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Show #4 | Miami, FL
Guest: Bobby Avila
Apr 05, 2016

Here are the job opportunities (or as we like to call them, Grind Opps) from this week's show.



Promotions Assistant

Industry: Recording

Location: Miami, FL


Entry level position to help with artist development, global promotion, PR, radio promotion and social media.




Audio Operator (A2)

Industry: Recording

Location: Miami, FL


Independent TV Network seeks A2 to monitor and run all mics, monitors, comms etc. for live shows.




Touring Sound Tech

Industry: Recording

Location: Phoenix, AZ


Full time working on touring shows across the country. Must home base in Phoenix.




Video Editor

Industry: Film

Location: New York, NY


Full time video editor for web documentary series. Experience with Premiere Pro and Photoshop.




Runner / PA

Industry: Film

Location: Santa Monica, CA


Full time entry level position in film post production facility.



DJ IZ: Wassup y’all welcome to Connected. Here to have my broski with me hanging. We’re coming to you live from Miami. For those of you just checking in, you can catch us here every Monday at 11 a.m. Pacific Standard time. I’m happy about this show because I’m actually getting to hang with my broski. And for those of you that know me my birthday just passed on March 15th, and being in the field that I am, and what we do sometimes you’re not always around the folks you love, and the people that you work with. I was in Atlanta rehearsing for this show that we just did last night, at the Jazz Festival here in Miami. So we’re here hanging. We’re finally catching up, man, and I’m just happy to have him here with me.

For those of you who are just tuning in, this is now episode four of Connected. You can follow us on our social media handles which is @izconnected Instagram, Twitter, and Facebook. So I know you guys…for those of you that have been watching, you guys are always excited to hear what job opportunities I’m presenting this week, and I can honestly say this week we got some really, really dope job ops that pertain to engineering, live recording, film editing, for news streaming services. So before I get into those, I just want to share briefly what me and my brother have been able to do through songwriting, producing, and also product designing, and creating products for those of you who are into headphones or into making music.

So a long time ago we started with a company called Beats, and me and my brother were actually very, very strategic in helping craft that particular product. You know, we talk about it all the time, companies always want to sit down and pick our brains. So, you know, it’s information we like to share, and it’s very much like this show Connected that we do, right? It’s all about sharing information and the knowledge to bring you guys up to speed and to really prep you. This show is really about prepping and preparing you guys for not only just job opportunities but just for your career path. That’s something we do. We always talk about how vital it is to have just the right information as to where you’re going, what you’re gonna do when you get there, and really how to keep a job.

I mean what would you say, Bob? How important is it to be prepared for your moment? I have cats that hit me up all the time, “Yo, Iz, man can you just…can you help man, can you…I know you got it, just give me some crumbs off the table.” But really, at the end of the day man, how important is it to really be prepared for those opportunities?

Bob: I think information is king, and you only are able to be equipped if you have the right information, and you’re prepared for the opportunity that comes at that time. I think just, the world of art and music or entertainment, there’s really no guideline or proper road map. I think there’s a lot of people who have a lot of passion in entertainment or in the world of art that open doors and create ways that allow someone to do what they love to do and make a living at it, make an impact, do something and create something that can be remembered for a lifetime. I think it’s never about waiting for the opportunity. The most important thing is to be prepared for the opportunity so that, you know, you’re either a problem or you’re a solution. And the key in any environment is to be the solution.

DJ IZ: Right, right. There you go, guys. That’s real words right there. So with that being said, we’re going to move on over to our top five grind ops, which pretty much lends itself to what he just got done describing which was you got to go out there and hunt. You got to go out there and present yourself in a way that can benefit you in the long run. So I always tell folks, man, get out your pens, get out your pads, and jot down all this crucial, vital information that I’m about to give you. Now you got to stay with me through the show because, at the end of the show, you’re going to see a link on the right side and that is the only way to apply for these jobs. Now keep in mind, through the show these are jobs that nobody has access to. And I’ve been telling you guys that since episode one for those of you that don’t believe me. Trust when I tell you, this world is very small so this even makes your world smaller. But you got more of a shot. So here we go. First grind op is, you wanna read this off, Bob?

Bob: Recording music label promotions assistant.

DJ IZ: Okay, and this is entry-level position, to help with the artists’ development, global promotion, PR, radio promotion, and social media. I know you can definitely speak on that, Bob, as to what you need to be equipped for in that role.

