Astat

I think that was in the LPU chat Mike did right after LPU9 launched.

One other thing I just noticed, Rob has 2 different tambourines now (easy to see on the picture of him from the Zurich DSP). He uses one on Bleed it Out and the other on Iridescent. Not sure what exactly is different about them, but you can tell by looking at them that they're different, so I'd imagine they're voiced differently.

I hear those sliding noises too, I actually wondered about that when the album first came out, but the band was pretty up-front about any kind of unusual instrumentation they used on other songs on that album, and they talked about the sparse instrumentation on that song in particular numerous times ("consisting of little more than Mike's vocal and a bass line" was the description of the seed in the MTM booklet). I think if it was guitar, Brad would choose to play that part live instead of the simple harmonic line in the choruses, as it's a much more dominant part. If anything, it might be a copy of the bass part that comes in during the second verse that's been run through some effects to make it sound synth-y. It's always possible that they just pasted those sliding noises into the song too, as you can hear a loop of a few of them over the last note of the song.

No. An E-Bow doesn't sound anything like a traditional stringed instrument like a violin, it's just an infinite sustain device for the guitar (which is meant to sound like what would happen if you played a guitar with a violin bow, a la Jimmy Page). Those definitely sound like programmed/keyboard strings.

We actually had some information from management before the NYC show took place stating that there wouldn't be a DSP released of it. Pooch might not have been informed of that, the show was recorded just like the rest were (and the "DSP" type mixes were used for the handful of proshot videos on Myspace), so he probably just assumed that it would be released like the rest of them. Bingo. There's a lipstick camera on Mike's mic stand that gets projected up onto the screens when he holds it out over the crowd.

They've been mixing a few songs differently since the start of the 2009 tour, and that's one of the more noticeable changes they've made - they turned the guitars way down in LOATR and brought up the keyboards. One other change I can remember off the top of my head is they've brought up Rob's drum part in the verses of No More Sorrow. As a side note, Brad stays off stage for most of LOATR, even though he plays guitar in the first 2 choruses. Instead, he walks out at the same time Phoenix does for the last chorus. I think he started doing that sometime in '08.

Why is London Night 2 available but Night 1 isn't? That part is a combination of Mike/Chester on the album. They do it the same way live, but Chester's part is way more dominant on the album version (it's the opposite of what happens on the second repeat in the first verse, Chester comes in there but is way quieter than Mike). On the live version, they keep them at about the same volume through the whole song.

No live strings on ATS.

That first video's been around forever - I distinctly remember that "34th measure of Lying From You" joke that Rob makes. I believe that was released on the Meteora World Tour player after the tour ended (remember all those pop-up players LP.com used to have for every new tour?).

I recall reading one interview where Chester said something to the effect of "that stuff's probably floating around on the Internet somewhere." Obviously it's not and there's no known source that would have it, but I wouldn't totally rule out that it might surface someday.

They had that artwork as the "cover" for all the A Thousand Suns songs they've played too. At least since I started listening, Iridescent, Given Up, The Catalyst, and Robot Boy.

They've actually only played 4 Linkin Park songs out of the 24 songs they've played since I started listening.

This is still the first time it's aired, it was already announced here, and it was even specifically mentioned that it wouldn't be airing until later. Ergo, it's still news-worthy. *moves back to News*

So in a span of 3 songs, I've heard NWA, Mars Volta, and Pink Floyd. I very much approve.

I think the fact that Pale is dated as 2006 while What We Don't Know and Across the Line are both dated as 2007 rules that out. The 2006 date puts it more in line with stuff like Announcement Service Public and QWERTY. The band has said Pretend to Be originated from a Minutes to Midnight demo but they went back and re-recorded it later on. I suppose it's possible that it was one of the final tracks, but I doubt it.

Mike said that Across the Line was the last track cut from the album - if it had been a 13-track album, it would've been on there. So that's definitely one of the five. I think the "going back and finishing" of various demos that the band has referred to with tracks like Blackbirds and Across the Line just amounts to doing the post-production work on them that never happened the first time around because they were cut before the mixing/mastering stage. The performances themselves probably haven't been altered at all. Across the Line, No Roads Left, and Blackbirds are definitely 3 of the 5. I'd say What We Don't Know probably is too (it has the sonic character of everything else from the MTM sessions), but the timeframe of its recording hasn't been firmly established at this point.

Of those 3, I'd probably go with the first one. There really isn't a video where you can clearly hear the guitar the whole way through, because they did the song completely unplugged and Mike varied how hard he was strumming a lot in places, so the volume of the guitar's always changing. The first one is better quality than the second one for sure, and Chester sounds really nasaly and weird in the third one for some reason (probably just the proximity of the camera to him and the frequency ranges it was picking up).

