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TheAfters

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  1. Everyone is a transformer Hell Yeah.

     

     

    Posted Image

     

    And BTW this is not in Slow Motion and i think in a weird way this video connects with bout "Dark of the Moon" (not just because its black and white). and the Album artworks.

  2. OMG Yes! Finally a video with some originality and a story!

    D'oh only OSC and Given Up were without a story. lol

     

    and i like it. i think with all the postproduction that Joe is going to do will make it epic. but still there is a very thin line between epic and FAIL

  3. Linkin Park is a band that delivers—onstage,

     

    in the studio and just a few days

     

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

     

    Ken “Pooch” Van Druten and programming/

     

    playback engineer/keyboard

     

    tech Dylan Ely provide a fully mixed and

     

    mastered, pro-quality live album within

     

    two to three days after each performance.

     

    With a purchased ticket, each fan is offered

     

    a high-quality download of the live

     

    recording; distribution of the download is

     

    provided by Basecamp Productions.

     

    “We have been releasing shows after

     

    the fact for about four years now,”

     

    Van Druten explains. “Dylan and I have

     

    mixed approximately 400 shows at this

     

    point. We were given the opportunity to

     

    mix a DVD release, Live at Milton Keynes,

     

    which was nominated for a Grammy

     

    [best Hard Rock Performance, 2010]. It

     

    is one of the most fulfi lling duties I have

     

    while working with Linkin Park. It is nice

     

    to know that any time you hear something

     

    that Linkin Park has done live, it is

     

    a mix that Dylan and I have done—minus

     

    a few things that their recording engineer,

     

    Ethan Mates, has done.”

     

    For the live recordings, Van Druten

     

    and Ely spend about 24 work-hours per

     

    show prior to the release. As the band

     

    (Brad Delson, guitar; Chester Bennington,

     

    vocals; Joe Hahn, turntablist; Mike

     

    Shinoda, vocals; Phoenix, bass; and Rob

     

    Bourdon, drums) has mandated that

     

    they want “record-quality bootleg” recordings,

     

    Van Druten says that most of

     

    his and Ely’s time is spent shaping the

     

    sound of what is coming off stage with

     

    the sound of the actual room and making

     

    that work—creating a sonic landscape

     

    with the band’s full, rich sound with loud

     

    crowd response.

     

    “Basically, there is a template that

     

    we have worked on now for about four

     

    years,” Van Druten says. “We insert that

     

    as a starting point and work from there.

     

    Dylan does most of the editing, I do the

     

    mixing and then it goes back to Dylan for

     

    more editing and mastering.”

     

    For the recordings, Van Druten uses

     

    the HD X cards from his Avid D-Show

     

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

     

    FOH to record directly to Pro Tools HD at

     

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

     

    the gig, the two take the recording and

     

    import it into that template, which has inserts,

     

    sends and routing already set up.

     

     

     

    They then time-align the audience mics with the

     

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

     

    mistakes and do some cleanup on tracks that

     

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

     

    the cleanup tracks, treating them as a complete

     

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

     

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

     

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

     

    were attending the show. During the mix process,

     

    notes are made about any mistakes, then they’re

     

    addressed and fi xed, and then it gets mastered.

     

    All songs are matched level- and EQ-wise within

     

    that show, as well as being compared and matched

     

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

     

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

     

    MP3 fi les and uploaded to the Basecamp site via

     

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

     

    “The whole process for a 90-minute show takes

     

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

     

    and a day of mixing,” Ely adds.

     

     

     

    Back to the Show

     

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

     

    created in the studio to the live performance

     

    arena, Van Druten (who has been mixing for the

     

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

     

    what is coming from the stage in a way that

     

    the audience hears every instrument and vocal,”

     

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

     

    With technology, I am able to insert my

     

    own creativity into the mix to provide the audience

     

    with a record-quality listen.” This includes relying

     

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

     

    and McDSP. He taps into the Waves MetaFlanger

     

    for some intense vocal eff ects on the song “The

     

    Catalyst” (off of their latest release, A Thousand

     

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

     

    Apogee Big Ben word clock and M-Audio ProFire

     

    2626 FireWire interface to record the 2-mix and audience

     

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

     

    HD4 Macintosh rig with an [Avid] Expansion chassis

     

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

     

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

     

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

     

    ML9600 hard disk recorder/CD burner for fastturnaround

     

    of recorded stuff , plus playback.

     

    “The last few years have been completely freeing

     

    because the technology allows me to reproduce

     

    all of the eff ects and sounds that were used

     

    when the band made the recording that people

     

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

     

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

     

    player. I believe that the rhythm section is the key

     

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

     

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

     

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

     

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

     

    without the solid, sturdy root system.”

