While Tool and Puscifer offer highly distinct creative outlets for frontman Maynard James Keenan, the stark differences between the two heavyweights extend far beyond their studio sound. The unique stage logistics of each band actually dictate the vocal registers the singer can comfortably hit during a live concert.
During a recent interview with producer Rick Beato discussing the latest Puscifer release, Normal Isn’t, the legendary vocalist broke down the immense challenge of performing the track “Pendulum“. Because the song relies on an incredibly deep vocal register, executing it outside of a controlled studio environment proved to be uniquely stressful.
“A song like that [‘Pendulum‘], you do it and then you go, ‘S**t, can I play this live?’ Because it is a pretty low vocal register. So, we did it. We filmed it at The Exchange downtown, but I literally had to be in the back corner away from cymbals, amps, everything, because I had to be able to hear the vocal live. So, I think that was the most nerve-wracking part of that song — performing that live — is making sure that it I could hear myself,” Maynard said (as transcribed by theprp).
When asked if that specific track represents the absolute floor of his singing capabilities, he confirmed that it is the lowest he can possibly go in a live setting. He also admitted that bringing a song with that specific dynamic to his other primary band would be completely impossible due to the sheer volume of the performance.
“That’s it. As far as being able to play live, that’s the bottom of the range… And I could do that with this band. I couldn’t do that with Tool. Because all the ambient noise on stage with Danny‘s [Carey] drums and Adam‘s [Jones] 16 guitar amps and the bass and everything, I wouldn’t be able to do a song like this with Tool. Because it’s just too loud on stage. Because I can get up behind these instruments for Puscifer. And the drums are way over there… I can get away from them.”
This logistical hurdle ties directly into the frontman’s strict philosophy on live audio mixing. To ensure he delivers the best possible show, he demands a “bone dry” monitor mix that completely mutes the cheering crowd. He stressed that his primary job is to perfectly sync with his bandmates, like Puscifer multi-instrumentalist Mat Mitchell, rather than bask in the audience’s adoration.
“This is an ongoing struggle in my head. I like it to be bone dry. No audience sounds or anything out there. You don’t get to hear the accolades or the [crowd] reaction. I can’t hear them… To me the most important part is that they hear an accurate and passionate version of this song. It’s not about me and you adoring me. It has nothing to do with being adored. It has to do with presenting these songs the best we can. And the best way to do that is for me to not hear you. I have to hear [Puscifer bandmate Mat Mitchell]. I have to hear the drums. I have to hear me in context so that we can present this thing to you.”
The singer also offered a technical critique of why some of rock’s greatest voices occasionally sound off-key during live performances. He pointed to the late Chris Cornell, the iconic frontman of Soundgarden and Audioslave, as a prime example of an incredible talent hindered by a flawed monitor mix.
“There’s a lot of singers that you hear them live and they sound like they’re singing flat. It’s because their vocal is too loud over the music in their mix. Their live vocal — they don’t have a recorded vocal. Their live vocal is so much louder than the music that they’re singing to an adjusted version of the music in their ear which is a half step down. So when they’re singing… We hear it out front. Like I heard Chris Cornell did that a lot. And you know that guy can sing. There’s no question that guy can sing his a** off, but with his in-ear monitors, his vocal was so loud in his mix, that he sounded like he was singing flat. He’s not flat. He’s singing to what he’s hearing.”
This intense focus on audio clarity is the exact same reason Maynard James Keenan famously avoids the front of the stage during Tool concerts.
