blink-182 Forty and Still Smashin’ All the updates on Tom, Mark, Travis and blink’s new album
Find out where in the world are Mark’s pants?
Plus! Side Projects: Angels & Airwaves, +44, Transplants
January 2014 Issue blink-182 Mag - Page 45
Tom Delonge on a set for Angels and Airwaves in San Diego, CA. Photo via flickr blink-182 Mag - Page 46
rom very early on in Blink’s career, Tom had used a Mesa Boogie Triple Rectifier amp head and a Marshall JCM 900 amp head along with Mesa Boogie and Marshall cabs for live shows. As his career progressed, Tom began using an intricate rack system along with three matching a 4x12 and three 2x12 Mesa Boogie cabs. The rack system still made use of the Mesa Boogie Triple Rectifier amp head, but it also included a Mesa Boogie 2:90 power amp and Triaxis preamp. The rack system also included a Furman power conditioner ~ Words via wikipedia.
n 2002, while touring with Box Car Racer, Tom began collaborating with Gibson to create a new Signature Model. He started off by using a standard Gibson ES-335, with all but the bridge volume knob removed, and the bridge pick-up replaced with a Seymour Duncan Invader bridge pick-up. This guitar was eventually covered with many different stickers including band stickers and clothing line stickers from Atticus Clothing, Macbeth Footwear and Famous Stars and Straps. This guitar can be seen in Box Car Racer live photos and in the studio videos for blink-182. In one of the videos, a prototype for his signature is seen that included an orange stripe instead of cream with a matching orange headstock, a metal volume knob, and a wrap-around bridge, instead of the Nashville TuneO-Matic bridge. In 2003, Gibson released his signature model, the Tom DeLonge Signature ES-333, which has only been available since its release in Brown and Cream, with a Natural neck and headstock. Along with his Gibson signature, Tom also used a baritone Fender Jazzmaster with a Seymour Duncan Invader live, as seen in AOL live sessions with the song “Obvious”. The Tom DeLonge Signature starts with Gibson’s classic semi-hollow body design and then extends it into punk rock with an overwound ‘Dirty Fingers’ humbucking pickup. Its thick, distorted tone is the Delonge’s signature guitar tone and widely recognized as the quintessential Blink sound. On Angels & Airwaves albums, We Don’t Need to Whisper and I-Empire Tom has used his signature Gibson ES-333 for all of his live shows, including the now popular matte black with a black racing stripe, along with a few stripe variations. ~ Words via wikipedia.
3 blink-182 Mag - Page 47
he band reconnected musically and emotionally on the reunion tour, but were still “on eggshells” throughout the recording of their comeback album. The recording’s delay was due to the way the band chose to work — in bits and pieces, alone and tom together, to in a pair of California studios and — then and in addition to each member’s busy schedules. The band struggled to record juggling individual priorities; in the case of Hoppus, his new television show Hoppus on Music required him flying to New York once a week. Hoppus moved to London to with his family late in the recording process, also complicating matters. The band’s anda comeback album, Neighborhoods (2011), debuted high but undersold label at expectations, and Blink-182 parted with a Interscope Records in 2012, going independent for their next release, the EP Dogs Eating Dogs, December 2013. The band then toured Australia February 2013 without Barker, who did not attend due to his fear a of flying (Brooks Wackerman of Bad Religion filled in for at a him). The band is preparing to tour the US in a September 2013, where they will begin writing songs for their seventh studio album. “We’re hoping to head into the studio next year [and to have the] album out in late spring/early summer,” Hoppus told Kerrang!. In the interim, Hoppus began recording songs with frequent engineer and producer Chris Holmes that the duo plan to release by the end of the year. project] yet ~ Words via wikipedia. Mark Hoppus backstage in San Diego, CA. Photo via flickr
4 blink-182 Mag - Page 48
oppus has often been seen a lot using his known signature Fender Mark Hoppus Jazz Bass in then a big variety of different colors since the days of Blink-182. Though considered to be a Jazz, Hoppusâ€™s then signature consists of a Jazz Bass body with a Precision Bass neck and pickup. Hoppusâ€™s signature underwent a slight modification: the bodies are now made of Ash instead of Alder, making the bass much lighter. The pickup locations were also moved from their usual positions: they were placed under the E and A strings and then also under the D and G strings, the latter being placed higher than a the former, giving the D and G bass strings a warmer, thicker bass sound. Hoppus uses Seymour Duncan Quarter-Pound pickups, which feature 1/4 inch pole pieces. The current colors of his +44 touring basses include the Olympic White, Sunburst and partial See-Through Blond all coupled with a tortoise shell pickguard. During Blink-182 first live performance in a his signature bass coearly days of Blink-182 ~ Words via wikipedia.
Mark 5 blink-182 Mag - Page 49
Travis The racing flag also stands for Barker’s love for cars.
The name of Dag Nasty’s first album, a favorite of Barkers.
Travis declined to interview: “Let Mark and Tom do the talking.” The Woman raising the flag symbolizes his love for cars.
Barker said Cadillac is his car of choice and his only car.
Barker’s infamous stereogram tattoo, not without criticism.
Travis Barker in San Diego, CA Photo via flickr
blink-182 Mag - Page 50