Astat

Allow me to clarify: It's a totally unfounded rumor. Somebody asked Mike in the LPU chat last week if he/LP would like to collaborate with Deadmau5. Mike said he likes Deadmau5's music and he'd be cool with doing something like that. That means absolutely NOTHING. There isn't a shred of evidence to suggest that the two of them have ever even spoken to each other, let alone considered working on a collaboration. There are probably dozens of people that Mike would like to work with at some point, that doesn't mean it's likely to happen. It's not like Mike even brought up Deadmau5 himself, it was in response to someone else's question. He also said in the same chat that he really isn't working on any non-LP related projects at this point. It amazes me, the conclusions that Linkin Park fans jump to sometimes. This is about on par with people going "OMG LP/KANYE WEST COLLAB" in 2005 just because Kanye showed up and talked to them for like 2 minutes at their Live 8 soundcheck...or that the title of their new album was "Iodine" because one of the screen animations during that performance had that word in it.

He's done The Messenger solo twice already ( the Australia LPU Summit and the soundcheck before the Sunrise, FL show), so I don't see why not. He pretty much wrote that song himself anyway.

I've tried to figure that out myself numerous times over the years, and I've never been able to find anything. I've always thought the voice sounds kind of like Celph Titled (listen to him on the phone at the beginning of Respect 4 Grandma for comparison), but I think somebody asked him once and he said it's not him. I'm assuming it's a sample the band recorded themselves since I've never been able to find any other mention of it, but who the voice is remains a mystery to me.

Why is everyone assuming that just because Mike mentioned something about working on a new song, that we're going to get to hear said new song soon, if at all? Mike probably comes up with new ideas every day. Just because one was mentioned in the LPU chat doesn't automatically grant it the chance to see the light of day.

Haven't seen anybody else point this out yet, this is mentioned in the press release: "A benefit the LPU can look forward to having is the release of a new members-only message board coming soon." The LPU forums are coming back, people!

The only thing that would make this better would be if the LPUX CD was included in the package, but I can understand why that's not feasible - they'd pretty much have to refund $10 to all the LPUX annual members who already spent extra on it, and they'd have to have 2 different versions of the package to send out to existing members to make sure people didn't end up with 2 copies of the CD. Hopefully for LPU11 the CD will be included in the package.

I know that KROQ footage has been around for a while, but it was always really hard to find anybody who wanted to share it since you have to purchase it from Getty Images, so thanks for that.

The actually did gang vocals with the whole band for the end of The Messenger, they just ended up putting them really low in the mix.

Particularly one that isn't even technically on the album. Mike really doesn't sing a lot on MTM, even background vocals. He's on the chorus/bridge of Bleed it Out, the ending of What I've Done, the outro of Hands Held High, In Between, and the ending of TLTGYA...unless I'm forgetting something, everything else is Chester (even a lot of stuff that Mike sings live, like the backing vocals on No More Sorrow and other similar parts).

A Thousand Suns is the first time Mike's ever made his singing vocals sound effortless. Yes, No Roads Left is a good vocal performance. It's also obvious that it's right at the limit of his vocal range (or his range at the time) and that he was straining to squeeze some of those notes out. I think everybody should go take another listen to the ending of The Catalyst. I don't think I've seen anybody point this out before - the really aggressive ad-lib stuff at the end of that song isn't all Chester. It starts off as Chester at the 4:19 mark, but switches to Mike at 4:47. That section from 4:47 to 5:01 is in the same general register as the highest parts of No Roads Left, but Mike sings it FAR better, apparently well enough that nobody's ever noticed that it isn't Chester. This is (or should be) a no-contest, the only reason MTM is going to get half the votes it will in this poll is because of all the idiots who are going to be all "HERPDERP ANYTHING ATS-RELATED SUCKS, I'MMA VOTE AGAINST IT ROFLOL".

$5 says there will be a bunch of people who manage to find a reason to bitch about this show when the full thing gets released. Any takers?

Chester missed part of the bridge because he accidentally hit the on/off switch on his mic - you can see him looking at it and turning it back on at 3:18.

The rips Agent2594 did years ago were done at a time when ripping a 5.1 mix from a DVD audio disc was a VERY complex process, one that involved the use of several different programs/tools, and having to convert the files between multiple formats to end up with playable mp3 versions of the different channels. I talked with him on MSN all the time back then, and I remember it being something that literally took him WEEKS to figure out. When he finally got it all done, the end result was listenable, but far from ideal - those rips are VERY distorted and really don't retain the full frequency range of the original mix. It's a lot easier to rip 5.1 mixes nowadays, and the results are a lot better-sounding, so the re-release would be a substantial upgrade to what's already out there.

