Astat

I'd say so, Fat wasn't very big and probably didn't play there more than once, being from the UK and all. The fact that it fits in with Grey Daze's most "active" period makes it pretty solid too. It's a lot more to go on than we have for some other shows that are already in the live guide.

I believe it was in one of the between-song interviews at the Kevin and Bean Breakfast show: http://lplive.net/shows/db/2010/20100907

Mike used the "vocoder" (in quotes because I'm not sure what the exact effect used is, it may or may not technically be a vocoder) on The Requiem (from offstage save for the first ATS show in New York) and the Numb outro on the ATS tours. He also used a vocoder for the album recording of Fallout, but when they performed it live I'm pretty sure the vocoder parts were a backing track and he just sang over them with his normal microphone.

LP Recharge: Wastelands was released for Android earlier this month (it was previously only available for iPad). There are probably 3 people on the planet who still remember that this game exists, but I figured it was worth mentioning.

Not sure if that's ever happened, but I'm sure the Ableton Live automation is largely to blame for the increase in "false starts" with songs over the past few years.

The Stockroom is Mike's home studio. First stuff I'm aware of being recorded there was a bunch of Reanimation material.

I have both versions of Given Up, but I've still never been able to find the "version 2" of OSC, even though I know it's out there. I think "version 1" is actually just an improperly ripped version of "version 2," because the drums are mixed all weird, the bass drum is on one side of the mix and the snare is on the other, which is completely wrong.

There's a lot to explain here... The Ableton Live setup isn't just limited to the guitar rigs. The entire audio portion of Linkin Park's live show runs off of an Ableton Live "brain." All of the changes in audio information that take place before the PA system (Mike and Brad's Axe FX patches, Mike's keyboard sounds, etc.) are done automatically in the Ableton Live program during the show. They also have various manually-operated controllers that the crew can use to control these things in the event that the computer running Ableton Live goes down (Brad's old MIDI switching board that Benjamin shows in the video, for example). There are more songs programmed into Ableton Live than what's in the setlist, so they CAN, in theory, change things on the fly, they'd just have to manually select different songs on the computer during the show instead of letting it move from song to song automatically (the same thing takes place in the event of them having to drop songs). On Brad's rig, his effects changes for each song are programmed into the Fractal Audio Axe-FX II, which is triggered in real time by Ableton Live. Brad doesn't actually have to do anything other than play the parts, with the exception of the guitar solo on Waiting for the End, where he still uses an expression pedal for the octave sweep effect. The software is always running throughout the show. The songs are actually "started" by their monitor engineer Tater from offstage. The band member who plays/cues the first "live instrument" part of the song looks off stage before the song starts and cues Tater to start the click track and/or backing track for the next song, which they hear in their in-ear monitors, so they always start the song on the same beat, which allows the things triggered by Ableton Live to happen at the same point in every song every night. The newest versions of Ableton Live also have really advanced real-time adjustability built into them, which allows them do things like extend the solo on What I've Done by different lengths, mess around with Bleed it Out, etc. without the program and the band getting "out of sync" with each other. This also allows them to do tempo changes mid-song a lot easier, which we've seen with things like the Blackout>Papercut and Runaway>Wastelands transitions, as well as the way Castle of Glass Experience speeds up during the first chorus. But yeah, each song is "mapped out" in Ableton Live, so once the click track starts in the band's ears, all of the changes that happen for the rest of the song are already in place.

Rob Cavallo has been the president of WBR ever since Tom Whalley retired a few years ago. Wastelands was a random one-off (as was Emile Haynie producing Final Masquerade), Mall soundtrack was just an executive producer credit, which could mean practically nothing in terms of actual input.

There's really not a lot of information about the early days of T.S.O.L. and Cheezboy's involvement, but here's what I've pieced together... T.S.O.L. started in the Southern California punk scene in the late '70s/early '80s along with other groups like Social Distortion, Agent Orange, and Nobody Special. Cheezboy was friends with Pat Taylor from Nobody Special, and the two of them got into T.S.O.L. early on after seeing some of their shows. The two of them subsequently became friends with the guys in T.S.O.L., Ron Emery in particular. At some point, Cheezboy got more involved with T.S.O.L., he helped finance their Change Today? album and probably managed them for a while. Whether he was a full-fledged member of the group at any point is questionable, but he either wrote/co-wrote some of their songs, or likes to take credit for them, because he still performs T.S.O.L. songs live from time to time, as evidenced by this Tweet. Cheezboy also went on to be a member of the band Pirates of Venus, and released his own self-titled album.

