I assume he originally played the bass line as he does live, but then the audio engineer wanted to track it with a capo to minimize fret and string noise. So after tracking it, he would go back to the way he originally played it.
It's also actually known that when they do most of the bass and guitar parts, it's layered to about 3 different tracks. One is a root note track, one is a chord track and generally one might be an octave up or down track. It applies to both Mark and Tom's parts. It's not just isolated to blink but it a common thing do enrich the sound of the bass or rhythm parts.
@@blindingnoiseit’s stupid not too. Back in rocks hay day, guitars and bass might get 5 plus tracks each with various rigs and effects. Billy corgan had like 90
There are so many things that you can discover by listening again carefully to their songs or even by listening to the instrumental part independently, it's really incredible
@@Sysquente it's mixed really really low. It is so hard to hear. Until I saw them playing it live, I assumed Mark was playing the riff. Had no idea he was doing a progression
I FUCKING KNEW IT IVE BEEN PERPLEXED BY THIS BASS PART SINCE DAY ONE. He NEVER, EVER plays the studio part in live performances and the song never sounds the same because of it. From the day this album came out, I zeroed in on this bass part thinking “he’s doing something back there but it’s buried by the guitar and I kinda wish Tom would shut the fuck up.” Thank god I was right. This was one of those “I’m gonna die if I don’t figure this out” kind of things.
@@jonnylawless6797usually they do feeling this right into a second song before they talk so there isn’t time too switch basses. Also he might not want to use the same bass for the multiple songs before he gets a capo bass.
Reason being he hasn't used a cappo during live performances is that the first note in the chorus is a low open E string on the bass. Unless you down-tune to a D and put a capo on 2nd fret then you can play an open E but then that affects the strumming and overall sound of the riff.
@Jim Torres yeah I doubt that is the reason. Mark has at least 2 or 3 basses that he tours with and if they play Adam's Song he's needs a bass that's tuned down to D standard (actually nevermind I looked up the tab and you don't have to tune down for the bass part, just the guitar). But either way having to have one specific bass for one song would not be an issue.
I just recently did a cover of this song and I watched Mark's live stream to learn the "real" bassline.... or so I thought... Yours is 100% the right way. Im going to assume he doesnt play it live the same way because its a difficult lick, and even harder to play while singing. Sometimes its easier to have a live version that sounds BASICALLY the same, but is easier to play so you dont sound like shit on stage. Either way, I guess Im headed back to the studio to re-record the bass now, lol
Note: the guitar is tuned to Drop D and has a capo on the 2nd fret, probably to push the key up by a whole step for their vocals. It would make sense that Mark just followed suit and did the same.
Wow this is an incredible video! You playing it sounds 100% on the money. I would imagine it’s partly hard to play and sing too. So he just made a way to hack through it live. Great work.
He used the capo on the acoustic bass on I Miss You too as seen during recording on MTV Album Launch so not out of the realms that he was just experimenting with it in the studio on the self titled.
I think he plays it differently because that way it's easier for him to sing and play at the same time. I know that he only says ''I'm feeling this'' while playing that part, but still.
Mark & Tom both play Feeling This in Drop D with a capo on the 2nd fret. I remember watching studio footage of Tom recording Feeling This & saying something about how playing it this way means they all are octave power chords that fit with the open E string being played
So I think he did it for the album versus live. The first full length I made I didn’t realize playing it live is different during the recording process. Basically you plays the guitar parts no need to harmonize unless necessary.
The amount you know about the theory of music and how you apply this to these videos, please make more content , it is helpful thinking about tracking and stuff, loved the video on one more time too
@@SugarpillProd also, I saw blink 182 live on Sunday in Manchester, on that last chord I believe Tom was playing a D power chord and playing the emo sound with it eg 576, I mean; the way you played it sounds like how he played it in studio, but live, with the backing tracks and with mark on bass, I don’t think he was playing the A or drop D variation and he’s just going back to the root key note, like a bell note in pop punk, just an observation I made watching the video Back of one more time we got 🤪
Thank you! You made my morning! It started off a little bland but your video gave me a huge laugh to think that someone has analysed Mark’s bass playing to this level of detail. Now the Star Trek fans who learned Klingon don’t seem so crazy.
