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Everything posted by LPLStaff

  1. Mike ended the week with a THREE HOUR stream and answered a LOT of questions to head into the weekend. - Is there a way for the MS/LP stores to merge because shipping is so expensive? -> "Yeah I wish there was a way to fix the shipping situation. Believe me, if you're selling tshirts you want everybody to buy your tshirts. If there was anything we could do about it, we would figure it out. But those folks have to make their money too, the shipping people." Mike said sometimes they manufacture exclusive merch in other parts of the world, like Asia, but not always. And it's expensive for them to do that. There might be a few CoronaJams that need more attention, which is very common when he is writing songs and he comes back to them to work on them. Although he does these in like two hours, the process for an actual song can be months for him. He may come back a month in and decide a song needs drums, or guitar, etc. Mike gave an extremely detailed answer about how to record screaming into a microphone in a studio, which shows he has 15+ years of experience with Chester. He'd like to work with Green Day. - Which LP song would you choose to re record or remake with your current knowledge about songs and music? -> "I don't know if I'd do specific songs, but the era where we were really figuring out stuff was Meteora into Minutes To Midnight. We were still figuring out how to bridge the gap between Hybrid Theory and other things. So I feel like we could have figured out how to make some of those songs even more unique. Not that we don't love the songs, they're great as they are and they are snapshots of where we were at the time." - When making A Line In The Sand and The Little Things Give You Away did you always plan on making them long songs or did they just happen? -> "With The Little Things Give You Away, that was just how the song went. With A Line In The Sand, I did kind of want something.... I think I wrote the opening heavy part first, then I went "oh it would be cool to do a long lead up to that thing." And that kind of happened as I was writing the first part of the song. Because I did most of the music on that one. Man... Rob, and the drums were so funny, because I wrote all the parts in the computer and I had to make sure they were POSSIBLE to be played. And I was like "...I KNOW a drummer can play this. And I KNOW it requires double kick, and you usually don't play it. So can you learn double kick in order to play these songs?" And he was like... "probably!" - Can Linkin Park be a new music festival for new bands? For new bands and to promote mental health? -> "That'd be cool. I mean... there are so many things that one could do in the world. I don't know if starting a music festival at this moment in time is my calling, but I am not opposed to it." - Do you have a say in what bands are added as opening acts? -> "Yes, we do. Bands usually do unless you have a manager that is a lunatic. Openers was always a subject we really got into. Because it matters. There's all these things to balance - who are the fans going to like, what region are we in, what do I like, if you're transitioning from Meteora to Minutes To Midnight, and Minutes To Midnight to A Thousand Suns, you can't just go with like a nu metal opener. The fans are going to want a nu metal opener. If the nu metal opener is there... the fans will be like "yay, we saw a band we liked", but did other people buy tickets? It should be a big plus in some column. It shouldn't be like "yeah the fans like it" and you were going to sell 5,000 tickets and then you add that band and now you're still selling 5,000 tickets. It should be 500 more people or a 1,000 more people came to the show because of that band. Or because of the combination. Sometimes those bands are too expensive, sometimes they are not too expensive. It's so complicated. For me, I do care a lot expanding the fans horizons." He talked about a Vans collab, but said he preferred drawing on his own shoes because Vans usually just does one release with someone and stops. - How did you come up with the ideas for music videos? -> "It depends on the video. Joe directed a lot of them, so you can ask him. Some of them, we got involved and suggested things. Joe did not like that, but he dealt with it. My own Post Traumatic videos, I did some on my phone. When we transitioned from the ones on my phone to the ones that were not on my phone, like Make It Up As I Go, I told our video rep at the label that I wanted an animated or motion graphics video. I wanted it be very colorful and kind of represent the album cover and the art. He sent me a link of things, and one of them that I liked was a guy that did a lyric video for somebody else, I think it may have been Green Day actually. And I was like, oh they're good, they're good! Ghosts, that video just popped into my head. I have no idea why, I just wanted to have fun. Part of having good self care is being aware of your state of mind and being like, "today I want to do a very chill track, I don't want to do something really aggressive and stressful, I don't want it to be super stressful today, I've got a really chill energy today." And that's what we did. Hopefully I am doing it right." - What are some difficulties involved with releasing the CoronaJams? -> "You know, it wasn't difficult releasing it. I will tell you what my idea was and why I can't do it. This happens all the time, like I have an idea, then I dive into it and waste a bunch of time and it doesn't happen. I wanted to be able to make one jam, mix it, send it in, and have it show up on all your streaming services as quickly as possible. Wouldn't it be cool, if after I did this one today, I just put it on Spotify and it was there that day? That'd be fucking awesome. That's not possible. They won't do it. Well not they.... the streaming services in general won't do it. There's a one to two, maybe three week lead time on the digital streaming platforms between when you deliver and when it shows up. The thing that I wanted to do that I thought was cool, was a living, breathing album, where I just keep adding songs to it. It's basically an album playlist. You download it as an album, but it just keeps adding and changing because it's actually just a playlist. Nobody does that, nobody will do that for me. The streaming services basically told me they need a UPC, like a barcode for the album and that is associated with the album, like what it is. It's the tracklisting, who wrote what, album art, blah blah blah. The problem is that the system is not set up for my idea. If I wanted to do my idea, I could just upload the stuff to SoundCloud but it doesn't help me because there are only this amount of people that give a shit if it's on SoundCloud. I would rather have it be up on Spotify, Apple, YouTube, Amazon, etc. So what I'm going to do is release it a little more traditionally but keep releasing them. So you'll get them. You all listen to music on different things, different places, different ways. I just want you to just go to your favorite thing and type in the name and there it is. So easy. It's just a little bit different than I wanted to do, but no big deal." - Was Robot Boy influenced by Peace by Depeche Mode? -> "No, the chord progression is a 60s/70s progression. You hear it on things by The Beatles and Jimi Hendrix and a host of other bands from that era. And I thought it would be interesting to do that progression. You don't usually hear that progression with modern sounds and sampled beats and things like that. So that was like the chord progression and the music bed. And over the top of that, the lyrics and stuff, I think that was mostly Chester on the lyrics, and I think I came up with the melody or I helped with the melody." He said things he is currently interested in in music (sounds, etc) usually influences the collaborations he does.
