This *NSYNC’er-turned solo artist is currently touring the U.S. with a full band after a stint in Europe. Mix caught up with monitor engineer Kevin Glendinning, who is manning a Digidesign VENUE board (part of a two-console setup at monitor world; the other board is manned by Scotty Reikowsky) from Showco.
Do you have a specific mixing style?
We try to keep that rig as simple as possible. My monitor desk is right on the outside upstage lip of our in-the-round stage. I can gather what he’s getting up there off the room, low-end response from Andy [Meyer, FOH] and his feeling about the mix from his facial expressions. For the first time, I am mixing him post-fader and off of the L/R stereo bus — “FOH style.” Using the master bus results in better stereo imagery to the [Sennheiser G2] ears this way. There are also the backline mixes, both keyboard players and the dancers’ mixes on the A console. Everyone in the crew and band all know that my focus is directed to Justin the entire show and if a change or problem occurs we chat after the show or at soundcheck the next day, [a] true sign of [the] real pros we work for.
Read more about the complicated staging and production of Justin Timberlake’s tour at
livedesignonline.com.
Monitor engineer Kevin Glendinning
Is everyone onstage using in-ears?
Everyone gets a stereo ear mix. We’re using Sennheiser G2s, still the best out there as far as audio quality and RF availability are concerned. The band mixes are pretty conventional; Justin’s, however, keeps me busy. Lots of things up and down, on and off throughout the two one-hour sets. The ear system is augmented with a wedge for our percussionist and both keyboard players; the MD, Kevin Antunes, being a stereo pair.
Your thoughts on the tour as a whole?
This animal is just getting started but the production staff out here is really doing an amazing job. I think we are up to 22 semis in North American arenas and the caliber of staff we have out here is really exceptional.
