Editing Enema of the State (section)

==Recording and production==
===Pre-production===
[[File:SANDIEGODAY1.JPG|thumb|right|''Enema of the State'' was partially recorded in the band's hometown of San Diego, seen here in 2005.]]
MCA gave the band its first professional recording budget, and Blink-182 began work on ''Enema of the State'' in October 1998.<ref name="americanpie">{{cite web |author=MTV News staff |url=https://www.mtv.com/news/aheu8w/blink-182-lands-role-in-new-coming-of-age-film |archive-url=https://web.archive.org/web/20240412003725/https://www.mtv.com/news/aheu8w/blink-182-lands-role-in-new-coming-of-age-film |url-status=dead |archive-date=April 12, 2024 |title=Blink 182 Lands Role in New Coming-of-Age Film |publisher=MTV News |date=September 17, 1998 |access-date=June 1, 2010}}</ref><ref name="p91"/> The trio had not been in a studio in two years and were anxious to record new material. Blink-182 returned to DML Studios to write new songs, where the band had previously spent time writing songs for their second record, ''Dude Ranch''.<ref name=p91>{{harvnb|Hoppus|2001|p=91}}</ref> The three spent much more time in the studio than on previous records, allowing them to try many different things.<ref name="party">{{cite web |title=blink-182: Party All the Time |author=MTV News staff |publisher=MTV News |url=http://www.mtv.com/bands/archive/b/blinkfeature99.jhtml |access-date=July 1, 2011 |archive-url=https://web.archive.org/web/20121107115911/http://www.mtv.com/bands/archive/b/blinkfeature99.jhtml |archive-date=November 7, 2012 |url-status=dead}}</ref> Barker would drive down each day from [[Riverside, California|Riverside]] to take part in the writing process. Very satisfied with the results, the band completed writing in two weeks.{{sfn|Barker|Edwards|2015|p=123}} Though Barker helped write the songs on ''Enema of the State'', only Hoppus and DeLonge received songwriting credits, as Barker was technically a hired musician, not official band member.{{sfn|Barker|Edwards|2015|p=119}} Don Lithgow, owner and operator of DML Studios, said in 2001 that the trio's celebrity had increased considerably since the last time: "[It] was different than their other sessions&nbsp;— girls hanging around outside, calling their friends on [[cell phones]]. All the kids wanted autographs.&nbsp;... They'd unlock the doors and let kids into the studio, which most bands would never do."<ref name="p91"/> Due to the success of ''Dude Ranch'', the MCA label and band management had high expectations.{{sfn|Barker|Edwards|2015|p=119}}<ref name=p92>{{harvnb|Hoppus|2001|p=92}}</ref>

===Recording===
To record ''Enema of the State'', Blink-182 turned to punk rock producer [[Jerry Finn]], who previously worked on [[Green Day]]'s breakthrough album, ''[[Dookie (album)|Dookie]]'' (1994). Hoppus and DeLonge were impressed with his work when they recorded "[[Mutt (Blink-182 song)|Mutt]]" for its placement on the ''[[American Pie (film)|American Pie]]'' soundtrack. Finn was harder on the trio to record better takes, and Hoppus credited Finn with knowing a great deal about punk rock music, but also helping the band establish a more pop-inspired sound.<ref name="totalguitar"/><ref name="p92"/><ref name="secret">{{cite web |first=Brian |last=Wallace |url=https://www.mtv.com/news/3qsyue/blink-182s-secret-of-success-they-write-for-fans |archive-url=https://web.archive.org/web/20240412000318/https://www.mtv.com/news/3qsyue/blink-182s-secret-of-success-they-write-for-fans |url-status=dead |archive-date=April 12, 2024 |title=Blink-182's Secret Of Success: They Write For Fans |publisher=MTV News |date=July 16, 1999 |access-date=July 1, 2011}}</ref> Finn came with an array of amps, effects and equipments; previously the band were forced to rent such equipment.<ref name=shooman63>{{harvnb|Shooman|2010|p=63}}</ref> For Barker, the album was "fueled by [[black coffee]] and [[Marlboro Lights]]"; he was hopeful for the album as the band were well-rehearsed and no time would be wasted.{{sfn|Barker|Edwards|2015|p=119}} According to Barker, the album's title stemmed from DeLonge, who was worried about his diet at the time and using enemas.{{sfn|Barker|Edwards|2015|p=124}}

