Since the end of the 1980s, a singular « Art World » has been developed in Montreal. It has been articulated around the interpretation of the old music (From the Renaissance era until the beginning of the Romantism era) on period instruments. Over the years, the city has become an important center for this musical style in North America. This paper aims to explore two aspects related to the career of the artists who belong to this world. It questions a two-fold precarity problem: one that intrinsically pertains to artistic careers, and one that is compelled by specialization. Does the latter limit employment opportunities? We examine the strategies that have been created in order to counter this precarity and its consequences on these artists’ professional and family temporalities.