  2. Right from Mike's stream today: he will be releasing the CoronaJams starting in 3-4 weeks from now. It sounds like the releases will continually come out over the next few months in a series of releases instead of just one big release, which makes sense because Mike is still creating new music. He explained there is a lag time between when he creates them, when he gets them cleaned up and properly mixed, and when they can appear on digital streaming services. Mike said, "I am working on mixing and putting out some of these instrumentals from the live streams. It's been kind of going back and forth. I just want to set it up right so I can regularly put them out to you guys. There's like a lag time... I have to make them presentable and we have to deliver them, and then we can put them out. I'm trying to take that time and crunch it as fast we can do it. It's starting to look like around a month, or less... three weeks-ish to a month, maybe shorter. But we'll see how that works out. It's going well, you're going to hear Open Door, like a final version of that, you're going to hear some songs from the streams. And if in the first batch you don't hear one that you really love or whatever, it's gonna come later. I may not put them all out, 'cause they aren't all awesome, but I do want to put out the jams that have been created here on the streams. I'll put them out so you can listen to them on Spotify and Apple and all of that. You can make TikToks to them, or put into them in your Instagram. All that stuff, it'll be in the system. So there's that." Music is on the way!
  3. Yeah. Looking into the festival, they had to declare bankruptcy a few years back. Maybe they will recover some money this way. At this point, it's no problem to pay for some archived footage of Linkin Park with Chester that is totally unreleased, even if it's just a few songs. Maybe they will air the full set, who knows. But worth checking out since no one else has done this with LP, at least yet.
  4. Montebello Rockfest, which Linkin Park headlined in 2015 with a weather-shortened set, has announced that they will be streaming past performers online the weekend of June 19-21, 2020 in partnership with Budweiser, Red Bull, and Rev. "The popular annual music festival which takes place every June in Montebello, Quebec, will transform into a virtual edition, streaming videos from nearly 15 years worth of unreleased footage. The exclusive footage will feature behind the scenes clips from a variety of bands since the festival’s inception in 2005, live music, mosh pitting, and fans." "Unseen footage will feature high-profile bands like System of a Down, Blink-182, Rammstein, Linkin Park, Motley Crue, The Offspring, Deftones, Korn, Limp Bizkit, NOFX, Pennywise, Bad Religion, Ice Cube, Snoop Dogg, Marilyn Manson, Rob Zombie, and others, all of whom have played at the concert at least once since 2005." The festival is selling tickets to this virtual event online. "Weekend passport, VIP passport, day ticket and option to add a bracelet from the 2020 edition. Each buyer will receive a unique non-shareable link. Each weekend passport holder will receive a $ 10 discount code on the regular rate for the next edition." At minimum, it looks like we are going to get at least one proshot song from Linkin Park's 2015 set... maybe/hopefully more since they are selling tickets to this event. Stay tuned. Source here. Thanks to our friend Wesley at linkinparkbr for the heads up!
  5. The guy with the hard drive it was on was racially profiled at the airport in Israel during the Post Traumatic Tour and they stole the hard drive after going through all of his stuff. Crazy.
  6. He said LP brought RME back into the setlist because they only had 40 minute time slots so they had to play RME, And One, Step Up, and covers to fill time in the sets. 2001. Lmao.
  7. Mike joined Pooch and Tater on "Wrong End of the Snake" on May 26th. Jim Digby and Shelby Cude also joined in. Here's the recap! Mike said that the band expanded their gear arsenal going into the Minutes To Midnight touring cycle, and he asked the crew how to down size some of the things he had, like the grand piano he used on the Meteora tour. He wanted the band to pick good members for their touring crew, not just friends. But the exception to that was Mark Fiore, who took it seriously and studied hard to become their videographer. At first he was just a friend holding a camera but he wanted to become actually good. Pooch mentioned that Mike asked him to do a "mic shootout" in rehearsals to pull together all of the professional microphones they could find. Mike listens to all of the TV broadcasts, live releases, live mixes, etc and oversees it with the mixer. He wants it all to sound good. So he wanted to make sure that the audio coming into the shows was also good quality. Mike mentioned it's not about how expensive it is, but he is talented at finding out how different gear achieves the sound he wants on stage. The plexiglass that was put up around Rob is because of the drum sound bleeding into the vocal microphones, so the band was changing microphones and trying any way they could to eliminate that bleed. Finally, the band didn't feel obliged to use a certain sponsor company's gear just because they were a sponsor, they'd branch out and use something else to get their desired result. Jim explained that behind the scenes, the crew was testing out different PA systems for the band as well. The band had shows with gear missing but the crew intentionally did not tell them so they didn't want the band to be nervous. The Austria show in 2007 was one of those shows. In Toronto in 2008, there were band members not showing up on time to the show due to their travel, as we know. The playback rig for the crew was also not there so they couldn't do a proper sound check of the PA, and then Dylan had to buy a new computer that day as well. Mike said that Linkin Park had five songs they could do piano style, and thankfully they only had to play two. Mike thought the set was starting to get obscure and thankfully the rest of the band was there because they didn't want the set to have so many obscure songs to start the show. Mike is currently mixing his CoronaJams and about to put them on streaming services, relatively soon. They are all instrumental. Mike said he really enjoys the huge crowds so he isn't very interested in playing socially distanced concerts. The band wanted the barricades as close as possible to the stage and the band, he didn't like them being so far from the stage at some shows. He said the band feeds off of the crowd being so close to the band, but also the crowd being close to each other. About DSPs, Mike said it was so hard recording every show, mixing it, and getting it out to fans in a reasonable amount of time. Towards the end, the crew was turning them out every few days. It was crazy because the crew was kind of getting burnt out on it. At the first, they had to have a shipping container where Pooch and Dylan mixed the shows, but then they finally were able to cut it down to smaller gear after technology improved. At the start, Jim and the band had to review the edits but the band ended up trusting Pooch and Dylan with the mixing. Pooch says the fans still