Hi, I'm Dan. I'm the Infrastructure and Technical Specialist, and I've been here just over a year now.
My favorite part of working at LMG is probably how different it is every day.
There's always like 600 different things I should be doing, and there's about 18 hours of work that needs to be completed every single day, so lots of varied tasks.
I think one of the worst parts about working at LMG is that there's like 18 hours of work to do every day, and all the tasks are very varied.
But more seriously, I think there's maybe some communication problems, and it's very difficult to get a sense of direction of what kind of the overarching goal is.
Otherwise, you know, we're well supported, and the work is fun and interesting.
Working with Lognos is kind of difficult sometimes. We yell at each other a lot. He tells me he wants some piece of gear, and I tell him he's an idiot.
And then he continually ribs me about that for weeks, so we have some, like, I guess, good-hearted headbunning.
Otherwise, it's totally fine. He's very passionate. I would probably say Lognos is quite passionate. He's not always right, which is fun.
Obviously, he trusts his staff. He's funny. He's been making a ridiculous quantity of dad jokes lately.
He's a good talent, and I'll tell you that.
What our product is, is it's kind of, it's a place to hang advertisements, and our product is LMG and the audience.
And then we sell that to advertisers. That's kind of my interpretation of it.
I also think people misunderstand how incredibly difficult keeping the production schedule is.
Adam, you can correct me if I'm wrong, but I think we produce, like, 18 to 20 pieces of content a week,
as well as, like, a whole bunch of shorts and other things like that, and we only have 40 hours to do that, and it's just go, go, go all the time.
So a lot of our staff and methodologies and procedures are kind of built for speed, rather than anything else.
The way that our procedures and structure work, there's a lot of problems that I see with the level of effort that it takes to produce a piece of content.
And in the pre-production side of things, I see a lot of bloat that kind of creates this level of overhead that makes making content more difficult than it needs to be.
There's some processes there that I think can be streamlined to kind of reduce the amount of burden on the entire production team to make content more effortlessly.
And if we can make more content, if we can make more content, then there's less stress and a higher throughput, and we can spend more time making good quality content rather than just churning it out.
I think I ended up here because the ceiling for the music industry is not very high.
You know, there's not too many studios here in Vancouver, and I was at one of them, and there's like, I don't know, six to ten of us as a professional in the entire province.
And you know, where do you go? You move to LA, you start your own studio, you do just pure freelance stuff.
It's also kind of burnt out on, like, just music in general.
I don't think a lot of people understand about the music industry, and especially kind of the live music side of things as well, which is kind of where we were making our bread and butter.
It's just all cover bands. Cover bands are like the only kind of band that will consistently make money.
Everybody wants to go and see their, like, their favorite acts, but you can't go and see Led Zeppelin or Adele in an intimate setting because the tickets cost $10,000.
So you spend $50 and you go watch an impersonator, you know, that sort of thing.
And the other issue is with the proliferation of really, really cheap, high quality audio interfaces.
The big studio sound doesn't really necessarily need to get used as much.
Our room fee and things like that were in the hundreds of dollars an hour.
And so the type of person that would come in and spend the 70 hours a week that it costs to record a 10 to 12 song album, they're just not there anymore.
Because you have to do that whole album in 70 hours instead of spending as long as you want working on it in your bedroom,
getting each note and performance as perfect as it can be.
I mean, there's still a place for that level of skill, but it's just kind of like a dying art.
So moving into broadcast, I have a logistics degree as a background as well.
So I thought, you know, it'd be fun to kind of manage a logistics team.
The job posting didn't explain what the logistics department seems to actually be.
And I ended up getting hired more as like a hummingbird type thing because studio, small team kind of have to do everything.
And that's kind of what I've ended up doing here. I think some of the differences between Linus on camera and off camera probably has to do with the amount of energy that he has.
I think a lot of people when they get on camera instead of necessarily playing persona, it's just like them plus plus.
You know, just a little bit of a little bit of spice on top.
Linus is kind of of the caliber of talent that I've seen where they have the ability to turn on.
So, you know, he'll come to the WAN Show after shooting for eight hours or longer because it starts so late.
So if you do like a 10 hour day and he'll come to the WAN Show and he'll be so tired and like downtrodden and exhausted.
And as soon as we hit go, he just is up and excited and loud and boisterous for like four hours straight or longer, right?
And that kind of turning switch point is the difference between on camera Linus and off camera Linus.
There's the, I'm a person, I'm at work and I'm tired and I would really rather be playing badminton Linus.
And I'm acting professionally and I'm on stage performing and I'm happy and my feet don't hurt.
And I want to be here and I'm interested in this, right?
So it's kind of he's happy on camera and a normal person when he's not on camera.
I guess one of the weird things that happened to me was I was asked to buy a cantaloupe.
That normally doesn't happen at jobs because we needed an analog for someone's ass.