Editing Take Off Your Pants and Jacket (section)

==Recording and production==
===Pre-production===
The band began pre-production in December 2000, using ideas they had been developing on the road over the past year.<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> DeLonge joked to a [[BBC]] reporter that the material may not be so fresh: "About this time in our careers we start running out of guitar riffs and ideas, so we start pulling out of the archives," he laughed.<ref name="bbc01"/> They recorded [[Demo (music)|demos]] at DML Studios, a small practice studio in [[Escondido, California]], where the band had written ''[[Dude Ranch (album)|Dude Ranch]]'' and ''Enema of the State''.<ref name="linernotes1"/> The group had written a dozen songs after three weeks and invited their manager, Rick DeVoe, to be the first person outside Blink-182 to hear the new material, which the band found "catchy [but with] a definitive edge".<ref name="mtv"/><ref name="linernotes1"/><ref name="Kerrang05"/> DeVoe sat in the control room and quietly listened to the recordings, and pressed the band at the end on why there was no "Blink-182 good-time summer anthem [thing]". DeLonge and Hoppus were furious, remarking, "You want a fucking single? I'll write you the cheesiest, catchiest, throwaway fucking summertime single you've ever heard!"<ref name="f485"/> Hoppus went home and wrote lead single "[[The Rock Show]]" in ten minutes, and DeLonge similarly wrote "[[First Date (Blink-182 song)|First Date]]", which became the most successful singles from the record and future live staples.<ref name=Kerrang05>{{cite magazine| author =Nichola Browne | date = November 20, 2005| title = Punk Rock! Nudity! Filthy Sex! Tom DeLonge Looks Back On Blink-182's Greatest Moments|magazine= [[Kerrang!]]| issue = 1083| publisher = [[Bauer Media Group]]| location =London | issn =0262-6624 }}</ref> Hoppus likened it to "anti-thought", with the goal of not overthinking it — simply making something friendly and enjoyable for a wide audience. "In a way, they ended up being the most fun," he conceded.<ref name="f182"/>

The three worked on the arrangements for those two songs at Barker's [[Famous Stars and Straps]] warehouse.<ref name="n590">{{cite web | last=Greene | first=Andy | title=How Blink-182 Stopped Fighting and Overcame Years of Bad Blood | website=Rolling Stone | date=October 11, 2011 | url=https://www.rollingstone.com/music/music-news/members-of-blink-182-discuss-overcoming-years-of-acrimony-243046/ | access-date=June 4, 2024}}</ref> Barker also proposed being promoted to official partner in the band; prior to 2001, he had been considered a touring musician only, and while he had arranged the songs on ''Enema'', he received no [[music publishing|publishing]] [[Residual (entertainment industry)|residual]]s. Hoppus and DeLonge obliged — they wanted his input on songwriting.{{sfn|Barker|Edwards|2015|p=157–58}} Finn came into the process during the last week of pre-production, and was very fond of Barker's drum parts, which the other musicians found unconventional and "algebraic".<ref name=drum01/> Barker remembered going into the process was intimidating but exciting: "We had a lot more pressure on that album than we did before, when nobody seemed to be paying attention. We had this huge success, but that just made us feel like we had something to prove. Instead of saying, 'Let's write some simple songs that will be huge,' we thought we'd try something more technical and darker. We wanted to be taken seriously, and we wanted to challenge ourselves."{{sfn|Barker|Edwards|2015|p=157–58}}

