What is the most you've made on a project?
- @?,*???&?
- on a wing and a prayer
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What is the most you've made on a project?
Here's a provocative question.
Politically incorrect?
Do tell.
Politically incorrect?
Do tell.
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- audio school graduate
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- Glory_Morris
- takin' a dinner break
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- alignin' 24-trk
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- mingus2112
- re-cappin' neve
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One project. . .a year and a half worth of work. . . .about $10,000. Most of the cost was dur to poor organization and nitpicking though. I did a bunch of weekends where I billed myself out at $350/day (x2 days) plus lunch. It felt like we were doing those every month! Sometimes twice a month. Tie that in to about the same time/money in mixing, etc. . .it worked out to $10k+ in the end. I'm SUPER glad it didn't end up being a flat rate thing. It was so much work. I wasn't even happy with the end result. . .it sounds soooo amatuer with reverbs, SUPER LOUD spoken word, etc. . .but that's exactly what the client wanted!
One artist that I know spent $35,000+ to make her mediocre christian pop cd. One day the mystery will be revealed to me where that money was spent because the CD sounds like she's singing to karioke tracks! REALLY poor. . .
One artist that I know spent $35,000+ to make her mediocre christian pop cd. One day the mystery will be revealed to me where that money was spent because the CD sounds like she's singing to karioke tracks! REALLY poor. . .
HWJLHC?
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- re-cappin' neve
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I've never charged anything for recording. The most I've ever made on music was a bar tab and about a half a hit of some bad speed in a tin foil bindle. After the 200 mile drive I think I may have broke even, because we drank about 15 pitchers of beer, which in retrospect was a pretty good deal because my next gig, I think I we split 10 dollars among 5 people.
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- pushin' record
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I originally started out jut accepting donations (cash, beer, smokes, etc.) when my 'studio' was just a couple mics, a mixer, and ProTools.
Now some of those original "clients" are still calling me up, and for them I don't actually charge them money, but they usually end up donating like $150.00 a day or something like that. I'm cool with that since these are people I'm close with and I've learned a lot working my as off for them. Without them I wouldn't know shit today.
Other clients I just charge a project rate, which usually boils down to like the equivilent of $200 a day. My rig is portable (amazingly I can two 6-space racks, one 8-space rack, an Anvil coffin case full of mics, half dozen mic stands, mixer case, and a cable trunk in the trunk/back seat of my Grand Am) so I generally do tracking at their locations. For this reason, I don't really feel justified taking more than $200 a day considering I don't have to actually pay rent on dedicated studio space.
However, the more money I pour into this money-pit of a 'hobby' (can't call it a second job since I spend more on gear than I make from it) the more I'm gonna have to raise my "required donation" level.
Now some of those original "clients" are still calling me up, and for them I don't actually charge them money, but they usually end up donating like $150.00 a day or something like that. I'm cool with that since these are people I'm close with and I've learned a lot working my as off for them. Without them I wouldn't know shit today.
Other clients I just charge a project rate, which usually boils down to like the equivilent of $200 a day. My rig is portable (amazingly I can two 6-space racks, one 8-space rack, an Anvil coffin case full of mics, half dozen mic stands, mixer case, and a cable trunk in the trunk/back seat of my Grand Am) so I generally do tracking at their locations. For this reason, I don't really feel justified taking more than $200 a day considering I don't have to actually pay rent on dedicated studio space.
However, the more money I pour into this money-pit of a 'hobby' (can't call it a second job since I spend more on gear than I make from it) the more I'm gonna have to raise my "required donation" level.
- joelpatterson
- carpal tunnel
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Heh, heh, heh....
Well, suffice it to say that when you're in a prestigious orchestra or chorus of some kind, you wouldn't think twice of dropping $15 on a nicely packaged CD of your group that sounds awesome and looks very stylish, all glossy color printing and booklet with miniaturized programs, and you wouldn't think twice of dropping $25 if it was a 2-CD set.
It certainly would never cross your mind that you're looking at, what, 30 cents for the disc, a quarter for the jewel case and tray, a quarter for the CD label, couple bucks of ink and paper... and the more spare and elegant the design is, with big open white fields, the less ink... no, you wouldn't think twice at all.
Every day in every way it's hammered home to me: music is an emotional business, it's "value" is a wildly fluctuating thing, wild as the wind, really.
Well, suffice it to say that when you're in a prestigious orchestra or chorus of some kind, you wouldn't think twice of dropping $15 on a nicely packaged CD of your group that sounds awesome and looks very stylish, all glossy color printing and booklet with miniaturized programs, and you wouldn't think twice of dropping $25 if it was a 2-CD set.
It certainly would never cross your mind that you're looking at, what, 30 cents for the disc, a quarter for the jewel case and tray, a quarter for the CD label, couple bucks of ink and paper... and the more spare and elegant the design is, with big open white fields, the less ink... no, you wouldn't think twice at all.
Every day in every way it's hammered home to me: music is an emotional business, it's "value" is a wildly fluctuating thing, wild as the wind, really.
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