100% accurate! I was thinking the same thing when I first learned this bassline. I’m glad to know I was right! I think Tom has a capo on second too and tunes to Drop D for the guitar. Maybe another video you could do!
Very well content here 👏 I‘m a guitar freak like you and always wondered why he never played this interesting bassline. Sounds so „closing and homecoming“ 😉
Great find! I've definitely recorded stuff that was too inconvenient to play exactly that way live (alternate tunings, multiple guitars etc). All is fair in rock and roll.
Recording artists do strange things to get that perfect sound. We have to relearn the so gs for live play. Yesterday, I tuned my G string into an A just to I wouldn't hit a buzz note dueing a lick. It was the only string I changed. Haha! Live, I'll just play it barred with my finger.
Great info!Would love to see a video on how new Blink is produced differently than everything since self titled and before. What were they doing to achieve their sound before, and what are they doing differently now? Is it mics, autotune, different equipment?
Unfortunately there's not that much information out there. There are bits and pieces of info scattered about, but no one really knows everything exactly. But I'd say the big differences from back in their prime to now is that like most bands, they've just embraced newer technology. Records like Enema & Untitled were cut to tape, and recorded in a more organic manner, whereas most things post-reunion have been fully digital. I believe they're using amp sims on the new record too, whereas before they'd use live amps. I'd say it's a fairly standard progression that most bands have evolved into, from the analogue days to the digital revolution.
Mark probably finds it difficult to play the original bassline on stage with his bass strapped so low + sing the vocal fills at the same time. I know he plays carousel sitting down live which is the most complex bassline he's performed live to my knowledge. Kinda sucks ass because the feeling this bassline is the best part of the song and one of the best blink basslines imo but nobody knows about it because it's so buried in the mix.
I doubt it’s to do with how his bass is strapped, it’s definitely to do with the fact that it would be very difficult to play that bassline and sing at the same time
@@Stonksandstonksagain mark is usually standing playing carousel. Tom is not the best guitarist either, they are both great for punk guitarists/bassists though
I've always wondered why Tom plays it with a capo as well. Because I think he's playing in drop D with the capo at the 2nd fret which makes it E, same as standard tuning lol. Would love to hear your thoughts and great video!
Yeah Tom does it for a similar reason to Mark. It's downtuned to D so that when it's capo'd he can hit a low E, but he's also playing the D string open, along with the octave shape. That's why the riff sounds a lot fuller in the recording, as opposed to how a lot of people tend to cover it - by just playing a regular octave.
@@SugarpillProdthe main riff sounds so full when I drop tune and put the capo. I get octaves and the open string and then the open low e on the end of the riff
It's weird to me because it's actually far easier to play with a capo - both the studio version and the simplified way Mark currently plays it. I guess we'll never really know, haha.
u have a rlly good ear! i never would have picked out the capo use. i imagine he doesnt play it like that live cuz its a bit of a hassle to get a capo out for one song, plus i think they look kinda silly on bass. plus they usually play the song so much faster live so imagine a simpler part would translate better
Thanks! It's definitely a bit of a mystery. It seems odd to me, because he plays "I Miss You" with a capo, so I don't see why he wouldn't with this song too. Some things we'll just never know, haha.
I knew which song it was going to be before I clicked, though I wasn't exactly sure what you were going to say about it. I wonder why he doesn't use the capo live. Probably for convenience and simplicity. Tom doesn't shy away from capos. In fact, seeing Tom use a capo on stage was pretty inspirational to me. I don't see that very often.
Pissed off, angry, not wanting to talk to each other, Tom's on pain pills and Mark is jealous he isn't in Boxcar Racer and they just want to play fast to get the songs over with blink-182 is my favorite version of the band live. Their songs, to me, sound sick when they play fast and emotional.
