About Paul Reed Smith Guitars
Paul Reed Smith Guitars, a leading manufacturer of high-quality instruments in Stevensville, MD, has been providing some of the world’s most renowned guitarists with instruments since 1985. More than 200 highly skilled craftspeople produce more than 60 guitars each day for worldwide distribution. Carlos Santana, Dave Navarro, Chad Kroeger of Nickelback, Mike Shinoda and Brad Delson of Linkin Park, Chris Henderson of 3 Doors Down and Mark Tremonti of Alter Bridge are among the many artists currently playing PRS guitars.
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Linkin Park’s energetic and cathartic blend of heavy rock, hip-hop and electronics has propelled the Southern California six-piece from humble bedroom-studio beginnings to recording one of the most hotly anticipated follow-up albums in recent memory, “Meteora”. Their debut “Hybrid Theory” broke the band’s unique sound in a big way, having now sold over 14 million copies worldwide to date, but the band refuses to take a sophomore slump. Driven by a strong collaborative spirit and a relentless dedication to their fans, the group has managed to produce a second album that pushes the ideas explored on “Hybrid Theory” to new levels, building and expanding on the band’s intense energy and heavy emotion.
An integral part of the Linkin Park sound is the use of samples and electronics to give their music a more intricately layered, textured and dynamic sound. NI spoke with vocalist Mike Shinoda about how they get it all done.
Interview by Chris Cummer
Photo by James Minchin
Linkin Park originally went by the name Xero and then Hybrid Theory. Where did the final name Linkin Park come from?
Lincoln park was a park in LA near where we lived. We changed the spelling to be able to get the website - linkinpark.com was available.
Rap heavily permeates both "Hybrid Theory" and "Meteora", and musically Linkin Park also seems to draw heavily from new metal and industrial roots - who are your influences for this?
Los Angeles is a place where many types of music are prevalent - any type of music you want to go out and hear can be found relatively easily. When we started making music we just naturally mixed a lot of styles.
"New metal" is the label most commonly applied to Linkin Park, putting you in with the likes of Korn, Limp Bizkit, Disturbed, et al. How do you feel about this label?
We don't care much for the whole "new metal" thing. We just make music that we want to listen to. Rather than writing to be part of a genre, we just write what we feel moved by.
Between the Project Revolution tour and the Summer Sanitarium tour you've set up a pretty ambitious tour schedule. How do you like touring? How do keep the performances from getting stagnant?
Touring is cool. When we're on tour, the show is the best part of the day. So we look forward to getting out there and giving people our best, and sometimes gear what we're doing on stage to what's going on in the audience.
Most of the tracks on Meteora tend to be heavily and often subtly layered compositions, more so than the tracks on the first album. This seems to indicate a conscious evolution in the band's music. What and who was the impetus for this?
I don't think there was a conscious decision to make the songs more layered. But I think they did come out that way. We have always put a lot of emphasis on our sampled parts, because they're fun to do and because they are such an important part of our sound. It's cool to be able to take something that someone recognizes and turn it into a new sound, using plug-ins and effects.
"Nobody's Listening" contains long segments of a Japanese flute under a hard rap song - how did the juxtaposition of those two influences come about?
I was just picking through my music collection and got the idea. I wrote it in the computer, and we had a shakuhachi player come in and play it. I ended up layering some other background sounds to it, to make it feel fuller.
In "Meteora" a plethora of sounds is used, from guitars to pianos to Japanese flutes, and the songs seem to indicate that you've been influenced by many genres. What is the musical background of the members of Linkin Park? Classically-trained? Self-taught?
All of us have had training of some sort, ranging from Chester as a self-taught singer who just practices a lot to Phoenix and I who have had about ten years of theory and classical training (piano for me, violin for Phoenix).
The new album
There's an obvious amount of sampling throughout your music and your overall sound is very refined and well produced. What hardware, software have you been using?
In our music we use the term "sampling" in reference to the original samples that we make. Making a sample from scratch is not easy, and knowledge of a broad range of plug-ins, instruments, and effects helps us to make these sounds.
How long have you been using NI software? Which programs? Are they any specific features or instruments you like working with?
Lately I have been messing around with the Pro-53 and Battery. There is a lot of variety in the types of sounds and endless ways you can use them. In particular, I really like Battery and the expansion packs for it because I like to experiment when creating rhythm tracks, and Battery is a versatile program. Right now, I've been downsizing my rig into a format where I can take it wherever I need to go. For me, it's ideal to use software synth and drum programs rather than rack mount, as long as I'm not sacrificing sound quality or workability. NI has done a great job making this happen."
I haven't been using NI stuff for long, but I've had great experiences with the stuff so far. I will be using it on albums in the future.
You manage to keep real organic sounds throughout your albums and at the same time, consistently add digital elements to your work. Do you think your music will always be a mixture of new technology and analog sound?
As long as we can have fun with each, it will remain a part of what we do.
Thanks for the interview.
Thanks very much.