YRQRM0

One thing I bet they'll do is create some new arrangements for the new singer ala Pushing Me Away on Piano. Imagine something like a new acoustic Waiting For The End or something that would really let her show her own style/tone, stuff like that is gonna do a lot for fans embracing her I think. 

I wasn't expecting much from what must be the 100th Numb cover I've heard, but it's actually really nicely put together. Nothing unexpected but a quality cover for sure 

16 hours ago, linkinepi said:

I am on board with them coming back with a female vocalist but for the love of God, hire a producer who KNOWS how to work with a female vocalist. If they wing it it won't be as good.

Do you think Mike doesn't know how to work with a female vocalist or something? Kiiara, Holly Brooks, K Flay all sounds great to me on their tracks. I think one thing Mike excels at as a producer is vocal layering, just listen to stuff like the NCSM, WFTE or Numb acapellas 

22 hours ago, YRQRM0 said:

 

I doubt it'll be looking for an answer, but I have to imagine they've written at least one song that pays some sort of tribute to Chester and their friendship, and I could see that being a track on a future album if they open the door to new studio releases. I think they might do something like have his flame tattoos on the screen for the initial tour or something, and then slowly de-emphasize the tribute aspect to him and try to form an original identity with the new singer

Yeah I was thinking about this recently, I could see them choosing someone with a really unique tone that will bring something to new stuff and be instantly recognizable. The only "risk" is that her tone will feel "wrong" to a lot of people singing old songs. But yeah, having a front person with a truly special voice would be amazing for the fandom in the long run I think

19 hours ago, GreyFox-AFCA said:

So.

 

Linkin Park is coming back, i can't imagine them coming back without at least an EP or full album in the works.

 

I was thinking, Alice In Chains came back with Black Gives Way To Blue album wich contained a title track about honoring Layne Staley.

 

If LP releases an new album, do you guys think that they will also release a song directly about Chester?

Do you think that Looking For An Answer is given a new shot?

 

For LFAA ofcourse i know that Mike said that the song was "binned" so to speak because it wasn't coming the way they wanted it to be, but that was many years ago so who knows what might happen with it.

 

Let me know your thoughts.

I doubt it'll be looking for an answer, but I have to imagine they've written at least one song that pays some sort of tribute to Chester and their friendship, and I could see that being a track on a future album if they open the door to new studio releases. I think they might do something like have his flame tattoos on the screen for the initial tour or something, and then slowly de-emphasize the tribute aspect to him and try to form an original identity with the new singer

11 minutes ago, Bambitt said:

Here’s my take on this: it aint gonna be someone famous. Certainly not Hayley Williams, Amy Lee or Courtney LaPlante. These are the most exposed names in rock/metal music, so majority will just spam those names, or even just random LP associated females. Only Alainis Morrisette is missing so far…

 

I believe they’ll go for someone less known, might be someone totally random. They might avoid major comparisons, references etc.

100% agree with this. It will be like Daisy Ridley for TFA, someone we don't know that has been extremely carefully selected that brings familiar beats to the franchise/band yet is fresh in ways that matter. 

14 minutes ago, Qwerty18 said:

At the least, I am not fond of the "x with y" name's format.

 

I don't know. It is very subjective I guess, but something about it makes it sound too much like this kind of thingy -> "Ladies and gentleman, let the Saturday night show begins, with X featuring our special guest of the night Y !!!".

 

I'd much rather have the original name. Feels more artistic. Up to the remaining band members to decide what "Linkin Park" means.

I agree, but I think the only risk is it being a female singer is gonna make it sound so different, some people might be a bit surprised to hear it when they show up. Using "+ X" probably mitigates that. But like you said, it's up to their vision. If they really feel comfortable with this person after one tour, maybe they'd drop the "+X" and go forward with them being firmly part of the band. 

I expect this person to show up in a studio recording beforehand, and I imagine that'll be presented as a song/EP a lot like STP did with Chester 

I'm really looking forward to the chance to see them in any shape or form, even if there are no heavy songs or any kind of bias they lean into sonically, I'll just be happy to see it come to life in any form. 

What I wonder is if the name will just be Linkin Park, or Linkin Park + X, and whether this singer/lineup will have any studio releases before then. I would expect at least a really radio-friendly EP to try and get the singer more "integrated" with the potential set, rather than just being up there as a stand-in for Chester. Then she'd have her own songs, potentially with Mike, that would fully be theirs. With how much Mike writes, I feel like that's most likely, but we'll see. 

that vinyl is pretty cool, but it needs a few more tracks to be worth it to me

Honestly a very measured and respectful response, of course it's a bit of an awkward topic, but some comments I've seen made it sound like he was going to bash them when this wasn't that

30 minutes ago, JZLP-NaughtyNottingham said:

 

I was talking only about lyrics

Instrumental: Doesnt sounds like Meteora to me, the synths are forgettable,  no big chorus, no power chords, very slow pace, very cinematic.

