Astat

I'm sure it's shared jointly, at least between Mike/Brad/Joe/Rob. Chester's not technically an original member of the band, but he was a member by the time Hybrid Theory signed their record deal with Warner, so he might legally have part of the naming rights...it basically depends on how early on they were able to hire a lawyer and get all this stuff down in writing (and whether they amended that information when Chester joined, if he joined later). I doubt Phoenix has a share in it unless they grandfathered him into their already-established contract once he rejoined the band. It's kind of a grey area though, because who's officially a band member and who owns the naming rights are often different. I don't think you can really define a band by any of its members. There are a lot of bands out there touring with only one original member left (Guns N' Roses, Lynyrd Skynyrd) that still do a good job of staying faithful to the material/style established their predecessors. In this sense, I don't think Mike or Chester or anyone in particular "is Linkin Park." However, I would say Mike is Linkin Park in the sense that if he were to leave, I don't think the band realistically COULD continue whether they wanted to or not. There are other vocalists who can sing like Chester, and I'm sure you could find another DJ who could figure out how to work Joe's rig, but if you lose Mike, you lose at least 75% of your songwriting capability and a lot of production know-how.

TOTALLY called this a few weeks ago. I thought the "big announcement" that turned out to be the Sunset Strip show was going to be about this, but I figured it was inevitable either way.

http://lplive.net/shows/20010205.php Saltair Pavilion is in Magna, not Salt Lake City itself.

It was definitely on LPA before it was on Rap Basement. They pulled their download link and started linking to Rap Basement once it went up there.

Okay...seriously? I've been wondering for a long time, but are you like, mentally stable at all? You seriously do complete 180-degree turnarounds from praising Linkin Park to writing them off as shit on a damn near weekly basis. I have NEVER seen someone go from sucking the collective dicks of a band to talking shit about them as many times as you have. At least people like Joe and spraypaintinkpens are consistent when it comes to being haters. Jesus christ.

They got it from the same source that leaked Remember the Name in 2005. That's about all that can be said.

I think Ryu's said he did verses for remixes of just about every song on Hybrid Theory at one point or another.

It's a Native Instruments Maschine. I've seen some people say it's the Maschine Mikro but I don't think it is. The Mikro is more rectangular, the regular version is basically square.

Brad was wearing the headphones as far back as the Esaul footage on Frat Party from 1999. I'd imagine it's something that even pre-dates Linkin Park.

Honda sure wouldn't be happy about that. Not that LP likely has any kind of lasting business relationship with them outside of the 2012 Honda Civic Tour, but still.

My bad, it's not the 2005 version, but it IS Las Vegas 2009. You can put any release date you want on a song you upload to Myspace, the fact that the listed release date is before the Las Vegas show means nothing.

It sounds like it's based off the same recording to me.

That's the ReAct Now performance from 2005.

Slip/Blue/So Far Away are odd, Chester didn't join the band until early 1999, so unless those recordings originally had Mark Wakefield on vocals and they just dubbed Chester in later, the 1998 dates are wrong (and either way, the versions we have wouldn't have been completed until 1999). I find it kind of strange that the band consistently labels that stuff as being from 1998 when the story of Chester cutting his vocals over the original Xero demos on his birthday in 1999 is so well-known.

The whole "collection of industrial strength magnets" comment is a dead giveaway that the whole thing is a joke.

They alluded to this in a few interviews during the ATS-Living Things transitional period, but I don't think a lot of people picked up on it: Those two albums were directly connected in terms of song ideas. Part of the "new LP writing process" is that they pretty much just write/record until they feel like they've got an album's worth of material, and they'll put that out. They'll write new material, they'll revamp old material, and they'll have a bunch of leftover material at the end. They never actually "stop" working on anything, they're more or less in a perpetual cycle of writing, recording, and touring, and all 3 of them overlap. They can theoretically churn out an album at any point along the way. I don't know how much MTM-era stuff carried over, but I know they specifically said around the time ATS came out that they "still had a lot of irons left in the fire" when the album was done, and that they'd pick up where they left off on those ideas while working on the following album. I think this is why we haven't gotten much post-MTM stuff on LPU CDs. A lot of the material they've written over the last couple album cycles is probably still fair game for inclusion on a future release. I'd imagine some of the early ATS-era material that's already been given numerous chances will probably be officially "dead" soon, so we may start seeing some of that stuff surface, but who knows? The "gestation period" for a Linkin Park song is no longer confined to one album cycle.