Is the open B dead on? Not as if it had been fretted. If it is then he used a six string with the highest string tuned to B in my opinion. Then he just plays the way we all do when he does it live. It would leave almost no fret noise and account for the A being fretted as you said.
He does play it in drop D in the actual song. Plays Open D with your first chord, bar chord on fret 4, same chord for your third chord and 5th fret on the D and A string W/ open D string hammer on fret 4 and pull off. You’re welcome. He CLEARLY is playing 3 not chords the whole way through. Clear as day lol.
I don't think the string noise would be much of an issue live. They obviously wanted to minimize it for the record but it's probably not why he plays it differently live now. To be honest it's so hard to hear that bass line in the mix unless you know what to listen for so it's not super crucial to recreate it perfectly and it's a sneaky tricky line to play especially if you have to worry about doing vocals on top it, however simple they may be.
I meant the lack of string noise is an indication that it was likely tracked with a capo in the studio. Of course no one will care about string noise live, haha.
You don’t need a capo to play what he’s playing. I realized that he played this from playing it on Rock Band years ago and you can play it without the capo. I think he doesn’t play that line live because he has to sing at the same time and that’s kind of a hard one for him.
It's just my usual Axe FX preset. I few people have asked if I'd do a video on it, but I feel like it's not very helpful to the 99% of my audience that presumably don't own one, haha.
Great video. That’s been bothering me for a long time so thank you for the lesson and thank you for dvda 😂 Has mark ever replied to this in any way? What did he say? He’s pretty critical of his playing .
Thanks, now you're a mawn! I'm not aware of him ever seeing it - though I'm not active on most of the sites he is (like Twitter, Instagram, etc) so I wouldn't know unless someone told me he did, haha.
They double the bass during the chorus - if you count a VI as a bass track anyway. The verse riff is definitely just one take though. Mark tends to double root note parts with chords, I think it'd sound a little messy if you did the same with an arpeggio.
@@SugarpillProd no - look close in the first video - Tom has a black one, Mark I am sure has a silver one. I'll keep an eye out I a couple of weeks when I see them too :)
Aquelas coisas que sao gravadas de um jeito e tocadas no show de outro. Green day e a minority. O Mike toca bem marcado no cd e no show ele toca em semínima mesmo.
HEAR ME OUT! what if he's using a pitch shift pedal and shifting up 2 semi-tones? Like a Dunlop "drop" pedal which is more commonly used in metal to down tune on the fly!
You might just not be used to picking up on bass in recordings yet. It does take your ear a while to get used to it, but you'll get there eventually. To me, the bass is actually mixed pretty high in their recordings - or at least on Enema & Take Off it certainly is. Admittedly the bass is mixed fairly low during the verses on this song though. I can hear it, but it's a bit of a struggle to hear every note that Mark's playing.
Lots of overanalysing in the comments. He plays the watered down version live as it’s easier to play whilst singing and as he played the song this way hundreds of times he’s forgotten the studio version differs to the way he now plays it. Done and dusted. Next.
Claiming the person who wrote the song is playing incorrectly doesn't make much sense to me. If he wrote it it's his to change, who are we to call it wrong?
To my knowledge there isn't anything regarding the bass tracking to this specific song. There's a video of Tom recording the guitar riff for "Feeling This", and one of Mark tracking the bass on "I Miss You". However, If you do have any evidence of this, I'd love to see.
I don't understand how Mark occupies a capo in I Miss You and not in this one, I Miss You can be played perfectly without a capo but Mark is lazy and looks for the easiest way to play.
I can't say I agree. The point of the capo in I Miss You is because of the key they're in. The F# essentially becomes the open E, so if you're not using a capo, you'll have to make a very difficult stretch from the 2nd to the 6th throughout the song.
@@IceBreakBottle I think it was actually an acoustic bass. A lot of people think it was a double - because of the video - but there's a video of Mark recording it, and he's playing an acoustic bass with a capo.