Bob: I think you always wanna be that person that can connect. And being an assistant in promotion, promotion means you’re promoting. And whether it’s a social media forum, whether it’s within the industry, whether it’s radio, marketing, branding, or advertising, whatever it may be, the idea is always to be a people person. Have that energy where people can always count on you. They know that you’re a person that can follow through. You’re very clear on business outlines, learn business outlines, how to come up with marketing plans because, ultimately, an assistant becomes an executive, a leader. So I think, be on your Ps and Qs in that world. Because whatever you want to do, the great thing about being an assistant in that field is you learn everything about music from the packaging aspect, from the creative aspect, from the artist, the A&R side as well as the radio aspect. So yeah that’s the thing. Prepare to be a leader because that’s really what they’re looking for you to do.

DJ IZ: Yup. So cool guys, so that is the first grind op and just so you can jot down some details for that job op, again it’s recording label artist management and publishing operation seeking promotions assistant to help with promotional development for their roster. This is perfect for someone looking for an entry-level position to eventually lead to music management and A&R opportunities. And I’ll tell you, guys, first off, man, these gigs don’t exist. So if you can get at that, and execute, that’s a great gig. So keep that in mind. Okay moving off to grind op number two.

Grind op number two, this is in the field of recording. This is audio operator, independent TV network seeks A2 to run all mics, monitors, comms, etc. for live shows. To me, that’s another one of those gigs where like I tell you guys in the previous episodes, you definitely want to have some sort of resume they can look back as to see how experienced you are because in that environment. like I said. you wanna be able to get in there, deliver and execute, and obviously know what you’re doing. So jot these crucial notes down for this particular job which is audio operator. This is responsible for mic’ing all talent for shows, distributes comms boxes, and monitors frequencies of mics and systems.

This is perfect for anyone from an audio background looking to become more involved with live events and the world of TV and film production. So what that tells me, it’s not just music but that’s also in TV film or production. So you’re mic’ing talent. You’re doing monitors, which we call front of house or staging, and it’s crucial because, in those environments, they’re so different, right, from venue to venue and mic’ing is crucial. For those of you who are already doing it, you know how much you guys hate feedback so those are just things to keep in mind. And obviously, you definitely want to be experienced for this gig. What do you think, Bob? I mean, it’s live events, TV and film production.

Bob: You know just based on just the show you had with Usher, there was an issue with the sub-woofer…

DJ IZ: The sound check, that’s right.

Bob: …feeding back into the wah pedal. So there was a line issue, an audio path issue, and it took them forever to figure that out. So you want to be that person that can answer all those questions, set up mics no problem. You tape the XLR cables so no one trips. All those details are very important.

DJ IZ: Bad direct boxes, right?

Bob: Horrible direct boxes. Always check everything before you set it up so make sure that you’re experienced. And the other thing too is I always say your information is key. So make sure you’re digging into hat nice box of history with all these engineers that have done it in the past. [inaudible 00:09:53] and your Al Schmitts and Ed Cherneys. Make sure you got…you have the right template for what you’re doing on that side.

DJ IZ: Yeah, and also know this too. The first important note of this is responsible for mic’ing all talent, which tells me you’re going to be dealing with talent directly. So in those environments, always great to have a great personality. Be cool, listen to their ideas, listen to the information, because you know a lot of these artists they have a particular way they like their music to be heard. And they have a particular way they like their voice to sound. So it’s all about being friendly. It’s all about knowing how to just be cool, and you’ll do all right. So you’ll definitely want to make sure you prepare for that type of job opportunity.

All right y’all, moving on to grind op number three. This is in the field of touring sound tech, also recording. Full-time position, work on tourings, shows across the country. Position is home-based in Phoenix. Now that’s dope. You know, a lot of folks always ask me “Are these job ops just out of Cali?” being that that’s where we’re from. No, these are job ops that are from everywhere. Across from New York, Chicago, Atlanta. We’re here in Miami. We got a couple Miami job ops here, so take these notes down. This is for touring sound tech. This is in Phoenix, Arizona, but with weekly travel. So you’ve got to make sure you’re mobile. This says sound tech is responsible for loading and set-up of events, operation of sound equipment during shows, and breakdown and load outs with over 90 touring events a year, 90 touring events a year, y’all. A hundred percent travel is required. Usually traveling three to five days a week. Must be able to travel weekly from Phoenix, Arizona.

