Недавно прочла древнюю статью, там несколько интересных моментов... лично я об этом не знала

Rolling Stone
RS 891, March 14, 2002
Linkin Park
The Magnitude of Their Revenge and the Worst-Case Scenario

http://lptimes.com/article/RS_031402.html

Дааа, Майк - это нечто ;D Помню только у него экзамен какой-то был в день концерта...что-то в этом роде

Его отец расследовал сексуальные преступления против детей?8|

Мне от этого  people  стало совсем не хорошо

Интересненько ;D

Может где-то это есть полностью на русском?

LPN blogs updated
posted by Jas, 06/18/08 | share
Linkin Park's LPN blogs have been updated with answers to new questions from the fans.

Question: Do you ever take paintings on tour with you to finish? - ILoveMyMikeShinoda
Mike: Sometimes, but I sketch more often.

Question: When you rap, do you ever freestyle before writing the actual lyrics? - Rayzer
Mike: I usually loop the beat and see what rhythms feel best on the track. Then I figure out words.

Question: With the way you sing, how do you sooth your throats? I myself am a singer and I am interested in how people get away with the pain and if there are any exercises that are helpful? - Abitchey
Chester: Lots of water and practice.

Question: If you could be anyone in the world, who would you be? - EduardoG
Chester: Me.

Question: Hey Brad, do you play Guitar Hero (any one of them)? - TmanLPU
Brad: Yes, but I’m not as good as Chester or Mike.

Question: Brad, do you still play Trumpet? Why not add some Trumpet parts into the next record? - SassiLP
Brad: Not as good as I used to. Maybe on the next one.

Question: What's it like being in front of a ton of people when you're on stage? - black_phantom
Rob: Every night is a huge adrenaline rush when the show starts. It’s the best feeling.

Question: How long have you all known each other? - Bones850
Rob: I have known Brad, Mike, and Dave for 12 years. Chester for 10 years and Joe for 11 years.

Question: Does "No More Sorrow" reflect your opinion about today's politics around the world? What is your take on politics? - TudorBran
Phoenix: Yes and no… true false.

Question: Where do you guys get your inspiration? - doublefudge
Phoenix: From all the “Chicken Soup For The Soul” books.

Question: What do you guys do for fun on tour? - Craigie_T
Joe: We play naked twister smothered in mayo, gravy, and mustard.

Question: Have you ever seen a UFO or anything else strange? - CheGuevara
Joe: Yes. I see UFOs on occasion.

старая история

Dec 28 2005 8:45 AM EST
Linkin Park Can Get Back To Making Music After Settling Label Dispute
Band scored a $15 million advance on a new album expected in mid-2006.

http://www.mtv.com/news/articles/151937 … park.jhtml

By Gil Kaufman

Linkin Park's confidence in Warner Bros. Records has been restored. The band, who earlier this year angrily demanded a release from its contract with the label, has re-signed with Warner and is expected to release the first album in the new deal by the middle of next year.

According to a report in The New York Times, the band reached a deal last week with Warner that will pay an estimated $15 million advance on its next album and gives the label an option for up to five more albums from the group, one more than was called for in their original contract. The deal also calls for the band's royalty rate to be bumped up to an estimated 20 percent, which nudges the multi-platinum six-member group nearer to the upper echelon in that category.

Neither the label nor the band would comment to the Times on the contract (and neither could be reached by MTV News at press time), but in a joint statement said, "We would like to thank Linkin Park fans worldwide for their continued support. Despite initial concerns after last year's change in ownership, the band is pleased with the direction of the company and in Warner Brothers Records' ability to effectively market their music worldwide under the leadership of [label chairman] Tom Whalley."

The band's feud began in April, when its representatives sent a letter to Warner seeking a cut of the label's upcoming initial stock offering, according to the Times. Warner said no artists would receive any stock proceeds, but the label was open to discussing the band's deal.

Talks broke down, and in May, Linkin Park demanded a release from its contract after intense negotiations with the label collapsed on the eve of the stock sale. The group said in its statement that the cutbacks expected before the IPO would make the company too weak to promote Linkin Park's album and might result in "a failure to live up to W.M.G.'s fiduciary responsibility" to market the band's music. The statement alleged that while the stock offering meant Warner's owners would be "reaping a windfall," the band said, "Linkin Park, their biggest act, will get nothing."

