Professional Sound - April 2017 - Page 20

PROFILE BLAIR BONDY By Andrew King S ince graduating from the On- tario 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, Future, and Kelsea Bellerini. What’s odd, though, is that instead of doing so sitting in the control room of a world-class studio, he was at a FOH or monitor console with thousdands of people in attendance. Bondy was born and spent the first decade of his life in Windsor, ON, before trekking a short distance east to nearby Belle River on the shore of Lake St. Clair. The youngest of three boys in a very musical family, he’d learned his way around several instruments early on. When his older brother’s band started playing shows in the mid-2000s, he’d try to tag along to help with load ins and soundchecks. “Eventually, the time came where they were renting their own PA for shows but didn’t really have anyone to run it,” he recalls. 20 PROFESSIONAL SOUND “Somehow, I had a plan as to how sound- check would go. I had no clue how to hook it all up at the time, but when it came to messing with the mixing board, I seemed to have a really good understanding of how it worked.” With a quickly growing interest, Bondy began volunteering at his church, learning the basics of signal flow and live mixing from its TD, John Hunt. “When I realized how much I was in love with audio, I knew it was time to think about an educa- tion in the field,” he shares. That’s what led him to enroll at OIART, where he spent a year “nerding out” and add- ing to his knowledge bank. “We spent a lot of time just learning how to listen and how to use analog gear, restricted to 24 tracks, and under- stand signal flow before we were even allowed to touch things like plug-ins.” Armed with a solid grasp of the science of sound, Bondy jumped back into the live side of the industry and took some contracts working on a cruise ship, mixing show tunes and performing basic gear maintenance. “But I felt like that was a dead end and decided I needed to get back on land before the consistent paycheck got too comfortable,” he says. Ever since, he’s been freelancing as a FOH and monitor engineer, working regularly in the worlds of pop, hip-hop, and R&B, despite being a longtime metalhead whose favourite band of all time is the mighty Killswitch Engage. “I actuall 䁕)ɥѡȁ= Ȱ)$ЁѼѼѡȁ́͡а)ѡӊéɕ䁍t͡ɕ̸q%$ѽ͕(啅́ѡЁѡ́ݽձ$)ݽձٕٔȁٕиٕȻt)Qɭ́ɔ䁅Ȱѡ՝) 䁵х́ѡЁ́ٽɥєЁ)ѡ䁥́ѡ᥹͕qѥ)׊eɔ᥹ѽ́Ʌ)ѡѥЁٕ́ȁͽ)ѡ́ԁȁٕ́ԁ՜́݅́)՝ЃL䁅ѕȁ她Ѽ)ɽ́Ʌȁ)ɽչݡѡمɥȁ݅́ͼ)ɽt̸ͅq́ȁ= 䁡)ɕѕ́ѼЁѡȁ̸A͡)ȁɽЁ)ѡ͍ɕ́ݥt) ٕ͕䰁́ͅѡȁɑ)é́ɹݡӊéՅ䁥ȴ)хЁݡЁ́Ѽեɕхѥ)хѡݽɭ́)չɕѕ+qeԁ݅ѥѼЁՑ)ЁѡЀȁЁȁ)́ٔՑȁ́ѱѼ)ݥѠՅ䁵᥹t̸ͅq%ӊéɝ鄴)ѥӊéɥ٥Սӊéѡѥ́)ݥѠ́ѥϊ%Ё)ձЁѼɅȁɽչ)ͽѥ̰$͕Ёѡ)ɽѡɽͼ'eѼٔ)܁ѽ́ѡЁѕݡѼх)ݸЁ͕ѽѡȸ%ӊéЁЁ)ٕȁѡЁ쁥Ёٕ)ٕɅt) Ёéɹ܁Ѽ͕)ɽݥѠѡչ́ɕѥٕե)ܰͻeЁ݅ѥѥͥ)ɕͥٔЁɕ́ѕɥ)͕́ͭи%аeٔչ)ѼѠ́ѽȁݥѠH)хȁ5+qQЁѡЁ$ЁѼͽѡ$)䁥́ЁՍͥt̰ͅՑ)Ʌѕհq%ӊéЁ䰁ӊéЁո)̰Ё$ٔлt) 役ѡ5ѽȰ é͍)ձ́ЁȁѡɕЁܸq5)Ё́ՙ$eЁхЁаЁӊe)Ѽ՝tѡ͕̃Lѡӊe)ͅ她Ёͥɥ́ѥЁ)̸͡q$хЁ͡܁)ѥɕєٕ䁑$ٔ)ɔѡ̻t)ɕ܁-́ѡѽȵ )AɽͥMչ