Still Squawking!

Hello, and welcome back to Squawk Talk! I am your host (sorry, couldn't resist), Cole Millward!

What a busy few months it has been. School started back around the middle of August and my supply of time has been severely shortened. Still, my musical education is a good cause so no complaints from me! In addition, the recording sessions of my band's new EP have been coming to a head, and as the primary producer and recording engineer of the project, I have found plenty to work on in what time I have. So I have been taking a slight break in the production of my first Hairy Parrot EP, but now that the heaviest part of the band recording workload is finished, my attention is turning back to my own solo project.

Having gotten my hands on a new amp modeler and effects processor (the Line 6 Pod HD500), and for the sake of sound quality on the EP, I have decided to go back over Do Math!, Elephants, The Host, and songs 4 & 5 and re-record and re-mix guitar tracks. I find that the amp modeling on the HD500 is much more realistic than on the Boss GT100, why not use it to make the EP sound as good as possible? A slight setback, but I think you'll find it will sound so, so much better.

Further updates will follow! I shall keep you apprised of goings-on to the best of my ability!

Cole Millward

Recording Hairy Parrot: Music to Ride Elephants to, The Host

Greetings once again friends, listeners, and people who stumbled upon this blog by mistake! If you've been watching Hairy Parrot's activity online in the past month, you will notice that I just released a new song a few days ago (and that I haven't posted an entry since the beginning of the month, but lets not dwell, right?). The new song is called "The Host," which brings me to three total original songs that I have released for public enjoyment. The new song (as well as Do Math!, Music to Ride Elephants to, and my Stargate SG-1 themesong cover) can be found on the Band Profile tab on the Hairy Parrot Facebook page, the Hairy Parrot Reverbnation page, and my personal Soundcloud page. So for example, if you have a personal vendetta against Facebook (not sure why you would), you have an ample number of other options! Which means you have no excuse.

I would actually like to go into a bit more detail about the process of writing and recording Music to Ride Elephants to (just Elephants for short) and The Host. Why not Do Math!? No point really, it was the first thing I recorded when I got my 8 string guitar. Not a real complicated process for that one.

Even though Do Math! preceeded it, I consider Elephants to be the first real Hairy Parrot song. Stylistically, I wanted it to include the rhythmic complexities that I have come to enjoy so much, as well as a melodic element taken from my love of more traditional progressive metal music. I employed a "record-as-I-write" method that involved recording each section of the song as it was written, rather than writing the whole song and THEN recording it. Since I have the convenience of keeping all my instrument settings exactly the same, I was able to record a couple sections one night, come back to it the following night, and none of my recording settings would have changed. Once I had the drums, bass, and guitar for the entire song completed, I looked very closely at the song and, using virtual instruments (choirs, strings, various synths, etc.) I filled out the song with flavorful embelishments. Only after all this was finished did I start to think about lyrical ideas, as well as who I might want to sing and/or play a guitar solo on the song.

After some experimentation, I decided on my friend from school (and now fellow bandmate) Mikey Marrero to do the vocals, even though his primary instrument is guitar. I felt that his voice most accurately suited the range that the song demands, as well as the right timbre to mix well with the rest of the instruments. For the guitar solo, I asked Anthony Basini (also a friend from school) to write one that he felt would suit the section I gave him. He came at it from a very unique approach, telling me he wanted to make a guitar solo that sounded like animal noises.

Writing The Host was a process that drew upon a more extreme example of one of my influences: Meshuggah. I litterally started writing The Host by thinking, "I want to make a song that sounds exactly like Meshuggah." It was much more difficult than I imagined, not because the rhythms were difficult to write and record, but because I am still too drawn to the presence of a melodic aspect, something that Meshuggah rarely, if ever, employs. Because of that, the pre-choruses in the song still bear some semblence of melody, even if it is just bluesy. I used the same recording method, recording as I wrote, following the complete structure with some programmed, virtual instrument spice (in particular, I like the dancy synth I used during the pre-choruses ), and then started thinking about lyrics. In line with the Meshuggah theme, I wanted the lyrics to be dark and scary, with the vocals to match. I knew I wanted to record growls for most of the song (which I did, but which is not representative of all future songs), but found myself facing a certain difficulty when deciding what to do about the clean vocals. I considered having a guest sing them, but it just seemed like there were too few spots to justify inviting someone to do it. So I tried it myself! Not something I plan on doing for future Hairy Parrot songs, mind you... I gave myself a headache recording those spots...

