Astat

We didn't last year either.

That's a bass guitar, so that's not Jason.

You should. They always add additional membership lengths to your original subscription date, so the 30 days should give you a month past when your old expiration was, then the full membership should give you a full year past that. I used to renew when LPU launched every year, but through a few 30-day trial codes and a gift membership I got at one point, I've managed to push my expiration almost a full year out (it was originally in late November, now it's in early October).

Where do you stream the back catalog of LPU CDs? I can only find the preview clips in the Discography section that have been there for a while. The Discography section also erroneously lists Animals as a 2001 demo, lol.

Yes/no. Bravado makes a bunch of the LP merchandise you see in stores like Hot Topic, mainly t-shirts. I've seen these in stores before, I forget how much they were but they were cheap. So they're officially licensed, but they aren't anything like the stage picks, they're just collector's items.

Nope, Inside Stuff aired weekly so we'd have to sift through a ton of episodes from probably the 1996-2000 era just to be safe, and I don't know of any way of finding all of those episodes archived anywhere. Interesting that the BMI entry that listed them is gone after being on there for many years though...I cross-checked it from the band members' individual entries just in case the catalog number changed or something, but it really is gone. Also Mike's BMI page was updated slightly recently to include the theme song he did for This is Life with Lisa Ling - there's one entry for "BG Cues" like there is for other shows, but there's also an entry for a song just called "This is Life," so I guess we can confirm that it didn't have a different title. Still hoping we get that song someday.

THP was a huge step in the right direction compression-wise. Tracking all the drums on tape gave them a ton more headroom to work with after they transferred the tracks to the computer.

My December didn't have cello or live drums until the Countdown to Revolution tour, so go ahead and rule out Europe completely. So yeah, one of the first 7 shows from Countdown to Revolution. Also, that's Phoenix's setlist, the numbers refer to his basses. 1 is Db tuning, 2 is Eb tuning, 5 is his 5-string (3 and 4 were backups for 1 and 2).

Not sure if it was mentioned in this particular thread, but that "Nov 24" text was present in the video screens for Mike's solo medley from the very beginning of the THP touring cycle, and in fact is reused footage from some of the A Thousand Suns-era promo material. It has no significance.

Why would they have to "obtain the rights" to an album of remixes of music they already own the rights to? Fan remixes are automatically the intellectual property of the original artist. Maybe there was a formality involving the rights to the artwork or something, but from a legal standpoint they didn't have to do shit about the music, particularly when all they did with it was half-assedly email it out to LPU members like some kind of afterthought.

This is no different than uploading any other fan remix. WMG doesn't own Viscera itself, they own the rights to the original Linkin Park recordings used in creating it and can make a claim against it if they want to. I really don't think some of this stuff belongs in here. Any kind of non-official Youtube upload containing LP music or some derivative form of it can technically have a claim made against it. This thread should really be reserved for stuff that you can pretty much guarantee will be taken down because one or more of the copyright holders are crazy about policing it. There are still a ton of other uploads of material from Viscera on Youtube that haven't been removed.

Which I've repeatedly stated over the years is incorrect... http://web.archive.org/web/20050207052204/http://www.pushmeaway.com/touringinfo.html "Projekt Revolution 2003 highlights - Xzibit joined Linkin Park onstage for "Nobody's Listening" and even added his own little rap into it. There was also a guy break dancing during the song. Also at about the Tucson, Az show Joe and Brad began trading places - Joe would take over Brad's guitar while Brad went to the turntables. They also played A.06." Joe and Brad swapping instruments and the band playing A.06 were two entirely separate things that happened to take place at the same show. I confirmed this with a fan who attended the show on the LPMB during the Sparkart days (2005 or so), yet the rumor still persists... I really really REALLY doubt Joe knows how to play A.06 on guitar.

Derek from LPA (who is always as professional as possible any time he does business with people, so you know he didn't send him a stupid fanboy-type email) tried contacting Cheez for an interview probably 5+ years ago and the dude went full-on NUCLEAR about it. "How dare you contact me/you must be some kind of creepy Internet stalker for finding my info/I'm calling my lawyer" level shit. Over a fucking email. lol.

Papercut intro wasn't the 2015 intro at all IMO. No extra guitar, no added synth. Just a loop of the album version intro that gradually faded in underneath the WoW theme music.

10" and 12" rack toms, 16" and 18" floor toms.

Yeah, if this all started before the September shows, I feel like it must be a gradual thing that's still unresolved. Maybe they've decided to think of Chester as more of a short-term solution and they want someone who isn't tied up with another band? They could still be doing shows with Chester in the interim while they're still looking for someone else.

Possible, but I doubt it. He's always used coated heads on his kick and snare and clear heads on his toms, Remo offers a big enough variety that he should be able to get what he wants by combining different types of heads.

Mike talked about that on a few other occasions. He just did a really rough mashup of Numb/Encore with the original recording of Yesterday to figure out what to do for the arrangement. They never actually did a recording of it with Paul or anything like that.

He was still using Remos as of the Brazil shows a year ago (most recent shots I can find where you can see the logos on his heads). If he switched brands he did so in the middle of the THP cycle.

I think coming up with one main setlist and then tinkering with it throughout a touring cycle is a fine idea. The problem is that LP doesn't really tend to tinker with the set unless it's for time constraints or working around what they are/aren't playing from the new album (the addition of Welcome was also a similar situation). I wish they'd be a little more spontaneous about it, like 3 weeks into a tour going "Ehh we're not feeling Points of Authority lately...let's swap it out for Lying From You for the next week and see how that goes" or whatever. There are way too many songs in the set that they seem like they won't swap around for any reason.

2mex has done songs with all of those groups.

Never been a fan of this type of rap song. When you cram this many emcees into one song, you end up with a bunch of people without enough time to actually say anything. The two "mini-verses" Mike throws in here sound cool, but just leave me wishing he had more space to work with...interesting re-use of the "put a kink in the backbones" line from High Voltage, too. I thought the original story was that Chester recorded a track with these guys, but apparently that wasn't the case.

It has to do with the song's key signature. Technically speaking the "key of A# major" doesn't exist because there are 12 notes but you can only fit up to 7 sharps or flats in a key signature. You can't fit enough sharps in a key signature to get to A#, so you have to go with Bb major instead (which is enharmonic to G minor). It's probably easier to look at it from how you'd write out the scale...any musical scale is going to use the letters A through G once each, and you add the appropriate accidentals to the necessary notes. So a G minor scale goes G, A, Bb, C, D, Eb, F, and back to G. If you wrote A# instead of Bb, you'd have two A's and no B's in the scale. If you're looking at individual notes without any particular scale/key in mind, it doesn't really matter if you use A# or Bb, but it is something that matters in other situations.

The one after BTH is A Line in the Sand, not Bleed It Out, and the last one says "Drum Pads," not "Drum Part." First COG entry has a note next to it (there are 2 entries because of the tempo change during COG Experience), UIG Intro says "UIG Intro (Encore Start)" in full. Also, LOL @ ALTNC being written in A#. I'd assume they're going off the enharmonic major key for whatever reason since it's clearly in G minor...but c'mon Mike, I know you know at least a LITTLE theory, write that shit as Bb, not A#!

Rehearsal video of Welcome: https://www.facebook.com/video.php?v=10153661102761788 Interesting to note that at about 1:18 you can see the touch screen on Mike's keyboard which lists a bunch of songs/tempos, and I'll Be Gone is among them...I really doubt it's being played at this point but the fact that it's in there means they must have at least rehearsed it at some point.