Random News

[florez411]

Sounds like an awesome plan.

[Narc85]

nice one! when they played in australia last time, they didn't sell the downloads/cd-rs at the merch booths, so would be cool to see that this time at least we were finally able to purchase the audio!

[LPxDC]

this isnt new but glad they gave us an HQ of the cover already

[TnkA]

As some of you might know, few days ago i think music for relief put tickets and backstage passes up for auction.

 

For some reason they have removed shows off the list, i noticed cause i had a Melbourne show bookmarked ready to bid at the last minute, only a Sydney and Bris show are left for Australia, not sure how many others have been taken down

 

 

Edit: The Australian shows that were taken down have now been put back up with a higher $250 mininum bid

Edited October 25, 2010 by Jen

[Narc85]

As some of you might know, few days ago i think music for relief put tickets and backstage passes up for action.

 

For some reason they have removed shows off the list, i noticed cause i had a Melbourne show bookmarked ready to bid at the last minute, only a Sydney and Bris show are left for Australia, not sure how many others have been taken down

 

 

Edit: The Australian shows that were taken down have now been put back up with a higher $250 mininum bid

edit: nvm i found, i found!

 

bit sh*tty tho... it's only a 'backstage tour' - which is probably done by someone in management/a roadie and would be pretty quick - i just got something similar with metallica, but free and got to hang out with james for about an hour!

Edited October 25, 2010 by Narc85

[Sucre06]

Mike Shinoda in his blog wrote: Got to check out the cars before the show ... awesome ... walking to Ferrari World now to play!

 

He also posted the video, which can be see on the link below.

 

Source: http://mikeshinoda.com/2010/11/13/formula-1-lp/

 

Thoughts ?

Edited November 14, 2010 by Sucre06

[AParallelogramInTheSand]

And that is why I love LP (Mike's face at the end)

[rsw2010]

I wish I had one of those cars. lol

[xxxxxxxxxxxxxxxxxxxxxxxxxx]

Buzz 103.1 is having a scavenger hunt of a jingle bell. What you get if you win?

 

The lucky bastard that finds Jingle Bell Rock and brings it to us will win:

 

a Buzz Bake Sale 15 autographed surfboard and poster

a Linkin Park autographed guitar and A Thousand Suns vinyl box set

HD home stereo system

Rock Band video game for X-Box 360

a $250 gift certificate to Mimi’s Bistro in Tesoro

a 4-day, 3-night stay at the Bungalo Beach Resort

 

They give out clues at certain time during the day, one being false.

Man, it sucks that I don't have a car ATM. However, you might.

 

Source: http://bit.ly/fXDDkz

Edited December 6, 2010 by Swards31

[Aditya_the_warrior_within]

check out mike's blog:

 

http://mikeshinoda.com/2010/12/05/my-hello...ting-art-basel/

 

a hint saying they are coming here?

 

LP always seem to like India seeing various things, such as pics of some indian gods decorated in their studio, phoenix telling a fellow user and friend of mine that 'i would love to come to india' at twitter, out of all ppl asking mike answered only one guy that they will make it in the upcoming tour in a mtv chat, in a lpu chat quiet some time back he specifically gave me and a friend a shout out saying 'awesome to see indian fans at this time', A THOUSAND SUNS in its entity has so many elements of indian stuff and now on top of all this.

 

They have been teasing fells like me for quiet some time i hope they make it now.

been waiting for 7 dam years....

[Sucre06]

It's just a guess Mike Shinoda. This is not news. Mike likes to joke.

[maxstar]

I will be really happy for you, there are a lot of fans from India

[DXIC]

As many of you know, the LP Underground has been undergoing a lot of changes in the past few months. Recently, we moved some of the features over to a new online home, and many people (including myself!) have been wondering about the differences between using the old site vs. the new one at www.LPU.LinkinPark.com.

 

 

 

I did a little research, and I have some answers about how to best use the new LPU.

 

 

Firstly, this is the new LPU profile page. This is LP Underground’s official “identity,” where you can see all of LPU’s headlines. LPU HQ updates this page regularly, to let you know how to make the most of your membership–taking advantage of concert ticket presales, opportunities to meet me and the other guys, and new features we’re rolling out as part of the LPU.