The recording process for the album was completed over a period of four months, and production was handled at several production facilities in southern California, including [[Signature Sound]] and Studio West in [[San Diego]], Big Fish Studios in [[Encinitas]], and [[Conway Recording Studios]] and [[Bomb Factory Studio|The Bomb Factory]] in [[Los Angeles]].<ref name="totalguitar"/><ref name="linernotes"/> The first step was to record drums, which were tracked at [[Chick Corea]]'s Mad Hatter Studios in L.A. in January 1999.<ref name="p91"/> The band had so much fun with Finn that there were days when very little work was accomplished: "Recording can get pretty monotonous, but at least we could laugh with Jerry," recalled Hoppus. "A pretty typical day would involve multiple takes for one part of one song, and then everyone would get naked and jump on Jerry."<ref name=p95>{{harvnb|Hoppus|2001|p=95}}</ref> The band chose "never to work with anyone else again," and Finn would produce their next three releases.<ref name="p95"/><ref name="jerry">{{cite news |url=https://www.mtv.com/news/s4twfy/blink-182-afi-producer-jerry-finn-dead-at-39 |archive-url=https://web.archive.org/web/20221023090619/https://www.mtv.com/news/s4twfy/blink-182-afi-producer-jerry-finn-dead-at-39 |url-status=dead |archive-date=October 23, 2022 |title=Blink-182, AFI Producer Jerry Finn Dead At 39 |first=Chris |last=Harris |date=August 25, 2008 |publisher=MTV News |access-date=January 22, 2013}}</ref>

At the end of recording, Finn suggested they utilize keyboardist [[Roger Joseph Manning, Jr.]], best known for his work with [[Beck]]. Hoppus was initially reluctant, noting that most of the band's fans up to that point were hardcore punk rock fans that might not be receptive to keyboard parts. In the end, the group were open to his inclusion: "They welcomed all my ideas and they were super supportive and that's why it was so much fun working with them," Manning later remembered.<ref name="ringer">{{cite web |url=https://www.theringer.com/2019/07/31/music/blink-182-enema-of-the-state |title=Don't Grow Up, Blow Up: The Rise of Blink-182 |first=Alan |last=Siegel |website=[[The Ringer (website)|The Ringer]] |date=July 31, 2019 |access-date=July 31, 2019 |archive-url=https://web.archive.org/web/20190731195305/https://www.theringer.com/platform/amp/music/2019/7/31/20747150/blink-182-enema-of-the-state |archive-date=July 31, 2019 |url-status=live}}</ref> Recording completed in March 1999 and all parties involved were pleased with the results. "When it was done, we were so stoked. It was like a masterpiece for our band," remembered DeLonge.<ref name="p95"/> "We knew this was going to be the best thing we ever did."<ref name="p92"/> Hoppus felt the band achieved the purest, cleanest sound on the record that they had been striving for. Finn felt similarly, proud of his work on the record and believing in retrospect that the album would appeal to the masses.<ref name="p95"/> "The Party Song" was the final song to be completed, and the three were mixing the song coincidentally when lead single "What's My Age Again?" premiered on Los Angeles-based radio station [[KROQ]].<ref name="tourprogram4"/> In 2013, Hoppus referred to ''Enema of the State'' as "the heart of Blink-182's musical sensibilities," singling out "its simplicity, its purity, its singularity of purpose between the three of us."<ref name="linernotes2">{{cite AV media notes |title=Take Off Your Pants and Jacket (2013 Vinyl Reissue) |year=2013 |work=[[Blink-182]] |type=liner notes |publisher=Geffen / Universal Music Special Markets |location=[[United States|US]] |id=SRC025/SRC026/SRC027/SRC028 |quote=This reference primarily cites the Mark Hoppus foreword.}}</ref>

