Astat

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.

I'm with you on that, I'd much rather hear some unheard studio stuff from that period. Unpopular opinion perhaps, but I don't think DBS was particularly good live. The vocal production was so layered on the album that they couldn't really pull a lot of it off live, and Ryan's voice never blended very well with Chester's when he tried doing harmonies. My Suffering was always a jam because it was so straightforward, but a lot of the other songs didn't translate well.

They certainly COULD just release stuff without Chester, but given the circumstances, why would they want to? It's the first LPU after his passing, it'd feel wrong to not include him, but like we saw with the OML Live listening session with Mike, it's still really hard to spend the amount of time listening to Chester's voice that would be necessary to do justice to the idea. Or, going with a completely different theory, I wouldn't be surprised if Warner basically put the vaults on lockdown after Chester died because the future of the band immediately became a big question mark, and they wanted to "protect their future investment potential" or some disgustingly corporate line like that.

I'm fairly sure the sentence "Fort Minor is Mike Shinoda" was used, verbatim, in some promotional material during the initial FM run in 2005, lol.

Thoughts on why I think Mike is performing these shows under his own name instead of Fort Minor: Playing solo shows under the Fort Minor moniker already got sort of convoluted in terms of "what exactly IS Fort Minor at this point," and adding Post Traumatic (and any other music Mike may come out with in the near future) would only make it worse. In terms of studio output, it's different. Fort Minor is Mike's hip-hop solo project. It has a general stylistic thing going on, and Welcome made sense as a Fort Minor track. Mike can ultimately release anything he wants under the Fort Minor moniker though. The problem with live shows, particularly with Mike doing them as a solo artist, is he has to pull music from a lot of different sources to fill out a set (he has to shorten and/or heavily alter songs to work around the absence of all of the guests from The Rising Tied and We Major, and there are some songs that just don't make a lot of sense for him to play by himself). With the "comeback" shows, there were Fort Minor songs, there were Linkin Park songs, and there were songs like It's Goin' Down and Devil's Drop that were from other projects entirely. With Mike now having solo output legitimately released under his regular name that will presumably become part of the live show...at what point is it really still "Fort Minor?" When I go back and watch those few solo Fort Minor shows, I get a completely different vibe from watching Fort Minor shows from 2005-2006. I think the only reason Mike even went out under the Fort MInor name at that point was because he had just released a single under the Fort MInor name, but effectively, those were Mike Shinoda solo performances just like these upcoming shows will be.

I have a very strong feeling that we'll be getting more solo music from Mike between now and when these shows take place.