Scenario 2
A local production company wants you to sub on a theatre production because the usual front of house person caught the flu. You’ve got the script, gone over it several times, and feel prepared enough to pull the trigger. There’s no load in, no load out – you come in, run FOH, and leave.
In this scenario, preparation for the gig should count toward your work hours. The show is two hours long, and you spent two hours preparing in advance.
A figure of $30 an hour for a two-hour show would not be absurd here since you’re not being compensated for your two hours of prep time.
Other factors, such as venue size, estimated attendance, the size of production, and others may cause you to adjust your rate in either direction.
Scenario 3
A medium-sized corporation in the area has an end-of-quarter staff party. They need audio support for a jazz trio and MCs with presentations. They want you to load in all of the equipment, run the show, and load out: a 10-hour day.
The organization is well established, so I would revise my rule of thumb and make it triple the minimum wage. Thus $21 and hour times 10 hours is $210 (minimum).
Another thing to consider in this scenario is meals. Will they feed you? If so, then don’t worry about it. If they aren’t feeding you, add the price of two meals into your quote (usually one meal for the first eight hours, plus another meal every four hours).
In Kansas City, $10 to $15 will feed you in the entertainment districts, so if meals are not included, I’d ask for $30 to cover meals. My personal day rate for this gig would be around $300 at minimum, based on my experience level and the hours involved.
Here is a starting point for general minimums:
—First six months: minimum wage
—Second six months: minimum wage plus $2
—12 months (full year): minimum wage plus $5
—18 months (year and a half): minimum wage plus $6
—24 months (two full years): minimum wage plus $8
—36 months (three full years and beyond): dealer’s choice
This is a starting point. It does vary region to region, and even within the different types of gigs – corporate, touring, church, etc. Of course, sometimes you’ll be offered a gig with a set rate. And sometimes you’ll need to accept lower pay to get much-needed experience. But the key is not underselling yourself.
Making It Work
If you’ve been working your tail off for the first year, can out-mix anyone, and know how to direct a large setup, by all means charge more. This is about the bare minimums we’re willing to accept as professionals. These are starting points.
The more years of experience you have, the more you become aware of your value and the less skittish you are about charging more. If every single sound person only charged $15 an hour per job, we’d all be in the poor house. It’s OK to negotiate. Don’t be steamrolled. You have your worth and deserve fair compensation.
Now, say it with me: “I deserve to be compensated competitively and fairly.” How do you determine your rate?
Samantha Potter is an IT media supervisor and audio engineer for the largest Methodist Church in the U.S. and a production manager for Funk Syndicate in Kansas City. In addition, she’s head of the Kansas City chapter for SoundGirls.org, where you can read more from her.