letdownagain

Knee-jerk, initial impressions are that a lot of the tracks have a very particular reverb sound with long tails and space echo-type delays, a lot of layering, and using vocal parts for texture. Two-Faced stands out and sounds like a Meteora-era throwback not just because of the structure and the guitar work, but because of the vocal processing that drops a lot of what the rest of the tracks have in common. Mike's vocal doubling and parts where that's bit-crunched and much drier comparatively to the rest of the album.

It's a novelty listen, but it's fun to hear what's going on under the hood, so to speak. Also appreciate that manipulated vocals, like the scratching on Overflow, were left in. Intro on that track sounds a bit like a Crystallizer, maybe? That's why we need some kind of Mix With the Masters-type deep dive.

TheGinge's post above is pretty comprehensive, but I'm adding the early bits that got missed that I was able to get by screen recording, plus Mike's last message after saying bye. I think with that, it's everything. 

Mike Shinoda: LP fans have countdown PTSD

Mike Shinoda: hahahahaha

Mike Shinoda: Welcome to FROM ZERO. This choir sound was in the last chours of Emptiness Machine

Mike Shinoda: The voice in the intro is a kid. He is not pleased you keep thinking he is Emily

Mike Shinoda: The audio is pausing for me as well. I assume the team is working on it. But it gives us more time to chat

Mike Shinoda: Let's see how it goes from here. Also, the choir at the end of the album reverses into the choir at the beginning of the album (a loop)

Mike Shinoda: Thank you all for being here. We love and appreciate you. See you on tour! B Y E

Mike Shinoda: You can stay and chat with each other and play the album again if you like hahaha

1 hour ago, martinez said:

Added this release to LPDigital site. It missing some info that I will add tomorrow. If someone has the length of all live tracks let me know (EDIT I already have it).

 

Also, I confirmed that TEM is from the debut show (9/5).

Vibe I got is that it’s the debut performance of each song. Does that track?

I was anticipating them having a big week chart wise, but this with a new single/video, ahead of a tour announcement, makes me think it’s gonna be an extra strong outing. Curious to see what that looks like.

5 hours ago, PizzaPino said:

 

They removed the guitar fuck-up lol

Good lol. It was such a minor, but super audible thing in an otherwise sick performance that I was hoping this might happen. 

17 minutes ago, aaaaaaA said:

Maybe she's on her period. 😉

Really?

3 hours ago, LPLStaff said:

New York barely had any too. They seem to be intentionally not giving many to the shows for some reason. They should just put it online and let people preorder it.

I got the second to last one after the show in NYC. They only had them at the main merch booth near the main front entrance. Based on what I'd read, the outside, pre-doors merch booth had 33, then inside had 100. I'm not sure about the accuracy of that, but given my getting one, I'm inclined to believe it. Pic of the cover I took a few minutes after buying it says 11:13 pm.

4 hours ago, LeonardoMF93 said:

It wasn’t just QWERTY.

 

I also remember Talking to Myself, Good Goodbye, Battle Symphony, Wastelands, One More Light, and Invisible.

 

Practically all the songs from One More Light that were ever played were performed on the South American tour in 2017 before the studio version was released.

How about the large majority of the Meteora material played on the LPU tour? Mike's memory this kind of stuff is notoriously bad.

Song wise, I dig it. I appreciate the use of samples and Emily sounds solid. I get why people are saying it's "Meteora 2." I think it fits well in the camp of songs that got included on Lost Demos and the tempo and keyboard sounds give me a "More the Victim" vibe. Given that was my favorite of that bunch, I'm not mad about that.

37 minutes ago, SD238 said:

All good, not at all. Yes I have the full show.

 

My memory is terrible, so I got into the habit of making audio recordings, just set it and forget it. As far as the phone goes, you’ll see the video is pretty crummy, I wasn’t paying much attention to the phone. I get a lot of satisfaction being able to rewatch it though. I’ve buried myself in bootlegs since I was a kid, and I feel this is my way to pay it forward.

If I’m in the pit, I’m fine just leaving it to audio depending on the concert.

 

Also video and sound editing is a passion of mine, makes the whole experience even better for me. Apologize for the long answer, I’m not good at condensing haha.

 

 

 

For what it's worth, I don't think the video is crummy at all. I saw some low-quality stuff online, some really bad automatic stabilization, etc. This looks solid to me. A little shaky? Sure. So's actually being there, though. It's Friday and I'm still feeling the pit!

I'm the same way where bootlegs are such a large part of it for me, too, which is why a site like this is such a resource. Growing up with dodgy VHS tapes of the Rock and Roll Hall of Fame and Docklands broadcasts was as much a part of becoming a Linkin Park fan as the albums were. I'm very much looking forward to what you've got coming up.