There are 100% power chords in UIG, not even debatable https://www.linkinparkguitar.com/uploads/1/4/6/6/146660116/07_-_until_its_gone.txt 

The difference is there's a riff going on top that wouldn't be characteristic of meteora, but that's only in the intro/outro too

And I feel like the UIG lyrics are criminally underrated given the band's explanation that it's about their kids growing up, which does actually foreshadow OML-style writing a little bit, but in a good way. Agreed that it's better than the "anti-something" generic lyrics on a lot of THP 

18 hours ago, RYG4R said:

Imagine next year would be WB releasing another compilation called LINKIN PARK: THE BALLAD COLLECTION

 

1. My December (Piano Version)

2. Pushing Me Away (Piano Version)

3. Shadow of the Day

4. The Messenger

5. Robot Boy

6. TINFOIL+POWERLESS

7. In Between

8. Final Masquerade (Acoustic)

9. Valentine's Day

10. I'LL BE GONE (Primo rework) - this could be their lead single

11. Burning in the Skies

12. ROADS UNTRAVELED

13. The Little Things Give You Away

I don't see this coming out specifically but it would be a shame if they didn't take advantage of all the wonderful live editions in some way. Grab the best of PMA piano, BTH with it's extended intro/outro, the ballad medley, Rolling In The Deep and stuff like that and you have an awesome release

9 hours ago, SardonicallyParanoid said:

I REALLY, REALLY don't agree with the sentiment of OML being unauthentic crap. Trendy? Yeah. LP did that shit with the famed Hybrid Theory too. But unauthentic??? It was probably, lyrically, the MOST authentic they possibly could have been. Songs about their families and loved ones, worry over disappointing people, remembering and reflecting, that's a side of LP we almost never saw in such a capacity. Yeah, it was done under a poppier guise because that's what got traction and that's what they were listening to at the time. It was what THEY were interested in doing, so more power to 'em! It's probably the best pop stuff I give a damn to listen to. 

Completely agree. By comparison, the stuff like Castle of Glass verses and ALITS intro sound so over-engineered and empty, like they're trying really hard to sound deep but don't have much to actually say. There are a few songs with great lyrics like UIG and Rebellion, but nothing from ATS-THP resonates as honestly and earnestly as OML to me. Invisible is so simple but so clear and approachable in its meaning, I think it's beautiful. Doesn't matter if other people chimed in to me, LP clearly heard a message there and the listener can clearly hear one too. 

30 minutes ago, vinifeijo said:

The "ooohs" feel so dry and raw, like they removed some of the layer effects it had. Someone opened the file to edit something and export and fucked up removing something they shouldn't had.

The "light" thing totally sounds like another take. 

Nah not another take but a difference in tuning like Astat says. For that one it's hard to imagine it not being an intentional different pass rather than an accidental change of layers or chain in a re-export or anything 

I wonder if the WFTE thing is possibly due to updating software, like the song was made on V1 of Valhalla delay and Ableton 9 or whatever, and when they open it today it's automatically transferring to Ableton 11 with Valhalla 2.0 and there are differences in how the software behaves today, so when they re-export there are slight differences

Just a guess because yeah otherwise it doesn't make much sense why they would grab different versions 

39 minutes ago, JZLP-NaughtyNottingham said:

As i said it before, its hard to complain about the upgrades on these videos, the quality is so fucking good! could they have done it better? absolutely but i guess that involved way more $$$

 

in case that you prefer the old videos feeel free to watch the old shitty ass potato quality using the wayback machine and stop complaining haha

 

LOATR 360(p)otato https://web.archive.org/web/20201020222912/https://www.youtube.com/watch?v=yZIummTz9mM

 

the boost in quality is FANTASTIC

 

 

dude you already strawmanned the complaint in the shoutbox once, we're clearly not saying we wanna watch the old quality, we're saying we want to watch the best source available sans AI artifacts. basically the same convo DBZ fans have had with every home disc release lol 

4 hours ago, Coizu said:

I think this is misleading. The majority of the quality upgrades don't involve AI upscaling at all, at least from what I can tell. For example, WFTE has no AI upscaling involved at all (and I would also assume that all AI models would produce shit output in that case anyway). I think in most cases they just had a better quality version laying around that were simply never uploaded to YouTube or they rescanned original tapes (like they most probably did for OSC back then). They only applied AI upscaling very selectively, e.g. in LOATR they only use it for specific scenes. I would guess that 75% of that video for example doesn't involve AI upscaling at all (or just very minor to bring it over the 4k finish line so to speak). All the Chester solo scenes for example don't look AI upscaled to me while the scenes in the beginning where Mike pulls of the helmet or the close up shot of Rob playing chess are definitely AI upscaled in a very visible way.