At the time, Warner executives chalked the band's complaints up to what they said was a time-honored negotiating ploy to get a more lucrative deal, one employed in the past by such artists as the Dixie Chicks, Beck and Incubus. The group's members have kept busy during the talks, with Mike Shinoda recently releasing The Rising Tied, the debut album from his hip-hop side-project, Fort Minor (see "Linkin Park MC Gets Director With Flair For Video With Flares"), and singer Chester Bennington recording his first solo track for the upcoming soundtrack to "Underworld: Evolution."

Also known as Xero (1996 "1998) Hybrid Theory (1998 "1999)
Origin Agoura Hills, California, USA
Genre(s) Nu metal Rap rock Alternative rock
Years active 1996 "present
Label(s) Warner Bros., Machine Shop
Associated acts Dead By Sunrise Fort Minor Grey Daze Jay-Z Relative Degree Tasty Snax
Members
Chester Bennington Rob Bourdon Brad Delson David "Phoenix" Farrell Joe Hahn Mike Shinoda
Former members
Kyle Christener (Stand-in) Scott Koziol (Stand-in) Mark Wakefield (1996-1998)

Linkin Park's Magic Mix

BY RANDY ALBERTS

Onstage, Jan 1, 2002

http://onstagemag.com/ar/performance_li … /index.htm

If you think the aggressive, in-your-face refrain “Shut up when I'm talking to you” from Linkin Park's hit song “One Step Closer” is all that the band is about, listen again. There's a lot more to their blend of alternative, metal, hip-hop, and electronica than just singer Chester Bennington's high-energy vocals.

Mike Shinoda's deft MCing provides a streetwise counterpoint; guitarist Brad Delson's tuned-down power chords add a distorted backdrop; DJ Joe Hahn's tasty turntable scratches and sample work fill in the spaces; and drummer Rob Bourdon and bassist Phoenix contribute a thumping rhythm section.

Beyond musical prowess, Linkin Park's success is also built on a foundation of stellar songwriting. The tunefulness of the compositions on Hybrid Theory sets the band apart from many of their contemporaries. The band members also spend a great deal of time meticulously working out arrangements, which they re-create live with the aid of triggered samples and loops.

The guys in Linkin Park aren't just tight onstage; they're close on a personal level too. In fact, Shinoda, Bourdon, and Delson have been friends since their Southern California high school days. Their friendship has helped them persevere in the rough-and-tumble music world. “We all met as friends, and that's why we're still together as a band,” says Hahn. “We're all homies,” says Delson. Shinoda agrees: “We knew each other pretty well in school, but we definitely grew together this past year on the road. Knowing someone as well as I know Brad makes it as easy for me to say to him, ‘Hey, I don't like that guitar part,’ as it is to say, ‘Hey, bro, go take a shower.’”

During the past year, the band toured ceaselessly, and all the hard work has paid off in a big way. At the time of this writing, Hybrid Theory has been on the Billboard 200 album chart for almost a year, peaking at No. 7. The band participated in many of 2001's major tours (playing prominent supporting roles at Ozzfest and Family Values) and headlined their own excursions in the United States and Europe.

Linkin Park differs from many other bands in the degree of respect and attention that the members give their fans. The band regularly signs autographs and mixes with the crowd after a show, regardless of the venue's size. “It really doesn't matter,” says Shinoda, “as long as we get to go down into the crowd to sign stuff and hang out at some point after the show. That's arguably the most important part of the night.”

With a DVD project, a Hybrid Theory remix CD, and the next album planned for 2002, Linkin Park is poised for another busy year. And if they tour as much as they did in their rookie year — 325 days — they may single-handedly revive the slumping concert industry. I caught up with Shinoda, Hahn, and Delson just as Linkin Park was about to embark on a headlining tour of England, France, Germany, Holland, and Austria.

Does Hybrid Theory's success surprise you guys?

Shinoda: I can't even imagine who all those people buying the album are.

Hahn: I'm amazed at how many people have received our music. We are very blessed to have been given the opportunity to expose our music to so many different people.

The production and mix on the album are top-notch. Was it hard to translate the songs from Hybrid to a live situation?

Delson: The main challenge was working out all of the samples so that Rob and Joe could play all of them live.

Shinoda: Re-creating the sampled sounds onstage was really difficult, especially in the beginning. We had to figure out where to store all these samples and keyboard sounds. A lot of samplers that we considered didn't do all the things we needed them to do.

What solution did you come up with?

Delson: Rather than run a DAT, Joe uses two turntables and [Akai] MPC2000 samplers, and Rob uses drum triggers to incorporate all the sampled elements from the record.

Shinoda: We want to do everything live. Hearing sounds that you can't see being performed during a show has always been something we've wanted to avoid.

