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MakeMusic Forum > Public Forums > Finale - Windows - FORUM HAS MOVED! > pay for copyists | Forum Quick Jump
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| Davo van Peursen Registered Member
Date Joined Apr 2002 Total Posts : 11 | Posted 4/3/2002 8:57 PM (GMT -6) | |
As publisher we pay a very small amount
for every Finale-item calculated by the
Plugin. It works great. For copyists speed
is an advantage that will bring more
money.
In this way it is fair for both copyist and
publisher. Contact me for more info.
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| TTBashore Registered Member
Date Joined Dec 1998 Total Posts : 148 | Posted 4/4/2002 6:21 AM (GMT -6) | |
I'm still charging per page roughly based on the Local 802 general price list. A basic broadway type page is $12.04 including measure #'s, clefs & keys. A lot of individual clients however cannot pay that type of scale, so I'll knock a percentage off, depending on who it is and what it's for. I generally won't go below $8 a page though. Also, I find that the scale for proofreading is too low. I charge at least $30 an hour, but then I and my co-workers all have masters degrees in music and we feel that we are worth it. While mistakes can always slip through, I catch many times more mistakes by the composer than I make myself.
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| Snorlax Registered Member
Date Joined Dec 1998 Total Posts : 500 | Posted 4/6/2002 3:06 PM (GMT -6) | |
I've always asked 15 cents a frame (occupied measure) for score and somewhere between 4 and 7.5 cents per frame for parts.
Anon, for what you do, would you be better or worse off under that system?
Since I work slow, I don't charge by time.
Since much of my work is for brass ensemble, there is a significant number of empty bars, so I didn't feel right charging by a page, either.
Jim
Jim Williams
TubaShop Quartet
N9EJR
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| duser Registered Member
Date Joined Jan 2001 Total Posts : 929 | Posted 4/6/2002 5:32 PM (GMT -6) | |
>> Since much of my work is for brass ensemble, there is a significant number of empty bars... Funny, I never noticed any empty bars when there are brass players around ;¬)
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| TTBashore Registered Member
Date Joined Dec 1998 Total Posts : 148 | Posted 4/6/2002 7:29 PM (GMT -6) | |
Jim,
One part I extracted this weekend had exactly 100 active frames. It came out to be 3.5 pages and I billed at $12 a page for parts for a total of $42.00 plus printing and proofreading costs. Judging by your 7.5 cents a page for parts I definitely came out ahead on this job. There was no score required for this job however. The bill was picked up by Foxwoods casino and it was for several Don Sebesky arrangements written for John Pizzarelli so I have no problem billing union scale on this job. Anyone who has copied for Sebesky before will sympathize with me and understand that the eye strain was more than worth the cost. I had a colleague do the proofreading for I feel it is always good to have another set of eyes look at the parts before bringing them to the rehearsal. These rates are NYC rates which may be higher than other areas, but as I've copied for Quincy Jones, Wynton Marsalis, Wayne Shorter, Don Sebesky, Slide Hampton, Frank Foster, David Berger and many others, I feel I'm worth it. The parts were also printed on 1200 dpi 9 1/2 x 12 1/2 100 lb text paper which is roughly equivalent to the manuscript paper Associated Music used to sell. I don't really have a problem billing per page for empty measures as they are converted to multimeasure rests and laid out in the most cost-efficient way that is also easily readable by a sight reader. Rehearsal time for a large ensemble is often more expensive than the copying bill and if I can help reduce the rehearsal time by intelligently copying the parts then I've more than paid for myself. A part copying question that takes up 10 minutes of rehearsal time could effectively cost hundreds of dollars when all of the musicians' time and the rehearsal space is factored in.
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| Snorlax Registered Member
Date Joined Dec 1998 Total Posts : 500 | Posted 4/7/2002 5:30 AM (GMT -6) | |
On 4/6/2002 10:32:00 PM, Anonymous wrote:
>>> Since much of my work is for brass ensemble, there is a significant number of empty bars... Funny, I never noticed any empty bars when there are brass players around ;¬)
Before the gig, bars full (of content), empty (of players).
After the gig, bars full (of players),empty (of content).
Jim
Jim Williams
TubaShop Quartet
N9EJR
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| Snorlax Registered Member
Date Joined Dec 1998 Total Posts : 500 | Posted 4/7/2002 5:33 AM (GMT -6) | |
Thanx, Anon, for the info.
Just curiosity on my part:
Have you been on the scene long enough to have worked for Harvey Phillips when he was still in NYC? How far back do you go?
Jim
Jim Williams
TubaShop Quartet
N9EJR
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| TTBashore Registered Member
Date Joined Dec 1998 Total Posts : 148 | Posted 4/7/2002 9:09 AM (GMT -6) | |
Jim,
I've been in town since 1994 and never worked for Harvey Phillips. I'm a saxophonist, composer & arranger so many of the people I've worked for I first met through gigs and writing jobs. I worked at Boosey & Hawkes (not doing engraving) for a brief period after grad school and I tried to configure Finale to approximate their Score output as close as possible. My settings are quite different from the default settings and a lot of people are surprised I'm using Finale. I think that Coda could drastically improve Finale's output just by making a better default file. I love the fact that Finale is flexible enough that I can customize just about anything, but most people are not going to take the time to do this. A lot of Finale's bad rep is because there is so much horribly engraved music out there created in Finale. Just by changing the defaults for ties, slurs, thickness of all lines, measure #'s, and multimeasure rests to better conform to engraving standards would be very beneficial to most users. Score's defaults are great and require very little tweaking to get superior output and that is why it is used by Schirmer's, Boosey & Hawkes, and most "classical" publishers. Hmmm, I seem to have gone off on a rant here that has nothing to do with the original post. Oh well.
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