Astat

Yeah, the APFMH intro guitar sounded weird on this one. It's normally drenched in delay, but it's really dry on this recording. I noticed it sounding odd on the audience recording too though, maybe Ben just didn't get the settings on the Axe-FX totally right for that part.

Thats always been something LP's used on their acoustic guitars and very common in general, it's a feedback eliminator. You just pop it in the soundhole and it reduces the amount of vibration that travels through the top of the guitar. Any kind of hollowbody guitar is prone to feedback when plugged in because they pick up EVERYTHING. I can plug in my acoustic/electric and make it feedback by blowing on it. BTW, Brad hates A Place For My Head about as much as Chester hates Runaway. He never wants to play it.

Fiore is still around. He's explicitly thanked (along with a few other people) for "putting in a ton of hours on this project" in the THP liner notes.

I believe they do have 4 different frequencies on Brad's rig. Like I said, one is always his main PRS, one is always his main Strat, and they swap the rest of the guitars between the other 2 channels as needed. The Audio-Technica system he uses has that "multi-diversity" antenna on it or whatever it's called, which I assume can scan through all available frequencies and find clear ones on a show-to-show basis. Even my low-end AT wireless that I use occasionally can scan frequencies for openings, it just doesn't have nearly as many to choose from. As far as I can tell, the packs are just taped onto the straps. I'm still puzzled by Joe's rig. Mike went into detail about how the "brain" of Joe's current rig is a Microsoft Surface tablet in the interview his just did with Tim Ferris...yet the tablets we've seen him with lately appear to be iPads.

Literally any show the band has played in Central or South America in their entire career, for starters. Also, LMAO @ you including Live in Texas in that list. Yep, a half-empty stadium full of disinterested Metallica fans was a great Linkin Park crowd, alright...the crowd shots on the DVD don't lie. The crowd screaming "GO AWAY" so loud on APFMH was sarcasm that was apparently lost on nearly everyone in the Linkin Park camp, including the band - they were literally yelling at them to get off the stage.

They've gone over the 11 PM curfew numerous times already on this tour. It's a non-issue for them. Chester just started singing before Rob got to do his solo, simple as that.

I'm completely baffled as to what you're trying to say here. You used Bristow as your example in your original post. Yet on the Bristow show page, there is nothing about New Divide having an outro transition, and Crawling wasn't played at that show. That's the case for all of the Set B shows. Nothing wrong there. For all of the Set A shows, the Crawling beat clearly comes in underneath the outro synth from New Divide. That's a transition. Once the Crawling synth starts, it's exactly the same length as the album version. That's not a "short intro." Are you trying to say we should change the way New Divide/Crawling are listed in Set A because of the way New Divide is played in Set B? Because if you are, that's fucking ridiculous. Anyway...here are a few corrections for Set B. Not nearly as many this time around. -Lying From You has a really weird arrangement. It goes DOYS/LFY verse 1 > DOYS/LFY chorus w/Jay-Z vocal samples > LFY verse 2 > LFY chorus 2 > LFY bridge w/Jay-Z vocal samples > LFY chorus 3 > DOYS/LFY outro. It's basically the full song, save for the intro...but it doesn't really follow the format of the album version OR the Collision Course version. I almost feel like we should list it as "Dirt Off Your Shoulder/Lying From You (2014 Version)" or something to that effect. Or "Lying From You (2014 Version w/Dirt Off Your Shoulder samples). BTW, it's "Dirt Off Your Shoulder," not "Dirt Off Your Shoulders." -There's some kind of sample intro thing before BID starts the encore. It's not the Until It's Gone sample from Europe like they use with LITE in Set A...not really sure what it is. Other than that, I think we've pretty much got everything!