Not to completely derail the thread, but I do wonder what percentage of LP fans went down the rabbit hole of getting into audiovisual media. That part with the Pro Tools rig on the back of the bus in Frat Party changed the trajectory of my life. I know that sounds hyperbolic, but it's not. Anyway, very cool to see someone similarly minded sharing here and behind the helm these recordings. 

30 minutes ago, SD238 said:

Thanks! I take a lot of pride with recording.

 

Fairly simple setup honestly.

Tascam DR-05, SP-SPSB-4  For microphone power and CA-14 Cardioid microphones. Costs around maybe $500 for the whole setup.

 

I like the setup. I’ve been right next to the amp at some concerts and these refuse to distort. I like that the microphones come with windscreens and clips. I clip them to my hair very close to my head to keep them in place. 
 

Because they’re cardioids they capture sound more so in front of you. Deadass have had people singing shouting next to me, and you can barely hear them on the recording (even in the pit)

 

Last piece, I use Logic Pro X to master the recording.

The clip you shared sounds great. Thank you for making the effort to record this show and going into detail on the technical specs.

Also another Logic user!

I can be more articulate when I’m not getting up to go to work post-pit, but Keys to the Kingdom fucking ripped. Emily has it, 100%.

Any idea if there’s Emptiness Machine CD singles tonight? Sadly, I can’t imagine I’ll be able to get there in time grab one if they do, but I haven’t seen anyone mention it.

13 hours ago, Elisa said:

Hey all! I absolutely PANICKED when trying to get tickets to the NYC 9/16 show and ended up with two pairs of tickets. I'd like to sell the two I'm not going to use, and would really like to get them into the hands of a diehard fan rather then selling on ticketmaster. They're in section 215 at the Barclay Center. I'm not looking to make a profit, just recoup what I paid for them. Is anyone interested?

 

(Hope this is allowed, I really just want to get them to a fellow superfan!!)

I’m in a similar situation. I ended up with an extra floor ticket which was for a friend and that plan just fell through; they can’t get out of work.

I was hoping there might be a ticket megathread on here or Reddit, but haven’t seen anything. Looking on StubHub and that situation just grosses me out. No one should be paying that much and the fees involved are stupid.

EDIT: Ticket gone as of this morning.

30 minutes ago, martinez said:

 

... also mastered Post Traumatic and One More Light live

Yes. I excluded those in part as those releases now inadvertently deadname him (the remaster of PT does not). You also edited out my bit about saying "in this particular context." Emily is a member of the band on "The Emptiness Machine". She is not on Post Traumatic and One More Light Live, therefore, not relevant in this particular context.

Tone is weird over the internet, so I do want to say I don't mean this to sound aggressive or rude in any way, just expressing my initial intent/phrasing (or lack thereof).

1 hour ago, AParallelogramInTheSand said:

She's also openly gay which is not something the cult allows, so that could be a sign she's left it. Speculation until somebody confirms.

 

This is the first I'm seeing about her being openly gay, but along similar lines, the single (and presumably album) was mastered by Emerson Mancini, who openly identifies as a transman. For whatever that's worth in this particular context.

Just now, Coizu said:

Yeah, it just said "Generating Code, come back later" or whatever all the time. Code is there now and clearly labeled as legacy. Thank you very much though.

Glad it updated! Hope you nab what you're looking for.

18 minutes ago, Coizu said:

Haven't even got my pre-sale code yet. Should I see something labeled as "Legacy" in LPU so I can be sure that everything worked out fine one I got my code before the pre-sale starts?

On the left side of your passport when you log in, where the avatar would be.

Legacy pre-sale was definitely one of the most stress free ticket buying experiences I've had. Still a good amount of seats and GA for Barclays.

See you on the floor in NYC.

I’m just sick of countdowns to countdowns. My general feeling isn’t that I’m being personally trolled or disrespected or whatever. I just feel too old to care about moving numbers on a screen. Let me know when there’s something worth knowing. The clock glitched at 9:05? It’s supposed to be September 5th? Cool. See you next week.

I get why others feel that way, I guess, but I just don’t want to put that much energy into nothing. Something’s coming. I’d just rather know when it’s ready to be known, versus this. Which I think isn’t just an LP thing for me.

For comparison sake, Oasis posted a time and a date and have been gone for *15* years. Time and date came, announcement happened, easy peasy. No one is *less* excited about that because it was straightforward and quick.

Man, this is right up my alley from a technical perspective, but $100 a piece (or $240 for all, and that's before tax and shipping) is really steep. Especially for albums I already own multiple copies of.

