To describe monitor engineer Kevin Glendinning’s CV as simply ‘impressive’ is understating things rather. Justin Timberlake, Gwen Stefani, Lenny Kravitz and the Red Hot Chili Peppers all feature on his resumé – some of the best-loved performers in the world, and sticklers for the perfect live sound. Kevin has been at the top of his game for a decade and when Audio-Technica catches up with the LA-based soundman he’s looking after the on-stage needs of r’n’b sensation Alicia Keys at London’s O2 Arena. It’s just another working day, but one that places the highest demands on crew and the gear in which they trust. 



A long-time Audio-Technica devotee, Kevin uses a quartet of wireless Artist Elite AEW-T4100 microphones (in conjunction with 5000 Series receivers) for Alicia and her three backing singers and, as he explains, there’s good reason for doing so… 



“Alicia is a phenomenal singer,” he begins, “and the power she has is quite incredible. So it’s really important that we use microphones that not only deliver beautiful tone, but that can also cope with the volume that she puts out. I’ve used the AEW-T4100 mics for a long time and they’ve proven themselves over and over as being incredibly durable as well as awesome-sounding, so they’re the perfect choice for her. I’ve trialled other microphones, from big manufacturers, where you can hear the capsule struggling in the face of high SPLs, but these Audio-Technicas never do that.” 



The AEW-T4100’s gig-after-gig reliability is something that a couple of Kevin’s previous employers have pushed to the extreme, as he delights in explaining. “Gwen Stefani is a crazy, physical performer,” he laughs, “she’ll stick a mic in her waistband and climb the lighting rig; I’ve heard from my long-time colleague and close friend Jerry Harvey that Chester Bennington (Linkin Park frontman) has been known to crush capsules – from other manufacturers you understand – on stage in the past. And with the Timberlake gig there’s all the high energy, sweaty dance routines that the gear has to cope with. The AEW-T4100s just shrug off that kind of use and abuse. I just don’t have to worry about them on a tour, I can completely rely on them to do their job. And that’s absolutely essential when you’re on the road for months at a time.” 



Kevin’s relationship with Audio-Technica extends back to 2000, so he’s had plenty of time to explore the capabilities of the microphones he uses day-to-day on the world’s biggest stages. And his introduction to stadium-sized gigs with AT was with the biggest metal band of all time… 



“I was a tech with Metallica ten years ago,” he explains, “and pretty much the whole stage was Audio-Technica. I was immediately impressed with the tone of the microphones and I’ve used them ever since. As a monitor engineer, I’m responsible for the only thing the artist has to gauge their gig by – the on-stage sound that they get through their in-ear or wedge monitors – so it’s always a collaboration between myself and the front of house guy when it comes to specifying gear for a tour. And I’m pleased to say I’ve always been able to simply show them the T4100s and let the mics convince the band and FOH guy that they’re the best for the job. Everybody loves them.” 



While he’s now in the trusted position of working with some of the biggest artists in the world, Kevin’s career in the pro-audio industry grew from humble beginnings. And it’s for this reason that he appreciates the kind of support that he receives from the Audio-Technica family. 



“I was a drummer in a local band back in the day,” he says, “and we gradually built a decent PA system for gigs, which I ended up responsible for. I was the guy who used to have to fix it and learn how the system worked. Eventually someone suggested that we rent the rig out and things kind of grew from there – I was a PA guy, not so much a drummer. I’ve had a fantastic career so far, and it’s made all the more enjoyable knowing firstly that the equipment I choose works brilliantly and secondly that the back-up I can rely on from Audio-Technica is consistent around the world. I’ve never had a microphone break on me, but if we’re suddenly called for a gig and the gear is on the road somewhere, the company always steps into the breach and gets me what I need. That’s absolutely invaluable, and something I value very highly.”