"Fixed" version of Set B: 01. Mashup Intro #2 02. Guilty All the Same 03. Given Up (ext. outro w/extra note) 04. With You 05. One Step Closer (w/ext. outro) 06. Blackout (shortened instrumental, transition outro) 07. Papercut 08. Rebellion 09. Wastelands 10. Castle of Glass (Experience Version) (piano transition outro w/Drawbar tease) 11. Final Masquerade 12. Robot Boy (shortened instrumental) 13. Joe Solo Medley 14. Somewhere I Belong 15. Waiting For the End (Apaches intro, Wall of Noise outro) 16. Mike Solo Medley 17. Lying From You (Dirt Off Your Shoulders intro/bridge/outro) 18. In the End 19. Faint (w/ext. outro) 20. Until It's Gone (w/extended The Catalyst/New Divide/No More Sorrow mashup intro) 21. Numb (w/Numb/Encore outro) 22. Burn it Down (shortened) 23. Lost in the Echo (shortened) 24. New Divide (shortened) 25. What I've Done (w/extended bridge solo) 26. Bleed it Out (ext. intro, ext. bridge w/drum solo and The Catalyst refrain, ext. outro) Mostly the same changes I made to Set A, but a list anyway: -Play Papercut in full. -Drop Runaway, give Wastelands its album version intro. -Drawbar tease coming out of COG, leading into Final Masquerade, which replaces Ballad Medley. -Move Somewhere I Belong up to after Joe's solo medley. It seems kind of out of place as late in the set as they're playing it now. -Completely revise the encore. Put Until it's Gone first (full song), with the Europe intro. -Move Numb down to the second slot in the encore. It's a song that gets a big crowd reaction, so it'll help energize things. -Burn it Down can remain shortened in this set for the sake of the encore not being long as hell, but move it down to the 3rd slot. It has no business being an encore opener. -Lost in the Echo/New Divide remain shortened. Ideally I'd like to see the longer version of LITE played in Europe, but I'd allow the "shorter" U.S. version in this set because it feels a little longer than Set A, particularly in the encore. -As always, I think WID should have its album version intro again. Again, this is such an easy fix that doesn't require them doing anything they aren't already doing. SO much better than the current Set B structure.

I'm not talking about the "Back to 2014" link. I'm talking about the "Linkin Park Live > Pages > Shows > 2014" link above that. Rebellion seems to completely stop before Runaway, so I'd go with an extended Runaway intro. Outro transition on UIG makes the most sense, but we'd need to differentiate it from the UIG > ALTNC transition outro somehow, because it's a lot different. *Edit* And yeah, Mike's doing a weird hybrid verse on Wretches. I don't think he's ever gotten the lyrics to that one right, going all the way back to the ATS tour.

I believe Mike's using the Maschine for "one-shot" samples that don't need to be manipulated (i.e. drum samples), and the iPads running the Lemur software for synth-y stuff that can be manipulated (the top screen has the pads to play the samples, the bottom screen has the faders to manipulate the settings on them). -Brad's using his rarely-seen blueburst Custom 24 for Rebellion, as it's in Drop C tuning. Mike is actually still in Drop D on that song, as he only plays the lead melody part. -Mike appears to be using a guitar in D# A# D# G# C F tuning on Final Masquerade (one half step higher than Drop D), as it looks like he's playing the low Eb chords as open strings on the Camden webcast. Not sure why he isn't just using his Drop D guitar with a capo on the first fret...

I doubt he would "count" anyway. Touring members are typically considered to be on par with roadies by the "real" band members. The 30STM touring bassist is practically hidden from view on stage and doesn't even dress up for the shows like the other 3 guys do.

On all of the 2014 show pages, clicking the "2014" link at the top again takes you to this link, which is broken: http://lplive.net/shows/db/2014/ The correct link should be: http://lplive.net/shows/2014 And more 2014 setlist corrections: -At least as of the Carnivores tour, Mike has been using Wretches and Kings verse 1 OR verse 2 during his solo medley (he used verse 2 at Camden). I have no idea which shows got which verse, but LPL currently says verse 1 for all performances, which is wrong. -Some Carnivores tour pages still say New Divide had no bridge, this is incorrect. The production rehearsal is one example. -The new shortened Lost in the Echo says "no second verse, second chorus, or bridge," which isn't exactly correct, as that would imply they played both chorus 1 and chorus 3, but they really only played one chorus. It's essentially chorus 1 with chorus 3's ending. Intro > Verse 1 > Chorus > Outro. -The With You verse in the encore of Set A is NOT part of an extended Crawling outro, it's an extended Until It's Gone intro. The beat under it is the intro beat from Until It's Gone. It's done exactly the same way the POA verse in Set B is done, which is probably why Mike screwed up and did the With You verse the first time they played Set B. -Until It's Gone in Set A has a transition outro into What I've Done, which now also has an extended ticking intro compared to the European version. -All performances of Mike's solo medley that feature the verse from Remember the Name feature TWO verses, not just verse 1. Mike does both of his verses from the song. Since the studio verses go Mike > Tak > Ryu on verse 1 and Ryu > Tak > Mike on verse 2, Mike combines his two "sections" together to create one verse. Not sure on everything in Set B, as I haven't heard a full recording of it yet. I'm sure there will be more corrections when I do. -All Carnivores tour performances of Runaway feature an extended intro, which isn't noted on any LPL pages as far as I'm aware.