share and talk about the DSPs a lot to him. Mike says the band wanted Ethan involved in the mixing at times too but he already knew that might upset Pooch in a way since Ethan mixed too. Pooch says it made him be a better mixer. Mike explained that the band brought their studio drum tech to help their live drum tech with sound too at that time. Pooch and Ethan still communicated a lot about the non-DSP live releases. Pooch could call Ethan before rehearsals to get all the plugins used in the studio because he'd give them the heads up on that sort of thing before LP would go out touring with a new album. When building LP's live rig and when it came to maintaining it, Mike wanted someone who was smarter than him when it came to the new technological gear. Mike said he'd overload it or break it, or some idiot would knock it over and break it. So LP brought in coding geniuses and put them next to their touring crew. Tater said that when they were promoting Post Traumatic with a TV show in New York and they were playing with The Roots. They went to play the first run through of the song... Tater wasn't allowed to touch anything because he isn't allowed to touch the console at a TV show. Tater immediately told Jim when he heard the click track that he knew things were wrong, but he couldn't touch anything. Mike said the house band (aka The Roots) was two measures off. In Mike's click track, he only heard himself and the click. He said he wanted to just keep going, and the band ended up just playing around Mike. Mike's manager was there and Mike immediately asked him how it was... his manager wanted to do it again. Tater explained the house guy had the wrong program open in the console. Anyway, they played Crossing A Line again and then they were good to go on the second play. Mike closed by talking about the Billboard Music Awards in 2012. An actor was supposed to introduce LP, and they went over it one hundred times, and then told LP, "the skrim in front of you will raise with smoke machines happening, etc"... very scripted. LP is backstage... came to the stage and was waiting, just hanging out. The show was live on TV and another person is talking, and the screens suddenly come up catching LP totally off guard. Brad's guitar tech has his guitar still, Mike has a mouth full of water, and they were supposed to start Burn It Down. Mike threw his water, ran to his keyboard, barely made it in time... Brad was rushing to the stage... and Mike said LP finally calmed down two minutes into the three minute performance. The band went off stage to watch the performance ASAP and saw that the smoke hid all of the chaos the band was going through. Check the full stream out!
  8. Of Mice and Men talked about Linkin Park in their recent Twitch stream on May 18th, where Mike had fans "raid" their channel by sending them all over to OM&M. Due to the influx of fans, OM&M started talking about Linkin Park and their experiences with the band. "We love Mike and we love the LP family. Linkin Park is a huge influence to all of us growing up, so..." "I would say, straight up, Linkin Park is the reason why Of Mice & Men is still a band in 2020. The stuff that they taught us about, like, our finances, about planning, about the way we take our art seriously and not too seriously... shout-out to Linkin Park!" "Shinoda really is like a musical father to us, for sure!" "But he's like the cool dad, he's not like the dad who ground us. He's the dad who'd be like, 'I'm disappointed but you're not grounded!'" "Yeah, good old Shino-dad!" They talked about the memorable show in Zurich, Switzerland to start The Hunting Party Tour in Europe, their first arena that they ever played in Europe (with Five Finger Death Punch, but that was also the first show of the LP tour). "We did do THP Tour with LP in Europe. It was the best tour we've ever been on, no doubt. 100%." When asked about their fondest memories of Mike, "One time when we were on tour, the unfortunate time when Chester broke his ankle on the basketball court. Shinoda got upset, not because Chester broke his ankle, but the fact that he got hurt again. And I guess that like was a thing that always happened. I don't know that was funny or not, but that is like one of my first memories... Shinoda being upset. Yeah, very very sad, I will never forget that time." "I always think back to when he held open the O2 Arena in London. He kept it open so we could hang out with the band and some of their families in the room they had built for Michael Jackson. So it was like this whole disco room. Michael Jackson was going to do his 50 night residency or whatever there, so they built him a special room. So Mike held the venue open until at least 3 or 4 AM... I don't know how they had beer delivery, but we kept getting beers delivered." A fan asked, "Did you guys ever consider making a song with LP at any point?" They answered, "Mike actually helped us write an OM&M song, well a couple of them. He helped me structure the end of "Feels Like Forever", that's entirely Mike, that whole last chorus/triple repeat at the end." "It's funny because when I invented that, and then I showed it to Mike, and then he showed it to you, it was like insane." "Do you remember how he did it too? He was on like a plane to Japan. It was so sick. He was like "I'm going to be on a plane, so I'll listen to your jams and maybe I'll have some ideas" and then he got off the plane and he sent us the ideas. And he was like "what if you do this at the end?" and I was like "OH! DUH!" He also gave us one time an essay he that wrote for UCLA he wrote which was about how he broke down a song which was really, really insightful and cool to see his mind in his early 20s how he looked at a song. He's a legend." "And it's awesome because he's got such a unique perspective when it comes to songwriting and storytelling, and you can see it on his streams, but he's able to explain things that make it less confusing than it needs to be." "If we could get Mike to rap on one of our songs, it would be really, really cool. Get Mike on some heavy music again. Just have him spit... ooooo. We've definitely gotta hit him up about that." And another funny story: "When we did the tour with Linkin Park, we have a song that is called "Another You." It starts off with a really clean guitar part, and me singing a falsetto high note that directly correlates with what he's playing. We were in Germany in what I think is Munich but I looked over and Mike and Chester were both standing side stage. This is one of the first days of tour so we hadn't really gotten to hang out much. So I got really star struck and nervous that I totally fucked up that note. And just fucked up the whole song right at the very start. Aaron had to adjust his note. I just totally biffed the song because Mike and Chester were watching side stage and I got so nervous. And I remember immediately afterwards we were all in the dressing room, and before any of us say anything, Allen is like "he was right there! he was right there and I fucked up!" Not only was the 30,000 people sold out audiences crazy enough, we'd see them watching and we'd be like "OH MY GOD there's Linkin Park right there." And I just put my hand on his shoulder and I said "we fucked it up."