 

 

If you’re a member of LinkinPark.com, then (besides being smart, good-looking, and talented) you can join the LPU group at this link below, to stay in touch with what’s going on with the LPU, and talk to other LPU members: http://www.linkinpark.com/group/lpundergroundmembers.

 

 

And lastly, this week, we’ll be putting the chat page back up–but with an improvement. Like the old one, the new page will have a text chat; but the new chat will also have a video window so the band can video chat with you. Band chats will be scheduled regularly, but expect us to drop by unannounced. (Side note: I’ve stopped video chatting on UStream, and I’ll be doing more private chats with LPU in the future, on the new chat page. I want to try it that way, because it’ll be a smaller group and less spamming going on).

 

 

I hope that helps; You’ll definitely get more out of your LPU membership by visiting the links above. And for anyone who hasn’t joined the Underground: if you want to take advantage of the pre-sale tickets, chatting with the band, and more, visit http://lpu.linkinpark.com/ to become a member.

 

Incidentally, LPU is not just for Linkin Park superfans; it’s an organization our band created to give Linkin Park listeners the best experience we can. We offer the best LP concert seats at great prices, never-before-heard music, incredible events where you can meet the band, and an online community where you can stay in touch with what’s going on in our world, among other things.

 

See you guys at the upcoming LP Underground Summit in Sydney…

 

 

 

 

 

Link: http://mikeshinoda.com/2010/12/10/how-to-use-the-new-lpu/

[Numbrocker]

Mike just finished his band chat with the LPU. Not loving the new layout, but hopefully they'll figure out a way to fix it. Basically Adam would let people go crazy then pause the chat while Mike went back and read some question.

 

Info from chat (what I remember anyways)

-Mike said it was recorded so you can add the link later.

-LP is talking to the Transformers people, but nothing definite has happened

-Mike did not enjoy being Punk'd

-The next single is very likely to be Burning in the Skies

-Mike likes the Summits and hopes to continue doing them

-Mike was proud of his Hello Kitty piece being featured and meant no offense by it

-Mike asked US fans to go to the forum and give ideas for what they'd want at the summit

-Mike likes the fansites battling each other like at the London summit (GO LPLIVE!)

-Someone asked about HT music being more on the record and Mike said that they just weren't feeling the guitar parts (that's

what he took "HT music" as) and they don't know what the future album will have.

-The next album will not be done in 6 months (lol) but they do want to get back to the studio soon

 

I can't remember anything else. It was a good chat, but like I said I didn't like that layout.

[Mr_wil5on]

I just received this on my email:

 

http://www.downloadtodonate.org/tracks

 

Once again If any fellow members are willing to help out for the cause.

 

Looked over the tracks and there aren't any Linkin Park tracks (besides a remix by Mike Shinoda for Gold Guns Girls)

 

Don't know if this has been posted earlier.

[HybridThe0ry97]

Yeah, I saw it too. I don't like the tracklisting.

[Geki]

The Switchfoot song isn't bad. I don't like the tracklisting much though. WAY too much Glitch Mob on there. And fan remix of The Catalyst = lame. I wish we got a rare LP demo or b-side or a cool live track instead, I would have maybe donated money if they did. A studio version of 20 Eyes by DBS would be cool too, I still don't understand why we don't have that.

[LPUemo360]

lets all be happy that LPL is almost fixed & we have the forum's back up! xD BTW if i forgot to add something or did something wrong let me know & im sorry, i think i did everything right this time, i think im getting used too posting things now lol.

 

now hears all the news we missed:

 

3-14-11: basicly a few days ago Mike Shinoda posted a new twitter icon with a secert code. It came out to be 3-14-11. Now i think its the release of A Thousand Suns + but i could be wrong. Now also this could mean a new song ONLY BECAUSE! of whats going on in Japan & MFR. Just like Not Alone, maybe we can get a simple song or a demo out of nowhere or something. Anything else it could be?