Another thing I want to mention is the fact that I just don't understand the logic behind giving someone a show and then telling them not to share it. Essentially what we've got here is the following situation: Person A (taper) gives the show to Person B, and instructs Person B not to share it. Person B gives the show to Person C (Biel), and likewise instructs them not to share it. Essentially all that's happening here is a cycle of people trying to pass the "blame" off to someone else if the show ends up going into circulation (because heaven forbid other people get their hands on recordings and fulfill the entire purpose of a taping/trading community's existence!). If Biel posted the whole show, Person B would be all pissed off about it (and they'd have someone else to blame if Person A got mad at them about it), whereas if Person B posted the whole show, they'd only have Person A to answer to. And of course, if Person A posted the show, they'd somehow be a "hero" while the other 2 people who also have the show would somehow be viewed as doing something "wrong," despite the fact that all 3 of them would be doing the same thing. The logic behind this is really backwards, it's essentially putting more power in the hands of the person who gave the show away, not the person who received it. And that's why I'm so against the idea of sharing shows "conditionally" - I'm a firm believer that once somebody acquires a recording, it's just as much their property as it is the property of the person who gave it to them, and both parties involved should be fully entitled to do whatever they wish with it. I also don't think being the taper of a show should have any bearing on what other people do with your recordings. If you don't want other people to share them, don't send them to other people in the first place (and preferably, don't tell anybody about your recordings in the first place if you don't intend to share them, because that just makes you look like an elitist douchebag to anybody with at least half a brain, and most people really don't care to know about how you spend your days masturbating to your hoarded recordings, kthx). Once you share a recording with someone else, you're immediately forfeiting any type of exclusivity associated with that recording, whether it winds up in the hands of 2 people or 20,000 people is totally irrelevant because you're the one who shared it in the first place.

It was from the "documentary" style footage that was shown between bands on the webcast of the Clarkston, MI PR07 show (a lot of the footage wasn't used anywhere else). The footage of Phoenix singing Pushing Me Away was actually shot backstage at the Cuyahoga Falls, OH show, as well as the Mike "syrup shot" clip.

Yeah, I noticed that in the pictures. I figured nobody had paid much attention to it though, since the only people with a physical copy of the CD right now are people who went to the LPU Summit. Plus we knew it was a possibility, the Japanese CD-only edition of LPU9 came in a jewel case, and Adam said it was something he was working on making happen. Makes sense though, the slipcases came and went with the Best Buy packages. They pretty much had to use a slipcase for those to be able to squeeze all of the items into that little box, and it didn't make much sense for them to use 2 different case types for the Best Buy and non-Best Buy packages, that would mean 2 separate runs of the CDs, which would mean far greater production costs.

Across the Line is definitely the best track between the 2 CDs, but I think LPUX is a little bit stronger overall than LPU9. </my2cents>

Just one last follow-up on Herning, I just listened to the show and all the mp3 files sound fine, no skips. So it looks like those 2 photos are the only corrupt files. I emailed Basecamp support about it, and I know Mark said he's asking Pooch, but I don't think Pooch has anything to do with the photos/the downloads.linkinpark.com website. If I recall correctly, the last time we had problems with DSP photos, Adam got the whole thing straightened out pretty quickly, so if he sees this, maybe he can help us out, or if not, somebody could contact him and see if there's anything he could do?

Just noticed this, I believe the intro to Shadow of the Day has been extended at all the 2010 shows. It's nothing special really, they loop the intro beat a couple more times (probably to get the audience clapping or something), but it's still something different. I think that also accounts for the intro of the song being called "messed up" in the notes for this show - http://lplive.net/shows/20101022.php I don't really hear anything different about it than any other show from the tour. And I still think we should note somehow that the instrumental portion of The Radiance is played underneath the Mario Savio speech during the intro to Wretches and Kings.

Just throwing this out there - I've heard the whole "threat of legal trouble" argument against releasing numerous shows in the past, many of which are now commonly circulating. I'm not aware of anybody that's ever gotten into any trouble for doing so. The worst thing that usually happens is you end up pissing off a trader/taper who didn't want their stuff shared, and they refuse to do business with you in the future. In most cases, that isn't a huge loss (there are always other people who can do business with them later on). I doubt I'm going to make a difference by saying this, but I've just seen the "fear" tactic used a ton in the past, and it usually amounts to nothing but empty threats. I'm going to stay out of this, I've seen way too many shows slip through the cracks for one reason or another over the years that I seriously don't even care anymore. If it pops up someday, great, if not, I've got the DSPs, that's really all I need anymore. Anything else is just a nice little bonus. I also have no desire to be part of the trading business anymore, because quite frankly, I think it's turned into a dirty business full of unpleasant people who are only in it for personal gain. LP's been around for over a decade now, I suppose it was only a matter of time before the hoarders/people who only trade/share shows under certain conditions started to outnumber the "no-B.S." traders - it happens with every other well-established band out there. "If I've got something you don't have, I'll trade it for something you have that I don't. After that, you can do whatever the hell you want with it." - If only it was still that simple...

Yeah, that's actually the same way the studio version's played minus the capo, the high E string isn't played at all though.