  9. There's just no way he knows what that song is this far from it. Did you see him try to answer the Reading My Eyes question yesterday? lol
  10. Here we go again! Mike answered some cool stuff on the 22nd, and here's the recap. - "How did you start making music when you were young?" -> "I started with classical piano for about ten years. After that I went to basically sequencing and samplers. Back then, keep in mind, we didn't have the technology that we have today. So it was different. So I couldn't make stuff on a laptop, I was literally making stuff with like a cassette tape recorder. And like really shitty samplers and stuff like that. Specifically I did Akai S900 which I loved. I was programming it using a drum machine called the HR16, you'd have to literally... there was a little box and it was supposed to be a drum machine with its own drum sound but you could turn the volume off on that and instead of it playing its own sound, you could have it play triggered sounds off the other thing. So I'd have that, trigger my sampler, run the sampler into the cassette four track, and then rap over the beats. And I was using a $100 microphone. Microphone straight into the four track, nothing else. Sounded like shit." - "You and Chester wrote QWERTY on the plane?" -> "The lyrics were written on the plane, but the music was not. So we did the music beforehand and then Chester and I wrote... like we had already started on the lyrics before we flew, and then we were running and forth in the plane to each other. We weren't far, like we were a few seats from each other. And we'd come over and be like "hey what do you think of this?" He wrote it, I usually write lyrics on my phone and he would write it on paper, he would usually write. He was slow typing and paper was faster and he was writing it and it was back and forth." - "Can you talk about the making of "Promises I Can't Keep?" -> "There isn't anything really unique in terms of that, it wasn't different making that one versus making the other ones. The Post Traumatic record, everything was just capturing what was going on at the time when each song was made. And make the whole song as quickly as possible, at least get all the lyrics and vocal recordings as quickly as possible so I could capture that day and that moment in time. So, the same thing for that one. I think the lyrics are very self explanatory. The music was a track that I already had that I didn't use. And I heard it... I was like picking through folders of things, "oh I really like this one." And I feel like it filled a role on the album, because I wanted something on there that felt a little more like a Linkin Park song, like my version of what that would be if that would be, if that makes sense. It dipped its toes in the water of like a Linkin Park. So I thought that was important to have on the record."
  11. Exactly. Mike Shinoda, literally yesterday on his stream: "Every time we put out an album, in the moment, I was 100% happy with what it was. Because we were in the drivers seat, there wasn't anybody else telling us to put out music or whatever. You hear that sometimes about artists who labels are telling them "now is the time, what's taking so long?" or vice versa like "we don't like this yet, go back to the drawing board, do something else." We never had that relationship with the label, for us, they trusted our instincts and everything. We always got our record to the point where we loved it and then we delivered it and then they helped us put it out. Or they put it out and we helped them get it out there, however you want to look at that."
  12. Mike began his May 20th live stream by telling a fan he doesn't remember the guitar part to "Brooding" but to check online to find out what it is. He says he doesn't know if there is any behind the scenes footage for the "Ghosts" music video that he still has. - "What are some of your favorite moments on tour?" -> "The Post Traumatic Tour was fun and hard. It was just as much for you guys as it was for me. I didn't go out there strictly for my own benefit. Part of it was communal, that a lot of people coming to the shows needed that outlet. They needed to see me and see each other, they needed to hear those songs, they needed closure and other things. There were days when I didn't really want to do the shows but I did the shows because I felt like some people needed the shows. But overall I loved the tour. It was just like anything you choose to do over a long period of time, there are going to be times you don't want to do it anymore and then you get back on your momentum." Mike said his merch company asked him about doing a coloring book, so Mike explained that he has one inside the Post Traumatic art booklet. A selection of the CoronaJams will be released soon, but he won't put them all out. "I will draw a line, there will be an album and there will be like, bonus stuff, as usual." - "What was the idea behind Victimized?" -> "In my head when I just heard the song, I heard the remix. The jungle version, hardcore version. I think the music came first on that one and the music inspired the lyrics. There was a lot on that album about feelings of being taken advantage of and there is some angry stuff on that record. Also, some not angry stuff, but yeah, Victimized was definitely tapping into some of that, I don't know what to call it, anger." Mike has no news on a new Linkin Park album. - "What's your favorite Linkin Park album?" -> "I have favorite songs for sure; overall probably "A Thousand Suns" but that is not to take away from any of the other albums. Every time we put out an album, in the moment, I was 100% happy with what it was. Because we were in the drivers seat, there wasn't anybody else telling us to put out music or whatever. You hear that sometimes about artists who labels are telling them "now is the time, what's taking so long?" or vice versa like "we don't like this yet, go back to the drawing board, do something else." We never had that relationship with the label, for us, they trusted our instincts and everything. We always got our record to the point where we loved it and then we delivered it and then they helped us put it out. Or they put it out and we helped them get it out there, however you want to look at that." He tells a great ghost story about writing music in Rick Rubin's mansion, the Houdini House, when the band was recording Minutes to Midnight.