(BTW FORGET THIS BECAUSE ITS ALL WRONG, EPIC FAIL ON ME SORRY GUYS. HAHA NOT FUNNY lol but the new song idea could happen right??? xD)

 

MFR T-Shirt Poll: this i am kinda upset cause the shirt i want to win is not in the lead. Anyways there are 2 shirts made by Shinoda himself to be made. One is a origami butterfly with the LP logo, while the other (which i think stands out & is the best) says Not Alone w/ the flag within the letters. I think the best idea is to make BOTH shirts or take the Not Alone shirt & add the origami butterfly w/ the LP logo on the back of the shirt, with addition of the MFR logo somewhere. Either way its ALL for a great cause.

 

BITS Promo CD: this is old news BUT i came across on Itunes UK & Wiki (which i know could be fake) that "When They Come For Me (LIVE)" is added to the cd. It could be just for itunes, but i think it whould make better sense to add it to the cd & if true its either the SNL or MSG version. We Cant Have BITS (Live) only because they justed started playing the song.

 

so thats all the major news we have missed since LPL has crashed, but give it a week or 2 & were back in it xD

 

SOURCES:::

LPL Twitter - Looks like @M_Shinoda has a new avatar! Anyone decode the message? 12:32 PM Mar 11th via Facebook (hour later.)

3.14.2011 1:04 PM Mar 11th via Facebook

 

http://mikeshinoda.com/2011/03/11/help-me-...we-should-make/

http://itunes.apple.com/gb/preorder/burnin...gle/id424909120

Edited March 13, 2011 by PictureEmo360BoredXD

[Astat]

WTCFM is only on the digital version of the BITS single (iTunes, etc.). This has actually been a fairly common practice for LP in recent years, the physical single will have 2 tracks while the digital will have 3. A couple of the MTM singles were the same way.

[AStarkson]

The QR Code reads, very interesting indeed:

"seriously, you went through the trouble to figure out what this text says? ugh. how disappointing."

 

LOL

[TheAfters]

FROM MIX Magazine, March 2011

 

 

 

 

 

 

________________________________________________________________________________

___

 

Main Article on First Post ________________________________________________________________________________

_________________________________________

 

By Sarah Benzuly is Mix’s managing editor.

[TheAfters]

Linkin Park is a band that delivers—onstage,

 

in the studio and just a few days

 

post-gig. For the latter, front-of-house engineer

 

Ken “Pooch” Van Druten and programming/

 

playback engineer/keyboard

 

tech Dylan Ely provide a fully mixed and

 

mastered, pro-quality live album within

 

two to three days after each performance.

 

With a purchased ticket, each fan is offered

 

a high-quality download of the live

 

recording; distribution of the download is

 

provided by Basecamp Productions.

 

“We have been releasing shows after

 

the fact for about four years now,”

 

Van Druten explains. “Dylan and I have

 

mixed approximately 400 shows at this

 

point. We were given the opportunity to

 

mix a DVD release, Live at Milton Keynes,

 

which was nominated for a Grammy

 

[best Hard Rock Performance, 2010]. It

 

is one of the most fulfi lling duties I have

 

while working with Linkin Park. It is nice

 

to know that any time you hear something

 

that Linkin Park has done live, it is

 

a mix that Dylan and I have done—minus

 

a few things that their recording engineer,

 

Ethan Mates, has done.”

 

For the live recordings, Van Druten

 

and Ely spend about 24 work-hours per

 

show prior to the release. As the band

 

(Brad Delson, guitar; Chester Bennington,

 

vocals; Joe Hahn, turntablist; Mike

 

Shinoda, vocals; Phoenix, bass; and Rob

 

Bourdon, drums) has mandated that

 

they want “record-quality bootleg” recordings,

 

Van Druten says that most of

 

his and Ely’s time is spent shaping the

 

sound of what is coming off stage with

 

the sound of the actual room and making

 

that work—creating a sonic landscape

 

with the band’s full, rich sound with loud

 

crowd response.

 

“Basically, there is a template that

 

we have worked on now for about four

 

years,” Van Druten says. “We insert that

 

as a starting point and work from there.

 

Dylan does most of the editing, I do the

 

mixing and then it goes back to Dylan for

 

more editing and mastering.”

