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I would caution against this thinking. Not to be a buzzkill, but just because I believe that someone was responsible for initializing the drives for each instrument (the MPC, the respective hard drives with the concert stems, the Ableton files, etc.), but they clearly didn’t do their job. That’s a win for us. That said, we’re taking files we weren’t expected to have and reconstructing unreleased LP material from it. | I would caution against this thinking. Not to be a buzzkill, but just because I believe that someone was responsible for initializing the drives for each instrument (the MPC, the respective hard drives with the concert stems, the Ableton files, etc.), but they clearly didn’t do their job. That’s a win for us. That said, we’re taking files we weren’t expected to have and reconstructing unreleased LP material from it. | ||
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I think there's one thing we need to make clear about all this stuff we are digging in (maybe it sound obvious to some people here but not everyone know about this so i think my point is valid) | I think there's one thing we need to make clear about all this stuff we are digging in (maybe it sound obvious to some people here but not everyone know about this so i think my point is valid) | ||
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"But why there's stuff from Xero and MTM but nothing from Meteora? (or other album / era example)" | "But why there's stuff from Xero and MTM but nothing from Meteora? (or other album / era example)" | ||
Like I said, they could use other forms to record, other instruments, like a PC program instead of an | Like I said, they could use other forms to record, other instruments, like a PC program instead of an MPC, or different brand MPC, different storage system, external storage, etc... Also, I bet the Xero stuff are just buried and forgotten, something like "oh crap, do I have a copy of this stuff somewhere else? you know what? I'm not touching it" | ||
"Why most of the songs are so short?" | "Why most of the songs are so short?" | ||
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Also, on an MPC you can create a lot of beats and put them to play together: | Also, on an MPC you can create a lot of beats and put them to play together: | ||
==Background== | |||
In June 2019 over 9,400 audio files from Mike Shinoda's library of samples and sounds surfaced online after his Open Labs SoundSlate Pro PC was purchased from Reverb. They dated from ''The Hunting Party'' sessions as far back as to the Xero and Hybrid Theory days and many of them were accompanied by project files. In the light of this discovery, the LPLive comminuty came together in a collaborative effort to figure out how to open the projects and recreate the songs contained in them. Community members LPPanther, michalangelo, letdownagain, ArmoredMexican, graveguard, lpliveusername and SasstielExperience worked hard for over two months in order to bring the demos to life. Justin, Hahninator and bruh009 also have contributed to the analysis of the content and DCrecelius created artwork for each collection of demos. | |||
When first exploring the leaks, fans were only listening to individual drum sounds or samples (e.g. the sound of a bass drum being hit once) but once they started putting the sequence files into the right software, they were able to hear all of the sounds together as Mike had it on his MPC while creating demos. Everything is set essentially into two to twelve second sequences. For one demo, Mike might have completed ten different sequences for a song (e.g. intro, verse, chorus, etc.). After turning all of the sounds and samples into sequences, the next step was to put all of the sequences for each folder or song together to make a 10 to 60 seconds demo. Some of them only have a few of the patterns actually used in very short sequences which leaves a lot of the material unheard. | |||
Not everything is a full song or sounds like the same song across sequences and the problem is fans don't know how long Mike intended each sequence to run for or their order (e.g. 8 bars in a row of sequence one, 2 bars of sequence two, return to sequence one for 4 bars, etc.), so they could only guess. In those cases, the solution was to simply put the sequences together in numerical order to have a glimpse of how they might sound. | |||
These aren't all real demos in the traditional sense. They're more like proof of concepts that Mike probably showed the band. Further development of these ideas wouldn't have been stored on Mike's MPC or Maschine (which are the origin of the majority of those demos). Those are probably saved as Pro-Tools sessions on his home studio's hard drives. Most of these are just ideas, basically bits of music produced by the band, things that Mike created and were not necessarily used in official material. They give an insight into Linkin Park's writing process. There's scrapped, reused and abandoned material. Some demos have been revisited while they were creating the next album and some of the sounds created for a song have been repurposed for others. Samples created back when the band was first starting were still being used up to 2013-2014 either for new songs or during live shows. Maybe some of these things will still be reused someday. Titles such as "JoBurg" and "Auckland2013" also serve as evidence of how Mike is constantly working on new music while on tour. | |||
Things like that are generally stored or trashed without coming out to the general fan base. We already saw in some making of's that LP produces a lot of music and they consider most of them as "bad" or "trash", and a big percentage of what is produced isn't used. We are listening to bits and little pieces of those 95% that happened to leak | |||
The result is a digital boxset they've called ''Hybrid Party Of A Thousand Things'' featuring demos created for ''Hybrid Theory'', ''A Thousand Suns'', ''Living Things'' and ''The Hunting Party'' amounting to a total of 228 tracks. There are early versions of previously released songs and remixes from Recharged along with previously known titles that had never seen the light of day and many completely new titles, including an unreleased song created for the ''[[LP Recharge]]'' game and a couple of demos that seem to have evolved into "[[World's On Fire]]" on Mike Shinoda's ''[[Post Traumatic]]'' album. | The result is a digital boxset they've called ''Hybrid Party Of A Thousand Things'' featuring demos created for ''Hybrid Theory'', ''A Thousand Suns'', ''Living Things'' and ''The Hunting Party'' amounting to a total of 228 tracks. There are early versions of previously released songs and remixes from Recharged along with previously known titles that had never seen the light of day and many completely new titles, including an unreleased song created for the ''[[LP Recharge]]'' game and a couple of demos that seem to have evolved into "[[World's On Fire]]" on Mike Shinoda's ''[[Post Traumatic]]'' album. | ||
None of the demos are complete songs and besides some voice samples, none of them have vocals. They are simply seeds, early ideas for what the songs would eventually become. Hence why most of them are so short. Also, some of the project files didn't contain a song view, only sequences (patterns), so what you'll get for some of them are simply the sequences being played one after another. This is the case for 'Al_Intro,' 'Invader,' 'Ugh,' 'Hemispheres,' 'Jungle Gym,' 'Return,' 'Mirrors,' 'Slammie,' 'Humanoid,' 'Midnighs,' and many of the A Thousand Suns demos. 'LA' and 'Atari' were left as various tracks because they were special cases where each one of their sequences had a different tempo. | None of the demos are complete songs and besides some voice samples, none of them have vocals. They are simply seeds, early ideas for what the songs would eventually become. Hence why most of them are so short. Also, some of the project files didn't contain a song view, only sequences (patterns), so what you'll get for some of them are simply the sequences being played one after another. This is the case for 'Al_Intro,' 'Invader,' 'Ugh,' 'Hemispheres,' 'Jungle Gym,' 'Return,' 'Mirrors,' 'Slammie,' 'Humanoid,' 'Midnighs,' and many of the A Thousand Suns demos. 'LA' and 'Atari' were left as various tracks because they were special cases where each one of their sequences had a different tempo. | ||
Revision as of 13:14, 4 August 2019
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Started in June 2015 alongside Fort Minor's comeback and released on September 19, 2016, this is a project by LPLive (Linkin Park Live) to create the most accurate wiki on the Internet for Linkin Park and their side projects. Instead of integrating a wiki inside our own website, we made the decision to launch a wiki as a brand new, standalone project.
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