Canadian Musician - May/June 2017 - Page 60

LIVE SOUND Since graduating from the Ontario Institute of Audio Recording Technology (OIART), Blair Bondy has had the opportunity to work with some of music’s biggest acts, including Bryson Tiller, Migos, and Future. By Blair Bondy Tips for Landing & Keeping a Live Sound Gig 1. Have a Realistic Path to Your Goal It’s not good enough to just be a good sound person and know a few people (even though networking is paramount). You have to put yourself in the right position to get where you want to be and work hard to get there. This is a dream job for a lot of people, but it’s a lot of work and you have to put in the time to gain experience, build a reputation, and get to that level. When I came out of school, I landed a gig on a cruise ship. That was a good, realistic goal for a 20-year-old without much expe- rience. I knew it would get me working on good equipment and let me practice a lot in a real-world environment. After that, I thought I could go home and start at the bottom rung of a reputable pro- duction company as a pusher – someone in the warehouse that just moves cases or solders cables. At least I had some experi- ence, and working with a good production company would get me even more. Put yourself in the right place. Find out where the audio pros in your area go for a beer. Find someone that’s done what you want to do and ask how they did it. There’s nothing wrong with modeling your career after someone else’s, to a point. Think of realistic ways to get into the in- dustry and attack from every angle to gain experience. 2. Study Up Ask questions, consider everything, and study up. Make sure you’re well prepared for any and all scenarios and equipment you might encounter on a gig. For example, if you’re about to go on ѽ)́ѽȁѕѡ䁽ѡȁѕ)Ё= ݅ɔѡЁ׊eɔѡ䁽х)׊eɔٕѡe׊eɔ她)ѡݕȁٕ䁑䰁׊eɔɑѥ( 8$84TL$ $8)ɅɕՕ́ȁѡݥɕ̰׊eɔ)͕ѥٕѡȁٕ̰ь)QɗéЁԁٔѼՑɔ)Lѡ́ͥȁ)ѵЁѡЁԁ͡ձܸ)܁܁Ѽ͔ɅэЁɅѼ͕ɔ)ȁѡՍ)%׊eɔ᥹͡܁ݕɔѽ)م׊eͥ܁ͽ)Ёѡɵ݅ɔٕͥѡЁɐ)ɔԁݡЁԁѼ)Ёٕѡ͔L䁥ӊé)ѥمݥѠեٕ́)ѥȁͽչ(̸QAѥ)Mѽq9䁕ٕȁ)ɕȁՑt)Qӊé٥ͱ䁙͔ЁѡЁ)Ё́ѡЁѥՑݽɬѡ)݅䁥ѡ́ͥ́ɔɝՅ)ɔхЁѡȁՑ̸ͭQȴ)ݥѠ́ȁݕ́Ё)ѥ܁ԁɕЁѕɅЁݥѠѡ)ѕյ́ȁѕ̸ͭ)Mͽ́ݼѕ́ɽ)聽ͽݥѠܼ᥹)ͽݡѡѡȁ́ѡ)Ёͽչ䁥ѡݽɱЁѽхɬ%)ѡЁͽ́ѥՑݥ)́ѼɸܼͻeЁͽչͼ)׊eٔЁѼɕ锁)ѡٕ́役(и9ݽɬ)9ݽɭٕ́ѡeȁݽɬ́)ȁЁمՅѽ̰ԁٔѼ)͵ЁݥѠи) ݔ͔)ՑѥՕєɕȁи)]хЁЁݽɭ)ѕȁɕ͡ݕ́ѡ́)хѼѥѼ܁)܁ݔɸɽѡ]ӊéѡݽ)ѡЁԁхЁٕͅѥݥѠ)Ք%ɽͥ)ɽͽ́݅́ɕɥ) ɥ́́ѕѡ)Ёѕɽѡɔԁ͕ȁՅ)ɥ́Յх́׊eѥ)ȁݽɬɽݥѕ丁'eٕٔɔ)ٕ́ɽ$eЁٕ)܁͔ȁՅɥ̸ȁ)ԁЁЁЁe)ȁЁѼЁѼ )ȁͽɕͽѡ䁹ͽ)ɥЁ݅丁%ӊéɅɔЁЁ́)ѡӊéݡɔȁݽɬԁ)eԁeЁٕѼͬ役)ѡ%ӊé͵䰁)ЁЁѡɔԁɕ锁ٕ役)ٕ役eԁ݅ЁѼЁѡи(ԸeЁ ɸ ɥ)Q́́Ѽѡѥ́ѡ)ЁɬЁ܁ӊé݅)ѕȁѼѡȁͽѡ)ѡ)ٕ׊eٔѽȁ)׊eɔɕѕչɱ䁽ȁѽՍ)́ͭԀɕѥٕ)չѥٔQѼѡɽՍѥ)ȁȁѽȁȁ䁅)ɽ̸͕%ԁͥ䁍eЁѽɅє)ѡݽɭ٥ɽаٔѡ)ѥѥɽչչѥѡ䁍)ɕи)]ЁԁeЁ݅ЁѼ́Ё)Ё䰁хեЁ䰁ѡեа)٥ѡѽȃLՕ́ɽ)ݽɬLɍ)ȁ́ɕѡЁȁ)͵иQЁѡ٥䁽)ȁɕȰɕ锁ѡЁݥѠѡͥ锁)ѡ́䰁ɹٕͥɥ)ձٔɔ͕Օ̸