 

For the recordings, Van Druten uses

 

the HD X cards from his Avid D-Show

 

Profi le (96-input with fi ve DSP cards) at

 

FOH to record directly to Pro Tools HD at

 

24-bit/48 kHz (78 inputs total). The day after

 

the gig, the two take the recording and

 

import it into that template, which has inserts,

 

sends and routing already set up.

 

 

 

They then time-align the audience mics with the

 

close mics (Audio-Technica models), edit any major

 

mistakes and do some cleanup on tracks that

 

aren’t being used for certain songs. “We then mix

 

the cleanup tracks, treating them as a complete

 

show, with no time in-between songs or cutting out

 

encores,” Ely says. “The idea is to mix the show for

 

the fan just as he or she would have heard it if they

 

were attending the show. During the mix process,

 

notes are made about any mistakes, then they’re

 

addressed and fi xed, and then it gets mastered.

 

All songs are matched level- and EQ-wise within

 

that show, as well as being compared and matched

 

with previous shows. We then print as a 24-bit/48k

 

WAV fi le.” That fi le is then converted to 320kbps

 

MP3 fi les and uploaded to the Basecamp site via

 

the company’s proprietary drag-and-drop software.

 

“The whole process for a 90-minute show takes

 

about 16 hours of post-production: a day of editing

 

and a day of mixing,” Ely adds.

 

 

 

Back to the Show

 

To re-create much of the same electronic-rock fusion

 

created in the studio to the live performance

 

arena, Van Druten (who has been mixing for the

 

band for the past fi ve years) says his job “is to reproduce

 

what is coming from the stage in a way that

 

the audience hears every instrument and vocal,”

 

Van Druten says. “Nowadays, it’s a bit more complicated.

 

With technology, I am able to insert my

 

own creativity into the mix to provide the audience

 

with a record-quality listen.” This includes relying

 

on choice plug-ins such as those from Waves, URS

 

and McDSP. He taps into the Waves MetaFlanger

 

for some intense vocal eff ects on the song “The

 

Catalyst” (off of their latest release, A Thousand

 

Suns). In his outboard rack are such pieces as an

 

Apogee Big Ben word clock and M-Audio ProFire

 

2626 FireWire interface to record the 2-mix and audience

 

mics to a MacBook Pro. “I have a Pro Tools

 

HD4 Macintosh rig with an [Avid] Expansion chassis

 

for the ability to record 96 inputs, one for one,”

 

he adds, “a Waves Maxx BCL for recording of the

 

2-mix to eliminate some DSP usage, and an Alesis

 

ML9600 hard disk recorder/CD burner for fastturnaround

 

of recorded stuff , plus playback.

 

“The last few years have been completely freeing

 

because the technology allows me to reproduce

 

all of the eff ects and sounds that were used

 

when the band made the recording that people

 

know and love,” Van Druten continues. “I have

 

been a musician all my life—specifi cally, a bass

 

player. I believe that the rhythm section is the key

 

to every mix. I think of a mix as a houseplant: The

 

drums and bass are the roots; the keys, vocals, guitars,

 

et cetera, are the stems, leaves and fl owers. It

 

is not possible to have the stems, leaves and fl owers

 

without the solid, sturdy root system.”

 

All mics onstage are Audio-Technica (the

 

band endorses the company), except for the RF

 

and wired vocal mics, which are Sennheiser 865

 

Series. “My favorite microphones for guitars and

 

basses—stringed instruments, in general—are

 

the large-diaphragm Audio-Technica mics. I use

 

the AT4050 and the AT4047 on all guitars. We have

 

86 inputs and about 60 of those are open microphones,

 

so it’s really necessary to make the right

 

mic placement and choices.”

 

Pumping the blistering sets to the audience is

 

an Adamson Y-Axis system, with Van Druten noting

 

the 18-inch speakers in the main array and 21-

 

inch speakers in the subs as key to this band. “Both

 

couple very nicely to reproduce low-mid to sub information

 

that other P.A.s just can’t do,” he says,

 

adding that he has three Dolby Lake processors

 

for matrixing and zoning. In addition, he relies on

 

systems engineer Chris “Cookie” Hoff and Evan

 

McElhinney, who spend much of their time making

 

sure that every seat in the house sounds the

 

same and is covered. “I count on them greatly, and

 

they are the best in the business,” Van Druten says.