"Of the 16 people on this tour..." Linkin Park, 30 Seconds to Mars, and AFI currently have a total of 13 members between them...?

Chester has never had "throat or voice-related surgery," period. Proshot recordings (at least those that are aired after the show takes place) aren't a good indicator as to the presence of things like Auto Tune, because there's always time for stuff to be edited later. Live broadcasts/webcasts are somewh at more reliable, but even then, you have the variable of the production crew for the TV station/website/whatever using their equipment in addition to the equipment used by LP's sound crew, so they could still be putting additional plugins on the live feed in real-time that aren't actually being used at the show. Going off audience recordings, the earliest I've noticed the use of Auto Tune in a live LP performance was in 2012.

Well if Chester and Talinda keep going at the rate they are...

Pretty sure Ethan Mates did this one.

No.

I don't think Mike OR Chester played guitar on that song in the studio (definitely not Chester). There's footage of Brad recording the rhythm parts on a Les Paul on Making of MTM/LPTV (one of the two). People tend to take what instruments the band plays on a song live as gospel when it comes to personnel on studio recordings, for some reason. This one takes it a step further, as Chester playing rhythm guitar on NRL was nothing more than the community speculating he would do so if the song was played live, since he wouldn't really have much in the way of vocal parts on it. The "personnel" credits on LP Wikipedia pages are almost always wrong in some way.

Apparently Joe let him take over for him on one song. You'd think the band would have said something or someone would have noticed, lol.

Finally got to listen to this, and I'm amazed that nobody's pointed out the OBNOXIOUS out-of-time clicking noises littered all over this recording. Literally sounds like someone took a metronome ticking sound effect from a DAW and dropped it into the recording at random with no regard for the BPM of the songs. Breakdown of Papercut, beginning/scratch solo/outro of With You...they're so bad they practically ruin the entire experience of this otherwise beautifully-mixed recording. Ugh. *Edit* HUGE mid-word skip during Mike's speech after Points of Authority too. Holy fuck is this amateur. It took them 2 months to give us this shit? *Edit 2* Not one, not two, not three, but FOUR audible Auto Tune glitches on Chester's voice during Crawling. I'm hearing all this stuff on my first listen without rewinding anything, people.

Some of the production budget was paid for by a group of French investors, so they released the movie in France back in June (under the alternate title of "A Day to Kill," which Joe Hahn hates). http://www.amazon.com/Mall-Eric-Bogosian/dp/0743214552

First "DSP-style"/official release of a live version of Forgotten, but definitely not the first SBD recording.

Yeah, he's in the second verse now that I listen again. Not sure about the outro.

I seem to be the only person who thinks AFI sucks live (I've had that opinion for close to 10 years too - I remember MTV showing a 30-minute edited version of one of their Sing the Sorrow shows - they were AWFUL), so no worries. This is a tour of 3 bands who are all exceptionally better in the studio than they are live, although LP does a significantly better job live than the other 2.

I actually GREATLY prefer it this way, because then the acapella lines up perfectly with the instrumental. If you're using these for remixes, it saves you a lot of trouble with syncing the initial tracks up. Good to know the MTG issue was just an isolated thing. I can personally deal with the little glitch in the AFN instrumental, but it's still annoying. All of the singing vocals on GATS, War, Wastelands, and Final Masquerade are Chester, as far as I can tell. Mike's backing vocals are all over pretty much every other song. Also, you can clearly hear Mike doubling Page on the AFN chorus on the acapella. Kind of cool.