[Fmpro] Composing vs. sound design

[kirbyko3@aol.com]

The royalty angle is a good one.  I remember seeing music cuesheets for 
the original Star Search series, and every single drumroll and cymbal 
crash had a title and was listed on there as a composition -- each 
drumroll registered $$ with ASCAP or BMI!  I always imagined those 
cuesheets to be all of 1 or 2 pages long, basically just reflecting the 
competition performances.... imagine my surprise to see that each one 
was several pages, and had listing after listing after listing of a :06 
Background Vocal use, which was a drumroll.  Whoever wrote that stuff 
was one smart cookie.

My experience has been hit or miss with this topic, depending on the 
editor.  I've found that most editors working on a series will already 
have their wipes and whooshes and beeps and clicks and will just apply 
them where necessary. But on one-off projects, or on films, I've had 
the experience of adding those things as part of the overall 
"soundscape" that you hear.  I guess what it comes down to is whether 
or not you're established enough to be able to ask for more money, or 
if you're new to the scene and want to make a good impression so you 
just do it anyway?

Kerry

Mr. Kerry Muzzey | Music for Television & Film
www.kerrymuzzey.com
www.kerrymuzzey.com/trailermusic.html
myspace.com/kerrymuzzey

-----Original Message-----
From: rivas2750 at comcast.net
To: fmpro at nxport.com
Sent: Fri, 6 Oct 2006 1:53 PM
Subject: Re: [Fmpro] Composing vs. sound design

    The format you're talking about has become very prevalent (and 
noisy!).
Seems like anything targeted at 25 and under these days has the look and
feel of an action cartoon, even if it's a show about how to organize 
space
in your two car garage. It seems like it is a definite pain in the ass 
to
cover every second of video with something so I would definitely charge
additionally. And I'm not sure to what extent, if your work is not buy 
out,
all those hits and sfx are bound to generate any kind of royalties.


On 10/6/06 1:28 PM, "Geoff Koch" <gk at kochproductions.com> wrote:

> Hello everyone -- I'd like to get your thoughts on where the line 
between
> composer and sound designer lies, and at what point one may have 
assumed a
> dual-role.
>
> I have a client that I've worked with for a number of years, scoring 
various
> tv shows.  The recent trend in tv production style has been a sort of
> "MTV-ized" approach -- lots of quick cuts, edits, wipes, flashes, 
video fx,
> etc.  In the beginning, there wasn't much of this "eye candy," but 
sometimes
> for the little that there was, I would throw in some musical fx to
> acknowledge it, and the client loved it.
>
> But now, the sheer volume of these video fx have increased immensely, 
and
> the client now wants EVERY one of those video events to be hit with 
some
> sort of musical effect (cymbal, electronic crashes, fx, etc.)  We're 
talking
> hundreds of events to hit per episode, in addition to the normal 
scoring
> duties.  These are not sounds I would otherwise put into a piece of 
music.
>
> So, two questions for everyone:
>
> 1.  Where do you think the line between composer and sound designer 
lies,
> and would you agree that the line has been crossed in the scenario I 
gave
> above?
>
> 2.  What would you think a proper response would be for such a 
situation --
> requesting additional compensation for this "added role?"
>
> Many thanks,
>
> Geoff Koch
>
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