Reflectionist

The issue with Session is that there isn't a section where the drum samples are by themselves, like there are in Cure for the Itch. I tried to work around this by simply isolating the center channel (it's done pretty easily in most DAWs--make two copies of the track, set one to 'left channel' only and set the other to 'right channel' only, then invert the phase of one of them, so that the waves cancel each other out, you're left with only the stuff that doesn't appear in both--which will usually get you some cool stuff in the center track). HOWEVER, with Session, it's such a drum sample oriented song that the samples use a good portion of the stereo image, so you'll get drum samples, but they sound like shit.

Thanks, man. Here's an original a bunch of friends around the LP Remix community and I did (not to be egotistical, but I did most of the work, it was my baby, I just asked if anyone had any original parts laying around they didn't know what to use for--Got a piano loop from Dave Mathis, etc...) http://soundcloud.com/reflectionist/cut-the-blood

I didn't even use any Reanimation files for the Cure for the Itch thing, but in the case of Enth E Nd, I did this for the Center Channel (drums only). First thing I did was do a Pan / Expand in Sony Soundforge on the original HT track (which got me that PSSH sound fairly cleanly, near the begnning). Aside: there might be a better sample somewhere on the Joe's Gas Station Breaks CD, which I believe was released here on LPL a few months ago.... Next I isolated each drum sample (hat, snare 1, snare 2, single kick, and the scratch kick), and put them each on their own separate track in Sony Acid, and normalized them. After that, I put a source track of Cure for the Itch, HT version in ACID, and muted it. To get a feel for what techniques I'd be using, I went ahead and remade the entire 'rhythm management' section, including the way the kick pans left and right, and taking note (through trial and error) of the way the snare changes pitches, the staccato scratch kick, etc, all delays, and stereo placement. The Pan / Expand I used to get a solo of the PSSH sound kind of sacrificed that sample, so it's not as high quality (as there's really no center to it, just a hard left and a hard right), but it works well for remixing, originals, and it mixes well. Then I worked backward. Starting at the beginning, I put in the kick and snare, then hi-hat, then PSSH effect. (I used huge amounts of delay automation for each--there's usually a quarter note delay on the PSSH, but it mutes for effect at times)... etc. The intro section is pretty straight forward, honestly. For the second section, I'd copy over the groove and adjust each measure individually as close as I could get it. Then I'd slow down for the intricate glitch sections and try to get them as close as possible. Of course, at the time, I didn't really know the difference between a stretch and a 128th note delay, which is why some of the snare tails in the second half of the song sound off. I could probably go back and fix them to make them sound more accurate, but most of the drop offs sound pretty good. And I didn't use any sort of glitch plug-ins to do any of it, that's all clicked in by hand on a grid, with individual velocity changes for each individual attack. --- Did the same thing for Enth E Nd's drums, except all I had to do was duplicate the Center channel for Kick, Snare, and Hat, and arrange. I didn't so much need to worry about delays and panning for it, since it's a pretty cut-and-dry hip hop track. The only issue I really had was trying to figure out how long each note holds. You can't just paste in the kick sample in the right spots and expect it to sound like the recording. For the opening fill into the drum groove, the kicks on the e's before the counts are staccato, so I had to adjust the tail of the sample accordingly for each one. Also, the snare sextuplets into the chorus rise in pitch ever so slightly, and I had to account for that, too. The bass was also pretty standard, but the only issue was that I remember other pieces of the song getting in the way, so I had to arrange, and pitch shift each note. Luckily, there are only like, two or three grooves, and there are about two or three different clean bass notes you can chop out to arrange. Obviously, if I had pitched the Eb down to the B, it would've sounded awful. It usually starts to lose its timbre when you move a note past two semitones (or past a whole step, for you theory nerds). I do believe all of the Db's were pitch shifted in. The piano I did just like the bass, except there are a lot more notes, and a lot less to work with. The breakdown at the start of the third verse was done by making separate tracks, adding delay and slight phaser effects, and muting the dry signal so all you hear is the delay--the dry signal was already on another track. Other than that it really was just cutting notes, pasting them in the right places, and pitch shifting them to the right notes (while trying to find the right source sample to use that wouldn't sacrifice the integrity of the piano samples used.) Now that the actual In the End stems are out, I'm sure someone could give this one a more complete go, especially if they had the Reanimation DVD-A 5.1 tracks. I made both of these when I was about sixteen, which would be... eight years ago. Technology and availablility of resources have advanced so much since then that I'm almost disappointed that these are the best ones of either of them out. .... By the way, since I did make them, and I don't have them... someone should send me the Enth E Nd tracks so I can see how I did. I remember how I did them, I just don't know how my 24-year-old Music Major ears would like them now. I might give them another shot, in higher quality. I don't know. But yeah, that's about it. There's no need for a tutorial. Just listen to the song, and put the notes in the right spot. That's 90% of the work for this stuff.

