Astat

The fact that Mike has taken to using the phrase "all the sudden" lately is REALLY fucking disappointing to me. *Edit* Why do quotation marks disappear after they're posted? *Edit 2* Apostrophes too. What the fuck? *Edit 3* Only happens when posting from my phone. Huh.

I feel like this actually would have worked on OML if it were just at a bit faster tempo with more simplified percussion. Yeah it's kind of dark, but the overall vibe is still probably closer to OML than any other LP album.

Yeah this is definitely an alias situation. The theme song is the only track "Warrior Blade" has online anywhere, theres no artist bio or anything for them on any of the streaming services the song is on, and the only reference you can find to them even existing is all from the last 9 days or whatever its been since the soundtrack was released.

No guest vocals there, just pitch shifted Mike singing.

Yeah I'm sure WB will agree with the guy who paid money for multitracks that he "owns" them and can do what he wants with them. If someone fucked up enough to allow this stuff to get out in the first place, surely they didn't fuck up enough to try making money off of it, right? RIGHT? There's DMCA/cease and desist territory, and there's "you're probably going to jail for a long fucking time if the wrong people find out about this" territory. Trying to sell multitracks whose various rights belong to a lot of people who aren't you, who have a lot more money and legal power than you, is a pretty good way to get from the former territory to the latter. There are so many more layers upon layers of licensing, physical ownership of masters, etc. when it comes to multitracks vs. a regular old song that one person could feasibly have like 20 different parties sue them over something like this, lol. I'm so glad I've never been in it for the money...

You couldnt care less about MTM either last week.

You'd need to get your hands on a SmartMedia flash card and a computer with a port that can read it, but unless there's already one inside the unit, it might be pointless. From what I understand, the DTXtreme II doesn't actually store sounds on board, it pulls them from a media card and the settings stored on the display are just for recall purposes when you use the same media card with the Auto Load feature. So you might have the presets but unless there's a card in there, there likely aren't any sounds. This might have some useful info: https://www.yamahadtx.com/resource-categories/item/317-sampling-on-a-dtxtreme-iis-dtxt2su

The Living Things tour is when the MP-201 went away as well. It may have been used for changing keyboard patches like you said, but it absolutely was used in conjunction with the theremin as well. Mike used an Etherwave Plus theremin which has specialized inputs for controlling the pitch and/or volume of the effect with an external device (the type of voltage-controlled inputs that are directly related to the types of outputs on the MP-201). You normally need to use both hands to play a theremin because there are two antennae, one for pitch and one for volume. Mike only ever had one hand manipulating one antenna on the theremin when he used it, so he had to be controlling the other one by some other means, which was probably the expression pedal on the MP-201. The output of the theremin then presumably was routed back through the MP-201 and ultimately connected to the keyboard rig in some way so Mike could control what synth sounds the theremin was manipulating, since it wasn't producing the "traditional" sound a theremin makes.

The MP-201 was used for changing/manipulating what effects were controlled by the theremin on New Divide and When They Come for Me (the theremin was also a Moog). I dont think it had anything to do with the keyboard sounds. The Fallout/Requiem vocal effects were done with the EHX Vocoder pedal that was also sold in the auction.

Don't forget to update the link on the LPLive home page!

Sure, Mark totally has control over that.

"THE FESTIVALS, MIKE! ARE YOU GOING TO PLAY THEM?!"

Known bootleg that's been brought up before, only noteworthy for its oddity of being a vinyl bootleg. The entirety of Side A except for Karma Killer is made up of horrendously bad fan remixes/edits done in the early 2000's that have been on bootlegs going as far back as Under Attack. And One is the regular HTEP version.

Actual text I sent to Mark: "OH GOD WHY DID I SING SHINODA'S GONNA HEAR ME SING"

I'm just happy I even managed to get the thing done, to be honest.

Pulling not one, but TWO all-nighters working on this damn thing (on work nights, no less), catching the flu and recording vocals with a 102.4 fever, tracking guitars while nursing a forearm injury that made me lose all my gripping strength in my fretting hand...the things I do for these contests. But it's done!

Strange Things is earlier than 2005, possibly as early as 2003. It was recorded in LP's tour bus studio during the Meteora tour.

This is just the clip heard in Mike's headphones on the By Myself multitracks amplified a considerable amount (I even recreated it with the multitracks myself to make sure). The actual demo in question was never in circulation.

MTM was your favorite album like a week ago, but okay.

For clarification, the verse on this demo isn't a "slightly altered" version of the verse from the live version - on the rare occasion that Mike actually rapped the verse correctly on the live version without mixing up some lines with lines from the first verse, it is word-for-word identical. For example, in the rehearsal video, it's identical except for the second-to-last line, where he switches it up halfway through and repeats part of the second-to-last line from the first verse: https://www.youtube.com/watch?v=bdbIJXWfwCY But in this video, while he mixes up the order of two lines in the middle part of the verse, the second-to-last line is now identical to what it is on the demo: https://www.youtube.com/watch?v=VkKfi7WMukg Mike just CONSTANTLY screwed this verse up during live performances.

Mike said this was his unreleased verse from the demo like, the day after that first rehearsal video was posted.

"Here lemme play this mix for you, but I'm gonna drop stupid samples and talk over 75% of it." I can't even begin to describe how much I loathe these kind of Internet radio DJ's.

I love how people complain about Dreamcar and Blink for making arrangement changes to the songs they played on, yet if LP had ever done the same stuff to the same songs of their own accord the same people would likely think it's the best thing ever. Hypocrisy at its finest. Jonathan Davis and Taka were the only truly bad performances from a vocal standpoint, and even Taka had great energy and was a blast to watch. Daron Malakian consistently screwed up his guitar parts and apparently couldn't be bothered to check if he was in tune before going on stage. Zedd's monumental screwup on Crawling was embarrassing, and I feel like he didn't rehearse at all. Sounded like he was just making up drum patterns on the spot. I think M. Shadows' performance, much like everything else involving A7X, was quite overrated. He was okay, not great. Would have easily taken the title of "vocalist whose voice is most shot" for the night if Jonathan Davis hadn't been on the bill. Everyone else did a great job as far as I'm concerned.

The majority of them are created by the band themselves. Mainly Mike sampling Rob's kit or other sounds and then editing the hell out of them. I mean, I'm sure they've got a ton of sample library sounds too, but those get edited a lot when they use them as well.

Apparently there's a Leave Out All the Rest multitrack out there somewhere? Also the Battle Symphony acapella randomly popped up, not sure where it came from but it's legit.