Rates
An electronic score and a recorded orchestra do not cost the same to make. That is what the spread in every range below is about.
What sets the price
Price does not measure how good the music is, it measures how it is made. The same film can be scored three ways, and you pick which one by picking the colour you want to hear.
Virtual instruments, no recording session. I write, play and mix it all myself.
The bed is produced in the box, then a few live players come in on top: strings, guitar, voice, percussion.
Writing the parts, hiring the players, booking the hall, conducting, and a heavier tracking and mixing stage.
I do my own orchestrations. On an orchestral project the orchestrator is usually one more line in the budget. With me it is included.
I worked in the United States, where music acts as a post-production tool that shifts the perspective of a scene after the shoot. Putting unsettling music over a shot that is not unsettling sends it somewhere else. It transforms a shot the way lighting can, or make-up, or a set.
Ranges
These are ranges, not rates. Within each one, the bottom is a score produced entirely in the box and the top is a live recording. In between, everything is open: schedule, volume, instrumentation, renewal from one season to the next. Tell me what you want to hear and I will tell you where it lands.
