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About RogueSoul

  • Birthday 01/02/2000

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  • LP Shows Attended
    2/4/11 - Madison Square Garden, New York, NY 8/17/12 - Susquehanna Bank Center, Camden, NJ 8/15/14 - Susquehanna Bank Center, Camden, NJ 8/18/14 - PNC Bank Arts Center, Holmdel, NJ 9/15/14 - Hollywood Bowl, Los Angeles, CA (VyRT) 5/16/17 - Grand Central Station, New York, NY 10/27/17 - Hollywood Bowl, Los Angeles, CA CANCELLED: 1/23/15 - Boardwalk Hall, Atlantic City, NJ 1/25/15 - Barclays Center, Brooklyn, NY 8/19/17 - MIDFLORIDA Credit Union Amphitheatre, Tampa, FL 8/20/17 - Perfect Vodka Amphitheatre, West Palm Beach, FL Mike Shinoda 6/18/18 - Gramercy Theater, New York, NY 6/30/18 - Radio 104.5's 11th Birthday Celebration 10/13/18 - The Rooftop at Pier 17, New York, NY 10/14/18 - The Fillmore, Philadelphia, PA

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  • Gender
  • Location
    North of Heaven / West of Hell
  • Interests
    Music (30STM, LP, Deftones, Muse, Ev, etc.), thunderstorms, dogs, the ocean. I prefer winter over summer.

    I also extended tracks you like. You've probably heard of me. Right...? ...No? Oh... okay then... :(
  • Slugline
    Linkinpedia Team

