STOW, OH, July 16, 2010 â€” Audio-Technica, a leading innovator in transducer technology for over 45 years, is proud to be the choice of monitor engineer Kevin Glendinning, who recently wrapped a high-profile gig for R&B sensation Alicia Keys at Londonâ€™s O2 Arena. Glendinning, who has also worked with longtime Audio-Technica users Justin Timberlake, Gwen Stefani and Linkin Park, selected a quartet of wireless Audio-Technica Artist EliteÂ® AEW-T4100 microphones (in conjunction with 5000 Series receivers) for Ms. Keys and her three backing singers.
â€œAlicia is a phenomenal singer,â€? Glendinning begins, â€œand the power she has is quite incredible. So itâ€™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. Iâ€™ve used the AEW-T4100 mics for a long time and theyâ€™ve proven themselves over and over
as being incredibly durable as well as awesome-sounding, so theyâ€™re the perfect choice for her. Iâ€™ve trialed 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.â€?
The AEW-T4100â€™s gig-after-gig reliability is something that a couple of Glendinningâ€™s previous employers have pushed to the extreme, as he delights in explaining. â€œGwen Stefani is a crazy, physical performer,â€? he laughs. â€œSheâ€™ll stick a mic in her waistband and climb the lighting rig. And with the Timberlake gig thereâ€™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 donâ€™t have to worry about them on a tour; I can completely rely on them to do their job. And thatâ€™s absolutely essential when youâ€™re on the road for months at a time.â€?
Glendinningâ€™s relationship with Audio-Technica extends back to 2000, so heâ€™s had plenty of time to explore the capabilities of the microphones he uses day-to-day on the worldâ€™s biggest stages. And his introduction to stadium-sized gigs with A-T was with metalâ€™s biggest act. â€œI was a tech with Metallica ten years ago,â€? he explains, â€œand pretty much the whole stage was Audio-Technica. I was immediately impressed with the tone of the microphones, and Iâ€™ve used them ever since. As a monitor engineer, Iâ€™m responsible for the only thing the artist has to gauge their gig by â€“ the on-stage sound that they get through their in-ear or wedge monitors â€“ so itâ€™s always a collaboration between myself and the front-of-house guy when it comes to specifying gear for a tour. And Iâ€™m pleased to say Iâ€™ve always been able to simply show them the T4100s and let the mics convince the band and FOH guy that theyâ€™re the best for the job. Everybody loves them.â€?
While heâ€™s now in the trusted position of working with some of the biggest artists in the world, Glendinningâ€™s career in the pro-audio industry grew from humble beginnings. And itâ€™s for this reason that he appreciates the kind of support that he receives from Audio-Technica. â€œI was a drummer in a local band back in the day,â€? he says, â€œand we gradually built a decent P.A. 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 â€“ I was a P.A. guy, not so much a drummer. Iâ€™ve had a fantastic career so far, and itâ€™s made all the more enjoyable knowing firstly that the equipment I choose works brilliantly, and secondly that the support I can rely on from Audio-Technica is consistent around the world. Iâ€™ve never had a microphone break on me, but if weâ€™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. Thatâ€™s absolutely invaluable, and something I value very highly.â€?
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