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I'm confused, how do we know about this "Lost [2002 Mix]" and what makes us think it's different from just "Lost"?

Didn't we also get a snipped of a My December remix in some video that never got released? Big shame about Polyphia, that would have ruled. Hopefully Mike can do some streams or something and we can get some of these eventually

I hate to say it, but Mike's instrumentals like these have gotten a bit stale for me. His skill is unmatched with the sound, but the sound itself is predictable. I would love to see him step out of his comfort zone more. Give us something really live and organic. Work with some session musicians besides Dan on drums and give us something with space and room tone that is unrecognizable as a Shinoda track. Something like Three Band Terror or the organic sounds on some MTM tracks would be awesome to me.

I had a lot of fun listening to the mixtape. It sounds like something we would hear in an unreleased demo, but actually polished and released! And I love how the tracks blend together. This is my fav work of his since PT easily.

Hmm that's very interesting. I don't doubt that there exists a 5.1 version or that things like audacity convert atmos to 5.1 to make it understandable by the program. Or, if you don't know where that file originated from, maybe it was converted by whoever ripped it from atmos to 5.1 But to further convey the point of atmos, consider the headphone use case. If people are really hearing surround in stereo headphones, it has to be atmos and channel agnostic. Because it's using only 2 channels with audio processing tricks to make it sound like surround in the 2 headphones. Otherwise, it wouldn't know how to do that, and you'd either hear just the stereo mix, or missing sounds. But yeah, still very curious to get some info about Mike/band's involvement in this and if they are fans of it. Personally I'm still very skeptical that this will even stick around. I see it as dying like 3D did in the home TV market.

Where do you see that media info? On a player of some sort? Atmos is supposed to be encoded with spatial data. It's easier to explain with a movie. Traditionally, you would say "that explosion needs to come from the right, so put most of it in the right channel, some reverb in the back right, maybe a little bit in the center, etc." But with atmos, you just tag the sound as being to "the right" and the player will use atmos technology to decide what speaker it comes out of. So if you have no right speaker, it will just play it out of the other stuff in the best way it can. If you have 100 speakers in a circle, it will play a little bit out of a bunch of speakers in whatever way makes sense to make it sound like the sound is coming from where you said it should. That's why it works in headphones, too. Because it's using trickery in the sound to make it sound like things are coming from other directions, even though there are just two channels in your ear buds. So atmos doesn't deal with channels as much as it deals with direction. Sound will come out of 3.1, 5.1, 6.1, 7.1, 11.2. 22.2 etc. because the hardware will push the sound out in whatever way makes sense. Whereas if you play reanimation's 5.1 mix on a 11.1 system, nothing will happen with most of the speakers because rather than having direction encoded, it just has channels encoded that go to the speakers.

Well it's certainly a new mix but it's not accurate to call it 5.1 or 6 channels. Dolby Atmos is channel-agnostic and instead encodes with position data, and then just "places" the sound where it should be to the best of its ability with whatever hardware is available. But yeah, given that it's a new mix that seems super significant and I'm surprise the fandom isn't looking into it more. So, if anyone's willing to ask him on twitch, that would be great! This is as big a deal as stuff like She Couldn't getting a new master for HT:20. Bigger even imo

I noticed that after submitting this question, but I still can't find anything about the mix. Did they actually work on a new mix? Is this just a cheap cash grab by the label? If this is actually a new mix that Mike oversaw, it seems like a pretty big deal. If it's the latter (as I suspect, but haven't heard it to get an opinion), then it kinda sucks. Also, although I see that Tidal has Atmos available music and I'm able to hear it on my phone, neither HT or HT20 appears to be atmos on Tidal. Neither display the "atmos" tag that other songs do when played, and there's no audio difference when turning atmos on and off in my Android OS.

Why is nobody talking about this? This is an entire new mix of Hybrid Theory - a bigger sonic change than that of the HT20 remasters of tracks like She Couldn't from what I gather. Hybrid Theory is apparently in Atmos on Apple Music now. What do we know about this? Did Mike authorize this/work on it? Or is this the label just doing it for a marketing deal? I don't have Apple Music so I can't comment, but I'm curious to hear people's thoughts on it. I for one am highly skeptical, and it doesn't seem like something that Mike would want to do. He's never one for revisiting old work like this. I also feel like, despite how keen he is on certain new trends, he'd be more on the "stereo is king" side of this particular trend. But I'd be happy to be blown away by it and have my mind changed. I see some people raving about it on twitter.

