Mike's first Q&A summary in a while, here's the recap and highlights.
- "Could you active your phone number in Italy and other countries?" -> "Here's the thing. The number that I have released to you guys, I do it with a company called Community and Community is not yet available in other countries. They are getting there, they are a growing start up. What they have to do, is they do deals with the phone companies basically to acquire numbers and then they assign those numbers to the people that work with them. So they gave me a number. It's very hard for me to keep up with texting people back. But the texts do come through to my app on my phone. I don't get pinged every time somebody texts me because that would be too crazy because the followers are in the five digits so there is a lot of people. But I see more than I respond to. And it does come to me. I should do it more, I don't do it enough."
Mike talked about lemon tea and ginger tea helping him with his throat and voice.
- "I was wondering if you ever plan to release a live album from the Post Traumatic Tour." -> "I don't think I'll do it. I kind of don't want to do a live... I feel like those shows are very special and I don't think I'm going to release it. I think that people saw it, if you didn't, the stuff is online already. I don't think I need to have an official version."
There was a huge explanation on publishing and royalties, how complicated it is, how countries where songs are recorded actually have a say in the publishing, etc. Mike said he is trying to get it so the Dropped Frames music can be used in Twitch streams by other people. He said he is not the one taking down Linkin Park music online, it is extremely complicated.
- "Release a vinyl version of Dropped Frames." -> "I will if there's enough demand. That doesn't mean, by the way, that Dropped Frames has to sell a bajillion copies. It just means that there have to be enough people that want vinyl so that the vinyl will pay for itself. In order to make a product, you have to produce a certain quantity so I would have to have enough people who were interested in buying it for it to make sense. I don't know how to quantify that."
- "Can you tell us why songs like I'll Be Gone and Promises I Can't Keep were never performed live?" -> "You know, it was just that we only have so much room in the set. The guys have never wanted to play longer than 90-100 minutes or so. We sometimes stretch that a little bit. That was the limit. The more songs that we have to add, the more the band has to know all of those songs and I don't think that, I guess I just didn't have the interest or brain space to add more. We did add a lot, we did play so many. At some points we were rotating three different setlists with maybe a 1/3 of those being unique to that setlist. So it was a lot to remember. I could have probably done more, but I think that's because of what I was responsible for. I don't know how to explain that. It wasn't really me, I would have done longer sets, I would have done a little bit longer."
- "Do other members of the band have home studios too? Can you tell us about them?" -> "So everybody is different, everybody has got some stuff. Not as in depth as what I've got going here. Brad doesn't really have anything. Dave has some bass guitars and drums, but no mics or recording equipment really. He's got a laptop with some stuff on it just to throw a couple of things on it, but he doesn't do recording. He'll only do it if I'm asking him to or somebody's trying to send a thing. But he doesn't really mess with it. Joe has stuff, but it's usually in disarray. He gets excited about a thing, buy a piece of gear, play with it, and then move on really quickly. And there aren't that many units that he goes super deep on. He knows the sampler stuff really well and of course turntables and Serato and all of that. In terms of the individual keyboards, he usually relies on an engineer to go deep on those for him, which is normal. A lot of people are that way. A lot of people are that way if they have the means to have that gear. If you're in Joe's situation, it's not crazy. Rob probably has almost the setup I have or getting there. Some of the stuff is a little older, and he can use it. It's like, the focus is usually always on drums for his stuff. He's got some other stuff to play around with, but it's mostly all about drums. And even then, up until now, we've gotten better results at my place or in a professional studio. But I upgraded a bunch of my drum stuff in the last two years so I feel like I get awesome drum sounds now."
Mike isn't very interested in doing drive in concerts.
He isn't going to do a lyric writing session on a stream.
- "How was working with Darren King on Hold It Together? Darren absolutely rips?" -> "I agree. Go do yourself a favor and check out Darren's Instagram page because he puts a lot of his stuff up, his crazy, creative studio studio sessions. We didn't meet in person because he lives in not LA. He said, "Yeah I get a really good sound at my home in my home studio, so let me just send you tracks." And we did it that way and then I chopped those up and used them. I didn't just like, play the drums. I grabbed them and effected them and chose different sampled drum parts for the beat and verse and got to his part in the bridge. Darren's the reason the drum stuff on "Hold My Shit Together" off of the Post Traumatic record was so good. He's so great."
On July 12th, KROQ reaired Mike's Sound Space 2018 concert via Twitter broadcast and included a new interview that Mike did with Nicole Alvarez.
This show was one of the first Post Traumatic shows of Mike's world tour and featured six songs played to an intimate crowd.
Check it out here.
Forbes has posted a new interview with Mike.
Baltin: At what point did this evolve into an album?
Shinoda: When people's tour schedules fell apart and they weren't allowed to continue on as planned I watched a number of artists panic because the things they planned to do they weren't getting to do. And also because the attention they were expecting to have from people was gonna go away. And all of a sudden they were scrambling to grab people's attention in other ways. All of a sudden every single music artist in the universe had to live stream concerts from their bedroom. And I was so bored by that. I don't know why I felt that way. I just didn't like it. And that's not a knock by the way.
Baltin: Were there any live streams you enjoyed?
Shinoda: Post Malone's Nirvana one was dope. That was one of my favorite ones. I've caught some of the stuff that Questlove and the Roots have done. Quest is always spinning records and stuff, talking about his experience in the studio or bits and pieces of trivia about the artists that he's playing. I love that. My favorite things have been random unknown singers on Instagram who sit down with a guitar and sing a thing. And Instagram's algorithm is so good that it knows now that's what I love. And it just shows me new singers with like 25,000 followers singing a song with a ukulele. That's half my feed (laughs).
Baltin: So could these discoveries ever lead to collaborations?
Shinoda: When I hear people I think are really dope I reach out. That's how I ended up doing a remix with Ren For Short. I heard her on a playlist and I was like, "What's this girl all about?" She had like no followers. I put it on my playlist, I posted it on Instagram, she DM'ed me, we started talking and then I made a remix for her and we debuted it on my stream on Twitch.
Baltin: One of the interesting things about this time is seeing how people evolve and show different sides of themselves. I doubt you would have made an all-instrumental album at another time.
Shinoda: I fell into it. These albums, Dropped Frames is gonna be the first of at least three. I've got the second one done and the third one is in progress. And I say in progress, basically it's just tightening up and mixing stuff that I made on the stream. But certainly it's a thing I wouldn't have done unless I was in this situation that I'm in right now. It's also funny cause it's clearly not for everybody. Instrumental music is not your way to the Billboard top five (laughs). But anybody who knows my discography knows I've done instrumentals often, on every record, every couple of records there [are] instrumental tracks. A few different instrumental pieces that have gone to film and TV as well. I feel like there is a poetry to the instrumental that it leaves an openness to interpretation in terms of the content that is a lot of fun. And I haven't ever done that before on a full-length album.
Check out the full interview here.
Listening parties have become a "thing" with Mike, dating back to the LIVING THINGS album in 2012. Ever since then, Mike has fully embraced and participated in listening parties with fans online.
So you didn't think he'd skip out on this one, did you?
Join Mike on Twitch on July 10th at 10am PST for "Dropped Frames, Vol. 1" listening party as he talks about the songs. He will also be debuting the new music video for "Open Door", created by Ana Ginter, on the stream. See you there!
"In My Eyes is a series of lectures through the eyes of brand founders who turned their passionate creative lifestyle into a business. Filmed on location at the University of Southern California Marshall Business School’s Greif Center for Entrepreneurial Studies by Professor Mike West"