 

I wish they would have kept it away from all scenes though since a) I think the videos would have looked good enough without it and b) it creates this very distinct AI upscaling artifacting which we never can get rid of. AI upscaling is something that will only improve from here on out and with tech like RTX upscaling, it will happen on the client while playing back the video, but we won't be able to benefit from that in the future since parts of the videos already went through one pass of AI upscaling.

I'd be surprised if WTFE had a 4K version natively back then with all those VFX, I bet they just did a better handbrake-type conversion with the original uncompressed file but set the dimensions to 4K. But yeah I agree, I wish they didn't have the AI upscaling in and you can clearly see it in a lot of places. There also seems to be some jittery dropped frame-type issues in a few LOATR shots, I can't tell if that's an artifact from the upscale or something else 

3 hours ago, AceWav said:

You've got a keen ear for audio engineering if you can pinpoint such small details like this. I noticed it's then used in the ''fire'' chorus section, so i believe that drop hit is a blended snare sound to help set up in that moment the chorus snare, cause it's the same ongoing sound from there. That had to be a mike move, because i learned this technique from Mike and apply it to my songs sometimes. Every other snare, I'll add a sampled layer or a reverb tail or something so the snare doesn't sound to redundant in its tone. 

Oh I thought OP was talking about the light crash, but yeah I agree with this for that snare sound. And the technique you're talking about is most obvious in the beginning of Heavy imo 

To me it sounds like a clap stacked on top of the snare to give it some variety. I'd really love more breakdowns of OML instrumentals, there's a lot of interesting color in there 

On 3/30/2024 at 3:54 AM, Qwerty18 said:

About the instrumental: I really like the guitar work on the track. It's subtle, smooth, and full of finesse. 

 

On the other end, I don't get why the drop hit (of whatever you call it) was mixed or done to sound so..... thin?  The best example I have of it is at the 1:27 mark. When the tension is released, there is that "splaaah" sound (drum/sample/both). And honestly, that sound, I find it unpleasant, to the point it slightly, and non-metaphorically, hurt my ears. 

 

Weird choices on the sound-design department have been my biggest complain about that era in general - this is another occurrence of it.

 

Finally some discussion about the actual music. I agree about the guitar, I feel like people don't give the OML guitar work enough credit for all the texture and interest it adds, LP really took to this pop sound flawlessly despite it being so far from work like THP before or anything else

As for the drop style, I think that's just part of the sound. In the context of the song I think it sounds great, it's Chester's vocals that are really carrying the intensity of that moment imo 

Seems like the acapella outro might have been one of the big changes, I'm dying to hear the 2017 version now

Also really cool to see Brad is still into working with their older material, I hope that means we get more releases of some OML stuff or maybe even stuff like LFTA 

I was gonna say, weird that this will exist but not for the rest of OML, also surprising they never did it for Lost or any M20 songs last year. A remix contest seems such an effective and simple engagement strategy these days 

On 3/15/2024 at 11:51 AM, lpliveusername said:

Never this one.

What?

Sick, I love Illenium and Last One To Know is one of my favs

2 hours ago, Qwerty18 said:

 

For real, that video must be in the top 5 worst decisions of LP's history 😅 

 

This song was asking for some proper adrenaline-packed "band performance" shoots. Could have multiply the impact of the single by 10.

IMO not really, I love GATS to death but the band had done tons of "energetic performance" MVs and GATS is a 5+ minute metal song with Rakim that sounds nothing like the firecracker catchy LP people love, the song was never gonna get much bigger than it did imo. The video would have to have a hell of a gimmick or something truly interesting to watch. One other thing that would've helped would be a single edit that drastically reduced the length, but I don't think they wanted to butcher the VISCERAL full track

The only thing that might've changed that is inclusion in Transformers 4 or something, but that movie also flopped in the US. Audiences were moving on from both LP and TF at that time

Also, this thread reminds me we have no demos of THP songs really, I'd love to hear what alternate ideas exist for GATS. Didn't Mike say he did a rap bridge at some point? Such a behemoth of a song man, and what a curve ball at the time. I love listening to ALTNC and it back to back just to hear the range. 

I'd add Locked Outside to the OML list, since we see that title in the new FF I'm betting it got a decent way there, and also might be "pure LP" without any of the external writers (not that I disliked their contributions at all)