Joe, I understand that you take some custom vinyl on the tour to scratch in some of the sounds from Hybrid Theory.

Hahn: I custom-make my own sounds on vinyl so I can scratch exactly what I want. There's no limit to what sounds I can manipulate live. When we write songs, we're aware that we need to be able to perform live what's recorded.

Shinoda: Joe and I made an original record for him to scratch with certain key samples on it, and we pressed up 100 of them so that he can now scratch in certain samples from the record instead of just pressing them on a pad. There are some underlying looped materials, too, but all of the parts that grab your attention are played by hand. We recently upgraded to three samplers onstage, plus backups.

Anything else about your DJ rig you'd like to share, Joe?

Hahn: I use the Vestax PDX-2000 turntable because of its versatility. I run my records and manipulate guitar effects through a Rane mixer [see Fig. 1].

Brad, I have seen pictures of you wearing headphones while playing live. Are they for monitoring?

Delson: If I told you, I'd have to kill you.

Shinoda: Those are actually shooting-range headphones [for hearing protection] with sticker designs he has me do for him. Making the headphones is always a fun little thing for us, but we can get so serious about it.

Let's talk about sound checks. Different bands have varying approaches. How do you guys deal with them?

Shinoda: We know what it's like to get shafted by the headlining band and to battle with crappy sound during a show, so we try to be considerate and generally like to get offstage quickly.

Delson: We'll be using sound checks on the headline tour to work out some new and old material to incorporate into the set, songs like “My December” and “Carousel.”

What would you like to accomplish on the headlining European tour?

Delson: We are really excited about incorporating all of our new set and stage-production elements into the show. The band designed the new pieces with Michael Wetstone, who has worked with everyone from Korn to Eminem.

Shinoda: We all have a lot of pent-up aggression from the past few months, and we're planning to let it out. This upcoming tour includes some of the biggest venues we have played. We practically sold out London [Docklands] arena without announcing an opener, which is a first for us.

Will you be trying out new gear on the tour?

Delson: I'm using two extra Boss effects pedals, the Auto-Wah and the Phaser, to re-create the guitar sounds on another old song we'll be playing called “Step Up.”

What about new songs? Will you be adding anything to your repertoire?

Shinoda: We're planning to do some cool old songs, some songs that nobody's heard us play live before. We're going to play a couple of songs that aren't on Hybrid Theory — songs that can only be found online. You can find the MP3s if you ask around on the LinkinPark.com chat room or message board. We released 2,000 copies of a five-song demo made back when the band itself was actually named Hybrid Theory.

What was it like playing Ozzfest?

Delson: Ozzfest was like rock 'n' roll summer camp, but instead of eating lunch with the arts-and-crafts teacher, you're sitting there next to Ozzy Osbourne or the guys from Slipknot.

Shinoda: It was my first metal tour, so I wasn't that familiar with the mode of communication between the band and the crowd. Contrary to what I had believed, spit and middle fingers mean the crowd likes it, and I came home cursing more than I ever had in my life.

Did the number of bands create logistical difficulties?

Shinoda: As far as getting the gear onstage to play, Ozzfest was a nightmare. They used a turntable stage, and our guys had just 45 minutes to set up the entire stage. No sound check. It's like all the hassles of a radio promo show multiplied by two months. But everybody seemed to pull it off.

You guys tour a lot. Is it difficult being away from home so much?

Shinoda: The easiest way to get us in a bad mood is to start talking about being away from home a lot. We love being at home, so it's really hard — especially touring for 325 out of 365 days like we did last year. We do as much as we do with the fans because it helps remind us of what we're out there for. We're starting a fan club as a means of giving back. But not a normal fan club where you just get a T-shirt and newsletter.

How will it be different?

Shinoda: We're putting together an organization that will offer tons of exclusive stuff — like previews of new music, contests, chances to meet the band, and advance concert tickets. I can't even list all the things we want to do.

Life on the road can make even the most level-headed people do things they might not normally do, just to keep from going nuts. How about you guys?

Shinoda: We are generally very mellow, but when the crazy stuff happens we're like little 13-year-old pranksters.

How so?

Shinoda: I remember Chester mooning people up and down Bourbon Street, and Coby from Papa Roach jumping out of a bathroom and peeing on Phoenix [the bassist, not the town]. Joe convinced our bass tech to hang out in the hotel restaurant in his underwear once, and Chester and I have a thing for stealing golf carts.

Describe a typical day on the road.