 

Monitor engineer Kevin “Tater” McCarthy is

 

also in constant contact with Hoff at the beginning

 

of the tour to make sure his mixes were dialed in

 

as the stage is diamond-shaped and the band plays

 

downstage of the P.A. for most of the show. He is

 

manning a Yamaha PM5DRH (the same model

 

as when Mix caught up with this Linkin Park crew

 

back in 2008) with a DSP5D (PM5D-EX system);

 

outboard is all done via Waves SoundGrid multirack

 

system. “I’m using all 24 mix outs, all eight

 

matrices and the stereo out B,” McCarthy says.

 

“I also use two outputs on the DSP5D. There are

 

eight sidefi ll/wedge mixes, six IEM stereo mixes

 

and a mono ear mix; the rest are eff ects and shakers.”

 

The entire band except guitarist Delson are

 

on JH Audio JH-16 ear monitors. The wedges (12

 

Adamson M12 underhung and two M12s onstage)

 

and SX18s sidefi lls are for Delson, who wears generic

 

foam earplugs with Peltor gun muff s over

 

them. Power is via Lab.Gruppen PLM10000 amps.

 

In 2008, McCarthy was mixing from underneath

 

a rolling stage. This time out, he’s located at

 

upstage-center, completely behind the band, and

 

using spy cams to keep track of what’s happening

 

out front. “I am in constant contact with the band

 

if they need something,” McCarthy says. “Plus,

 

my assistant, Paul “Pablo” White, is an extra set ofeyes and ears for me. Linkin Park and production

 

manager Jim Digby are wonderful to work for and

 

they give me all the tools I need for my job.”

 

Van Druten echoes McCarthy’s sentiments:

 

“Truly, we are family on this tour. Some of the

 

people here I have known for 20 years. When you

 

are away from your ‘real’ family, it is really nice to

 

know that your ‘tour family’ is always there for

 

you. I couldn’t be happier with the situation. Great

 

band, awesome crew—what’s not to love?”

 

 

 

Program Me

 

Programming and playback are heavily

 

involved in any Linkin Park adventure—be

 

it in the studio or live. After engineer Dylan

 

Ely receives the full album multitrack and the

 

band determines which parts will be played

 

live, he will make stems of those elements

 

from the album that need to be programmed.

 

He uses two Mac laptops (one is a redundant

 

system) running Pro Tools M-Powered

 

playing back all of the stems. The redundant

 

machine is synched to the main machine

 

via MTC, and the backup machine is set to

 

Jam Sync the incoming MTC, “so if the main

 

computer stops, loses power, et cetera, the

 

backup machine will run infi nitely at the same

 

rate as it was when it lost timecode.”

 

Ely breaks down the eight tracks that

 

comprise the stems:

 

Track 1: typically any low-frequency material,

 

like 808s or maybe the low end of a drum

 

loop that has the high frequency fi ltered off .

 

Track 2: usually any type of mono drum loop

 

element that cannot be played live by the

 

drummer.

 

Tracks 3 and 4: used for any type of sound

 

that has to be stereo, typically a synth or

 

string pad–type sound or a drum loop that is

 

full-frequency with a stereo element to it.

 

Track 5: any high-end arpeggiated-type synth

 

or a swell.

 

Track 6: click track that only is going to the

 

bandmembers’ ears onstage.

 

Track 7: a reference track or a keyboard

 

and/or vocal only heard in the singers’

 

ears onstage as a pitch reference. Also

 

sometimes a click to “automate” a section

 

for a certain member in their ears, only for a

 

cue or reference.

 

Track 8: SMPTE. Tmecode is used to run/

 

sync the lights and video during the show.

------------------------------------------------------------------------

[letdownagain]

Interesting article. They gave away the secret about Brad's headphones, though!

[danielpsoad-09]

Noisecreep posted a really really cool behind the scenes video with Linkin Park fiming their "Iridescent" video.

You can watch it here : http://www.noisecreep.com/2011/06/09/behin...transformers-3/

Edited June 9, 2011 by danielpsoad-09

[MONDREUS240]

I wonder if Chester ever gets really pissed at Joe for not using the footage that was the hardest on him?