So for those of you that remember when I had a good friend of mine, Ryan Cecil, on a couple weeks ago who does Eminem and Dr. Dre., this pretty much describes exactly what he did…what he does, every day with us and Usher. So you’re talking about load in and load outs. Load in is you’re there…For instance, our show we just did in Miami, Ryan was there prior to the show at 3 a.m. in the morning doing load in, which means he’s setting up his gear. Load out is night of the event, we’re done, time to wrap, he’s now breaking down his gear. So that’s pretty tough because especially when you get into a touring environment like this job is mentioning, that’s every day, every night. So that’s something to consider and keep in mind.

And you are responsible for your load in and set up of events. Depending on…for those of you entertaining this job, a lot of these guys do have assistants. I’m sure you guys aren’t quite there yet, so you’ll be doing everything yourselves. And you’ll be operating sound equipment during the shows. So know your gear. That’s another thing we talk about, Bob, like for these cats, how important is it to know your gear and your equipment that you use? When to like, not overprocess stuff, because you know we get guys in here that just, they put verb [SP] on everything. They over compress, and it sounds horrible. So how important is it to know your gear that you’re working with?

Bob: I think it’s really important. I think the time that we’re living in right now, recording and live sound was done very differently in the past but really what’s happening today is based on those same principles. Knowing your signal path and your audio path. Learning about a pole technique UP-1A, a Neve 1073, your dbx 165, your amps and your wattage, and all of those things are very important. A quarter-inch cable. I think just the most important thing to me just because this is my first time experiencing this platform, in this kind of fashion, is that the opportunity here for all of you guys is amazing. To have this all in one environment is insane.

So whatever it is you are doing or wanna do, wanna become, wanna be, if you’re a tech, if you’re an engineer, if you’re a vocalist, if you’re a musician, if you want to be functional on the executive side, just always understand that you have to always be open-minded and know your craft before you can get any job. Before you can get into a place of comfort and feel like “I’ve arrived,” there’s so much work that has to go into it before you can expect for anything to happen. And I think whether like I said, a sound tech, anything that you want to do in life, you have to put in the time. You have to invest and know your craft. Learn your craft so that when you get into these opportunities and are exposed to these kind of platforms that you’re actually looking to seek out, you’re really prepared. And that’s my biggest thing. Know what you’re doing.

DJ IZ: Know what you’re doing at all times because, a lot of times in this environment, you only get one shot. And that one shot is either going to be the information people offer other people who are looking to hire a guy like you and it’s either going to be good or it’s going to be bad, so keep that in mind.

Bob: One shot. You either get one shot, or you get shot.

DJ IZ: All right. Fellas, folks, moving on to the next grind op. This is grind op four, this is in the field of film. Video editor, full-time video editor for web documentary series. Experience with Premiere Pro and Photoshop and this is based out of New York, New York. We’ve worked with a couple of really dope editors. You know, those kind of things everybody has their own style. A good friend of mine, Jordan Wright, who I mentioned last week, did a lot of that type of work for us with Usher, was always on the go, always editing, always had his computer, always had to do software updates. So those are things you want to keep in mind in this environment. Take down these notes. These are actual notes for this particular job, which is video editor. This says, “Must be confident enough to create rough and final editing for documentary series with the ability to cut and present ideas with little direction.”

So that tells me you got to have a bit of creativity on your own. Must have a passion for documentary film-making. And that’s dope because that’s actually…me and my brother Bob, we love documentaries. Like, that’s our thing. We love documentaries. Perfect for someone looking to start and make a career in editing, specifically within documentary film-making. What would’ve been some of your experiences with working like, who was a cat we worked with out at Atlanta? What was his name?

Bob: Damien Marco [SP].

DJ IZ: Damien, who had a really dope…the way he would color his film and it was just really dope.

Bob: I think the thing with documentaries is documentaries lend itself to allowing somebody to experience the story, the life of someone or the life of something in an intimate way. It’s like almost a VIP backstage pass. So that world is very, very up-close and personal. Documentaries, I mean…what’s the…Rodriguez?

DJ IZ: Oh, Looking for Sugar Man. Searching for Sugar Man.

Bob: Yeah. Documentaries like that, obviously The Black Fish, Cartel Land, they just have this raw, unique, polished presentation that just lets you get so close into the story versus a movie. You know a movie, it’s very theme-oriented, very script-driven. Documentaries are just about a story. Yeah, we love documentaries. We could go on and on about that.

DJ IZ: On and on. And for the most part, I think, too, everybody has their own unique film editing style. And I really think it’s just about being creative and having the style, capturing what you like to capture, splicing what you like to splice, and it’s all timing. Whether you’re doing…even music videos, it’s all about timing and angles and just being creative. So that’s something we always stress is just creativity. And this particular job op definitely requires creativity so that’s great for those who love to create. Last but not least, our final grind op of the day, I’mma let my brother broski read it off.