Hybrid Theory and Meteora being mixed onto tape is new to me. Have any of the previously released HD digital versions been 192/24? I feel like I've seen 96/24.

Along the same lines, I'm surprised to see MTM at 96/24. Both the DVD with the OG release and the 15th anniversary use 48/24 for the main album, with the exception of the 15th anniversary deluxe being 96/24 for SotD because it's the wrong master, and No Roads Left.

That's an issue, too. Is it gonna be the OG mix of SotD or some kind of alternate master again? There's been three different versions of the song on vinyl, I believe (OG on 2008 pressing, V2 with no "sonar" synth and strings on the 2017 picture disc, and V3 with right synth but the alternate guitar on the Walmart pressing, if I'm not wrong).

Also odd that Meteora was once upon a time a double LP, despite only being 36 minutes long. What's better: a single sided One Step vinyl with 18 minute sides, or a double LP with sides that average about 9 minutes each?

Either way, hope I get to hear this somehow. I'm really curious to hear new masters of HT and Meteora, specifically, that aren't by Brian Gardner.

Post Traumatic is the deeply personal solo album from Linkin Park’s Mike Shinoda recorded in the months following the passing of Linkin Park vocalist Chester Bennington.
 
Originally released in June 2018, the 16-track album included the 3 songs from the Post Traumatic EP released earlier that year, plus the singles “Crossing A Line” and “Make It Up As I Go”. This 18-track deluxe vinyl re-issue of Post Traumatic includes two bonus songs: “Prove You Wrong” and “What The Words Meant”; tracks that were originally released as a limited edition 10” single and added to the digital album.
 
Despite its title, Post Traumatic – which includes collaborations with K.Flay, blackbear, Machine Gun Kelly, Deftones' Chino Moreno, and grandson – is an album about healing. The songs are specific about Shinoda’s experience with loss yet manage to be universally relatable, thanks to their honesty and heart.
 
The deluxe vinyl 2-LP set is being released in three formats. In addition to black vinyl,
two limited editions are being released: one pressed on Orange Crush vinyl, the other a Zoetrope picture disc.

Black Vinyl pre-order

Orange Crush Vinyl pre-order

Zoetrope Vinyl pre-order

I don’t have much to contribute that hasn’t been said, or will be said, about the new singer situation, but the lack of seeing Rob’s name doesn’t come as a shock to me. I really suspect this is extremely similar to Queen and John Deacon, who’s last recording with the band was a new song for a greatest hits compilation and last appearance as a live member of the band was at Freddie’s tribute concert. Sound familiar?

His lack of appearance outside one HT20 Q+A and Mike’s comments about his whereabouts have painted the picture of him largely retreating from public life following Chester’s death, so none of this surprises me.

Joe, on the other hand, is a bit of a shock given that’s he’s been involved with the promotion with the boxsets and Papercuts and even confirmed QWERTY’s release. He was also the first member of LP to join Mike at a solo (non-FM) show. No disrespect to Rob, but his contributions live seem like a stranger position to fill than a traditional drummer, so curious to see what becomes of that.

Provided, of course, that any of this is legit. But anyone who isn’t putting serious stock into the fact that Billboard is reporting doesn’t understand music press. It’s a lot more significant than Jay Gordon’s comments. But that said, remember that Joe Jonas got so much shit for suggesting a My Chemical Romance return and was called a liar by a band member, and then was 100% correct. Jay’s not a rando who’s completely disconnected from the LP camp; he’s on Reanimation and his ex-bandmates are Dead by Sunrise.

My personal opinion is that I’d prefer a “Joy Division/New Order” situation that has a new band name but performs LP songs, though I understand that’s harder to market. Either way, I do think the STP w/CB method is the template. Focus on playing the hits live so people who’ve never seen LP can get their fix and maybe do ONE new song out the gate to demonstrate what the new setup can do. Then move towards an EP (or album) over time as that progresses. Not too much new music too soon.

On 4/27/2024 at 2:20 PM, bloodbath said:

 

Neither do I. Linkin Park is a 2000s band, modern sound, everything digital, vinyl is far from being the best physical format for their music. But, that's the rules of the market.

 

PS: Don't take it as an attack if you like to collect it, I just see it pointless. 

You can get really into the fine details of things about whether or not it’s pointless given it’s coming from a digital medium (which we know is true for LP).

My main issue with LP releases is that they are louder than they really need to be (which is true of 99.9% of modern music). I don’t know what they did in the case of Papercuts and/or this single, but they have had releases specifically mastered for vinyl in the past. I’ve heard some good stuff cut from digital masters. Could just be a placebo effect if they’re cutting from the same squashed digital masters, but if there’s potential that they’ve been altered for the format, then I want to hear that. Cassettes are novelty (though I still grab one every once in a while) and CDs are pointless to me with both the arrival of hi-res digital audio (though in this case, the CD has the proper transitions) and generally overly loud mastering as the standard.
 

