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Astat

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About Astat

  • Rank
    Rebel
  • Birthday 05/08/1988

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  • LP Shows Attended
    2004.08.05 - Cuyahoga Falls, OH - Blossom Music Center 2007.08.17 - Cuyahoga Falls, OH - Blossom Music Center 2008.08.19 - Cuyahoga Falls, OH - Blossom Music Center 2011.01.28 - St. Paul, MN - Xcel Energy Center 2014.08.26 - Falcon Heights, MN - Minnesota State Fair 2017.10.27 - Hollywood, CA - Hollywood Bowl

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    http://linkinparkguitar.com

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    White Bear Lake, Minnesota

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  1. As far as song info goes, this is mostly conjecture/connecting-the-dots type stuff, but I can offer the following: -At least some of the guitar on this song is in drop C tuning, which is completely out of character for anything Mike and/or Brad would have been doing in 2016. -Chester's definitely not on the song, but a lot of the higher background vocals don't really sound like Mike. -Brian Howes, the previously-mentioned writer of the song, was the lead singer/guitarist of the band Closure years ago, they had a somewhat successful single in "Look Out Below" back in 2003: Putting all that together, my assumption is that Brian is playing at least some of the guitar and singing background vocals on the recording. Also, the second to last line of the chorus should be "unless you've got your word," not "unless you've got your worth." I haven't seen anyone get that right. The first line of the song might also be "day, night" instead of "daylight," I'm not totally sure.
  2. https://lplive.net/shows/mikeshinoda19/20190325 The first of Mike's two Tel Aviv shows is completely gone (both the show page and the entry on the 2019 tour dates page).
  3. For this to be fake, it would require the person creating it to: -Sound EXACTLY like Mike (if you don't think this sounds like him I'm convinced you've never heard him sing, like, ever) -Remember that this was a song title that was pretty much only ever talked about on LPL, for what seemed like 5 minutes, nearly 3 years ago (also after the recent LPL redesign none of the old links work, so good luck even FINDING that information in the first place unless you know exactly where to look) -Have both the skill to create music on par with the production values of One More Light, and access to the equipment necessary to create it (meaning it would have to be some professional-level musician/producer with a significant amount of money, booking time in a real studio...to make a fake Linkin Park track?) It's real and the idea that there's even a 0.1% chance that it isn't is asinine. I'm also wondering if Mike recycled the chord progression from this song when he came up with Heavy.
  4. The LPLive - setlist.fm relationship, in a nutshell: 1. LPLive posts setlists/tourdates from verified sources 2. setlist.fm copies LPLive's setlist/tourdate info 3. Someone on setlist.fm copy-pastes a setlist from one show on a tour onto another show page from the same tour that doesn't have a setlist posted 4. People cite setlist.fm as a source when posting new info to LPLive For a lot of bands, setlist.fm is a definitive source. For LP, that isn't the case. LPLive influences setlist.fm a lot more than they influence LPLive.
  5. Even stuff like PMA isn't the "real deal" in terms of tracks that are fully separated in a way that's consistent with what you'd see in a Pro Tools session. When you discard the timecode/click tracks being in there twice, you end up with 34 tracks for that song, but I can count 44 to 46 "raw" tracks that actually constitute all of the sounds. There's a lot of stuff that's a blend of multiple signals, especially on the guitar tracks (you almost never mic an amp with just one mic): (Group A - Drums) 1. Sampled snare 2. Kick (blend of sampled kick/live kick - possibly a two-mic setup on the live kick as well) 3. Live snare (blend of top/bottom mics) 4. Hi-hat 5. Floor tom 6. Rack toms (blend of 2 tom mics - Rob had 2 rack toms and a floor tom on his HT-era kit, but all of the multitracks only have 2 tracks for all the toms) 7. Overhead L 8. Overhead R 9. Room L 10. Room R ---------- (Group B - Bass) 11. Bass DI 12. Bass amp (blend of 2 mics) ---------- (Group C - Guitars) 13. Rhythm guitar 1 (blend of 2 mics) 14. Rhythm guitar 2 (blend of 2 mics) 15. Rhythm guitar 3 (blend of 2 mics) 16. Rhythm guitar 4 (blend of 2 mics) 17. Clean guitar harmonics (blend of 2 mics + possibly a DI as well) ---------- (Group D - Vocals) 18. Chester lead vocal 19. Last chorus harmony 20. Last chorus harmony double 21. Main chorus harmony 22. Main chorus harmony double 