{"id":13862,"date":"2021-12-19T15:59:35","date_gmt":"2021-12-19T20:59:35","guid":{"rendered":"https:\/\/online.berklee.edu\/takenote\/?p=13862"},"modified":"2025-10-29T16:47:39","modified_gmt":"2025-10-29T21:47:39","slug":"gaming-music-how-to-price-composition-work","status":"publish","type":"post","link":"https:\/\/online.berklee.edu\/takenote\/gaming-music-how-to-price-composition-work\/","title":{"rendered":"Gaming Music: How to Price Your Composition Work"},"content":{"rendered":"\n

How Game Composers Can Balance Creativity, Cost, and Client Expectations<\/h2>\n\n\n\n
\n
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The following information on how to price your music for gaming platforms was excerpted from the Berklee Online course Interactive Scoring for Games<\/a><\/em>, written by Michael Sweet<\/a>, and currently enrolling.<\/p>\n <\/div>\n<\/div>\n\n\n\n

Game developers generally don\u2019t start out their projects saying, \u201cI want cheap music for our game.\u201d They want good music for their game, and they realize that good music costs money. If they\u2019re unwilling to pay a lot for music\u2014even if they have money to afford it\u2014that should clue you into how much they value gaming music. Also, how you\u2019ll be treated on the project as a composer. <\/p>\n\n\n\n

When initially starting out, many composers believe that the cheapest price will get them the gig. In actuality, it may be saying the opposite to the potential employer: \u201cSince the music is cheap, so is the quality.\u201d Composers need to balance the price of the project with the quality. <\/p>\n\n\n\n

If you\u2019re first starting out scoring music for games, it\u2019s important to know what to charge for your labor so you don\u2019t shortchange yourself or undervalue your skills. While what you should charge will vary from case to case, these tips will give you some guidelines to take into account. <\/p>\n\n\n\n

Industry Going Rate<\/strong><\/h2>\n\n\n\n

The going rate for a finished minute worth of professional game music is $1,000. This rate is dependent on many different factors, including experience of the composer, what type of music it is, and how complicated the music is. In general, music and sound represent between five to 15 percent of the total budget of the project. If the overall budget of the game including art, game design, programming, production, audio, etc., is $100,000, then the audio budget would range between $5,000 and $15,000. And remember that this piece of the pie could be divided among several different people. <\/p>\n\n\n\n

TAKE A COURSE WITH MICHAEL SWEET<\/a><\/em><\/b><\/p>\n\n\n\n

There are many different methods to calculate how much to charge for gaming music and audio. However, there is one rule to help guide you: the most that the client can afford. Sony can afford a lot more than two independent developers who work out of their garage. <\/p>\n\n\n\n

Income for composers comes from creative fees or production or both. With no public performance of this music, performing rights royalties are not a significant source of income. But the sale of soundtrack music via downloads and soundtrack albums allow composers to generate writer\u2019s royalties.<\/p>\n\n\n\n

How Do You Figure out What a Client Can Afford?<\/strong><\/h2>\n\n\n\n

To find out what the game developer has to spend on gaming music and audio, you could ask the producer on the project, but it\u2019s unlikely that the producer is going to give you an accurate number. The goal of a producer is to save money, so it\u2019s likely that they will tell you a lower number in order to save their overall bottom line. <\/p>\n\n\n\n

Producers want to reserve money for overages that come up during the development process. Game development often goes over the initial calculated budget due to what\u2019s commonly called feature creep. That term is frequently used when the scope of the project grows as it is developed. Keep this in mind when you\u2019re figuring out your percentage of the total budget.<\/p>\n\n\n\n

Price by Time<\/strong><\/h2>\n\n\n\n

When creating estimates for clients, you should price the music by how long it takes to create it. For instance, thematic material and songs are the most expensive things you\u2019ll be writing because they take the most time. On the other hand, re-arrangements and remixes take less time and therefore should cost less.<\/p>\n\n\n\n

There are many things that also increase the cost of your gaming music. Live musicians will certainly add to the cost of a minute of music, as will more complicated interactive music structures. Other factors might include surround mixes, multiple platforms, the need for an orchestrator or conductor, research and development, demos, and implementation. These things should be reflected in your pricing when you\u2019re actually estimating your music for clients.<\/p>\n\n\n\n

Bundling<\/strong><\/h2>\n\n\n\n

Depending on where you live and the developers that you work with, clients might prefer your estimates to be bundled up in a single project fee, or that you have a rate sheet similar to a menu which has all your fees listed on it. Rate sheets are more common in Europe, whereas project fees are more common in the United States. If you\u2019re pricing via rate sheets, then you\u2019ll itemize all the elements as you create them. When you negotiate a single project fee, it\u2019s likely that you\u2019ll do all the assets for a particular project inclusive of how big the project might grow.<\/p>\n\n\n\n