Not that I'm aware of. I think the U.S. tour in early 2008 was the last time (Columbus/Montreal).

It's sort of the audio equivalent of a multi-cam mix. You take multiple audio sources from the same show and mix them together with different panning/EQ/volume levels to create a mix that sounds like it was recorded from several different spots in the venue at the same time. It's most commonly done with regular stereo mixes using 2 or 3 sources (either a left/right mix or a left/right/center mix), but I've heard of it done with 5.1 mixes too.

Who says it even has to be on a date?

This probably isn't even supposed to be a "remix," just the single/radio edit. There's nothing "new" in this version of the song, they just shortened a couple sections, took the drum loop from the second verse and added it to the first verse, and pasted the guitar interlude between the first chorus and second verse into a couple other sections of the song. The album version of Iridescent starts really soft and builds up fairly slowly, so they probably rearranged it a bit to fit in better with an action movie like Transformers. The album version of Iridescent makes about as much sense in Transformers as a track like Shadow of the Day would, the energy just isn't there. That little drum part is actually pasted in from the beginning of the bridge, it's there on the album version of Iridescent. I always thought it was funny that those 2 songs shared a similar format with how the drums come in. 100% positive that won't happen. Again...this isn't even a "remix," this probably IS the radio edit/single version of the song. And I don't see why it matters, if you're so vehemently against this version of the song, listen to the album version. It's not like you don't have a choice in the matter.

As fickle and incapable of being satisfied as the majority of Linkin Park fans are these days, I find it questionable whether or not they really deserve to win this.

Mike and Chester's parts were freshly recorded for the album, but they may have been written before that. Mike's verse sounds a lot like some of the early Fort Minor stuff he was writing around that period (Strange Things/Start it All Up), and Chester's part sounds a lot like a leftover verse/chorus idea that might have been written for Meteora and never finished. That whole song sounds like a bunch of random pieces of music thrown together, so it's fairly likely they came in with that material already written. There really isn't a whole lot of info out there about this song...the band never made any kind of statement regarding its release back in 2004 (they usually do some kind of press for their collabs, this was a strange exception), and the only time a band member has even acknowledged its existence was in a post made by Mike on the Fort Minor message boards, where he posted the lyrics to his verse.

After thinking about it for a long while, I've come to the conclusion that the LPU would've been just fine if they had added the LPU Summits (and stuff like the ATS album release show/laser show) to the previously existing site/membership/"experience." I would've even been fine with them jacking the price up for that. My problem with the new LPU isn't the cost or the fact that the Summits aren't accessible to a lot of LPU members, it's the fact that they completely fucked up everything that was already good about the old LPU. 90% of the LPU9 membership was stuff that didn't need to be addressed whatsoever - what came with the membership, what the website consisted of, what kind of opportunities were presented to members throughout the year. All LPU needed to do was fix some nagging issues (the outdated technical support system that never got you anywhere, the fact that the e-mail system still didn't work for some members, and the login system being a bit complicated), and preferably come up with a way to bring the band closer to their fans (which they accomplished with LPUX - the Summits, the video chat, and the improved M&G system are all great). There was no reason to mess with anything else. If it ain't broke, don't fix it - well, they went and "fixed" just about everything. If LPU were to revert back to the pre-LPUX website/system and retain all the new stuff that was introduced this year, I would gladly drop $60 on a membership tomorrow.

99% sure that there were never any stems posted with the original entry.

Mike said this same thing about "finishing" the LPU demos and his VMA score tracks, and nothing else ever came of it, so I wouldn't get my hopes up that this will turn out any differently.

His headphones aren't wired, the only thing he wears under them is ear plugs.

Probably not without purchasing the rights to the recordings first.

This could mean a lot, it could mean nothing. It depends on a couple factors: -Whether or not the new owners keep the old management team in place. Considering Tom Whalley just retired in September and a new management team was put in place at that point, I'd say they'd most likely be retained. -What kind of wording is in LP's contract. Generally, higher-ups can't change a contract without consulting with the other party/parties involved first, otherwise they'd effectively be voiding the contract. However, some contracts have clauses in them that are tailored to this specific situation - if Warner's ownership changes, there might be a clause in LP's contract that would keep them bound to it, provided that the new ownership doesn't change the existing terms. I'd imagine a lot of Warner's major artists have this type of deal in place, because if they didn't, their entire roster could conceivably walk away if the company changed hands, which would be no good. -And there's always the biggest "what if" involved - Even if LP was legally permitted to walk away should the company change hands, who's to say that they would? Ever since LP re-negotiated their contract with Warner about 5 years ago, the relationship between the two sides has seemed pretty amicable.