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  1. this summer I'm planning on taking a course to learn how to produce with Dolby Atmos so if I stop procrastinating and get to it, i'll have answers soon I will say this about Dolby Atmos, it seems like a much better fit for electronic and pop music. or maybe even just more recent music. I think they mixed this HT version as more of a straight rock album rather than the fusion it is. but more recent stuff i listened to like Blinding Lights by The Weeknd (this one specifically surprisingly sounded very fresh despite how overplayed this song is) and Your Power by Billie Eilish both sounded phenomenal, the latter of the two being an acoustic song with sparse electronics; almost the opposite of the former. i think whoever mixed this version of the record didn't know anything about it besides "linkin park rock band" and "apple told me to mix these rock albums" lol. I think anything ATS and beyond would probably really sound good in this format EDIT: OH and also I just want to re-affirm this about my little review: I was not listening to it through a stereo source. I listened to it on older airpods before and some channels didn't even play because I was listening on a stereo device. the new airpod pros have Spatial Audio functionality that has the same 360 technology. if i am wrong feel free to tell me lmao i may very well be, here is more information. so as far as I am aware i DID use proper equipment and heard the mix as it is.
  2. oh yeah i bet the whole surround system would be an even more different experience. these were the first devices I had that could even work with Dolby Atmos so I thought I’d give it a try lmao. I bet a surround sound setup with this would actually sound pretty awesome. It really puts you right in the center of the mix, such that things are even coming in from behind you, like the drums or sometimes the bass. That’s where I feel like the problem lies tho; maybe its a headphone-specific issue, but it feels like the instruments typically in the center of the stereo mix (drums, bass) are now BEHIND you in some respects so while it may be easier to distinguish whats going on, the dynamics aren’t as bright or sharp as you’d hope. I have a surround sound system but I’m not sure if it’ll do Dolby Atmos, perhaps someone can try it out for themselves if they have the equipment!
  3. Just got Airpod Pros so the first thing I decided to do was load up Hybrid Theory on Apple Music. This is definitely a fresh mix. Lots of new shit that was previously buried in the mix is now a whole load more hearable, especially echo and BG synths that pan from left to right. honestly I’m not sure how I feel about it as a whole. It feels like a full studio recording of a random club show in 2000 lol which is pretty cool, but I can’t help but feel like some of the mixes are lacking, especially in the bass department. The riffs of APFMH and Papercut dont hit me like the standard version, and forget about being able to distinguish the bassline, you can barely even feel it in some parts. In terms of being able to dissect whats going on in the production OR in terms of trying to make the studio tracks sound like they’re being performed live, this is a dope listen. There are some parts that sounds fuckin phenomenal; when CFTI drops for example, or the end of Papercut with the layers of backing. but if I want to be JAMMING with the sounds of driven distorted guitars in my ears, I wouldn’t say I prefer it to the original mix.
  4. it's gonna blow this guy's mind when he finds out who wrote Linkinpedia lol
  5. well folks, all i can say is i'm following in my hero's footsteps follow me on Audius lmao https://audius.co/roguesoul
  6. brother i am not at shinoda levels. if i need to make nightcore edits I will make nightcore edits LOL
  7. this is exactly what i was saying man. what the hell does this have to do with anything LOL why randomly diss this one song in an unrelated thread don't compare these edits to full fledged remixes, of course even the ones you don't like will realistically be better. No one took stems and manipulated them for this one. you could slap the mp3 or wav in any simple DAW and add these effects to it. also, i for one thing the Dirtyphonics remix of LGM jams. imagine the bass is they incorporated that into a live performance. nasty stuff. if you want to talk about a bad Recharged remix, talk about the BID or Powerless remix...
  8. you know, to be fair to him, in an age where every creative is trying to capitalize on everything possible, mike's staying ahead of the curve. If anyone watches any YouTube you may have seen a whole bunch of "shorts" videos and channels where they reupload like small clips of old videos and other stuff so they can make money off their own old clips instead of some random person who made a compilation. I guess this is the same thing as that. it does not take a genius to speed a song up for a nightcore remix or the slowed + reverb remix. someone on youtube would've made these versions anyway, mike just took the liberty of having them made and officially released himself so he can make the money. i'm never gonna listen to any of these again, and i imagine not many others here will BUT for the ~100k people who listen to this kinda stuff on the daily, this is him hitting a bunch of weird niche markets, which does kinda lineup with twitch. there are going to be a bunch of twitch streamers playing these versions, that's for sure. i think he's really trying out the online creator model to make some money. who knows why. this wasn't a defense of these remixes or Mike because i do think the remixes are garbage but i am high as fuck and had a moment of brilliance while thinking how this isn't possibly some kind of april fools joke. #cashgrab
  9. its a dark day in hell if youre telling me there is an official mike shinoda nightcore remix now
  10. none of us have nearly enough money to even begin and try understand why someone would buy this LOL
  11. i'm going to sell everyone's account who disagrees with me as an NFT
  12. 1) no one so much as mentioned One More Light or Amends but you cannot form your full argument, much less a full sentence without justifying your liking for one or the other, and that is part of the point. why bring up shit like this that literally has nothing to do with the conversation? what are you trying to prove that all of us don't already know? 2) every single person here is free to express their opinion whether its positive or negative. my problem is not with the fact you don't like the song. your opinion does not matter to me; nor should mine to you. the fact is every single goddamn thread about this song - or just Mike Shinoda lately - is the fact that . show me the last time someone, in a thread, commented on a Grey Daze thread about the cashgrab this or that. while you search back a few months to when people actually gave a shit, i will go to any of the last 5 threads about 'Happy Endings' to find you or someone else talking about "selling out," "Disney music," etc. the one person in particular ( ) has signed off everything that doesn't have a shouted vocal in it as "Disney" music since 2017 and it shows. no one is able to discuss something without someone else bringing up some irrelevant bullshit just to prove a point that things aren't how YOU want them to be. Voice your concern! But don't define every sentence or comment you make by that point. it's a shallow and immature look. This goes to anyone reading this for any band or artist: say your piece, but don't linger. disagree or agree. hate or don't hate. but not over and over and over again. no one wants to read that shit i've noticed this over the past few weeks post-HT20, but the negativity is really starting to get in the way of constructive conversation, or even just casual conversation void of negativity. feel free to put me in my place if im stepping out of line lol
  13. the worst part of the 2014 Disney music debacle is that you guys still think anything that sounds trendy is "Disney" music. dude writes a song with an uplifting message for the first time in like 4 years and your brain is too caught up in the lack of despair that it can't possibly be considered anything but kids music. if you don't like the song - don't listen to it! there are dozens of songs you can keep listening to from the back catalogue, and i'm sure even more new music being made everyday that sounds like what you want to hear. go find it. stop dwelling on one man's three minutes of positivity and excitement about a changing world. and that the people who think the disney joke is still funny 7 years later lol. you may be worse than the people who think that anyone involved with this band can only make music that sounds like HT/Meteora.
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