TAKE MICHAEL SWEET’S INTRODUCTION TO GAME AUDIO COURSE <\/a><\/em><\/b><\/p>\n\n\n\n

In general, if you\u2019re bidding a project, it\u2019s cheaper for the developer to use a single project fee as opposed to using a rate sheet. This is similar to bulk pricing discounts that you receive when buying lots of peanut butter at Sam\u2019s Club vs. a single jar at your local grocery store. Companies are out to get the best deal. Therefore, if you\u2019re producing a lot of gaming music for a developer, then it\u2019ll be appropriate to give them a discount.<\/p>\n\n\n\n

Upselling<\/strong><\/h2>\n\n\n\n

In many industries, upselling is common. When you walk into a fast food restaurant and buy a meal, they\u2019ll ask you if you want anything else with that. In game audio, you can use a similar tactic to increase your overall revenue. Most games that need music also need sound design, dialogue recording and editing, implementation and other game audio. If you\u2019re capable of providing these other items, then you can make more money from a single client. Some composers will act as sound designers, or partner with individuals that have those skills, so that a game developer won\u2019t have to contract multiple companies.<\/p>\n\n\n\n

Revisions<\/strong><\/h2>\n\n\n\n

Many cues, especially at the beginning of a project, might need to be revised. This is especially apparent while you\u2019re still honing in on a direction with the game developer at the beginning of the project. How many revisions should you offer as part of the original estimate? The answer to this question varies from composer to composer. Most composers allow for three revisions based on the original estimate or proposal.<\/p>\n\n\n\n

In my opinion, when I\u2019m first establishing the direction for a project, I\u2019ll do unlimited revisions to get the overall direction correct, because I feel that it\u2019s my job to get that right, and the job is on the line. The client might still be evaluating whether I\u2019m right for the project even after I\u2019m hired. At the beginning of the job, I could lose the gig if they don\u2019t like my creative direction. I do NOT want to get fired from a gig.<\/p>\n\n\n\n

Overages<\/strong><\/h2>\n\n\n\n

On the other hand, later in the project, after the creative direction is already established, if the developer keeps sending revised picture edits, revised level designs or story changes, then it\u2019s important to have a discussion with the game producer about possible overages.<\/p>\n\n\n\n

The earlier a game producer knows you\u2019re doing extra work outside of the original proposal, the easier it is for them to plan, change, and modify direction. They\u2019ll be much more amenable to paying overages if you\u2019re in the middle of a production. If you approach the producer after the job is over with additional charges, they\u2019ll likely NOT be very negotiable. Plus, you\u2019ll be leaving a bad taste in their mouths and hurt your possibilities of scoring future work. <\/p>\n\n\n\n

Always keep the person that is approving your checks in the know about how well the estimate is representing the actual work. This only improves the chances that they\u2019ll ask you to work with them again.<\/p>\n\n\n\n

LEARN ABOUT BERKLEE ONLINE’S PROFESSIONAL CERTIFICATE IN GAME AUDIO DESIGN AND PRODUCTION <\/a><\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

If you\u2019re first starting out scoring music for games, it\u2019s important to know what to charge for your labor so you don\u2019t shortchange yourself or undervalue your skills. In this article you’ll learn about industry going rate, bundling, upselling, revisions, overages, and perhaps most importantly, how to figure out what a client can afford.<\/p>\n","protected":false},"author":47,"featured_media":13863,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":true,"footnotes":""},"categories":[1,9564,7579,9588,9569,9586],"tags":[6679,6680,6678],"class_list":["post-13862","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-features-articles","category-lesson-content","category-music-career-advice-articles","category-music-for-film-tv-and-games-articles","category-music-for-film-tv-and-games-lessons","tag-gaming","tag-michael-sweet","tag-video-games"],"acf":[],"yoast_head":"\nGaming Music: How to Price Your Composition Work<\/title>\n<meta name=\"description\" content=\"Learn how to price your composition work in the gaming music 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Before joining Berklee, he was co-founder and creative director of Audiobrain, where his work included the Xbox 360 logo and branding for networks like HBO and CNN. He helped establish the minor in video game scoring for Berklee College of Music. For Berklee Online, he is the author and instructor of Interactive Scoring for Games.","url":"https:\/\/online.berklee.edu\/takenote\/author\/michael-sweet\/"}]}},"_links":{"self":[{"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/posts\/13862","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/users\/47"}],"replies":[{"embeddable":true,"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/comments?post=13862"}],"version-history":[{"count":0,"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/posts\/13862\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/media\/13863"}],"wp:attachment":[{"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/media?parent=13862"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/categories?post=13862"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/online.berklee.edu\/takenote\/wp-json\/wp\/v2\/tags?post=13862"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}