Bob: Okay. We’re in the world of film. Runner, PA. Full-time entry-level position in film post-production facility in Santa Monica, California.

DJ IZ: So that’s like right in our back yard, and I actually have a couple friends who are from California who are definitely into this world of film and who are always hitting me up about opportunities. So I hope you guys are watching so you can take down these notes because this is actually what you love to do. So take down these notes. This is perfect for any film student, graduate looking to get their start working for a production facility. So will help with archiving, FOH, and client services. General upkeep, running errands. Well, let me break it down. So running errands is the runner aspect of this job, right? Running errands could be fetching food, and I have to say fetching because I want you to understand the mind state of what running is.

You’re starting from the bottom. And we all know, this generation these days, they don’t like to start from the bottom. So running errands means you’ve got to be very personality-driven. You’ve got to be social. You got to make these people feel like you love doing what you’re doing. Whether you’re getting burgers, coffee, setting the tone for the room, those are real big key factors in this type of environment. Help archiving, so you obviously gotta be structured. You got to be organized because that’s what that definitely requires. Says it’s looking for film students and graduates. So you got to have some type of experience under your belt as far as school and information that you’ve been able to attain along the way. You can’t…it doesn’t look like you can just jump into this without having some type of background. So that’s very important for you guys. And you’ll be working at a production facility. So that’s cool. Sounds like a job that can actually be a job that lasts a little longer than a couple weeks. What do you think, Bob?

Bob: I think this is probably the most important job to me. A runner, for myself, is everything when I’m working in a creative environment. I can tell you a story. We had a guy who was our runner, and he actually was an incredible tech, but I wouldn’t have known that had he not been a better runner. And you know, you’ll find that being a great leader is actually being a better servant. And I ended up taking him with us. He fixed a problem with a 4B3 cable that didn’t work in the studio and that’s how I was actually exposed to what he really did. And you’ll find that in these kind of environments, the people that reside in that facility, in that building if you can be that guy that can get them their food on time, extra mustard, extra ketchup…

DJ IZ: And do it with a smile.

Bob: …and just be that person that they can depend on, you’ll find that when they leave different environments or work elsewhere, they take you with them, which then creates more opportunity and opens up more doors for you. So to me, that’s the best opportunity, starting right here from the bottom and working your way up. And you’ll appreciate it a whole lot more. That, to me, is be a better runner than you are a talented creator or engineer because you’ll see in the long run, it’s going to do you so much more justice in the long run.

DJ IZ: Cool. Well, there you go, guys. That is our top five grind ops for this week. So we’re going to move it a little forward I know we’re running a little over time, which is my favorite part of the show which is taking you guys’ questions. So I’m going to answer just a couple questions, but I think that the most crucial part of this particular show was making sure you jotted down those notes. And keep in mind, the only way you can apply for these jobs, if you look to the right side of your screen, you’re going to see a link where you can apply. So make sure you put all the correct information so you’ll have access to these job opportunities. And most importantly, just be prepared. So we’re going to get to some Q and A now. Last week, Bob, I had a question that came in that was like, “Yo dude, do y’all still make music? [inaudible 00:23:17]” And I was like, “Oh, of course, we still make music. That’s our first, first love.” So we are definitely still making music.

Let’s read a couple of these questions. Let’s see here. If you see one you like, bro, go for it. I just got [inaudible 00:23:37]. We got cats promoting on here now. Let’s see here. Bear with me guys. I’m scrolling through some of these questions. Okay. This is from D’quan Anthony. Doesn’t say where he’s based out of, but his question is: “What is the best way to get into the music industry if you don’t go to school?”

Bob: Man, I mean, do your due diligence, and it’s very simple. Information is global and access is instant. I think more than anything is the terms and learning the structure, radio, broadcasting, music publishing, music songwriting. And you find yourself learning about environments like ASCAP and BMI and different institutions that house music. And find out who…what label Taylor Swift is signed to, what label Jay-Z signed to, what label Usher signed to. It takes you on a path of discovery, and I think that’s the one thing that we lack in today’s world in music is just the discovery aspect so that’s the best way. You’ll find that music will make room for you and make a way for you. Everybody has stories. We have ours too. Music will help guide you.

