{"id":496,"date":"2016-03-03T14:45:39","date_gmt":"2016-03-03T22:45:39","guid":{"rendered":"http:\/\/www.harmanpro.com\/insights\/?p=496"},"modified":"2016-03-25T07:50:22","modified_gmt":"2016-03-25T14:50:22","slug":"the-emotions-of-live-sound-an-interview-with-pooch-van-druten-part-1-of-2","status":"publish","type":"post","link":"https:\/\/pro.harman.com\/insights\/harman-pro\/the-emotions-of-live-sound-an-interview-with-pooch-van-druten-part-1-of-2\/","title":{"rendered":"The Emotions of Live Sound: An Interview with Pooch Van Druten (Part 1 of 2)"},"content":{"rendered":"

I recently had the great pleasure to speak with Ken \u201cPooch\u201d Van Druten, live sound engineer for Linkin Park. As a sound guy myself, I was excited to have the opportunity to talk with Pooch about some of his experiences. In the first of what will be a two-part blog set, I am sharing Pooch\u2019s thoughts on why he loves live sound. Pooch has done both recording and live sound in his career, and he shared with me some of his thoughts on how they differ, and the opportunity he has to evoke emotions with live sound.<\/p>\n

\"\"[SKD]: You\u2019ve had the opportunity to run live sound for some of the biggest acts in the world. What\u2019s that like? And how do you help the audience engage in the experience and really evoke emotions in people?<\/strong><\/p>\n

[POOCH]: There is no other feeling in the world like being part of an event where 50,000 people are screaming for something you are doing and reacting to something you do. It\u2019s the reason that I\u2019m a live sound guy. I started as a recording engineer and worked in the record industry in the late 80s and early 90s, and then found live sound. And the reason I love live sound is the dynamics that we can do.<\/p>\n

There is a great thing that you can do with dynamics as a live sound engineer. One of my favorite things to do with Linkin Park, for instance, is to draw the audience in to a really low volume level, like 90 dBa weighted<\/a>, and then immediately hit them with an impact of a chorus or an 808 kick drum that hits them at 102 dBa. You can watch the entire crowd, and it\u2019s like a wave that washes over the entire crowd. The dynamics that we get to do as live sound engineers is what I love, because it causes emotions to happen with people.<\/p>\n

[SKD]: So is that different from recording? I know you\u2019ve done both, so how does what you do compare to what they do on records, regarding dynamics, etc.?<\/strong><\/p>\n

[POOCH]: Unfortunately, people that do records<\/a> these days, they don\u2019t get to mix dynamics anymore. It\u2019s whatever is the loudest possible without clipping. It\u2019s that way regardless if it\u2019s a low section of music or a high-impact section of music. People are using expanders and compressors to make things just be a solid volume, and so as a live sound guy, I think that\u2019s one of the greatest things that we get to do is to create dynamics and cause emotions with dynamics.<\/p>\n

[SKD]: I think it\u2019s really interesting how people\u2019s tastes and expectations have changed. For recorded music, people do seem to prefer uniform\u2014if over-compressed\u2014sound these days, which has certainly affected the way recording engineers mix. What about live sound? Have there been changes over the years that have affected what you do?<\/strong><\/p>\n

[POOCH]: I\u2019ve been doing this for 25 years, and 25 years ago, we were all high-fiving when you can hear the vocals. Now, a live sound mix is a record-quality mix with impact. The tools we have, like JBL speakers<\/a>, that allow people to be able to hear the nuances and hear all of the parts of a vocal and hear all the parts of a record-quality mix, even if you are sitting in the nosebleed seat of an arena, you get that now. You didn\u2019t get that before, and that\u2019s simply due to improvements in technology. Technology has really raised the bar in regards to emotion, because now you can hear all the nuances of a mix no matter where you are sitting in an arena.<\/p>\n

My job as a mixer has completely come full circle for me, because I was a recording engineer\/producer before, and now I\u2019m really a recording engineer\/producer for live sound 25 years later.<\/p>\n

[SKD]: So what you\u2019re saying is that you are trying to recreate the essence of the mix of the album that people are used to hearing, but in a way that maximizes the benefits of a live sound environment?<\/strong><\/p>\n

\"\"[POOCH]: That\u2019s exactly what I try to achieve these days. All of these bands have spent years with the songs. Years before I came into the picture as their engineer, they were writing these songs, they were working on these songs, they spent days and months and hours in the studio perfecting how it should sound. Who am I to say that it should be any different?<\/p>\n

When I work with a band, I study their stuff intensely. I obviously buy their record and learn their stuff, but I also believe that, as a live sound engineer, it is also part of my job to have impact. People come to rock shows because they want to feel the kick drum. They want to feel the bass guitar. They want to have a little bit of the guitar melt their face off. All of those things are where I can take a little bit of liberty to what the band has done as far as the record. It\u2019s really a record-quality mix with impact.<\/p>\n

I absolutely love that description. \u201cA record-quality mix with impact.\u201d It\u2019s a really high bar to aim for, but undoubtedly creates a visceral experience for the audience.<\/p>\n

I\u2019ll admit, it was so cool to talk with Pooch, and he had so many great things to say. There is a whole second half to this interview as well. Stay tuned to HARMAN Professional Solutions Insights for the other part, where Pooch talks about why he became a live sound engineer in the first place.<\/p>\n

What are your thoughts on the differences between live sound and recording? Let us know in the comments.<\/p>\n

————<\/p>\n

UPDATE: Read Part 2 of the Interview!<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

I recently had the great pleasure to speak with Ken \u201cPooch\u201d Van Druten, live sound engineer for Linkin Park. As a sound guy myself, I was excited to have the opportunity to talk with Pooch about some of his experiences. In the first of what
CONTINUE READING<\/a>","protected":false},"author":9,"featured_media":503,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[24,22,25],"tags":[37],"application":[],"avlc":[],"brand":[],"product-category":[],"class_list":["post-496","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","category-harman-pro","category-touring","tag-live-sound"],"acf":[],"yoast_head":"\nThe Emotions of Live Sound: An Interview with Pooch Van Druten (Part 1 of 2) - HARMAN Professional Solutions Insights<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pro.harman.com\/insights\/harman-pro\/the-emotions-of-live-sound-an-interview-with-pooch-van-druten-part-1-of-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Emotions of Live Sound: An Interview with Pooch Van Druten (Part 1 of 2)\" \/>\n<meta property=\"og:description\" content=\"I recently had the great pleasure to speak with Ken \u201cPooch\u201d Van Druten, live sound engineer for Linkin Park. 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