Shinoda: Half the band sleeps later than one in the afternoon. Before they get up, the rest of us basically go off and do our own thing: eating, working out, shopping for records and knick-knacks. When I go out in the morning, I try to go sightseeing a little bit — even if that means just going to the local magazine store or mall. We have lunch together, then do some interviews, and usually meet with some fans. Then we drive to the venue, talk some more to the press, and then prepare for the show. After the show, we hang out with the fans for about an hour. Then there's usually a radio station meet-and-greet before we get back to the bus to watch movies, play video games, and record some music before we drive to the next city.

Talk about the next record.

Hahn: It'll be the next chapter in our growth as a band.

Shinoda: We all have criticisms about Hybrid Theory that will play a part in writing the next CD. I want to push the lyrics up a notch and make them a little more visual and challenging while combining some new, innovative electronic elements with our sound. The songwriting will still be tight, but you'll find a lot more complex writing going on. And Joe plans to say “fuck” all over it.

Do you guys ever jam or collaborate with other bands and musicians?

Delson: We're planning on releasing a remix CD in early 2002. We've brought out some of our favorite DJs, producers, and creative people to reinterpret and reconfigure songs from Hybrid Theory. [Artists such as] Jay Gordon from Orgy, Humble Brothers, Z-Trip, and DJ Crook from Team Sleep, to name a few.

Shinoda: There will be a lot of variety in the remix-CD lineup. Hopefully, the Crystal Method and Dilated Peoples will work with us too. We're not really into jamming, but collaborations outside the band happen occasionally. Joe and I did a track with X-Cutioners for Loud Records that I think will be out soon. It's a little more on the hip-hop side, but still has an aggressive, energetic feel to it.

Hahn: Chester just did a song with Cyclefly and also with DJ Lethal, and Mike and I just finished a track with the Visionaries too.

What music has influenced you, and what discs have been in your CD players lately?

Hahn: DJ-wise, I love the Invisibl Skratch Piklz and X-Cutioners. I also listen to DJ Shadow, Aphex Twin, Squarepusher, Tool, and Dr. Octagon.

Shinoda: I used to listen to a lot of Boogie Down Productions. KRS-One really grabbed me when I was just getting into hip-hop, partly because of the things he talked about and the stories he told. Right now I'm listening to System of a Down, Dilated Peoples, and the Start. There's so much music out there to like.

Delson: I have been listening to Dave Matthews, Deftones, Nine Inch Nails, Depeche Mode, the Roots, Coldplay, and Tribe lately.

All of you guys seem very connected to your families and community. For instance, Chester is selling his car and donating the money to the Take Me Home animal-protection group. Do you do benefit concerts?

Shinoda: We all want to make the most of the opportunity we've being given, and that includes giving time and energy to groups that we like. We played a show early this past year that benefited breast cancer research, and we hope to do more for AIDS research and prevention groups.

Recently you've been on the road almost constantly. Any break in sight?

Shinoda: Right now I'm taking my first real vacation this year, yet every day of it, I'm working on our new Web site designs, our new DVD and remix CD, and the next album. We all feel very lucky that our hard work has paid off, and we're going to keep on working hard in hopes of continuing this way.

Randy Alberts is a California-based musician, author, and audio and music journalist. His first book, TASCAM: 25 Years of Recording Evolution, is in final print production at Hal Leonard Publishing.
Bus Tracks: Linkin Park's Mobile Recording Rig

Linkin Park loves to play live, but that energy is equally matched by the band members' desire to record. The band's early tracks were made in Mike Shinoda's tiny bedroom studio in 1996, long before the guys played their first live gig. Now, with such a grueling touring schedule, it's hard to find time to go into the studio. Instead, they bring the studio with them on the tour bus, where they recently have been recording tracks for their new album. Shinoda gives Onstage the lowdown on Linkin Park's mobile studio.

Describe the studio as well as the gear and how you're using it.

It all sits in the back lounge, which is about 8 feet wide, 12 feet long, and 7 feet tall. We have a dual-processor [Apple Macintosh] G4 with a flat-screen monitor running Digidesign Pro Tools 5.1 Mixplus, [which includes] a 24-bit 888/24 I/O box and a seven-slot Magma expansion chassis with one Mix Core card and two DSP Farm cards for all the plug-ins. We also have a Roland JV-1080 [synth module] with an Orchestral expansion card, an Emagic Unitor-8 [MIDI interface], a Glyph rack with three hot-swappable hard drives, and a VXA tape backup drive. I use Mackie HR824 powered monitors; I seem to get my best mixes with those and a pair of Sony headphones. We do the scratch vocal tracks with a Shure SM58.