Do you think I'm right or wrong? Let me know down below 👇👇👇
🎉SERVICES - linktr.ee/sugarpillcovers
📲INSTAGRAM - instagram.com/sugarpillcovers/
If you check out the mtv special on the making of the album, I think he has a capo on his bass with this song.
I assume he originally played the bass line as he does live, but then the audio engineer wanted to track it with a capo to minimize fret and string noise. So after tracking it, he would go back to the way he originally played it.
This seems like the most simple, yet most reasonable explanation. That would explain why he would use a capo on later tracks after the hiatus too
It's also actually known that when they do most of the bass and guitar parts, it's layered to about 3 different tracks. One is a root note track, one is a chord track and generally one might be an octave up or down track. It applies to both Mark and Tom's parts. It's not just isolated to blink but it a common thing do enrich the sound of the bass or rhythm parts.
@@blindingnoiseit’s stupid not too. Back in rocks hay day, guitars and bass might get 5 plus tracks each with various rigs and effects. Billy corgan had like 90
This is such a cool bass line. I never knew that mark was playing these notes. He did an amazing job withmatchingTravis’s snare hits
I’ve literally never noticed the bass line in this song. Sounds cool.
There are so many things that you can discover by listening again carefully to their songs or even by listening to the instrumental part independently, it's really incredible
Listen with your ears
@@NikoFrederiko.blink fan since 99 I’ve listened to the discography so many times. Never knew this either.
@@Sysquente it's mixed really really low. It is so hard to hear. Until I saw them playing it live, I assumed Mark was playing the riff. Had no idea he was doing a progression
@@rivalmindssyup I didn’t realize the bass was so cool in this song until I listened to the instrumental
I FUCKING KNEW IT
IVE BEEN PERPLEXED BY THIS BASS PART SINCE DAY ONE.
He NEVER, EVER plays the studio part in live performances and the song never sounds the same because of it.
From the day this album came out, I zeroed in on this bass part thinking “he’s doing something back there but it’s buried by the guitar and I kinda wish Tom would shut the fuck up.”
Thank god I was right.
This was one of those “I’m gonna die if I don’t figure this out” kind of things.
Haha I love this
Which is weird, cause he capos for I Miss You, he should just use that bass for Feeling This.
@@jonnylawless6797usually they do feeling this right into a second song before they talk so there isn’t time too switch basses. Also he might not want to use the same bass for the multiple songs before he gets a capo bass.
I had same argument with drummer of my band when I was learning it. I could hear the bass notes and no one could hear it 😊
@@jonnylawless6797they both have capos, but are in different tuning.
Honestly, THIS is the kind of content I love. Great breakdown!
Reason being he hasn't used a cappo during live performances is that the first note in the chorus is a low open E string on the bass. Unless you down-tune to a D and put a capo on 2nd fret then you can play an open E but then that affects the strumming and overall sound of the riff.
you can put the capo only on the first three strings
They're a million dollar band. I think they can afford a stage hand to bring out a bass with a cappo and specific tuning for this song.
@Jim Torres yeah I doubt that is the reason. Mark has at least 2 or 3 basses that he tours with and if they play Adam's Song he's needs a bass that's tuned down to D standard (actually nevermind I looked up the tab and you don't have to tune down for the bass part, just the guitar). But either way having to have one specific bass for one song would not be an issue.
He literally says he’s in drop d tuning.
@@Stonksandstonksagain how about just another bass player, à la extra guitarist in Green Day
I didnt knew there were this cool bass line behind the song!
Wait till you find out about the Fender Bass-VI hidden in one of the choruses…
I just recently did a cover of this song and I watched Mark's live stream to learn the "real" bassline.... or so I thought... Yours is 100% the right way. Im going to assume he doesnt play it live the same way because its a difficult lick, and even harder to play while singing. Sometimes its easier to have a live version that sounds BASICALLY the same, but is easier to play so you dont sound like shit on stage. Either way, I guess Im headed back to the studio to re-record the bass now, lol
Haha that's unlucky, but I'm glad it helped you learn how to play it the way it was originally recorded!