DJ IZ: Dope, dope. There you go, man. Answered that one for you. Quick shout-out to my man Roosevelt who recently graduated from The Recording Connection. By the way, shout-out to The Recording Connection who is making this entire platform of Connected possible to come to y’all and offer these opportunities, and I’m so happy and blessed to be a part of it, so happy and blessed to have my brother here on the show for episode four. So shout-out to Roosevelt, man. You did your thing. We’re proud of you. Let’s see. “How important are connections versus experience?” Well, I think they work hand-in-hand, I mean, what good is a connection if you get connected and then you don’t have no experience and you underperform? So those are crucial.

It really does come down to connections for the most part in the film and music, film broadcasting. You know, unfortunately, a lot of times it’s not what you know, it’s who you know. But overall, you still got to know what you’re doing. So your connections are just as valuable as your know-how. So you definitely want to keep that in mind. Let’s see. We’ll take one more question from you all. Let’s see if we can find a real good one here. Let’s see, I know someone’s out there got a great question for us before we close out. Jade. All right. Here we go, Jade. This is the last question of the day. For you, Jade. “How do I book bands in places that they are not from and how do I promote those shows?”

Bob: “How do I book bands in places that they are not from and how do I promote those shows?” What you have to do is create an incredible experience. Bottom line, that’s how you do it. It doesn’t…the bands don’t have to be necessarily from your region. They can be anywhere.

DJ IZ: You can find them on Facebook, YouTube, a lot of these bands definitely have their information as far as hometown attached to whatever they’re doing. That’s a great way to reach out to bands. As far as promoting for those shows, I think it starts with finding the area you plan on doing an event in and locking down that particular venue. Link up with some key promoters in that particular environment or community and see who’s got the best deliverables. See who’s got the best experience in booking local gigs in that area and who has the numbers as far as people attending those events.

Bob: Yeah, and Jade, look up a man by the name of Bill Graham. I’m not even going to say what he’s done, but he’s basically one of the most legitimate, legendary promoters in the world. Bill Graham.

DJ IZ: Dope. Okay, I saw a great, great question here. I’m going to sneak this one in and then I’m closing out, folks. So here it is. “Hey Iz, my goal is to be an artist on stage, creating my own electronic music. Would it be in my best interests to purchase item towards creating my music, or should I invest in a DJ controller? I’m trying to figure out what would be the best option to getting things rolling. I’m in Sacramento, California.” Okay, let me break this question down, it’s a lot in there. “My goal is to be an artist on stage creating my own music.” Okay, cool. So obviously, before you get to that stage of being on stage, you have to create music.

How are you going to create this music? Well, obviously, you’re going to have to have gear that allows you to do that. If you’re a DJ, you can definitely do a DJ controller. A lot of these controllers allow you to record your own mix. As far as creating your own music, the only controller I can think of in this particular realm would be Ableton that allows you to create your music. So my advice to you if you wanna be on stage and be an artist, obviously, you’re going to have to create your music. So you definitely want to get out there and get you some gear that allows you to do that if you don’t have it already. My advice would be Ableton if you’re going to create from a DJ aspect. Okay?

Last part of that question was, I’m trying to figure out what would be the best option to getting things rolling. Well, the best option is to…you have to get in there and create music. I think without the music, there’s nothing to talk about. There’s nothing to see, there’s nothing to perform. So my advice to you, best way to get things rolling? Get you some gear that allows you to create music. Get that music circulating, and you’ll find yourself on a platform and a stage somewhere, all right?

Man, shout-out to the Connection once again for making this happen. This is a great show, like I said again I’m happy because [inaudible 00:30:07] birthday working. So I’m here in Miami. We had a great show. We had a great time last night. Shout-out to our boy Usher. If you know anything about the Avila Brothers, we actually have had a lot to do with the legacy of [inaudible 00:30:22] and been so blessed to have been a part of such great albums like Confessions, Raymond vs. Raymond, and a whole bunch of other stuff. And we’re very fortunate. And, yes, we are still making music.

Bob: Absolutely.

DJ IZ: Every day, all day. I’m not even going to have Bob get into the spill of his album, but that’s very much in the works, and we’re almost done with that. We’ll be doing another Avila Brothers Mood Soundsational Part Two album so keep your eye out for that. I had to sneak that in there. So again, folks, thank you again for joining us here on my show. IZ Connected. Keep in mind, it’s something we do every Monday at 11 a.m. Pacific Standard time. All right? So catch us here next week. We’ll be at episode five. Much love to you guys. Man, keep the passion first, and everything else will come. Shout-out Recording Connection. Peace.

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