Astat

Mystery solved, it's a song that samples In the End: A bunch of Charles Anthony Neal II's other songwriting credits on BMI correspond to other Redbird Rip songs. He's also apparently written a bunch of stuff for the band Eaglesnake.

https://lplive.net/shows/2008/20080529 Lots of pictures were posted of LPU members with the band at this performance, many with signed copies of setlists. Most were setlists from the actual performance but one was a full PR08 rehearsal setlist that had No Roads Left in it. Also, relating to this topic as a whole...holy hell does Newswire need the option to add a cut line to posts on the main page of the site. I think I could tape down my mouse, go make dinner, come back and still not have reached the bottom of the page.

I'd expect another 2-3 shows in Asia to be announced yet. Malaysia, Hong Kong, probably another Japan show (Tokyo). Maybe mainland China too but I wouldn't be so sure there. Can't imagine he won't do an Australia leg after this either.

It's not just a mastering issue, check out all the weird stuff with the drum sound on Given Up for example - it's like they added reverb but somehow caused phasing issues in the process or something. Why on earth is it so hard to get people to just release this stuff without fucking with it first?

Drinking game: Take a shot every time Geki baselessly blames Warner for something.

I almost guarantee that all of those examples you listed are indeed lossless. Songs that have minimal instrumentation, lack percussion instruments, etc. are incredibly prone to confusing algorithm-based lossy vs. lossless detection software. An example I know of is Song of the Century from Green Day's 21st Century Breakdown - you can literally rip a .wav of that track directly from the CD and any detection software you run it through will insist that it's lossy even though it isn't.

LPU5 mix tried waaaaaay too hard to emphasize how big the crowd was. It comes off like there's just a constant drone of background noise during the entire thing and it totally blurs the separation of the instruments in a really unpleasant way.

This show page in the Julien-K section is broken: https://lplive.net/shows/julienk0809/20080116J

I've been under the impression for 15 years that the audio is just from Worcester. It matches up as far as I can tell. The video is from multiple shows. Clothes change from shot to shot, etc.

Meh. No comment.

I had two different HT instrumental copies, the only difference I remember is that the first one had the version of OSC with the kick and snare panned to opposite sides and the second one didn't. I don't really remember getting them unusually early compared to anybody else, maybe by a few days or something. I never had them in lossless before now but they may have been out there.

Funny how you keep talking about stuff being deleted that wasn't actually deleted to further your bullshit conspiracy theories. https://lplive.net/forums/topic/132-all-instrumentals-acapellas-list/?do=findComment&comment=292000 *[LINK REMOVED]*

The other HT instrumentals are definitely different versions from what we had (compare the mastering of Crawling side-by-side with the previous one for example), but as far as I can tell OSC is just a conversion of what we already had. The old OSC already had a fully-mastered waveform appearance. The new one has a slightly different waveform appearance, but still has the same "definitely not the album version" sound. Also while the original Rock Band instrumental version was easy to spot with the kick/snare panned to opposite sides, even in the more recent version I've noticed that the toms are all in the right channel (check right before the first verse for example). So I'm pretty sure we still don't have a legit OSC instrumental. *Edit* So I just did a side-by-side comparison of all of them, and yes, every song except OSC is mastered differently from the previous version. I'm still unsure of the whole CD's legitimacy though because someone could have always just remastered the other tracks using the previously-available versions.

The vocal heard on Running From My Shadow is clearly a headphone/studio monitor mix bleeding into a microphone on something, probably one of the guitar tracks. I don't doubt the authenticity of the Pts.Of.Athrty instrumental, I'm sure that's how it appears on the promo disc and there's really no way to create that version of it from the 5.1 tracks or anything else that's out there. I just don't understand WHY that's the way it sounds. It sounds like a version that's only like 3/4ths finished or something.

The outro's a little different. Probably what the original version sounded like before NoBrain made his edits that appeared on the final album mix.

Heard the same and that it was supposed to involve MGK in some manner.

The "you fucking faggots" at Mountain View from the same tour was a lot more cringeworthy in hindsight. Chester was probably about at his peak of being drunk and/or high all the time towards the end of the Meteora era and his filter was just non-existent. The "I found O.J.'s gloves" at Rock Am Ring, the "I've never been fisted before, that was awesome" at Cuyahoga Falls (which I so desperately wish there was a recording of, lol), he was really saying a lot of off-the-wall stuff during that period that definitely would have been put under a microscope if Youtube/social media would have been prevalent at the time.

That may have been the case initially but I'm pretty sure what's out there now is legit. The original OSC instrumental was put together from the Rock Band stems, which was obvious due to the kick being panned to one side and the snare to the other. But a "correct" version has been out for quite a while now - the date on the one I have is November of 2014, while the OSC multitrack didn't leak until within the last year. I know a few people have had the HT multitracks for many years but I don't think any of them bothered to do anything like put instrumentals together using them. I think the Meteora instrumentals may have been recorded back through someone's computer sound card instead of directly ripping a CD. The glitches sound more like interface-related latency than CD skips. I'm sure the CD does exist though. We've just unfortunately never gotten a proper upgrade.

