Brad Beyenhof wrote:

On Wed, 29 Dec 2004 16:23:56 -0500, dhbailey wrote:


You said that you charge more (much more) for this sort of
midi-file-to-orchestration work than for other similar work (I assume
that would mean paper sketch to full orchestration engraved with finale)
so my question back to you, what does it matter what it is called, as
long as they are paying your rates?


Yes, but there is also the factor of justifying your rates to the
client. If you can't exactly describe with a billing title why one
type of work is more intensive than another, clients will probably
assume that you're changing rates "on a whim" and demand an
explanation. If a rigid rate schedule with specific jobs entailed
within each type of work is maintained, there be many fewer complaints
about charges.

However, I realize that every job is its own and likely a completely
different rate could be charged for every single bit of work that is
done. However, since that is impractical, I agree with Christopher
that some type of definition must be created for the different styles
and input levels of engraving work. I myself have not run across this
type of issue, but I'd be interested to hear what others have done in
similar situations.


I would think "transcribing from midi files -- $40/hour [or whatever]" would be sufficient.


Have the potential jobs listed as follows, each with its own rate:

Copyist -- no editing, straight copying;
Arranger -- starts with melodic line and chord progression;
Orchestrator -- starts with melodic lines and countermelodies and bass lines with chord progressions outlined;
Transcribing from midi files
Transcribing from audio cassette


Each of these jobs ends up with complete score and parts as agreed upon in the following section:

[have a checklist of various instrumental and vocal parts that you will provide]

I would list it as a separate job with a specific rate (the higher one he already said he charges for such work.)



--
David H. Bailey
[EMAIL PROTECTED]
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