23. Mike rap vocals 24. Mike rap vocals double ---------- (Group E - DJ, Keys, Synths, Drum Loops, Guitar/Vocal Overdubs, etc.) 25. Distorted drum loop 26. Sampled hi-hat loop 27. Beeping synth loop 28. Distorted ticking loop 29. Lo-fi octave guitar (blend of 2 mics) 30. Chopped guitar loop 31. Last chorus strings 32. End distorted drum loop ---------- (Group F - Click/Timecode) 33. Click track 34. SMPTE timecode info (I figured I'd label the groups because all of the HT multitracks are arranged in a consistent manner if you group them this way) On top of that, all of the tracks are raw, so once you start getting into all of the aux tracks that would exist in a Pro Tools session for stuff like reverb send/returns, compressors, panning effects (like you hear on the beeping synth in the final mix), etc...when you hear Mike talk about sessions taking up 80-100 tracks, THAT'S what he's ultimately talking about.
  6. For sure. For all of the multitracks we've gotten, we haven't gotten a true "fully separated" one. There's even some pretty obvious stuff like all of the "ohh's" on Waiting for the End being on one track even though it's 3 harmony parts probably consisting of like 6 vocal tracks.
  7. "Lames' heads hang like I'm draining their battery"
  8. I'm fairly sure the band used pre-recorded instrumental tracks for the MTV Japan performance in 2012. If you look at about 0:45 here you'll see that Jeremy isn't playing anything on guitar but Brad's normal verse guitar part is clearly audible, and the vocals sync up so it's not just a case of them using an out-of-sync shot on the broadcast: If this is true, it would mean that Jeremy was literally just a "stand in" for Brad, because the Burn it Down performance the day before used a pre-recorded backing track as well.
  9. The album was mixed by four different people (including four songs mixed by Mike), and Basecamp also co-produced About You, so I'm not sure what your reasoning for saying that is.
  10. I highly doubt they were ever intended for Linkin Park. They don't sound like leftover pre-Meteora demos, and mid-2005 was far too early into the writing process for Minutes to Midnight for them to have started narrowing down song choices. If there was even a shred of a possibility of them being on the next LP album, they wouldn't have been released in 2005. If you took the vocals off of Cover and Duck, it "sounds like" a heavy Linkin Park track too. That doesn't make it one.
  11. The picture of Mike on video chat with Kai is photoshopped from this Instagram live video (it's literally just a mirror-flipped version of the video thumbnail): Kai's as big of a troll as I've ever seen. I wouldn't be surprised if this isn't the only fake feature he's used to promote himself.
  12. I'm sure someone's already noticed but the last couple Newswire topics haven't been sharing to the front page of the site.
  13. First of all, you're taking the term "half" WAY too literally. Second, I wish the original news thread was still around, because I definitely never said that, lmao. The CD runs the gamut of stuff that's clearly very early on in the process with Chester still in his Meteora-period voice (Fadeaway, Fire, Walking in Circles), stuff that sounds a lot more polished but we know was worked on early in the process (Morning After, 20 Eyes), stuff that's consistent with the arrangements we heard at early performances (My Suffering, Let Down), and stuff that's very close to the final recording (Give Me Your Name) I personally think the tracklisting of the 8-track CD is more or less in chronological order.
  14. Lockjaw was to Pro Tools 8 what Complimentary was to Stagelight. It was strictly a software tech demo song that was written from scratch. I'm sure Mike probably got an advance copy of Pro Tools and worked on it sometime before the public release in December of 2008. MMM...Cookies was generally referred to as songs they worked on for comic relief to de-stress while writing other material. I'd lean towards pre-Minutes to Midnight but some of it could be from the misc. 2008 sessions they did too (probably the earlier 2008 sessions since the ATS ones starting in September would have necessitated a VERY quick turnaround time for the LPU CD in November - they usually plan those several months in advance). Definitely all sounds to be roughly from the same time period. I'd imagine Pretend to Be was finished during the earlier 2008 sessions. It has a much more raw, demo-ish quality to it than the stuff that came out of the proper ATS sessions. That's just a guess though since it didn't come out for a couple years either way.
  15. TIL that three shots of an empty mic lasting roughly a second each during a nearly five-minute video is "constant" and "clickbait" lmfao. Fuck off.
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