I take it for what it is. Vinyl probably isn’t the best physical format for their music and can be more trouble than it’s worth for most, but there’s also potential for great sound, depending upon how things are handled. Streaming seems to be good enough for the general populous, so I don’t know that most are worried about the above and that’s fine.

3 hours ago, mrfox said:

seriously don't dont get this vinyl madness. FF and Qwerty are on Papercuts vinyl right? what's the point to release another vinyl?

This lack of new LPU music is really annoying, DBS acoustic set would be better.

A single song cut at 45 rpm taking up the whole side of a record is going to sound vastly superior to that song being bundled up with several others on a single side cut at 33 rpm.

The only thing better than a 10” would be a 12”, but it’s likely that it would result in excessive deadwax and/or be overkill for the length of these songs. 

There is a benefit to this presentation given the limitations of the vinyl format. 

9 hours ago, LPLStaff said:

 

There seems to be bigger issues at play here, most notably that the masters for Waiting for the End and Iridescent got swapped out in 2012 and the wrong versions are literally everywhere. Just like Shadow of the Day, No Roads Left, and Across the Line were. That is going to take some sorting out.

Iridescent is wrong, too? I’ve not noticed, but I don’t listen to ATS streaming often.

So it’s at least the five songs mentioned, but maybe more?

10 minutes ago, martinez said:

I finally ended comparing the songs versions from Papercuts CD with original album versions and single versions. Here are the results:

 

01.Crawling (03:29)
 - album version

02.Faint (02:42)
- album version

03.Numb/Encore [Explicit] (03:26)
- album version, but: the 2004 is louder, the volume of this one was a bit decreased
- additionally it has +1 second of silence at the end
- 2024 quality, maybe a small differences in mastering/EQ

04.Papercut (03:04)
- album version, despite not having 1 second of silence at the start like the original version from the 2000 CD has
- very small portion of the end was cut and added to beginning of BTH to create transition

05.Breaking The Habit (03:14)
- contains small transition from Papercut
- album version, it missing 2 seconds with transition to FTI at the end, because it was fade out

06.In The End (03:35)
- album version
- -1 second of silence at the end

07.Bleed It Out [Explicit] (02:44)
- album version

08.Somewhere I Belong (03:34)
- album version

09.Waiting For The End (03:51)
- album version, with fade out at the end just before the blackout transition
- 2012 master with different effects on vocals and guitar loop at the beginning (check the updated post here)

10.Castle Of Glass (03:24)
- album version with just almost 1 second of silence cut at the end

11.One More Light (04:11)
- album version, the last 3 seconds of it were cut and added to BID to create transition

12.Burn It Down (03:49)
- album version, almost 1 second a the end was cut from it
- contains small transition from OML

13.What I’ve Done (03:25)
- album version
- it has an issue with intro fade in, the same

14.QWERTY (03:21)
- it's 2008 version, which means no transition from Annoncement Service Public and extra 2 seconds of silence at the end
- on the Papercuts CD the 2 seconds of silence at the end were cut
- quality upgrade

15.One Step Closer (02:35)
- album version

16.New Divide (04:29)
- the same as 2009 version, 2 seconds of silence at the end were cut
- 2024 quality, maybe a small differences in mastering/EQ

17.Leave Out All the Rest (03:20)
- can't really say if it's single version or edited album version, I guess it's edited album version
- it contains  1 second of silence more at the end comparing to the single version

18.Lost (03:16)
- album version, not 2002 mix, 2 seconds less of silence at the end
- 1 second of ending of it was cut and added to Numb to create transition

19.Numb (03:06)
- album version
- it contains small transition from Lost

Very much appreciating this deep dive into all the nuances on the CD version. Got my 2 x LP during RSD yesterday, so going to try and sit with it today and see what’s up. I did notice a cassette rip floating around, too, but it’s at the wrong speed and still sounds rough even when corrected for.

Fortnite Festival is a 2023 rhythm video game developed by Harmonix and Epic Games and published by Epic Games. Featuring similar gameplay to the Rock Band series, players perform a song while attempting to get a high score based on their performance. A variety of songs can be chosen from, with a selection being available for free daily, with an option to purchase the song outright being available as well. The game was released in December 2023, and can be accessed via the Fortnitelauncher. Fortnite Festival received mixed reviews from critics, with criticism toward the price of songs as well as the gameplay.

https://en.m.wikipedia.org/wiki/Fortnite_Festival