Cure for the Itch fan-made Drum stems (please give me credit): http://www.sendspace.com/file/5dkger Get Me Gone Fanmade Stems (I'm not sure who made these, but thanks, whoever you are!) : http://www.sendspace.com/file/3wghyf

I made them. Forever ago. Had no idea they were still floating around. I've long since deleted them and the project I made them on (I should document more shit like this), but if you're looking for proof, the best I can give you is that I used the piano one in making this remix... I could tell you how I made them, though. Oops. I guess I posted this already. I've also got custom CFTI drum multitracks (PSSH effect, Kick, Snare, and Hat) did all of the glitching by hand, it's close but not perfect. I was sixteen at the time. Can I upload those? Also, I've got some pretty legit sounding fan made multitracks for... shit, I can't remember the name of the song, it's by fort minor... Get me Gone? Does that sound right? Also, Astat, sounds like someone just arranged the multitracks from the phone game. I did that with the DVD menu of Collision Course and made an instrumental of LFY / DOYS forever ago. But DJ Zap did another one around the same time and honestly, I can't tell the difference. There are two floating around, and they're different, but only a little.

So... just stuff we have already? Save for New Divide and Breaking the Habit? I've got stems of all of those songs.

Wow. So... The It Down remix is pretty okay, I guess. >_>

They make noise cancelling ear protection for drummers specially made to fit in-ear monitors under them. It's about damn time, Rob!

Blackout. To me, it's the frustration of dealing with someone who has been medicating with hard drugs. Literally, when you black out, it's because your eyes are filling with blood. Suffocate in the mess you're making. Say that it's not your fault, instead that I am mistaken. Fuck it--are you listening? (You're not, because you're tripping your everloving dick off.) You're about to black out. Blood in your eye. Push it back down. ...The song, as a whole, accurately describes taking hallucinogens to me. Floating down, as colors fill the light. You look up from the ground, in fields of paper white.

As a percussion major, I can safely say that Remo heads are the shit. I'll swear by the Ambassador series any day of the week. EDIT -- I still dislike Rob's technique. He flails around and has absolutely no prep stroke, and it pisses me off. Guy's going to ruin his elbows doing that shit.

Hit you like Pacquiao! Philippines! Philippines! [/thread]

Fixed. Gotta maintain my cynicism. Could be another Trollnoda attack.

^That screencap, I believe, is from 0:41 in the video--taken by reversing 140. Linkin Park have never had a song at 140BPM. They've had songs faster, but I don't think they've had any right at 140. Closest is There They Go, which doesn't count. Also, I'd highly suggest ripping the audio and running it through a spectral analyzer, seeing if any sweet patterns show up.

What, don't you want to listen to METALPENIS2012 by LINKINPARK?

Sexy titles, but I have to say it's probably fake before getting too excited.

It's probably not going to happen. While I would love for this to happen, I don't think it would. Mostly because Warner's a dick and owns the sole rights to anything that's been on an 'official' release. Including the multitracks. Almost everything that's out there now was obtained illegally. If there's a way to have this kind of stuff on LPU, I'm all for it, but I think the much more productive way is to have sort of a fundraiser for them (the public 'buying' them from Warner, a song at a time) and give whatever profits there are to MFR or PTW. That's still a LOT of paperwork and all kinds of politics between the band and their label, and that's probably enough by itself to discourage the idea. tl;dr... Warner's not going for it unless they can make bank off it. If it goes on LPU, expect a huge price increase. But it probably won't, just because of all of the politics involved. That said, I've felt for a while now that Linkin Park need to go the path of Radiohead / Nine Inch Nails and just drop their record label and do it independently. Linkin Park is a big enough name to not only be self-sufficient, but gain massive profits for the side stuff like LPU and MFR and PTW and whatever else they want to be active in. Even if they do that, there's no way we'd get stems from anything from Hybrid Theory through A Thousand Suns, because that stuff's still going to belong to Warner even after LP books it.

Obvious troll is obvious.

Thanks, man. I'll probably not do a rundown of every track, because that's a bit time consuming. I might pick out my absolute favorites from the entire collection and do those, I guess. If there's an appropriate thread... I don't want to make one just to talk about my opinion of certain songs, but I definitely appreciate the compliment. Means a lot. You're not being a dick, dude. Thanks for looking out for me. I just went through a pretty bad break up that was entirely my fault, and a mistake at that. She didn't do anything wrong, and I broke up with her. There were a lot of reasons and I realized after I left that none of those reasons really meant anything compared to the time I was with her. But by the time I realized, it was too late, and she's already moved on. It's definitely one of those "Forget perfect, I'm trying not to be worthless," scenarios. But thank you, I appreciate it.

Haha, yes. LPF was crazy back then.

Internet is serious business. Or I'm a complete asshole. Take your pick, man.

Yeah, but I wasn't.