Note: the guitar is tuned to Drop D and has a capo on the 2nd fret, probably to push the key up by a whole step for their vocals. It would make sense that Mark just followed suit and did the same.
Wow this is an incredible video! You playing it sounds 100% on the money. I would imagine it’s partly hard to play and sing too. So he just made a way to hack through it live. Great work.
He used the capo on the acoustic bass on I Miss You too as seen during recording on MTV Album Launch so not out of the realms that he was just experimenting with it in the studio on the self titled.
This video literally solved a doubt I had for over years! you are the man! I really hope this video reaches Mark!
Great breakdown!! Super interesting, love your format!
Thanks, I'm glad you thought so!
I think he plays it differently because that way it's easier for him to sing and play at the same time. I know that he only says ''I'm feeling this'' while playing that part, but still.
It’s 1 line, but it’s placed inconveniently, which can be very annoying.
it's also underneath the very last chorus, iirc.
Also the nerves you get playing live makes your hands clench up, especially if you’re moving around a lot
Mark & Tom both play Feeling This in Drop D with a capo on the 2nd fret. I remember watching studio footage of Tom recording Feeling This & saying something about how playing it this way means they all are octave power chords that fit with the open E string being played
So I think he did it for the album versus live. The first full length I made I didn’t realize playing it live is different during the recording process. Basically you plays the guitar parts no need to harmonize unless necessary.
I also noticed he changed bass when he plays this song live. It could be also a custom tuning.
The guitar tabs in the original official guitar book were also drop-d with capo on second fret.
The amount you know about the theory of music and how you apply this to these videos, please make more content , it is helpful thinking about tracking and stuff, loved the video on one more time too
Thanks! I've got a lot more of these types of videos planned for the future!
@@SugarpillProd also, I saw blink 182 live on Sunday in Manchester, on that last chord I believe Tom was playing a D power chord and playing the emo sound with it eg 576,
I mean; the way you played it sounds like how he played it in studio, but live, with the backing tracks and with mark on bass, I don’t think he was playing the A or drop D variation and he’s just going back to the root key note, like a bell note in pop punk, just an observation I made watching the video
Back of one more time we got 🤪
Thank you! You made my morning!
It started off a little bland but your video gave me a huge laugh to think that someone has analysed Mark’s bass playing to this level of detail.
Now the Star Trek fans who learned Klingon don’t seem so crazy.
You have no idea how much of a revelation this was for me after trying to play this riff at full speed right for almost 10 years
Wow. 100% agree it had to be recorded with a capo. This is awesome!
100% accurate! I was thinking the same thing when I first learned this bassline. I’m glad to know I was right! I think Tom has a capo on second too and tunes to Drop D for the guitar. Maybe another video you could do!
Very well content here 👏 I‘m a guitar freak like you and always wondered why he never played this interesting bassline. Sounds so „closing and homecoming“ 😉
Great find! I've definitely recorded stuff that was too inconvenient to play exactly that way live (alternate tunings, multiple guitars etc). All is fair in rock and roll.
That’s exactly right! Tom also played the song tuned to drop d and a capo on the second fret. There’s a video on yt of him recording it
These are really the kind of videos I love on your channel, great job! We're going to ask him 😁
Recording artists do strange things to get that perfect sound. We have to relearn the so gs for live play. Yesterday, I tuned my G string into an A just to I wouldn't hit a buzz note dueing a lick. It was the only string I changed. Haha! Live, I'll just play it barred with my finger.
Great info!Would love to see a video on how new Blink is produced differently than everything since self titled and before. What were they doing to achieve their sound before, and what are they doing differently now? Is it mics, autotune, different equipment?
Unfortunately there's not that much information out there. There are bits and pieces of info scattered about, but no one really knows everything exactly.
But I'd say the big differences from back in their prime to now is that like most bands, they've just embraced newer technology. Records like Enema & Untitled were cut to tape, and recorded in a more organic manner, whereas most things post-reunion have been fully digital. I believe they're using amp sims on the new record too, whereas before they'd use live amps. I'd say it's a fairly standard progression that most bands have evolved into, from the analogue days to the digital revolution.
