# TV Music Production Rates.



## Generdyn (Mar 29, 2014)

Hey Everyone,

Recently I've been asked to suggest composition rates for budgeting purposes by a company that is doing a Sci Fi TV Series.

Is there a different price range for TV than there is for Movies? I know a lot is hinging on the experience level, but a basic range would be great.

Any thoughts would be excellent!

Regards,
Generdyn


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## chillbot (Mar 30, 2014)

That's a huge range, depends on live orch or non-live orch, network or cable, and who is going to own the publishing. Since you asked for a range, I would say $2k - $10k per episode is fairly common for sample-based score. More if it was live orch.

That's obviously a very big range... $2k per episode is almost a break-even point, however often times you can take much less money upfront in the rare instances where the composer is allowed to keep the publishing. Essentially making 2x as much on the backend plus retatining ownership of the music. In LA I would guess 95% of the shows are work-for-hire (composer does not retain publishing) and sample-based orch (usually with minimal live overdubs-- guitar, vocals, etc).


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## chillbot (Mar 30, 2014)

Another factor: is the composer expected to score the entire show, movie-style? Then you're looking at the higher end of the range.

A lot of shows particularly cable shows don't have time for this. Composer might write 100-120 tracks per season that the editors cut in, then score 5 or 10 minutes per episode to fix bad edits or help scenes that need it. A 13-16 episode season like this might have a budget of $30k for the season.


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## cc64 (Mar 30, 2014)

Generdyn @ Sun Mar 30 said:


> Is there a different price range for TV than there is for Movies? I know a lot is hinging on the experience level, but a basic range would be great



Hi Joshua, Chillbot's figures make a lot of sense. I'm not sure about the experience level being a factor. You are either the right guy for the gig or you aren't.

Best,

Claude


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## Generdyn (Mar 30, 2014)

Thanks Chillbot! That gives me a better understanding of the whole deal. As you can probably tell since I'm asking the question I haven't done stuff for TV before, so my experience with that medium is next to nothing.

But I'm sure I'll get the vibe of it soon enough! cc65, you can check out my soundcloud for an idea of my music making ability. I imagine that writing for Tv series is a bit different to what I've done in the past.

Is there any tip and tricks that you guys have to pass on, or things to avoid?

Thanks again, for you guys being so helpful!

Regards,
Generdyn


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## Jimbo 88 (Mar 30, 2014)

The money amount chillbot posted is spot on here in America. I'm not sure how royalties work where you are at, but I've made way more in Royalties than fees. 

So here are my suggestions, things to do and not to do.

1) Don't compose any "endings" in your music. If a viewers hears "the End" in any shape or form they will fell like it is ok to change the channel.

2) Put as much music in the show as you can. Composing wall to wall sounds self fulfilling, and it is, but it can save an audio mixer in a bind sometimes. Too much music can be exactly that, too much music. So when something might not need music, create some, but make is sparse and simple. But remember also,The more music, the more royalties.

3) make sure you fill out a music cue sheets thoroughly and completely. Do it yourself and make sure they are accurate.

4) Work hard and meet your deadlines. Hard work always pays off in one form or another.

Congrats and good luck.


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## Generdyn (Mar 30, 2014)

Jimbo 88:

Thanks for the awesome points, putting endings on the cues is something I never thought about! If there is any other helpful stuff like that let me know, I'll be looking online to see if I can find some more tips and tricks out.

Thanks again!


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## chillbot (Mar 30, 2014)

Hmmm... I feel like there is still not enough info here... if you'd like more specific advice I would post specifics about your project.

Can't say I agree 100% with #1 about the endings. Again, it depends on the project. If it's a lower budget cable show (once again, really depending on the genre) they will not only want endings, they will want REALLY BIG endings. But the bigger issue is endings make it easier to edit the music IF it's in a situation where the music will get edited. No endings means horrible edits. Of course if you have total control over the music (I never have) then no worries.

Definitely agree with #3. 100%. Cue sheets are the responsibility of the production company to get to the network to get to the PROs. Don't leave it to the production company. Do it yourself, charge the production company for them if you need to. Going rate is $50-$80 per cue sheet or just pay some kid $10-$15 per hour to knock them out. (Although no one will do them as accurately as you will, if you can spare the time.) Then check them yourself and make sure they get properly submitted. Log every episode and airdate if you can so you can track royalties. I feel like I am getting way off topic.

I've seen a lot of snobbery here about the "library music" approach. But this is a lifesaver. Even if they don't want library music give it to them anyway, it's a great way for you and the producer to get on the same page. Say, look here's 2 or 3 or 20 tracks I did that I think are the right tone for the show. They can use them to temp with, then at best they fall in love with YOUR temp instead of someone else's temp and maybe it even lives in the show. At worst you wind up replacing your own music which is super easy and no risk of you suing yourself.

Also be aware in television there are many many levels of producers and they all want to please the producer higher up than them. You may get past two or three producers and then it goes to the network and they make you change it. Be prepared.

Funny how much I can type with so little info to go on after a couple glasses of wine. Cheers.


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## sleepingtiger (Mar 30, 2014)

I've written for a few US cable shows and, as far as endings, I've found that most of the time I get a lot of traction by including two with every cue (or at least every cue where it makes sense). It's easy. End with a standard stop and then follow it with a button or a sting. It makes it real easy to use both or edit in the desired one. This can make the cue more useful in the long run. Trying to anticipate useful options never seems to be a bad idea. I'll often include 2 or 3 alt leads and sometimes a couple of different feels and tempos depending on the cue and the direction I'm being given.


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