  13. We're back with the first Q&A of the week from Mike and it's a big one! As we've started to do lately, we just recap the questions about songs and information about music, but not the instrument questions or silly questions. Check the full video for all of that. In terms of wanting to visit places he hasn't seen before, he says he'd like to go to the pyramids in Egypt, Machu Picchu in Peru, and places like that. - "How did the remix of the Enjoy the Silence Depeche Mode song come about?" -> "I think they were doing like a remaster / compilation /greatest hits thing and they asked me to do it. I don't know how my name got added to the mix but I think I had mentioned a bunch of times that I loved Depeche Mode. I didn't meet them at the time, I just did the remix and sent it. Their management sent it back a note saying, "oh the guys liked it." We never met, and then I saw them play like fifteen years later I saw them play in LA. I met the band then, and they were great. They realized, they said, "oh thanks for doing that remix." - "Are there musicians you would love to play with in the studio or even one day on stage?" -> "That's a good question. I've never played with Travis Barker, like PLAYED played with him. Travis is so dope. You know who I've run into a bunch of times but it'd be the weirdest collaboration ever? This track made me think of it, but Thundercat. So random, I've run into that guy a bunch of times in just completely random places. Like one time we were in Tokyo and just walking around at night and we saw these guys get out of this car and go into this club, a lot of people were crowded around them. It was in Tokyo and I could tell it wasn't a Japanese group, and I think their drummer recognized Dan Mayo so the two of them started talking. And he said it was Thundercat. Then we went in and they were so cool... we hung out for a few minutes. So I think that was the second time we ran into each other. I don't know what we would make, but he's obviously crazy talented." - "How was your experience with the World's On Fire video? Would you like to do more animation?" -> "I love the World's On Fire video. Super fun and in terms of an animated video, really fast and really low budget. So to do something with a little more time and money would be really cool. I don't know what that would be and I had so much fun doing it. I grew up loving animation and anime. I went to school for illustration, I don't know a ton about animation, like physically doing animation, but I would love to do it." - "What was it like working with The Lonely Island?" -> "It was mostly just emails and stuff, like they didn't really reach out. Kind of whatever, but, we love the track... the Things In My Jeep track." His favorite non-music activity is snowboarding, but loves games where you can make the game like Mario Maker. He likes Minecraft too. - "Have you ever thought about working with traditional Japanese sounds?" -> "We did. I used a couple of things, I used a shakuhachi on Nobody's Listening. I think I used a koto on something else but it might have been a sample that didn't sound like koto. Maybe somebody could suggest a Japanese day." - "Hey Mike is it possible for you and Joe to collaborate on something?" -> "Ah that'd be great, that's a good suggestion, I'm going to hit up Joe. Soon we'll do it." - "No Roads Left, Across The Line, Blackbirds, WWDK were scrapped from the initial seventeen on Minutes To Midnight. What was the fifth song?" -> "We always have lots of songs that get scrapped from an album, so I don't know. The fifth? Got me, I don't know. I wish I could tell you. Probably something that is unreleased." - "Could you make it so we can buy your jams as digital downloads and the money goes to charity?" -> "I want to put the songs up on streaming. They make it really weird, like kind of hard to donate... they make it hard to stream to donate. There are a lot of hands in the pot. If you want dive deep into a subject where you could potentially get a headache and also learn something, read about how song royalties are collected. It's crazy. I doubt that anybody completely understands how it works. The problem is there are different rules from country to country and region to region. It's a fucking nightmare. So you add the idea that some portion of that money is going to go to a charity and it gets super complex really fast. So generally what people do is they make their money from the songs and they donate some of their income. I started our campaign on my Tiltify page with a $5,000 donation." - "What was the label's initial reaction to A Thousand Suns? Were they nervous about the direction? Had they learned at that point to trust the band's vision?" -> "Yes to both. When we played them The Catalyst and said we wanted this to be the first single, they were like UHHHHH. But we knew we had like Waiting For The End up our sleeves, so we were like, "look, we are going to get to this one, we just want to come out with something really startling first and then we go with Waiting For The End which is probably a bigger single." And they were like "ok", but there were people at the label who were like "I think this is a bad idea", but at that time I feel you could do it that way then. I don't think you could do that today, I don't think it would work. When we released that, it worked." Mike talks about why he picks a certain guitar for each song, what sounds they make, how it helps with the aesthetic and the sound, etc. - "My kids say hi, we would love to hear about times you and Chester had fun or laughed really hard." -> "Laughed really hard? That's like, all the time. A lot of that stuff made it on LPTV. All the goofy characters and voices and stuff, we were always being ridiculous. It wasn't smart humor, we were just being ridiculous. We had a few times we were doing like jokey songs... any of you guys ever heard us do Burn It Down in like a reggae style? That was stuff was just always so stupid but it would always make us laugh."
  14. Happy Birthday to Linkin Park's latest album, "One More Light, which turns three today. It's hard to believe that it has been three years already since the album came out. However, there likely won't be three years until the NEXT Linkin Park album if things go well with the band writing new music. How have your perceptions of OML changed since the album came out?
  15. Mike has updated his merch store selection with five new offerings centered around the quarantine and his CoronaJams. You can now purchase a Post Traumatic album cover puzzle, a Sugar Skull face mask, a Line Sketch face mask, a ShinodaBucks tee, and a Bowl of Destiny tee.
  16. ‪Mike Shinoda will be a guest on “Wrong End of the Snake” with Ken "Pooch" Van Druten and Kevin "Tater" McCarthy on May 26th. "Wrong End of the Snake" is a new series by Pooch and Tater, a part of Jim Digby's Show Maker Symposium. The show will go live on YouTube on May 26th at 3:00pm EST here: https://youtu.be/i2CqQf7-JSs ‪“Pooch and Tater team up to host a webinar exploring the sometimes irrational, always spirited relationship between Front of House & Monitor Engineers.”‬ Linkin Park fans know Pooch for his long time, great work with Linkin Park and Dead By Sunrise, having Linkin Park sound incredible on stage for eight years (2007-2015). Pooch has given tours at the LPU Summits to fans, met and signed items for fans post-show, and interacted with fans online for years. Fans know Tater as being Mike's Hollywood Bowl show MVP and being the band's on stage monitor engineer since 2007... working with LP, Stone Temple Pilots with Chester, and Mike Shinoda's Post Traumatic Tour. Mike said about Tater, "For all the things you saw onstage, there were a plethora of complexities at work to make them happen. Our crew is incredible, and when I say "Linkin Park Family," they are some of the people I'm talking about. Our production manager Jim and I were saying that the linchpin in the show--the guy who helped hold everything together on the stage that night--was our monitor engineer, Kevin (aka Tater). He's the guy that made sure each artist could hear themselves and each other, that every mic on every drum, every guitar, every voice was there when you needed it, that each artist could just focus on what they needed to do. With three dozen artists coming on and off stage, that is no easy feat. We love you, Tater! MVP!" We're looking forward to the stream, particularly the technical discussion about interesting times in Linkin Park's career, particularly the "A Thousand Suns" Tour stage in the V shape.