If recent history is anything to go on, probably as a heavily edited bonus DVD with a completely unnecessary "The Hunting Party +" release that'll come out next year, way after the album hype has died down...

I think Froctagon actually sounded the way it did pre-mastering. It sounds like it's only the guitar tracks that are clipping really bad, which shouldn't be something that happens in mastering, when they're working on the track as a whole. I remember in one of the videos of Mike showing off his home studio, he talked about how he likes to overdrive the hell out of his preamps when recording guitars to get a really crunchy sound. He might have cranked it up a little too much when he recorded this song and had the tracks clipping by the time they hit the front end of his interface. In a more formal studio environment, definitely something you'd correct and re-record immediately, but for a home demo, maybe he just figured "good enough for now." I think this year's LPU shows that LP is starting to run out of "good" demos to release. They're probably sitting on their last handful of demos with completed vocals, and everything else is probably "seed stage" stuff. A lot of this year's demos sound like things Mike worked on by himself that may have never even seen any input by the rest of the band.

Finally giving the soundtrack a listen in headphones. This is some good shit.

Well, change of plans, can't do the Des Moines show now, my band got booked for a show the same day. Kind of bummed, would have much rather seen OM&M/Rise Against than ADTR, but what can you do (not like I'm going to turn down an opportunity to further my own career in favor of seeing LP for a 6th time). You still planning on making the trip up here for this one Hahninator?

That's 100% Joe on vocals on that song. Sounds nothing like Phoenix's voice. Dave Sbeat = Dave's Beat. Phoenix came up with the drum thing, Joe did the vocals. Not that hard to figure out...some people look WAY too much into things.

To be fair, I'm fairly convinced that Brad is playing guitar on at least 2 songs on the soundtrack: Dancer and Devil's Drop. Both of those tracks feature fingerstyle guitar work in the vein of Brad's work on Burning in the Skies and Holding Company, and as far as I'm aware, Mike's never done any fingerstyle guitar work. Phoenix is a possibility since he plays bass fingerstyle from time to time and is a pretty solid guitarist in his own right, but the stuff on those 2 songs sounds almost EXACTLY like stuff Brad would play. Devil's Drop is also in an open acoustic tuning just like Three Band Terror, which was a Brad demo from the same sessions (Living Things), and I'm pretty sure I even hear his voice in the studio chatter at the start of the song. I'm still pretty sure it's Alec on drums on White Noise, but with a lot of this material being sourced from old LP demos, it's possible that Brad and Rob appear on it in some way and just didn't want their names associated with the project for some reason.

With a couple exceptions, usually the studio versions.

2. Anna's mentioned this publicly before.

This has been bugging me for a while: With You's intro in Set B is NOT shortened. The outro to Given Up in Set B also does NOT have the "extra note." The With You intro starts immediately when the last chord of the Given Up outro is hit, and plays underneath the sustained guitar chord that transitions between the two. You can see the band working this out backstage on one of the Carnivores LPTV videos, I think this may have changed a few shows into the tour (I seem to recall them doing it the "old way" with the extra note at the end of Given Up and a longer pause between the two for the first few shows), but yeah, it's still not shortened regardless.

I think that was an accident. Chester skipped one repeat and Rob just ended the song with him. You can hear Mike playing guitar for a little bit afterwards, like he was expecting it to keep going.

The French version of Mall is called "A Day to Kill" because a bunch of French investors helped cover some of the movie's production costs, so they pretty much got the final say in everything regarding the French release. They picked the title (which Joe has publicly stated he doesn't like), and they decided to release it in June for the French market even though it didn't come out until October anywhere else.

Any set that includes singles is a joke to you. We get it.

I think it's the vocals from the second verse over the instrumental from the first verse.

Brad, Rob, Mike, and Mark went to high school together in Agoura Hills (along with Doug and Dan from Hoobastank, BTW). Phoenix was Brad's roommate at UCLA, and Mike met Joe at art school in Pasadena.

So it's basically Act III from Set A (minus Robot Boy) and the Set A encore, with Rebellion randomly inserted between them. Wonder if they're doing the full versions of any of the normally-shortened songs in the encore? It's a headlining slot, and the set seems awfully short as is... Maybe tomorrow will get Act I, Act II, and the encore from Set B?