===Technical===
From a technical perspective, ''Enema of the State'' sounds glossier than other pop-punk albums of its era. As the album was recorded on [[analog recording|analog tape]], the trio put enormous trust into Finn to give the record the polished pop sound they wanted, recalled DeLonge in 2012.<ref name="totalguitar"/> DeLonge recorded the album on [[Fender Stratocaster]], with his tone achieved through a [[Mesa/Boogie]] [[Triple Rectifier]] amplifier. In a September 1999 ''Guitar Player'' article, DeLonge outlined his intentions: "I'm the kind of guitarist that wants the biggest, fattest, loudest, sound he can get."<ref name="guitar">Prown, Pete & Sharken, Lisa (2003). ''Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players''. Milwaukee: Backbeat Books, p. 104-05. First edition, 2003.</ref> Barker used 12 different [[snare drum]]s on the album, rented from [[Orange County Drum and Percussion]] (OCDP). Finn disliked Barker's tendency to tune up his snares, which he felt sounded like [[popcorn]], so Barker for the most part tuned them down during recording for a bigger, tougher sound.<ref name="h722"/> Mike Fasano, of OCDP, sat in for Barker during the tuning period, due to his dislike of Finn's meticulous microphone placement process. Barker recorded the majority of his drum tracks in eight hours,{{sfn|Barker|Edwards|2015|p=123}} without headphones. While later Blink records were recorded with a [[click track]] to ensure timing, ''Enema'' was recorded live.<ref name="Apple Podcasts 2024 c777">{{cite podcast |host=[[Rick Rubin]]|title=Tetragrammaton with Rick Rubin: Travis Barker |website=Apple Podcasts |publisher=Tetragrammaton LLC |date=February 17, 2024 |url=https://podcasts.apple.com/gb/podcast/travis-barker/id1671669052?i=1000645277570 |access-date=February 17, 2024}}</ref> Finn was impressed—he had been matching the songs to a click in the control room, but found Barker stayed on meter reliably well.<ref name="h722"/> Barker kept attempting to tease Finn by sneaking in [[vibraslap]]s, which Finn hated.{{sfn|Barker|Edwards|2015|p=123}}

All of the vocals were recorded with [[Blue Microphones|Blue]]'s Bottle [[condenser microphone|condenser tube microphone]],<ref name="eq01">{{cite news|title=Bonazi Beat: Jerry Finn, Topping the Charts with Green Day and Blink-182|work=EQ|author=David Goggin|date=September 2001}}</ref> which Finn recommended.<ref name="v822">{{cite web | last=Astley-Brown | first=Michael | title=Mark Hoppus is selling a load of classic Blink-182 gear | website=MusicRadar | date=July 3, 2019 | url=https://www.musicradar.com/news/mark-hoppus-is-selling-a-load-of-classic-blink-182-gear | access-date=June 8, 2024}}</ref> DeLonge focused on clean and correct vocal takes, trying to sing as best he could. He later felt it was to the record's detriment, as he felt the performances were too processed instead of authentic.<ref>{{cite AV media |people=Perry, Rachel; DeLonge, Tom |date=2001 |title=blink-182 Exposed|publisher=[[MuchMusic]]}}</ref> For bass guitar tracks, Hoppus has said that he used [[Fender Precision Bass|Fender Precision]] and [[Fender Jazz Bass|Jazz Basses]], as well as a [[Music Man StingRay]] (the latter of which he was accustomed to at the time). He eventually gravitated towards the Fender basses, as he and Finn agreed that they sat in the mix better.<ref>{{cite web | url=https://gc.guitarcenter.com/interview/markhoppus/ | archive-url=https://web.archive.org/web/20140427000200/https://gc.guitarcenter.com/interview/markhoppus/ | archive-date=April 27, 2014 | title=Interviews - Guitar Center }}</ref> Hoppus later said in 2021 that he preferred the Fender basses and felt that the StingRay sounded too "clanky".<ref>{{Citation |title=The Reason Why Mark Hoppus Stopped Using Ernie Ball Stingray Basses | date=August 13, 2021 |url=https://www.youtube.com/watch?v=y_ba2DlRW78 |access-date=2023-11-08 |language=en}}</ref>

For [[Tom Lord-Alge]], the main mixing engineer on the album, the band had one goal: "Make it sound as aggressive as possible."<ref name="ringer"/> Lord-Alge's mixes were completed at his space, South Beach Studios, located in [[Miami]], [[Florida]].<ref name="linernotes"/> Some of the drum sounds were [[Trigger (drums)|trigger]]ed by Lord-Alge during the mixdown process.<ref name=drum01>{{cite magazine| author =Waleed Rashidi | date = August 1, 2001| title = Blink-182's Travis Barker: "I'm Not Just a Punk Drummer"!|magazine= [[Modern Drummer]]|pages=62–74|volume= 25|issue=8| publisher =Modern Drummer Publications, Inc.| location =[[New Jersey]] | issn =0194-4533 }}</ref> Lastly, the album was mastered by [[Brian Gardner]] at [[Bernie Grundman|Bernie Grundman Mastering]] in [[Hollywood, Los Angeles|Hollywood]].<ref name="linernotes">{{cite AV media notes |title=Enema of the State |year=1999 |work=[[Blink-182]] |type=liner notes |publisher=[[MCA Records]] |location=[[United States|US]] |id=MCD 11950}}</ref> With a runtime of 35 minutes and 17 seconds, ''Enema of the State'' is Blink-182's shortest album to date.