  17. That's a great point. LP has had full creative control of all of their music for quite a long time. Really, all of it always, besides the label wanting a single for MTM and stuff like that.
  18. Here we go with Mike's Q&A highlights from May 14th! We are just highlighting his musical / Linkin Park / interesting answers... he always answers some random stuff. - "Share some info about the track on the Dust Brothers album." -> "We didn't really... we started something and then we sent it to them. And then they got really nasty about it, to be honest, back in the day. And then they were not cool about it. So we had a bit of a falling out. But they did work on "With You" and that was cool. They did a great job on that." - "Did you expect Recharged to be as popular as Reanimation? And what about the Meteora remixes?" -> "No, I don't have expectations of that. Reanimation was remixing Hybrid Theory so I don't think anybody expected another remix album to be as popular as that. And I don't know if we expected Reanimation to be as popular as it was, so there's that." - "What's your initial reactions to like old demos and stuff surfacing?" -> "Like most people, you can't stop stuff that's out in the world from being out in the world. So, it doesn't bother me. It didn't even occur to me that it was like, an issue or whatever. It's just out there. And there's stuff you guys haven't heard, you know. I don't know what it is, but it exists. It certainly exists in here (my computer." - "Could we get instrumentals and acapellas for albums on Spotify?" -> "Some of them are out there. I don't know which ones aren't." - "Who played the guitar solo on The Last Line from The Mall soundtrack?" -> "The guitar solo? I don't remember. If it's a shreddy solo, it was Brad. If it wasn't, it was either Brad or me. It's unlikely it was anyone else in the band. That's my guess." - "Who makes LP's on stage keyboard and DJ stands?" -> "My setup has changed a lot over the years. Our stands and whatever have changed over the years. Lately it's been just basics, stuff you can find online that are available to whoever. The keyboard itself... for years I used a Nord. This one's a stage two. But yeah I was using Open Labs one for a while. It ran on PC and carrying around a PC-based keyboard... it was just getting beat up a lot. It felt like it was having a lot of problems. Knock on wood, the Nord has not crashed on me because of software bugs or whatever. In terms of the Post Traumatic stuff, I was using a Mac with Ableton and Native Instruments stuff on it in addition to the Nord. So like the Nord is controlling... I programmed all of this stuff inside Albeton to switch between sounds coming out of the keyboard itself and sounds coming out of the computer, so it was controlling the computer. And other times it was doing both. And other times it was adding the sample pads. It was a fun project. Get into that though, there's a setting up here, if you do use Albeton, there's a setting in the top right corner that says Midi. If you press that, all of these things turn blue or purple and you click on any of those and you push a button or key, and it will map that button to that key."
  19. On May 13th, Mike answered some questions again on his stream so we have a few of the highlights below that deal with Linkin Park. One story that we didn't highlight is him talking about being on MTV's show Punk'd, so you'll have to check out the video if you want to see that one! - "What is your favorite LP music video?" -> "I love Waiting For The End. I love The Catalyst. I thought Leave Out All The Rest came out really good too. I liked the video for Faint a lot and I liked the video for Castle Of Glass a lot. I don't think I have a favorite. Oh, Heavy, Heavy came out really good too, I thought that was really dope." - "What are the things in your jeep?" -> "If you guys didn't hear that, that was a Lonely Island comedy song that we participated in. It was pretty funny. Did they ever make a video for that? I wonder if they made... did like a visual, that shit was so funny. We were doing One More Light album when the request for that came in. It was so easy to do, it was so great." - "Do your kids listen to LP? Do they like it?" -> "Yeah! They do, they like it. It's funny because we've got so much music that like often times something will come up and the kids will be like, "what song is that? which one is that?" There's always a song they haven't heard. My son is learning to play drums, and he's working on "Numb" right now which is really funny to hear him play it. His groove is so much different than Rob's." Mike talked about The Edge from U2 being someone he has met once who left a lasting impression on him, when he talked to Linkin Park at a party around the Grammy's. He said one of his favorite guitars is the Ibanez that he painted the green girl on, which you probably know from him using on stage over the years. The guitar is currently in storage with the rest of Linkin Park's live gear. - "Usually people ask which LP album is your favorite, but I want to know which album are you least satisfied with, and why?" -> "Ah shit. Dear Mike, could you please be a hater? Could you please talk trash about your own work? I don't know. I am definitely fully, like, satisfied with all of them. I don't know. Why are you guys talking trash in the chat? Like you're thinking I'm going to say Reanimation and Hybrid Theory. Na. I don't know if I have one. I don't think I can answer that one, it's an unanswerable question."
