Monitoring the Artists' Monitors: IEM Wisdom from Kevin Glendinning
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In this episode of Gig Gab, host Dave Hamilton sits down with Kevin Glendinning, one of the most respected in-ear monitor engineers in the industry, known for his work with legends like Alicia Keys, Maroon 5, Paul Simon, and Lorde. Kevin shares his remarkable journey from a high school kid cold-emailing a sound company in Des Plaines, Illinois, to becoming a global touring engineer. He recounts how a single email to DB Sound led to a career-defining opportunity, emphasizing the importance of persistence, humility, and learning through hands-on experience. The conversation dives deep into the nuances of in-ear monitoring, including the psychological and technical challenges of transitioning guitarists from wedges to ears, the critical role of time alignment in mic placement, and the importance of understanding an artist’s personal preferences and listening habits. Kevin also discusses the evolving role of the monitor engineer as both a technical expert and a psychological navigator, managing everything from real-time cue systems to emotional dynamics on tour. He stresses that success lies not in perfection, but in adaptability, empathy, and continuous learning—lessons he attributes to mentors like Paul Owen and John Roden. The episode also touches on the broader ecosystem of live sound, from the rise of IEM manufacturers to the future of remote mixing, and highlights Kevin’s advocacy for personal calibration of ear monitors and the value of audiograms for long-term hearing health. He offers practical advice for newcomers: learn your gear, understand your artist’s ears, and never underestimate the power of a simple, well-executed mix. The episode closes with a heartfelt reminder to always be performing—both on stage and in life. Kevin’s story is a masterclass in turning curiosity into career, and his insights are invaluable for any working musician or audio professional navigating the modern live sound landscape.
Cold-emailing a dream company can lead to life-changing opportunities—Kevin landed his first job at DB Sound with a single email.
The most important tool for a monitor engineer isn’t the console—it’s the ability to read people, anticipate needs, and build trust.
Guitarists struggle with in-ears not because of the tech, but because of psychoacoustic expectations—help them by emulating the sound they’re used to.
Time alignment of mics is critical in ears—delayed vocal mics can smear the mix and make it feel unnatural.
Tune your IEMs before the gig—learn their sound signature and adjust your output EQ to match your ears, not fight them.
…and 2 more takeaways available in PodZeus
The Cold Email That Changed Everything
“I emailed Harry just saying, hi, my name is Kevin. I'm interested in audio... And the email gets sent, and Dave, I kid you not, the reply back was so fast. I figured the fellow was on vacation. It was an out-of-office reply.”
From Sweeping Floors to Stage Left
Kevin describes his early days at DB Sound—sweeping floors, packing trucks, and learning from legends like Paul Owen and John Roden. He emphasizes that real-world experience, not school, taught him the true craft of monitor engineering.
Why Monitors Became His Calling
Kevin explains his shift from front-of-house to monitors, drawn by the intimacy and immediacy of working directly with the band. He highlights the unique responsibility of being the first to detect issues on stage.
The Talkback Culture: More Than Just Communication
“I tend to remind the clients, the crew, that we are recording every channel. For better or worse, right? So we'll leave it at that.”
Helping Guitarists Adapt to In-Ears
“The minute you are just dead honest, flat out, hey, here's the deal. We're going to come really, really close to emulating, reinforcing that sound that you're used to behind you.”
“When you get a new set, don't just plug them in and go to the gig. Plug them in, spend some time with them and learn the EQ. And then like, just like Kevin, just like you said, tune your output EQ to make a song that, you know, sound right.”
“Always be performing.”
“The minute you are just dead honest, flat out, hey, here's the deal. We're going to come really, really close to emulating, reinforcing that sound that you're used to behind you.”
Host
Guest
Kevin Glendinning
person
Dave Hamilton
person
DB Sound
organization
Lorde
person
Harry Witts
person
JH Audio
organization
Paul Owen
person
Sensophonics
organization
John Roden
person
Alicia Keys
person
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