===Recording===
[[File:Exterior of 6000 Sunset Boulevard, Los Angeles.jpg|thumb|Some of ''Take Off'' was recorded at [[Cello Studios]] off [[Sunset Boulevard]] in [[Hollywood, Los Angeles|Hollywood]].]]
''Take Off Your Pants and Jacket'' was recorded between December 2000 and March 2001. The band began proper tracking for drums not long after pre-production at Larrabee Studios West and Cello Studios in [[Hollywood, Los Angeles|Hollywood]].  The working relationship with producer [[Jerry Finn]] had been so fruitful that the same team was largely engaged for ''Take Off Your Pants and Jacket'', with Finn producing and Joe McGrath engineering.<ref name=shooman82>Shooman, 2010. p. 82</ref> Barker recorded his drum parts in "two or three days" while DeLonge and Hoppus watched television upstairs.<ref name="linernotes1"/> Barker recorded the songs from memory with no [[Scratch track (studio recording)|scratch track]]s, largely in one [[take]];<ref name=drum01/> ''Take Off'' was the first time he enabled a [[click track]] while recording to ensure timing.<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=17 February 2024 |url=https://podcasts.apple.com/gb/podcast/travis-barker/id1671669052?i=1000645277570 |access-date=17 February 2024}}</ref> When the drums were finished, the band returned to San Diego to record the majority of ''Take Off Your Pants and Jacket'' at Signature Sound, where they had also recorded its predecessor. While the band worked with few days off, the sessions also proved to be memorable: "We took long dinner breaks, ate Sombrero burritos, watched ''[[Family Guy]]'' and ''[[Mr. Show]]'', and laughed way too hard," said Hoppus.<ref name="linernotes1"/> When MCA Records executives traveled to San Diego to hear the highly anticipated follow-up, the trio only played them joke songs—"Fuck a Dog" and "When You Fucked [[Hitler]]" (the subject of which later changed to a grandfather)—and the team responded incredulously: "[they] lost it," said DeLonge.<ref name=totalguitar>{{cite journal|date=October 12, 2012 |title=Tom DeLonge talks guitar tones, growing up and Blink |journal=[[Total Guitar]] |publisher=[[Future Publishing]] |location=[[Bath, Somerset]] |issn=1355-5049 |url=http://www.musicradar.com/news/guitars/tom-delonge-talks-guitar-tones-growing-up-and-blink-565422 |access-date=October 13, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20121212085024/http://www.musicradar.com/news/guitars/tom-delonge-talks-guitar-tones-growing-up-and-blink-565422 |archive-date=December 12, 2012 }}</ref><ref name="toronto1"/> MCA put pressure on the band to maintain the sound that made ''Enema of the State'' sell millions; as a result, DeLonge believed the album took no "creative leaps [or] bounds."<ref name="totalguitar"/> As such, DeLonge felt creatively stifled and was privately "bummed out" with the label's limitations.<ref name="totalguitar"/><ref name=shooman94>Shooman, 2010. p. 94</ref>

In 2013, Hoppus referred to ''Take Off Your Pants and Jacket'' as the "permanent record of a band in transition&nbsp;... our confused, contentious, brilliant, painful, cathartic leap into the unknown."<ref name="linernotes1"/><ref name="av13"/> The creative struggle was evident from the outset. Hoppus loved everything regarding ''Enema of the State''—including the music videos and live show—and "wanted to do it again," hoping to create a bigger, better and louder follow-up.<ref name="linernotes1"/> DeLonge's guitar style was becoming dirtier and heavier; [[Arpeggio|Arpeggiated]] guitar hooks became frenetic 1/16th note spasms," observed Hoppus.<ref name="linernotes1"/> Meanwhile, drummer Travis Barker's were  imbued a sense of [[hip hop]] and [[Heavy metal music|heavy metal]] into his technique.<ref name="linernotes1"/><ref name="av13"/> Hoppus felt his lyricism was largely darker and more introspective: "love songs became broken love songs," he remembered.<ref name="linernotes1"/><ref name="av13"/> DeLonge rewrote some of his lyrics after listening to songs by [[Alkaline Trio]], feeling as though he needed to elevate himself.<ref name=audioboom>{{cite video |people = [[Matt Pinfield|Pinfield, Matt]] (Interviewer); Hoppus, Mark (Interviewee) |date = June 2, 2016|title =Mark Hoppus Talks Fatherhood, Alkaline Trio, and the all-new Blink-182 |url=https://audioboom.com/boos/4646873-mark-hoppus-talks-fatherhood-alkaline-trio-and-the-all-new-blink-182|format = mp3 |medium = Podcast|publisher = 2Hours with Matt Pinfield. [[audioBoom]] |access-date = June 2, 2016|archive-url = https://web.archive.org/web/20160603023427/https://audioboom.com/boos/4646873-mark-hoppus-talks-fatherhood-alkaline-trio-and-the-all-new-blink-182 |url-status = dead |archive-date=June 3, 2016}}</ref> Hoppus remembered that it was the first time the three had worked in opposition to one another, and noted that the sessions sometimes prompted arguments.<ref name="av13"/><ref name="u243">{{cite web | title=‘Take Off Your Pants And Jacket’: Underneath blink-182’s Enticing Invitation | website=uDiscover Music | date=June 12, 2023 | url=https://www.udiscovermusic.com/stories/rediscover-take-off-your-pants-and-jacket/ | access-date=June 4, 2024}}</ref> He felt that the sessions created an unspoken competition between him and DeLonge, between who could write the superior lyrics: "Our confidence and insecurity begat some heated differences, sometime to the point where we had to leave rooms and cool down," he said in 2013.<ref name="linernotes1"/> Finn helped to resolve these situations by offering fresh insights and good humor.<ref name="linernotes1"/>