  20. Mike mentioned a few interesting things on his Q&A on May 12th, so here we are with a recap of a few select questions! - "What was the most difficult LP song to play on the Post Traumatic Tour considering you only had two people on stage backing you?" -> "I chose Matt and Dan... with Dan, I wanted somebody who had a lot of unique style and groove, who played differently from Rob. I wanted that because I thought it would be more conducive to that and the Fort Minor stuff. Every drummer plays differently like there are subtle differences, and especially based on what kind of music they listen to and play to. Dan has a jazz background and he loves old breakbeats and stuff. He really filled that stuff in. I told our manager I wanted somebody who could play as many instruments as I could or more, and hopefully could do back up singing as well. And Matt can do that, so we covered a lot of ground. I don't think any of them were tough for us. Couldn't really do ones with dual guitars plus bass very well, that was a little a tough. The answer is none of them were really hard. It was just getting creative about how to approach things." Mike talked about bridges of songs being a lost art in modern music. "What's a good example? Rage, "fuck you I won't do what you tell me." Woah. It's the same mode of thinking as the bridge in "One Step Closer." If not for the "shut up" part in "One Step Closer", the song would have been like... that's a good metal song / nu metal song / rock song, whatever. We finished that song, we were ready to send it out to mix. The guy who was A&R'ing us at the label, who you guys know we had a difficult relationship with... he didn't send it to the mixer that we wanted. Before we got there, he basically sent it to his boss to get mixed, his boss was a mixer, he was a good mixer, he was just not the mixer we wanted. And then they sent back the song, completely changed around. He had edited out the bridge, the "shut up" part, and put it at the start of the song. And then it happened again in the bridge. Na man. No. That is not how that works. That's like watching the movie "The Sixth Sense" and at the beginning of the movie they go - hey FYI, the main character is already dead. That's a three minute movie." - "How is The Catalyst a positive song?" -> "In the playoff bracket, they had pitted the song "The Catalyst" against "Breaking The Habit." Without getting into the personal backdrop stories of each of those songs, I will tell you that the personal stories related to each of those songs. The "Breaking The Habit" one was very negative. "The Catalyst" one was more aspirational, like it's about more adversity and overcoming it. Like we are the oppressed and we are tired of it, we are tired of being scapegoated and oppressed. So for me, those two things beside each other... I also have more positive memories of how it related to life."
  21. Mercedes AMG has uploaded a new video from Mike, Joe, and Phoenix showing their home studios and explaining what they are doing on quarantine right now. Phoenix, who is learning how to play drums right now, jams a little bit of "In the End" with his kids. Check out the video here.
  22. As if Mike didn't have enough music being released already in 2020, he is now also collaborating with blackbear on another new track, tentatively called "I'm Still Fucking Here". You might have noticed that blackbear tagged Mike on his Instagram story earlier this month saying that he wanted to send Mike a new track to work on. blackbear and Aaron Harmon (who also worked on "About You" and "What The Words Meant" by Mike) sent Mike a guitar hook and vocal to play with, and then Mike went live via streaming yesterday, May 11th, to show fans his work on the track. Mike had blackbear call in via FaceTime to explain the track and his upcoming album before fans were able to watch Mike work on the track for several hours. When Mike finished his part of the track, he sent it back over to blackbear and his team so that they could continue work on it. Mike said he wasn't sure if the track was going to be released or not at first, but once he talked to blackbear on FaceTime, blackbear explained that he thinks it could be an intro or an outro to his upcoming album. He said, "I have a new album this summer. It's coming out in two parts. I'm trying to squeeze this in somewhere, either it's like the intro or the outro or something like that of the sorts. It's a two part album - it's called "Everything Means Nothing". I think it's twelve songs. The first seven or eight are coming out in the next several months, we don't have a date yet but it's in the next several months." Fans may remember blackbear for his previous collaborations, including "Sorry For Now" off of One More Light in 2017 as well as featuring on "About You" from Post Traumatic in 2018. Stay tuned for more information on this track, which looks like it is slated for a release sometime this year. Mike has his upcoming CoronaJams record coming soon to streaming services, as well as his "Open Door" single. Additionally, Linkin Park will be celebrating the 20th anniversary of Hybrid Theory with a release this fall.
  23. Time for some chat recaps with Mike! He mentioned Xero after seeing a question in the stream when he was playing Animal Crossing online on May 7, so we'll start with that. - "Will there ever be a Xero reunion?" -> "No. Mark is the best guy ever, for the record. And also, he is like a music manager, like he manages bands. He's with the company, he spends time managing System of a Down, Alice in Chains, Deftones, Korn. He's not trying to like, sing in like a throwback.... thing. It wouldn't be good for his... he is like a professional person. And by the way, I just texted him tonight, we're still super good friends." Next, Mike took questions when making his 2000s pop song on May 8th, so here are those. - "Will you have a lyric writing session?" -> "I probably won't because lyrics take a long time for me. It's long and tedious. And it's just a looping beat. Here's what a lyric session is like for me. Usually looping music, unless we are writing a song with like chords, then it's like sitting at a piano or guitar probably and going back forth between that. And there's an element of like privacy and an element of concentration that I have to have. If there's a live stream going on, I will probably be too self conscious to do it. Number two though, if it's rap lyrics or even some singing lyrics, I will have one section of music looping for hours. If I were to have four hours of looping music with me mumbling to myself and occasionally coming up with a line. That would be mind numbing, I know you think that sounds fun, but that would not be fun for you guys. At least the way it comes to me, it is not fun to sit and do. Our engineers just basically just go sit in the other room on their computers and wait, and you know, make their own music or whatever." - "Would you ever dye your hair a crazy color again?" -> "I haven't thought about it. It hasn't occurred to me to do it. You know, you never know. I'll say probably not." - "What is your favorite song to perform live?" -> "It depends on the day." - "What is the toughest song to play live?" -> "Those are obvious because we don't play them or I don't play them. I love the song Breaking the Habit, but I don't want to play the song Breaking the Habit because it is a little tough to go there." - "The demo lyrics for In the End were less straightforward and more abstract than the album version. What inspired the decision to start over?" -> "I don't remember who suggested who suggested we write new lyrics. At that point, we were operating on intuition. We didn't know what we were doing. We just had feelings about like what to try. I think it was probably like, "hey this is going to be an important song on the record. It's probably going to be a single, so we should probably try to beat the verses." And when I did the final version, I knew that like, I felt that they were better. And everybody kind of agreed. It was that interplay between me and Chester. It kind of the simplicity of it. The original version was a lot more abstract and a lot more rappy. It might be out there on the Internet somewhere I