@@SugarpillProd Great points, guess I just prefer the more organic and analog sound to digital.
Mark probably finds it difficult to play the original bassline on stage with his bass strapped so low + sing the vocal fills at the same time. I know he plays carousel sitting down live which is the most complex bassline he's performed live to my knowledge. Kinda sucks ass because the feeling this bassline is the best part of the song and one of the best blink basslines imo but nobody knows about it because it's so buried in the mix.
Yeah the older I get the more I have to accept the fact that Mark is not the best bass player. Sucks but it is what it is!
I doubt it’s to do with how his bass is strapped, it’s definitely to do with the fact that it would be very difficult to play that bassline and sing at the same time
@@Stonksandstonksagain mark is usually standing playing carousel. Tom is not the best guitarist either, they are both great for punk guitarists/bassists though
Burying this baseline in the mix was Jerry Finn’s greatest sin
@@SonicSega0964he always sits down for the intro since 1994
Another accurate assessment here. Wonderful stuff, my man!
I always thought the reason why he played it different live, was because he couldn't sing and play the bass line at the end.
I love stuff like this. Great video!
Damn I noticed my ears are kinda good recognizing why it's so different live and studio despite it being played the same way
Interesting that you can see Tom (and Matt) clearly using a capo on 2nd fret, but Mark isn't
I've always wondered why Tom plays it with a capo as well. Because I think he's playing in drop D with the capo at the 2nd fret which makes it E, same as standard tuning lol. Would love to hear your thoughts and great video!
Yeah Tom does it for a similar reason to Mark. It's downtuned to D so that when it's capo'd he can hit a low E, but he's also playing the D string open, along with the octave shape. That's why the riff sounds a lot fuller in the recording, as opposed to how a lot of people tend to cover it - by just playing a regular octave.
@@SugarpillProd can confirm... ua-cam.com/video/1kCfqh7TeLA/v-deo.html
@@SugarpillProdthe main riff sounds so full when I drop tune and put the capo. I get octaves and the open string and then the open low e on the end of the riff
I saw the video title and I had a hunch it would be Feeling This.
Tom was capo'd for this song too. I'm assuming its probably better for recording and maybe easier without the capo live
It's weird to me because it's actually far easier to play with a capo - both the studio version and the simplified way Mark currently plays it. I guess we'll never really know, haha.
Cool analysis 😊
one of his best. also the Sunny clip made the video for me.
always loved this bass line, gonna try it out with a capo tomorrow:)
u have a rlly good ear! i never would have picked out the capo use. i imagine he doesnt play it like that live cuz its a bit of a hassle to get a capo out for one song, plus i think they look kinda silly on bass. plus they usually play the song so much faster live so imagine a simpler part would translate better
Thanks! It's definitely a bit of a mystery. It seems odd to me, because he plays "I Miss You" with a capo, so I don't see why he wouldn't with this song too. Some things we'll just never know, haha.
I love when people can dissect and figure how music pieces that make zero sense to us work
I just always assumed he simplified his parts in a lot of songs live to be more functional, unless it’s a featured part
Well done good sir!
F'n love your channel. ❤
Haven't watched the video yet but I'm guessing it's feeling this.
I knew which song it was going to be before I clicked, though I wasn't exactly sure what you were going to say about it.
I wonder why he doesn't use the capo live. Probably for convenience and simplicity. Tom doesn't shy away from capos. In fact, seeing Tom use a capo on stage was pretty inspirational to me. I don't see that very often.
Pissed off, angry, not wanting to talk to each other, Tom's on pain pills and Mark is jealous he isn't in Boxcar Racer and they just want to play fast to get the songs over with blink-182 is my favorite version of the band live. Their songs, to me, sound sick when they play fast and emotional.
Is the open B dead on? Not as if it had been fretted. If it is then he used a six string with the highest string tuned to B in my opinion. Then he just plays the way we all do when he does it live. It would leave almost no fret noise and account for the A being fretted as you said.