Really nice production! I liked the song a lot and the production adds a lot while not being overbearing. Also, I liked her COG performance. I mean she was a little off in terms of remembering the lyrics/timing, but in general I think that's an awesome song for her type of voice. It is after all folk-inspired. Reminded me a lot of the time they performed it with Ann and Nancy: Between those two choices, I wonder if Mike wishes they had tried female vocals on it lol

Wow, can't wait! I feel like between this and Cross Off we're very lucky to have "new" tracks with him. He was also fantastic at this style of rock and I'm always excited to hear more of it.

Guilty All The Same was a great choice for fans like me. It certainly had me highly interested in the new raw sound and the length of it was exciting. But I totally agree that commercially there would have been way better choices, and that music video was a total disappointment. I would have probably gone with Rebellion as well, but might consider Final Masquerade too. FM imo had the most untapped potential of the record. It wouldn't have been a great picture of what the record would be, but the next singles would serve that purpose. All For Nothing could have been an exciting "familiar but lots of new" lead single as well. I think GATS just really felt rebellious to them and that was the excitement. That, and Rakim being a super exciting collaborator.

Is there a story behind the New Divide video on YouTube being replaced w/ a version that doesn't have the Transformers footage in it? I feel like it being a licensing thing is unlikely since they're still on Iridescent, but I have no idea

I guess he figures him doing it himself in his DAW with the source is better than some rando doing the edit lol. Or maybe the label is just trying to get him to push some content and give the song legs/SEO boost.

I literally have no idea what this is even when played forwards, but I have 2 guesses

That quote from Mike is great, it's always nice to hear anecdotes that confirm he's the nice guy we take him for.

Jay Z, Rakim, Tom Morello, Stormzy, Pusha T, Steve Aoki and Blackbear (+ production credit collab) are all pretty big names imo. Some are newer and not legacy acts, but I don't think Mike has anything against big names. If he got in the mood to make another THP album (highly unlikely but as an example), I don't think he'd hesitate to work with Metallica or Slayer or any other big name legacy act for example. I also think if he just happened to get to know Bilie, Halsey, or any contemporary big pop star, they'd absolutely collab if it worked. Not to mention, at the Chester memorial, we got videos from U2, had Alaniss Morisette on stage, etc. mixed with other newer artists. I think he has plenty of collab diversity over his career at this point.

Mike could easily look like a 30ish year old to some people, not everyone knows he's in his 40s. And even if you do, does it really matter that he's making music with younger people? They are clearly offering something musically that's got him interested in collaborating. It's not like he and LP haven't collabed with contemporaries or even older acts like Chester dueting Yesterday or Rakim/Paige Hamilton/Tom Morello on THP. I think it's a bit silly to focus on age for an artistic collaboration like this. That being said, I do sometimes wonder how much Mike cares about staying relevant. I know he portrays it as something he hardly thinks about, but he does sometimes come across as being strategic in that area and it would be weird if he collabed for that purpose. But I'd like to give him the benefit of the doubt here and say he's just enthusiastic about new sounds coming from younger crowds and he himself is genuinely pretty good at staying on-trend all things considered.

Wastelands -> Until It's Gone. Neither are my fav song off THP, but that transition is absolute fire.

Kinda weird to realize there's none on THP, but I guess not. Don't forget of course his DJ sets during THP tour where he did some scratching over a mix/mash of a lot of LP beats, if you're also interested in prominent live scratches that is: Also, my gut tells me there's some buried in Skin to Bone, but I can't make it out clearly enough to be confident lol. There are so many harsh sounds/synths there, I could definitely imagine it fitting in. Especially because I had no idea how much grit Chester was putting into some of the BG vocals until we got the acapella.

I think it goes so hard in all the right ways lol. Easily my go-to track for testing a "party" bass-heavy system.

Glad to see this take here, I was absolutely blown away with it on HT20, easily the biggest part of that release for me.

Oh yeah, I really hope this is the case as well. When I say that he might not make something super serious and purpose-driven again, I'm kinda including the possibility of LP not releasing anything again. But if they do, it will 100% be a huge decision, looked at super meticulously through the lens of "is this what we want to go out with for the first time since Chester? What do we say in his absence? How do we address it?" etc. I have no sense of how much the others are writing, but yeah if they've been writing for years and are gonna be debating ideas back and forth, I'm super excited for what that will bring.

No, but if LP had put it on recharged or something, I probably would remember it. I love the LGM, LITE, UIB (Money Mark), IBG and BID (Tom Swoon) remixes on that album. Just because there's a lot of fan remixes that are trash doesn't mean great ones can't come from it. As long as someone is curating and puts it in front of fans in an accessible way (Spotify release) I think it's a fun idea. After all, it's not like there aren't fans that can produce the quality of the recharged tracks, or others like Aoki track remixes or that Heavy remix from 2017.