1 What does Martin say helped him to begin earning money?
A the course he did
B some of the bands he played in
C some people he met
2 Martin first gets involved in a project
A as soon as the band is booked.
B when he visits the venue.
C while the band is rehearsing.
3 What does Martin often find during a show?
A There are problems with the equipment.
B Very little goes wrong for him.
C The performers don't communicate with him.
4 What change in equipment has Martin appreciated the most over the years?
A It is more portable.
B The sound quality is better.
C It is less expensive.
5 According to Martin, what is the most important quality in a sound engineer?
A some musical ability
B good communication skills
C practical technical knowledge
6 What does Martin find most difficult about his job?
A working in difficult environments
B being away for periods of time
C waiting for things to happen
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Audioscript
Presenter: And how did you get into the business?
Martin: I went to university to study sound recording. While I was there I played in several bands but I wasn’t really serious about it. I also worked behind the scenes at lots of student gigs and shows, though, mixing the sound. While I was doing that I got to know quite a few professional sound engineers and a couple of them offered me paid work. That was ten years ago. My course was fantastic, of course, but it wasn’t enough to get me started.
Presenter: So when does a project actually begin for you?
Martin: Some people think we just turn up on the day. For a big event I might be there for a few days. For a smaller one I get there early before the band starts rehearsing. But it all begins before that when the booking is made with the band or their agent. I get a call and I start sorting things out straight away.
I also always visit the place where it’s all going to happen a few days before the actual show.
Presenter: So what’s it like during a show?
Martin: Well, if I’ve done all my preparation properly, normally there really isn’t much for me to do at all and that’s how it should be. I talk to the band and make sure they’re happy with everything before the show– it’s hard to do so while they’re playing. And I refuse to work with equipment that I think might break down.
Presenter: You must notice a great difference in the equipment from when you first started?
Martin: Definitely. You can’t compare the sound you get now. And we can all afford fantastic equipment as it’s so much cheaper, but that doesn’t particularly benefit me as I usually use the band’s equipment or what’s available at a venue. For me, the fact that everything is getting smaller all the time – I can carry a whole day’s recording in my pocket – that’s helped me enormously.
Presenter: So if someone wants a job like yours, what should they do?
Martin: Get lots of experience, make contacts and ideally do a course. You can pick up some of the technical stuff by volunteering. But I’m always telling people who want to be a sound engineer and they never listen – they just don’t realise that what’s crucial is being able to get on with people and get them to understand what you need them to do. If you can’t do that, then you won’t get the jobs. An interest in music means it is more enjoyable, of course, and most of us have been in bands but we weren’t necessarily much good at it!
Presenter: And are there any disadvantages?
Martin: I’m willing to work anywhere. I’ve worked in the mountains in freezing temperatures, in the desert, in hot tiny theatres – but that variety appeals to me. I’m not a very patient person and I spend a lot of time hanging around between setting things up and the show actually happening – I don’t enjoy that. And some people hate being on the move all the time but I don’t mind living out of a suitcase.
Presenter: Thank you, Martin, for talking to us.
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