Wake is one of a select few LP songs in 6/8 time (while the Meteora demo in question isn't), so probably not.

"The Loft & Sound Shop" is a studio in Nashville credited in all kinds of album liner notes...mainly country/big band compilations. Sounds like it's mainly a mixing/post-production studio, but I'd imagine it could be used for production purposes too.

The Tone Zone is a lot more of a "well-rounded" pickup. The D Sonic is really aimed towards the drop-tuned, scooped mid sound that a lot of the nu metal guys were going for in the early-mid 2000's. You can get some warmer tones by installing the pickup backwards (with the "bar" facing away from the bridge), John Petrucci is one guy who does this quite a bit, but I personally find the D Sonic tone a bit "sterile" regardless of how you install it (plus it doesn't work well for drop-tuning in the "backwards" configuration), and it's definitely NOT a pickup you'd want to install in the neck position. It's strictly designed to be a high-output bridge pickup. I feel like you can get the same tone you get from the D Sonic with the Tone Zone if you tweak your EQ/gain levels, but the Tone Zone does some stuff you just can't do with the D Sonic.

That humming is very similar to the sound you get when you try to record something through the line-in on your computer. I used to run my old Behringer PMX5000 mixer that way (used a Y-jack to combine the L/R channels and plugged that into my line-in). I'd imagine the webcast mix wasn't a direct board feed, usually they have a supplemental console plugged into the main one that they use for those types of recordings. Either they didn't have an ideal setup for it, or they may have had some kind of grounding issue (I had the ground wire come loose on a guitar once and it produced some AWFUL humming). I'd imagine Mike did "mix" the TV broadcast, but A/B'ing it with the webcast, it sounds like all that was really done was cleaning up the humming and a couple minor tweaks, as well as cutting down the intro/outro/encore break. Other than that, the TV broadcast is pretty much an upgraded version of the webcast, audio-wise.

Yeah, I've had a few people comment on that. I'm pretty sure it's like a 3-note loop on an acoustic guitar, I'm just not sure on the notes yet. The whole deal with the D Sonics was basically just done because of an endorsement with that particular DiMarzio pickup model during the Meteora era. Brad VERY briefly used one on his main red soldier PRS, and they found their way into a couple other guitars too (the orange Ibanez used on With You/Runaway, the red "4-string" PRS used on Figure.09, and at least one of Mike's custom-painted Ibanez RG's). None of those guitars had D Sonics in them by 2005 though. LP still uses other DiMarzio pickups in a lot of their non-PRS guitars...Brad's always been a big Tone Zone/Area 58 user, Chester and Mike use Chopper T's in most of their Green Guitar Project guitars, and a lot of Brad and Mike's Strats (save for the Rory Gallagher tribute models) have Virtual Vintage and/or Virtual Solo pickups. I think Mike's PRS SE One models also have the P90 version of the Tone Zone in them.

There's also the big question mark of the remix with a verse from Tech N9ne. It could be part of a remix that hasn't been released (whether or not it was intended for LT Remixed is pure speculation), or someone even raised an interesting idea in another thread that his verse may have been intended for the Roads Untraveled remix and they ended up going with Bun B's verse instead.

Nope. And with the band completely dropping the ball on Living Things Remixed, who knows when/if it'll come out.

There's no reason to believe that "Smelly Feet" and "Ugly Head" were actually track titles. Mike was just giving examples.

The Dust Brothers haven't released an album since 1999 as far as I can tell, so...