT nastily, but that's what I'm thinking.
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