Paparazzi Magnet

Haha unfortunately, all I hear is California, remnants of MGK, and a chorus that rips off “There She Goes” by The La’s. Would have been epic though if it dropped before all of those. I do appreciate music recommendations, so thank you.

Your Graduation is another stellar song. I wish it was more popular.

I’m Not Okay is a fucking hit.

The only thing I’ve liked about the guy is the 99 Red Balloons cover.

I hate that they don’t write some their stuff. Some of the songs are good, but it’s always disappointing when you learn other writers were involved. Blink is best when they fully invest themselves into the music. Otherwise, it starts to turn towards them being voice actors.

It would have been so fucking rad. And it would have worked too

0:45 - one of Tom’s most underrated riffs to this day.

@Calamity Not gonna lie dude, this is probably the best way I’ve seen to gauge popularity of blink songs. Thanks for the contribution.

This is a pretty cool way to see the most liked songs. I scrolled down and it looks like voters swipe right for Dumpweed the most.

Patient is selling it for $799. Already DMed her so don’t waste your time.

Yeah lol they used to have this entire music section with guitars, amps, bass guitars, keyboards, drums, everything. A few years later they ultimately bowed out of that market and stopped selling them.

Wow, I’ve always been well aware of the difference between those two colors (and I’ve personally always found seafoam green to be a beautiful color for a guitar). But I never knew seafoam green never made the cut. After going down the reddit rabbit hole, somebody posted a link to the Fender website using the Wayback Machine: https://web.archive.org/web/20030124223713/http://www.fender.com:80/gear/gear.php?op=3&partno=0138200 COLORS (304) Daphne Blue, (306) Black, (357) Surf Green, (363) Graffitti Yellow, (Polyester Finish)

I agree. I carefully chose though a video from 2003, because that was the special period of time where Tom was using his Gibson without yet using flange or delay. So I think the only variable that changed actually was the guitar. (I could be wrong. I don’t know specifically when he cutover to using his Marshall JMP and Mesa Boogie rackmount units). Nonetheless, I agree that amp selection is the biggest influence. If somebody actually wants to sound like Tom, they’re much better off getting a different rig than spending $3500 dollars on a Starcaster. For that kind of money, you could get a Helix floorboard, or even a couple high end amps.

Yeah lol. They’re not cool looking at all. I think Tom chose tone and feel over everything at the time. In 2003, you can really hear the difference that guitar made. I believe he was plugging his new Gibson into a relatively similar rig he was using with his Strats, but the difference is crazy. It sounds good distorted, yet it retains so much clarity and punch at the same time. And then at 1:44 you get a wonderful clean.

Plus, I feel like deep down, Tom’s soft spot probably goes to his signature Gibson.

I could see a rich collector buying one. But I’ll never understand why a regular guitarist would spend $3500 on a guitar that they’ve never played in person. No guitar is the same, even if they’re the same make and model. You need to play that thing first and make sure it feels right.

I imagine it feels very weird for him to always have to talk about a band he was in from age 14 to 20 (especially one that likely screwed him over before making it big).

Mark Zuckerberg just bought a 1990’s blink-182 shirt from somebody on Facebook Marketplace. How human of him.

I always wondered if they had even practiced for that type of setup. I love how the 3 of them can always just piece something together and have it sound rad. Huge fan of Travis’s drumming throughout.

I would 100% recommend a delay pedal. It gives you a lot more confidence when you’re doing solos. With distortion, you sound a lot better and it gives off the illusion that you really know what you’re doing. (I.e., it sounds like you’ve added 5-10 years onto your skill level). It’s super forgiving when you make a mistake or if something is slightly off. When performing or playing with other musicians, I find the delay pedal to be a necessity for comfort and ensuring it sounds extra good. With a clean setting, it will provide a very beautiful addition. I can play on clean + light delay for hours, which always ultimately leads to me landing on new riff ideas. In other words, it can turn irritating noodling into very nice melodies. It sounds great when the delay’s volume is not the most noticeable, but just enough to give some background fluff and polish. It’s also a great way to change dynamics, where you can escalate the guitar and draw an extra focus on you. Imagine Star Power from Guitar Hero. (When going into solo mode, I would recommend a delay time of about 450ms, and have it mixed in at like 15-30%. You may also wish to up the volume, or remain where you are if you’re nervous to be too front and center) I’d also ensure it’s not on all of the time, so that the solo moments stand out more. (You do NOT want to do power chords with this on, but octaves are great at times with it). Lastly, I would also ensure the delay occurs after gain and distortion. (You don’t want to feed all of the delay notes into a distortion at the same time, or else they’ll clash together. Instead, have it distort the individual notes first, and then delay it from there.) For amps with built in gain/distortion, you can use the Send+Return lines to apply the delay at the very end. Beyond that, a delay pedal can also help you venture towards U2 or Angels & Airwaves territory, which is very fun when you figure it out. (For example, this 2006 video of Tom at 42 seconds in. It sounds fucking epic.) What sounds like special FX is actually just a delayed guitar. To do this, they like to set the delay setting to be the same amount of milliseconds as a dotted eighth node, and then they have the delays mixed in at 100% the same volume as the dry signal. (The Adventure - 312ms). It gives off a spacey sound, while making it seem like you’re playing the notes 2x as fast. (Your dry playing will be the 8th notes, and after plucking a couple notes, the delays will come in and fill in the gaps in between your playing, making it seem like you’re playing 16th notes). They’ll also experiment with quarter note delays (where your quarter notes are overlapping with the delay notes together). When playing with a dotted 8th or quarter note delay time, it might not seem intuitive at first to know how quickly to pick or strum. But then all of a sudden, you’ll snap into it and be fully in sync with the pedal’s rhythm. Once you’ve caught hold of the tempo like that, you’ll feel it, and it will be hard to break out and lose your groove. From there it’s a fuck ton of fun. They make calculators online that allow you to put the song’s tempo in, and it will give you the milliseconds to use. Alternatively, you can buy a delay pedal that allows you to tap your foot to the tempo, and the pedal will automatically adjust. You just have to set .1/8 or 1/4 as the setting. This 2005 video of Tom in the studio showcases it very well. At 1:55 he taps in, and then he’s riffing ideas for The Adventure. (All of this being said, I use my delay for solo more than I do for AvA type playing). If you’ve read this far, you’re hopefully swayed. In short, thank me later. It radiates the pretty sound that a reverb provides, but it’s very different in that it sounds less washed out or buried in the mix. I’ll personally Venmo you if it turns out to be a disappointing purchase.

Damn, I hit the play button thinking that this would piss me off. Immediately fell in love with it. When a band’s songs are good in another genre, that’s a pretty good indicator about how special their songwriting is. The bridge is phenomenal and the harmonies during the final choruses sound great. Nicely done.

I don't doubt you there. The United States is notorious for being reactive to regulating new technology, whereas Europe is proactive. Controversies are going to arise and it's gradually going to get less muddy.

And I agree with this as well - to an extent. (I dont think this should be absolute. There are exceptions and there’s also a certain degree that I think can be tolerated). Luckily I think there are two forces that will ensure human expression and art aren’t entirely nuked as a whole by A.I. 1) The free market. (People will naturally start to recognize the value in human work and be drawn to it). 2) Copyright. (The Constitution’s Copyright Clause ensures that appropriate rulings are made that ensure we can continue “To promote the Progress of Science and useful Arts”). Currently there are questions over whether Copyrighted works can be used in training data, and there are also questions over what percentage of generative A.I. disqualifies a mostly human-made work from Copyright protection.