     

    All mics onstage are Audio-Technica (the

     

    band endorses the company), except for the RF

     

    and wired vocal mics, which are Sennheiser 865

     

    Series. “My favorite microphones for guitars and

     

    basses—stringed instruments, in general—are

     

    the large-diaphragm Audio-Technica mics. I use

     

    the AT4050 and the AT4047 on all guitars. We have

     

    86 inputs and about 60 of those are open microphones,

     

    so it’s really necessary to make the right

     

    mic placement and choices.”

     

    Pumping the blistering sets to the audience is

     

    an Adamson Y-Axis system, with Van Druten noting

     

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

     

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

     

    couple very nicely to reproduce low-mid to sub information

     

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

     

    adding that he has three Dolby Lake processors

     

    for matrixing and zoning. In addition, he relies on

     

    systems engineer Chris “Cookie” Hoff and Evan

     

    McElhinney, who spend much of their time making

     

    sure that every seat in the house sounds the

     

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

     

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

     

    Monitor engineer Kevin “Tater” McCarthy is

     

    also in constant contact with Hoff at the beginning

     

    of the tour to make sure his mixes were dialed in

     

    as the stage is diamond-shaped and the band plays

     

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

     

    manning a Yamaha PM5DRH (the same model

     

    as when Mix caught up with this Linkin Park crew

     

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

     

    outboard is all done via Waves SoundGrid multirack

     

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

     

    matrices and the stereo out B,” McCarthy says.

     

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

     

    eight sidefi ll/wedge mixes, six IEM stereo mixes

     

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

     

    The entire band except guitarist Delson are

     

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

     

    Adamson M12 underhung and two M12s onstage)

     

    and SX18s sidefi lls are for Delson, who wears generic

     

    foam earplugs with Peltor gun muff s over

     

    them. Power is via Lab.Gruppen PLM10000 amps.

     

    In 2008, McCarthy was mixing from underneath

     

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

     

    upstage-center, completely behind the band, and

     

    using spy cams to keep track of what’s happening

     

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

     

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

     

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

     

    manager Jim Digby are wonderful to work for and

     

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

     

    Van Druten echoes McCarthy’s sentiments:

     

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

     

    people here I have known for 20 years. When you

     

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

     

    know that your ‘tour family’ is always there for

     

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

     

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

     

     

     

    Program Me

     

    Programming and playback are heavily

     

    involved in any Linkin Park adventure—be

     

    it in the studio or live. After engineer Dylan

     

    Ely receives the full album multitrack and the

     

    band determines which parts will be played

     

    live, he will make stems of those elements

     

    from the album that need to be programmed.

     

    He uses two Mac laptops (one is a redundant

     

    system) running Pro Tools M-Powered

     

    playing back all of the stems. The redundant

     

    machine is synched to the main machine

     

    via MTC, and the backup machine is set to

     

    Jam Sync the incoming MTC, “so if the main

     

    computer stops, loses power, et cetera, the

     

    backup machine will run infi nitely at the same

     

    rate as it was when it lost timecode.”

     

    Ely breaks down the eight tracks that

     

    comprise the stems:

     

    Track 1: typically any low-frequency material,

     

    like 808s or maybe the low end of a drum

     

    loop that has the high frequency fi ltered off .

     

    Track 2: usually any type of mono drum loop

     

    element that cannot be played live by the

     

    drummer.

     

    Tracks 3 and 4: used for any type of sound

     

    that has to be stereo, typically a synth or

     

    string pad–type sound or a drum loop that is

     

    full-frequency with a stereo element to it.

     

    Track 5: any high-end arpeggiated-type synth

     

    or a swell.

     

    Track 6: click track that only is going to the

     

    bandmembers’ ears onstage.

     

    Track 7: a reference track or a keyboard

     

    and/or vocal only heard in the singers’

     

    ears onstage as a pitch reference. Also

     

    sometimes a click to “automate” a section

     

    for a certain member in their ears, only for a

     

    cue or reference.

     

    Track 8: SMPTE. Tmecode is used to run/

     

    sync the lights and video during the show.

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

  4. FROM MIX Magazine, March 2011

     

     

     

    Posted Image

     

     

     

    ________________________________________________________________________________

    ___

     

    Main Article on First Post ________________________________________________________________________________

    _________________________________________

     

    By Sarah Benzuly is Mix’s managing editor.

  5. You do notice that the effect wasn't even selected during the video?

    i think you noticed the video and audio together for the first time.

    Dude the thing is there is only one cameraman "Mark", so he shoots all the videos of mike while he is talking the first time (and crops it to make it look like multicam). and then records all other stuff like protools and etc etc. and then mix it all together. thats why the stuff cannot match completely. thats the truth about LPTVs

     

    do 1 thing watch the first few LPTVs of the ATS session. you will understand what i mean to say.

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