How do you approach your recordings?

We're not a jam-oriented band, so we want to record everything — the samples, drums, guitars, bass, scratching, and vocals — as we're writing. We like to record lots of options for parts, if we can, and then pick from the best stuff. We generally record something as soon as we come up with it so that we don't end up playing it for weeks and getting stuck on it out of pure repetition. We want to like something because it's good, not because we've listened to it so much that it's stuck in our heads.

Does a computer-based recording system help a lot in the crowded confines of a bus?

It allows us to use plug-in software and make the most of our limited space. The plug-ins sound great and don't take up any space in the bus, either. The extra [DSP Farm] cards give us the kind of processing power we need to use plug-ins like [Line 6] Amp Farm and [Antares] Mic Modeler, among other digital effects.

Do you ever bring your studio gear into your hotel rooms?

Nope, we pack everything onto the bus in two cube racks and mount it all to the floor. We build the studio on day one of the tour and tear it down at the end. We manage to record pretty often while at a venue and even a little bit when the bus is moving. The only thing we can't record on the bus is the vocals, because of all the background noise.

Isn't it difficult to concentrate on recording with all those groupies hanging around?

[Laughs.] Yes. Our next album is going to be entirely about groupies. It's going to be called Who Is This Drunk Person Standing in the Front Lounge of Our Bus, and Who Forgot to Lock the Door?
Linkin Park Gear

Mike Shinoda: guitar, vocals, MC
PRS Custom 24 guitar
Mesa/Boogie Dual Rectifier head
Mesa/Boogie 4×12 cabinet
Audio-Technica ATW-R73X guitar wireless
Audio-Technica ATW-T73 wireless vocal mic

Chester Bennington: lead vocals
Audio-Technica ATW-T73 wireless vocal mic

Joe Hahn: turntables and samplers
Vestax PDX-2000 turntables (2)
Rane TTM 54i Performance Mixer
Behringer Eurorack MX602A mixing console
dbx 166 stereo compressor
Boss GT-5 Guitar Effects Processor (for distortion)
Whirlwind MultiDirector DI
Akai MPC2000
Akai MPC2000XL
Iomega Zip 250 Drives (2; store samples for loading into samplers)
Furman PL Plus power conditioner

Rob Bourdon: drums
Gretsch drums:
22" × 18" kick
10" × 12" rack tom
12" × 14" rack tom
16" × 18" floor tom
14" × 4½" snare
14" × 5" snare

Zildjian cymbals:
18" A Custom Crash
19" A Custom Crash
20" A Custom China
14" A Custom Hi-Hats
22" A Custom Ride

Akai S6000 sampler
Akai MPC2000XL sampler
Alesis DM5 drum module
Rane Headphone Mixer MH4
Rane Crossover SAC22 (stereo two-way crossover) for shaker
Aura Shaker
Mackie M-1400i power amp
Pintech Pads (2; freestanding triggers)
Roland KD-7 Kick Trigger Unit
ddrum Trigger (on snare)
Whirlwind MultiDirector DI
Gibraltar Cage System
DW 5000 kick pedals
Furman PL Plus power conditioner

Brad Delson: guitar
Terry C. McInturff Taurus Sportster guitars
Ibanez 7-string guitars
PRS Custom 24 guitars
Mesa/Boogie Dual Rectifier heads (2)
Mesa/Boogie 4×12 cabinets (4)
Shure UHF guitar wireless
Boss TU-2 Chromatic Tuner
Boss CS-3 Compression Sustainer
Boss DD-5 Digital Delay
Boss CE-5 Chorus Ensemble
Furman PL Plus power conditioner

Phoenix: bass
Music Man Stingray 4- and 5-string basses
Ampeg SVT Classic heads (2)
Ampeg SVT 8×10 cabinets (2)
Shure UHF guitar wireless
Boss TU-2 Chromatic Tuner
dbx 160A Compressor/Limiter
Tech 21 SansAmp PSA-1
Demeter Tube Direct
Furman PL Plus power conditioner
onstage•hotlinks

http://forums.linkinpark.com
A Linkin Park message board.

wwwguiltylinkin.cjb.net
A full-featured fan site.

wwwlinkinpark.com
The band's official site.

For more of the interview with Linkin Park's FOH engineer, Brad Divens, go to wwwonstagemag.com and click on
ONLINEEXTRAS

Mixing Linkin Park

Brad Divens, Linkin Park's front-of-house engineer, spoke to Onstage as the band prepared for its late-summer 2001 European headlining tour.