Well Tom plays this song with a capo, would make sense for mark to do so as well
Where will we find the background music??? "Feeling This" it sounded like an Anime intro 😂
He does play it in drop D in the actual song. Plays Open D with your first chord, bar chord on fret 4, same chord for your third chord and 5th fret on the D and A string W/ open D string hammer on fret 4 and pull off. You’re welcome. He CLEARLY is playing 3 not chords the whole way through. Clear as day lol.
Tom’s guitar is in drop D with capo on so it makes sense
I don't think the string noise would be much of an issue live. They obviously wanted to minimize it for the record but it's probably not why he plays it differently live now. To be honest it's so hard to hear that bass line in the mix unless you know what to listen for so it's not super crucial to recreate it perfectly and it's a sneaky tricky line to play especially if you have to worry about doing vocals on top it, however simple they may be.
I meant the lack of string noise is an indication that it was likely tracked with a capo in the studio. Of course no one will care about string noise live, haha.
yea seems like an odd decision to have the bass track so incredibly low in the studio mix
First time I’ve ever heard of capo being used on bass.
how about "I miss you"? Mark ALWAYS plays it with a capo at 2nd fret
@@augustrush6957 yeah I can hear it. Then again I’ll have to be hands on and play it myself.
You don’t need a capo to play what he’s playing. I realized that he played this from playing it on Rock Band years ago and you can play it without the capo.
I think he doesn’t play that line live because he has to sing at the same time and that’s kind of a hard one for him.
Technically you'll be one note off without it, as you need the capo to play the B note (which would be an open A without one).
@@SugarpillProd you can play the b note on the third string though
@@papiiguapo7317 I mean the low B note. You can still play it, it just makes the fretting more awkward without one.
What do you use for your tone? Would you make a video of it?
It's just my usual Axe FX preset. I few people have asked if I'd do a video on it, but I feel like it's not very helpful to the 99% of my audience that presumably don't own one, haha.
He doesn’t use the capo live because after the verse he’s gotta hit that open E
Yeah but the part is downtuned to D, so that would make it E with the capo.
My take here is because it’s harder to play it live and he’s backing up Tom. He’s just making his job easy.
There’s no way he’s playing it wrong because it’s his song
I'm just saying he's objectively playing something different from the recorded version.
Great video. That’s been bothering me for a long time so thank you for the lesson and thank you for dvda 😂 Has mark ever replied to this in any way? What did he say? He’s pretty critical of his playing .
Thanks, now you're a mawn!
I'm not aware of him ever seeing it - though I'm not active on most of the sites he is (like Twitter, Instagram, etc) so I wouldn't know unless someone told me he did, haha.
Holy fuck I never even considered playing this with a capo
🤯
What version of the song is used in the background in this video?
It was a chiptune version I made years ago.
@@SugarpillProd Do you have an upload of it somewhere? I come back to this video sometimes to listen to it lol
@@nichasatummyache2510 I think it's still up on my bandcamp. If you search my channel name on there, you should be able to find it.
Is the drop d necessary? It doesn't look like the low e is used? You are strumming quite fast so i could be wrong 😅
You need to drop the E string to D because the chorus starts on a low E. If you capo without down tuning you won't have the low E note anymore.
How you get the tone of the bass?
It's just my usual Axe FX preset, which is a combination of an SVT & Orange amp heads.
There are several videos of him playing this song live with a capo
Link?
How do you get that bass tone?
I break it down in this video here - ua-cam.com/video/Dr6kQQLbFHA/v-deo.html
Wish fulfilled. I love you...
MAWN!
Could it be a punch-in or a comped performance?
i think you're almost on the money, but i believe it's just 2 bass tracks, they were layering every instrument those days
They double the bass during the chorus - if you count a VI as a bass track anyway. The verse riff is definitely just one take though.
Mark tends to double root note parts with chords, I think it'd sound a little messy if you did the same with an arpeggio.
I think in the first of the three live videos there is a silver capo on there...
On Tom's guitar, not Mark's bass - which this video is about lol.