As far as song info goes, this is mostly conjecture/connecting-the-dots type stuff, but I can offer the following: -At least some of the guitar on this song is in drop C tuning, which is completely out of character for anything Mike and/or Brad would have been doing in 2016. -Chester's definitely not on the song, but a lot of the higher background vocals don't really sound like Mike. -Brian Howes, the previously-mentioned writer of the song, was the lead singer/guitarist of the band Closure years ago, they had a somewhat successful single in "Look Out Below" back in 2003: Putting all that together, my assumption is that Brian is playing at least some of the guitar and singing background vocals on the recording. Also, the second to last line of the chorus should be "unless you've got your word," not "unless you've got your worth." I haven't seen anyone get that right. The first line of the song might also be "day, night" instead of "daylight," I'm not totally sure.

https://lplive.net/shows/mikeshinoda19/20190325 The first of Mike's two Tel Aviv shows is completely gone (both the show page and the entry on the 2019 tour dates page).

For this to be fake, it would require the person creating it to: -Sound EXACTLY like Mike (if you don't think this sounds like him I'm convinced you've never heard him sing, like, ever) -Remember that this was a song title that was pretty much only ever talked about on LPL, for what seemed like 5 minutes, nearly 3 years ago (also after the recent LPL redesign none of the old links work, so good luck even FINDING that information in the first place unless you know exactly where to look) -Have both the skill to create music on par with the production values of One More Light, and access to the equipment necessary to create it (meaning it would have to be some professional-level musician/producer with a significant amount of money, booking time in a real studio...to make a fake Linkin Park track?) It's real and the idea that there's even a 0.1% chance that it isn't is asinine. I'm also wondering if Mike recycled the chord progression from this song when he came up with Heavy.

The LPLive - setlist.fm relationship, in a nutshell: 1. LPLive posts setlists/tourdates from verified sources 2. setlist.fm copies LPLive's setlist/tourdate info 3. Someone on setlist.fm copy-pastes a setlist from one show on a tour onto another show page from the same tour that doesn't have a setlist posted 4. People cite setlist.fm as a source when posting new info to LPLive For a lot of bands, setlist.fm is a definitive source. For LP, that isn't the case. LPLive influences setlist.fm a lot more than they influence LPLive.

Even stuff like PMA isn't the "real deal" in terms of tracks that are fully separated in a way that's consistent with what you'd see in a Pro Tools session. When you discard the timecode/click tracks being in there twice, you end up with 34 tracks for that song, but I can count 44 to 46 "raw" tracks that actually constitute all of the sounds. There's a lot of stuff that's a blend of multiple signals, especially on the guitar tracks (you almost never mic an amp with just one mic): (Group A - Drums) 1. Sampled snare 2. Kick (blend of sampled kick/live kick - possibly a two-mic setup on the live kick as well) 3. Live snare (blend of top/bottom mics) 4. Hi-hat 5. Floor tom 6. Rack toms (blend of 2 tom mics - Rob had 2 rack toms and a floor tom on his HT-era kit, but all of the multitracks only have 2 tracks for all the toms) 7. Overhead L 8. Overhead R 9. Room L 10. Room R ---------- (Group B - Bass) 11. Bass DI 12. Bass amp (blend of 2 mics) ---------- (Group C - Guitars) 13. Rhythm guitar 1 (blend of 2 mics) 14. Rhythm guitar 2 (blend of 2 mics) 15. Rhythm guitar 3 (blend of 2 mics) 16. Rhythm guitar 4 (blend of 2 mics) 17. Clean guitar harmonics (blend of 2 mics + possibly a DI as well) ---------- (Group D - Vocals) 18. Chester lead vocal 19. Last chorus harmony 20. Last chorus harmony double 21. Main chorus harmony 22. Main chorus harmony double 23. Mike rap vocals 24. Mike rap vocals double ---------- (Group E - DJ, Keys, Synths, Drum Loops, Guitar/Vocal Overdubs, etc.) 25. Distorted drum loop 26. Sampled hi-hat loop 27. Beeping synth loop 28. Distorted ticking loop 29. Lo-fi octave guitar (blend of 2 mics) 30. Chopped guitar loop 31. Last chorus strings 32. End distorted drum loop ---------- (Group F - Click/Timecode) 33. Click track 34. SMPTE timecode info (I figured I'd label the groups because all of the HT multitracks are arranged in a consistent manner if you group them this way) On top of that, all of the tracks are raw, so once you start getting into all of the aux tracks that would exist in a Pro Tools session for stuff like reverb send/returns, compressors, panning effects (like you hear on the beeping synth in the final mix), etc...when you hear Mike talk about sessions taking up 80-100 tracks, THAT'S what he's ultimately talking about.

For sure. For all of the multitracks we've gotten, we haven't gotten a true "fully separated" one. There's even some pretty obvious stuff like all of the "ohh's" on Waiting for the End being on one track even though it's 3 harmony parts probably consisting of like 6 vocal tracks.

"Lames' heads hang like I'm draining their battery"