guess. I will say that I remember our A&R guy from the label coming in and trying to like, tell me what to do and produce it. And that was one of those moments when we knew the whole recording process might fall apart. And we were in full-on fight then with him and a couple people at the label for our souls, for our identity. Because that was THE song he kept coming in and saying he played it for like, whoever, that rapper, and he didn't like it, so we should change it. And I was like, we like it though and this is us. I respect that rapper but I don't care what he thinks of my stuff. He doesn't talk about the things we talk about. He raps about rappy things. I talk about real life and emotions, of course he doesn't like it. That couple of weeks was when he started going to Chester and was like "You could have the whole band to yourself, you could be the star, and you could ditch these guys." He went to me and told me I could play keyboard - that was that moment. We were getting verses to In the End right. Very tense time." - "When you listen to new music for fun, do you listen to words or the overall sound to the song and the words later, or what?" -> "It depends on the thing. I think usually I do listen to the whole thing together. I can't have a good song without good lyrics and I can't have a lyrically exciting song without a good track. Or at least a track that compliments it. It kinds of comes together, both things at once to me." - "In The Meeting Of A Thousand Suns DVD, you mentioned you were considering three other producers besides Rick Rubin, who were they?" -> "I don't remember who they were. But I think I remember we talked to Flood (British producer) and I think we talked to Atticus Ross. I don't think we talked to Brian Eno although he would have been on my list. I feel like there was somebody else who was more of a producer... who was more "of that moment." That wasn't a moment when they were like, the hot producer. I feel like there was somebody in conversation who was hot at the time. I just can't remember who it was. But I know we were serious about Flood and Atticus at the time. I think we even asked if they would work together. Trent was not doing anything like that at that time - I would have loved to have worked at Trent. But also the issue there is that although he is a producer, he is very much an artist. And he would have very particular opinions about things. I find that artist producers when they have a "sound", there is consciously or unconsciously an awareness about what their fans will come to the project wanting to hear. And therefore that artist's sound needs to be in the stuff somehow. I don't do that as much. If one if my sounds is in a thing that I make for somebody else, it's usually an accident, or because they say "hey, I want something like this." - "I would like to know if you'd release the instrumental you made for the documentary This Is Life with Lisa Ling." -> "I probably won't release that, no, it is not something that is on my radar to release. You can just enjoy it in the context it's in." - "What do you think about oriental scales? Persian, Egyptian, etc. Is it something that would inspire you while creating new things?" -> "Yeah sure. We could try that at some point. Maybe you redeem a theme suggestion and we do it. Throw Persian scales at me or something." - "How did the Transformers remix of Iridescent come about? The version used for the movie was shortened and had additional percussion that wasn't on the album version." -> "Actually I think almost every sound used in the remix of Iridescent was in the song. We just turned them up or EQed them or compressed them. The reason for the remix was I think that the radio department at the label said, "hey, if you're going to go out with this song and the movie and whatever, we'd like to hear it pick up energy, like get to the point faster with a shorter version. And for it to have more energy earlier." That was a cool idea. To me it didn't ruin the song, I felt like it was a cool version of a song - kind of a subtle remix so we did it. Kind of a pain in the ass though because we were on tour working on it. I remember just having to go back and forth about mix notes and adding and subtracting things a lot. It was just tedious, it was fine though." - "Why have you never done a song with Eminem?" -> "I think Eminem doesn't want to do a song, I think he has his own thing going on. So you can ask him. I don't know. It's no bad blood. I don't have any hurt feelings about when an artist doesn't want to collaborate or whatever. Even if I reach out to someone and say "do you want to a song?" and they don't answer... usually they don't come back and say "no", they usually just don't answer, that's just how it works. If you're an artist listening and you reach out to someone and they kind of ghost you because they don't want to do a thing, then just accept that as like that's where they are at that moment. And give them space to let them change their mind so just leave the door open because they may come back later. I think some people take it very personally, I think I did at some points but I don't anymore." - "Can you play a classical piece on the piano for us?" -> "That was actually one of the song requests so if we get... if that one comes out of the bowl then we'll do it." - "I really love the mashups you did during the Post Traumatic Tour. Are there some songs you tried to mash up that didn't work out?" -> "Yeah. Most of them worked out. The way I heard them happening, usually that would pan out and be good. I think I tried to do something with Castle of Glass and it didn't work. Blending it into another song. Then I thought "why would I do that? I want to play that whole song." But it's very intuitive." - "I love your studio. I was wondering what's the most prized or favorite tech equipment you have. And if you could add any other items what would that be?" -> "You've seen the stuff I use as core gear. I'm thinking of adding... I've got a drum kit. I'm thinking of adding another camera so we can show the other room. We'll probably have to jump into ProTools and there will have to be some technical considerations to go through there. But yeah, the core of the studio, one of the core things that you can't see, there's hardware compressors and preamps and things like that. The kind of nerdier stuff. A lot of recording studios have like a mixing console in the middle and a computer connected to that. I decided to not do that because I don't really mix here. I wanted the keyboards and controllers to be the centerpiece. I do have some hardware mixing stuff, I use Ex-Logic SSL units and they're rack units. What that means is that faders and stuff that you usually see in the front of the room, I have the same quality gear but it's compacted and in a rack down there. And some other compressors and stuff over there. It's all real nerdy shit. Too much nerdiness." - "How can you combine different genres in a harmonic way?" -> "I always told people like from the beginning, when we were doing Hybrid Theory, I feel like my best combinations happen when it's stuff that I really like. While I can make a song in the style of "whatever", with varying results.... I'm no expert... but I think if I really loved this (2000s pop) style of music and wanted to dive in and be great at it then I'd spend time listening to it, picking it apart, finding out what they use. So this is just an estimation of doing something in the style. When it comes to something I love, that's where you really go deep. Do the homework. It's one thing to be wandering around in the dark making stuff by ear and making stuff sound a certain way. You've got all the opportunity of actually researching and getting the actual gear. But back to the original point, mashing stuff up works the best when you actually like the stuff you're mashing up." Phew! Huge Q&A!
  24. Linkin Park Peru has posted a sort of "March Madness" bracket of Linkin Park songs on Twitter and it is taking the LP community by storm over the past day. Linkin Park joined in the fun and retweeted it last night as well. Take a look here and see what song comes out number one for you!
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