What's the biggest challenge you face mixing Linkin Park?

I would say probably the most challenging thing is finding the right blend between turntables, sampler, and the guts of the band — drums, bass, and guitar. It's kind of tricky sometimes to get that stuff [turntables and samplers] to sit in there right. They kind of overpower [everything]. One thing I pride myself on during the mix is being able to hear every little thing in its own space.

Is the signal from the turntable mostly upper-mids and highs?

It seems to sit somewhere between 1 and 3.15 kHz, which is where the meat and bite of the guitar sits. So I generally roll a little 2.5 kHz out of the turntables, and boost about 900 Hz in the guitars. And maybe just a little 3 kHz [in the guitars], trying to get that edge. Of course, I'm compressing the guitars, and I'm compressing the turntables.

What compression settings do you use for them?

The ratio on the sampler and turntables is like 6:1, with maybe like -10 dB threshold and no makeup [boost] on the output. Guitars are probably 4:1 and just slight compression, just to keep them in check. Again, with different tunings, different guitars, and different effects, sounds tend to not be the same all the time.

How do you set the compression on the vocals?

That can vary between 4:1 and 6:1 [threshold usually -10 dB, output between +3 and +5 dB], depending on the room, depending on the way the singer is attacking the microphone that night.

What do Shinoda's vocals require from a compression standpoint?

His compression is a little lighter than Chester's, because Chester will really lay into his vocal, into the mic, whereas Mike tends to be soft one minute and loud the next. So a lot of times, I find myself with my hand on the input-gain knob on the channel strip, just to get him up even a little more sometimes — because I'll have the fader like +10, and I'm still not getting what I need.

What kind of dynamic processing do you use on the drums?

I normally run a gate comp on both kick mics and the snare top [see Fig. A]. Both kick mics are probably 2:1 compression [threshold and output 0 dB] and snare is maybe 3:1 or 4:1 [threshold -5 dB, output 0 dB]. Again, it's just something to keep it in check. Plus [Bourdon] tends to hit harder on some songs than other songs.

And on the bass guitar?

That's probably about 4:1 as well. The bass DI is -10 dB at the threshold and 0 dB on the output. The bass mic is -20 dB and +5 dB.

How much of the material uses a click?

The entire set. They like their songs to be like the record. And because everything is sequenced, it has to be the same tempo.

Now that Linkin Park has really hit it big, do you notice any difference in how the band and crew are treated?

I want to say it's a little better now. But I'm the kind of guy that will roll into a gig and get along with everyone, and things tend to run really smoothly. I get what I get, and if there's something that I really need, I'll try to get it. But if not, I'll just make it work. It's all about the songs in the end anyway. I'm just lighting the candles on the cake.
—Mike Levine

Input List: Linkin Park Ch. Input Mic Insert
1 kick Shure Beta 91 gate/comp
2 kick Audio-Technica AT25 gate/comp
3 snare top Audio-Technica AT23HE gate/comp
4 snare bottom Audio-Technica AT23HE gate
5 hi-hat Audio-Technica AT4041
6 rack tom 1 Audio-Technica AT35 gate
7 rack tom 2 Audio-Technica AT35 gate
8 floor tom Audio-Technica AT35 gate
9 ride Audio-Technica AT4041
10 overhead (stage right) Audio-Technica AT4050/CM5
11 overhead (stage left) Audio-Technica AT4050/CM5
12 bass Demeter Tube DI comp
13 bass Audio-Technica AT4054 comp
14 guitar (stage right) Audio-Technica AT4050/CM5
15 guitar (stage right) Audio-Technica AT4050/CM5
16 guitar Audio-Technica AT4050/CM5
17 guitar Audio-Technica AT4050/CM5
18 DJ 1 L DI
19 DJ 1 R DI
20 DJ 2 L DI
21 DJ 2 R DI
22 drum rack DI
23 vocal 1 Audio-Technica ATW-T73 wireless comp
24 vocal 2 Audio-Technica ATW-T73 wireless comp
25 vocal 1 (spare) Shure SM58 comp
26 vocal 2 (spare) Shure SM58 comp
FIG. A: This table shows mics and inserts that the Linkin Park guys use on tour.

Вот это? я еле нашла то, что ты процитировала

После песни Numb перед Рushing me away на концерте в Гонг Конге Честер своеобразно признался в любви Майку

http://www.youtube.com/watch?v=27ShD52JUu4