Pussy is cutting yourself to get people to pay attention to you. I'm much more into emotional self-destruction, because it doesn't guilt anyone else into being my friend. It works out nicely: I get what I deserve, and I don't have to deal with sycophants. Cool, huh? Oh, and I'll shout out the LPU to keep the thread on topic. My personal favorites from this CD were Slip, Robot Boy, and Esaul. Yo is alright. It's repetitive and probably could've been better if it went somewhere, but it never did. Slip. Dear God, I love this song. I really wish they reworked this for Meteora or something, because it's... amazing. The chorus (Chester's) let me down juuuuuuuuust a bit because I was expecting there to be some higher harmonies thrown in... sort of like the second chorus of P5hng Me A*wy or Carousel. I would've loved to hear this song with real drums and bass put in. I feel like those elements would've really let the song live to its potential. Also, notice the vocal in the last Mike chorus? Yeah. A Thousand Suns has a LOT more in common with the Xero / Hybrid Theory era than we're probably comfortable with admitting. I LOVE it. Soundtrack is pretty good--the 'chorus' reminds me of Aphex Twin's Flim. Mike says they felt like the track was too poppy, and that probably could've been remedied by: 1) putting the drums into half-time during the chorus sections, and 2) writing a syncopated palm muted guitar part for the verses and then putting a band pass filter on it to keep it from getting too much in the way of the established groove. But I don't know, since I'm not Linkin Park. In the End. Let's all be honest, here. I'm pretty sure Mike wrote this entire song by himself. And that's awesome. There are a lot of small changes here, but nothing really too drastic, and I'd imagine that every single one of those changes was made by one of the other band members during the Hybrid Theory studio sessions. I think this version probably wasn't meant to really be a final track so much as planning how the song should go. In any case, I still like it. Program. Judging by Mike's description... he was pretty bored with the nu-metal thing when they were writing this. We've all heard how Linkin Park had written a "lot of crap" in preparation for the sophomore album, and I bet most of that "crap" sounded absolutely nothing like this. Not saying Meteora was Warner's cash baby, but I think Nu Metal might've lost some of it's shine during the Meteora sessions. Bang Three. I have somewhat of a love / hate relationship with What I've Done, especially now that I've heard this. I feel like What I've Done wasn't really a departure from Meteora so much except they went for a more organic, classic sound. This demo shows a lot more of a departure, regarding how the chords are set up (it's not one chord per measure (which is a Meteora staple that carried through to the final WID), and the inversions aren't nearly as predictable), and I feel like they might've taken a step or two backward to facilitate the vocal ideas. The bridge is awesome and unique, but they wanted a guitar solo, so they opted to play the same four chords again as a vamp. The solo was cool, but now that I've heard this, I almost feel like Linkin Park kind of started doing different things and then retreated into familiarity. Robot Boy. I really, really like Robot Boy on A Thousand Suns, but I can relate to this one a lot more lyrically speaking. I won't say that I wish this version was on the album, because it would've probably felt thematically out of place with the rest of the album, so I support it. I am glad I got to hear this version, though. Thanks, LP! Broken Foot. I didn't care for this one, probably because I could just imagine the exasperation of Mike's description. The guy's just tired of Nu Metal, you know? Esaul. Amazing. When I heard these lyrics for the first time on the Frat Party DVD, there were a lot of us that tried to transcribe them and we were way off. I love it. I'm probably still way off, but here's what I got for the first verse: Writing with a head full of buckets of red And what I said still stuck in my head A thoroughbred--thoroughly bled, I led To the land, that I'll never come back Smaller than thumbtack, but I never run from that From planetary size, eyes over the horizon Smaller than a Floxin I'm a lyrical lamb, the power of a god In my cynical hand, with a pen, once again Swimming in the center of the hit, or a miss Feeling all my thoughts getting lost in the mist Realize the one not the size of a fist With the killing of the killer with a flick of the wrist I really, really hope Mike posts the lyrics up on his blog. That would be amazing. Blue. This one's alright. It's a departure, for sure. It feels like a Grey Daze song that Mike produced and contributed to, but I can't really place the reason why it feels like that. Mike's flow reminds me of Sage Francis, which is amazing to me. But I cringe every time I hear the chorus, because the lyrics feel tired. The melody seems a little lazy. But these guys were around my age now when they wrote this, and this is a shit ton better than I could do, so I'm pretty sure I might've just been spoiled by the rest of the Linkin Park discography. The most interesting part to me is how they gutted this song, and pretty much built Crawling from it--I think a lot of the drum samples are the same, and the vocal influence is obvious. This is probably my favorite LPU album to date--Thanks, guys.

Lyrics for Slip are at the top of page 11. And I'm not going to transcribe Blue because I'm 23 and have branched on to wearing colors and use paper instead of my body to write how I feel inside.

You're absolutely right, but you're forgetting the era--I highly doubt that Mike Shinoda had a DAT recorder in his bedroom in 1997. That said, I would still probably like a higher quality version of the entire album, and any quality blemishes that might arise from the HT Demos I would pass off as part of the song's character and sonic identity from the time it was recorded. *shrug* It would only be the HT demos that would have that problem, if at all, and it's easily overlooked.

^ It's probably a combination of the band having the original files in high quality and us ripping CDs to 192kbps because we thought it was pretty good back in the early 2000s and nobody had a computer or an internet fast enough to bother with anything better than that. I mean, now we've all got 3G, wi-fi, but back then, the best anyone had was dial-up. Fuck me running if you think I'm alright with uploading / downloading a lossless track on dial-up. No sir.