@@SugarpillProd no - look close in the first video - Tom has a black one, Mark I am sure has a silver one. I'll keep an eye out I a couple of weeks when I see them too :)
@@timsbird1971 The clip is taken from this video - ua-cam.com/video/f0BJp5FeV2M/v-deo.htmlsi=aaL3OPPr1apS7Idc
He's definitely not using a capo haha.
@@SugarpillProd indeed - it must have been the angle or something of the little clip - I did say "I think"...
Haha no worries ✌
I always thought he did! Because Tom always capos on that song!
Aquelas coisas que sao gravadas de um jeito e tocadas no show de outro. Green day e a minority. O Mike toca bem marcado no cd e no show ele toca em semínima mesmo.
HEAR ME OUT! what if he's using a pitch shift pedal and shifting up 2 semi-tones? Like a Dunlop "drop" pedal which is more commonly used in metal to down tune on the fly!
I'm feeling this
Incredible work
Classic!
This has got Jerry Finn's fingerprints all over it.
They capo a lot of studio parts, but play them open live. It's unsurprising
I need to know. How the hell do you learn blink bass by ear I can't hear over the damn guitar 😅
You might just not be used to picking up on bass in recordings yet. It does take your ear a while to get used to it, but you'll get there eventually. To me, the bass is actually mixed pretty high in their recordings - or at least on Enema & Take Off it certainly is.
Admittedly the bass is mixed fairly low during the verses on this song though. I can hear it, but it's a bit of a struggle to hear every note that Mark's playing.
after you start playing bass all songs are ruined because you're only looking for the bass line of all songs
Tom 100% has a capo on 2 for this song
The song "always" also has a great bass line in the chorus, it loses a lot live
When I did my cover that’s what I did. Easier to play and it sounded better.
Lots of overanalysing in the comments. He plays the watered down version live as it’s easier to play whilst singing and as he played the song this way hundreds of times he’s forgotten the studio version differs to the way he now plays it. Done and dusted. Next.
Also Tom uses this guitar tuning and has a capo on the same track, so it makes sense 🤟🏼
Look, I don't make the rules, but... Mark Hoppus is absolutely allowed to cheat.
Haha I don't think using a capo in this instance is cheating anyway. It makes sense compositionally for the song, same as Tom using one on the guitar.
how tf did you get the stem wtf lol
Mark famously hates string slide sound.
2003 was prime
I’m guessing it’s Feeling This?
Without a capo why can't he just tune to it?
could the song be sped up slightly in the studio?
nevermind. haha
Some of this was like Chinese language to me but very interesting 😁 Great ear.
imagine saying the guys who wrote the songs are wrong lol
I'm not saying he's wrong as such, just that he's objectively not playing the part the way it was originally recorded lol.
Claiming the person who wrote the song is playing incorrectly doesn't make much sense to me. If he wrote it it's his to change, who are we to call it wrong?
I'm just saying it's objectively different from what he plays in the studio version 🤷
Literally theres photo and video evidence of them using capos on this album lol
To my knowledge there isn't anything regarding the bass tracking to this specific song. There's a video of Tom recording the guitar riff for "Feeling This", and one of Mark tracking the bass on "I Miss You". However, If you do have any evidence of this, I'd love to see.
I don't understand how Mark occupies a capo in I Miss You and not in this one, I Miss You can be played perfectly without a capo but Mark is lazy and looks for the easiest way to play.
I can't say I agree. The point of the capo in I Miss You is because of the key they're in. The F# essentially becomes the open E, so if you're not using a capo, you'll have to make a very difficult stretch from the 2nd to the 6th throughout the song.
I miss you was originally recorded on double bass
@@IceBreakBottle I think it was actually an acoustic bass. A lot of people think it was a double - because of the video - but there's a video of Mark recording it, and he's playing an acoustic bass with a capo.
so I've never played this right, okay.
Hahaha me neither, but honestly i stopped caring about accuracy to the recording a long time ago, as long as I have the correct notes I'm fine.