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Topic: What to charge for AUDIO LOGOS for broadcast etc.

  1. #1

    What to charge for AUDIO LOGOS for broadcast etc.

    I\'ve been contracted to do and audio logo for a well known telephone communication company and have no idea how to structure the deal. The client has mentioned some sort of a pay per usage because they may use it in many different areas- from tv comercial down to web based stuff. Initially it will be used overseas, mainly the Carribean. Any thoughts are greatly appreciated.



  2. #2

    Re: What to charge for AUDIO LOGOS for broadcast etc.

    I\'m the wrong guy to ask, i only do weddings and student films but i remember reading that the guy that invented the Nike swish gets 5 cents per swish. I bet he\'s rolling in hundred doller bills [img]images/icons/wink.gif[/img]

  3. #3

    Re: What to charge for AUDIO LOGOS for broadcast etc.

    Do we always have to be so literal? What he means is that he\'s got the gig and now they\'ve got to iron out the paperwork!

  4. #4

    Re: What to charge for AUDIO LOGOS for broadcast etc.

    I say give them a yearly option (renewable) for TV broadcast, one for radio, one for web and misc. It\'ll be too hard to keep track of the times they\'re using it if they\'re offering you a pay per play deal. I mean, unless it\'s for AT&T or something, chances are you can\'t really know, especially if it\'s outside the US.

    I would also structure it on a region basis, Caribbean 1 year TV usage = $$$, US East of the Mississipi 1 year TV usage = $$$$ etc.

  5. #5

    Re: What to charge for AUDIO LOGOS for broadcast etc.

    Well done getting the gig, Colin [img]images/icons/grin.gif[/img]

  6. #6
    Senior Member
    Join Date
    Dec 2002
    Los Angeles

    Re: What to charge for AUDIO LOGOS for broadcast etc.

    This is kind\'a \'OT\' but...

    It\'s not all that uncommon for actors to do jobs while their contract is still being \"finalized\". (i.e. \"they are shooting while their agent has yet to iron out specifics of the deal with \'business affairs\' people\")...

    I know it\'s not exactly the same field, but close. It happens...

    BTW. Way to go on getting the gig!!!

  7. #7

    Re: What to charge for AUDIO LOGOS for broadcast etc.

    [quote]Originally posted by Lee Blaske:

    Then again, logo work can usually be done pretty fast. I wonder how much the guy who came up with the \"Intel Inside\" logo got paid, and how long that job took. [img]images/icons/wink.gif[/img]

    Lee Blaske
    <font size=\"2\" face=\"Verdana, Arial\">I remember reading an interview with the guy who did the Intel logo, It sounded like he actually spent a lot of time on it and went through a few revisions, before it was signed off on. As far as money, the article mentioned that he did a buyout deal. He thought it was a large some of money at the time, but had some regrets that he didn\'t try to get residuals.

    I was recently talking to an engineer who did a session for some Microsoft system sounds. They used a small orchestra and spent days recording/mixing with lots of advertising execs in the booth...

  8. #8

    Re: What to charge for AUDIO LOGOS for broadcast etc.

    I\'d always like to have things in place before I being work, but that is definately not always realistic, especially if you are dealing with ad agencies with extremely tight deadlines.

  9. #9

    Re: What to charge for AUDIO LOGOS for broadcast etc.

    Hi Colin,

    I\'ve done a number of these sorts of logos for companies on air and so forth and all of the deals have been different. Sometimes ASCAP and BMI survey the programs, sometimes not. If the origin of the program is in a foreign country, the performing rights organizations in that country are responsible for logging and collecting your royalties. The amount collected is usually quite a lot less than what is done in the US...especially in South America and I would assume, the Carribean. You can request the media schedules from whoever buys the media for the client. Usually, they cooperate, but sometimes they are under the false impression that providing the schedules to the composer will cost the client more money, so they either don\'t provide them or they will drag their feet...thinking this will help their client...which it doesn\'t in any way.

    Its probably a good idea to always get a \"deal memo\" from the client, which would be the terms that you both agree to on paper. I have had many verbal deals go sideways by not doing this. Depending on how \"live orchestral\" things get would dictate the budget. I\'d guess that somewhere in the $7500 to $10,000 range would include some live players and some samples. If it is all sampled, then maybe a bit less.

    Also, industry standard would be the 50% reuse deal, where the 2nd and each consequent years\' usage is paid by the client at the 50% rate. This is more common in the jingle business, where it is difficult to derive much from the ASCAP and BMI survey on commercials.

    It all comes down to what the client is willing to pay for the music. The absolute best deal you could get would be to file a contract through the AFM, which most clients are unwilling to do these days.

    Hope this helps and all the best,
    Dan Dean
    Dan Dean Productions

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