The band wrote two more songs in the studio; for these songs, Barker [[Loop (music)|looped]] and filtered his parts and recorded the live drums after the fact.<ref name=drum01/> One of these songs became the single "[[Stay Together for the Kids]]", which was developed only one day before the album was turned over for mixing.{{sfn|Barker|Edwards|2015|p=157–58}}

===Technical===
The engineering and post-production team behind ''Jacket'' remains largely unchanged from its predecessor. Finn and McGrath, exacting in acquiring the best sound, took two days to assess [[Microphone practice|microphone placement]], different [[Gain compression|compressors]], and shifting [[Equalization (audio)|EQs]] before committing Barker's drums to tape.<ref name="linernotes1"/> Barker had technician Mike Fasano sit in and complete the drum tuning because he disliked waiting for Finn and his team.<ref name=drum01/> It was the last Blink album recorded on analogue tape; their [[Blink-182 (album)|next effort]] involved the emerging [[Pro Tools]] software.<ref name="kr">{{cite AV media |date=October 28, 2011|title=Kerrang! Radio: Matt Stocks Meets Mark Hoppus From Blink-182 (Part 2)|medium=[[Streaming video]]|url=https://www.youtube.com/watch?v=kxgDibGEtx8|access-date=January 5, 2016|publisher=[[Kerrang!|Kerrang! Radio]]/YouTube }}</ref> On the technical side, 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> DeLonge augments his guitar setup with [[chorus pedal]]s, [[flanger]]s and delays – "just really light, tasteful touches", he felt.<ref name=totalguitar/> Barker used a variety of [[snare drum]]s in his process, which he [[drum tuning|tuned]] tightly to his liking; the album uses brands like [[Ludwig Drums|Ludwig Coliseum]] and [[Brady Drum Company|Brady]], and many came from [[Orange County Drum and Percussion]]. He liked using different snares to match what he felt the song required. To that end, the team rented a [[Tama Drums|Tama]] snare called "Big Red" that [[Guns N' Roses]] used to make "[[November Rain]]".<ref name=drum01/>

According an ''EQ'' piece published after the album's release, Finn was so meticulous in quality that he [[A/B test]]ed [[speaker wire]] from an independent [[High fidelity|hi-fi shop]].<ref name="eq01"/> Hoppus grew wary of the painstaking approach: "You go out and spend [hundreds of thousands of dollars] on the best recording equipment in the world just to record onto tape how bad of a musician you really are."<ref name="bbc01"/> [[Roger Joseph Manning, Jr.]] returns to add keyboard parts, while [[Tom Lord-Alge]] served as the [[mixing engineer]], which was conducted at Encore Studios in [[Burbank, California|Burbank]]. He typically worked out of his Miami space, but the band had him mix the album in California instead.<ref name=drum01/> The band also returned to work with [[Brian Gardner]] at [[Bernie Grundman|Bernie Grundman Mastering]] in [[Hollywood, Los Angeles|Hollywood]].<ref name="linernotes1"/> A writer for ''EQ'' magazine profiling Finn was present at the mastering session and characterized the atmosphere as "easygoing, the band was relaxed."<ref name="eq01"/>