But The Host is finished now, and it is live, as I said! I have two more songs left to have vocals recorded for (both will feature guest vocalists and guitar soloists) and release. When those two are finished as well, then I shall release all five (Do Math!, Music to Ride Elephants to, The Host, song 4, and song 5) as the first ever Hairy Parrot EP. Be on the lookout for the next one!

Here are the links to where you may listen to my currently available recorded songs:
https://soundcloud.com/#cole-millward

http://www.facebook.com/#!/HairyParrot/app_2405167945

http://www.reverbnation.com/hairyparrot?page_view_source=facebook_app

Cole Millward

Not Unlike the Proverbial Progress Bar

Here begins a progress update on the... well, progress of Hairy Parrot and S.I.Q. I've been hard at work making some headway on the plans for forthcoming activity of both entities, and I must say... Lots of fun lies in the near future. 

So lets start with Hairy Parrot, the project about which I can share the most information! Obviously, I have already released three songs: Do Math! and Music to Ride Elephants to (both originals) and Djentgate SG-1, a Djent cover of the Stargate SG-1 theme song. I will be releasing three more songs in the close future, all originals. The first two originals plus these three will make up a complete EP, which I will be releasing for FREE for a full month, after which I will charge $5. All these songs are already recorded (save for guest vocals and solos). I am also already making plans for a second EP as well as a cover or two (which will occur after a slight change in gear). It is unlikely, however, that HP EP 2 will be created nearly as quickly as the first, as me fifth semester of college begins in two weeks. 

As for S.I.Q., all I can say is it is not S.I.Q.  anymore, and we are creating music together to that end. Wish I could say more about it, but I can't! Sorry!

I think that's all for this little progress update. It's a short entry for once!

Cole Millward

An Argument for the Case of Djent

Welcome weary Internet travelers! Please, have a seat by the warm virtual fire and join me in a friendly discourse about Djent. 

...Aaand that would be a surefire way to frighten off any houseguests. 

But seriously, in this entry, I am going to bare my philosophical armpit (aka my opinion) about whether or not Djent, a popular style of modern metal, can be given the title of genre. 

But first, a brief definition and explanation of the word. "Djent" is an onomatopoeia that refers to the sound of a palm-muted, distorted guitar power chord. The term was originally coined by the lead guitarist of Swedish extreme metal band Meshuggah (may they live forever), Fredrik Thorendal. It has since been used to define the sound of certain other bands (I.e. Periphery, TesseracT, Animals as Leaders). It has also come to include the use of elastic riffs that fall on a different beat for each successive measure as it repeats. Lastly, it is identified by its guitar tone; mid-high gain, low bass, high mid and treb, with an EQ spike around 1.4k.

There seems to be some disagreement among listeners of the style as to its status of genre-dom. Some say, "Heck yeah, It's a genre!" While others proclaim, "Djent isn't a genre, it's just a description!" (i.e. "That guitar tone totally Djents, bro!"). I am inclined to agree, at least mostly, with the former.

While it is true that the original use of the word "Djent" was simply to describe a sound or a sonic quality, one must consider the fact that other genres' names once came from word that described them sonically. As an example, I shall use the broader genre of Metal, which branched off from Rock. Though Rock 'n' Roll was named so because it is a driving, energetic style of music, Metal received its title because it is "heavier and harder" than Rock. Granted, the word "Metal" is not onomatopoeic, but it likely came to define a genre over time (with resistance from those who still preferred it be called Rock).

That said, Djent music shares too many similarities to metal to be considered its own genre, so it is fair to say that it is, in fact, a sub-genre. Or really, a sub-sub-genre, since Djent is a derivative of Progressive Metal. 

So there you have it! My own personal opinion on the status of Djent as a genre! It is genre classifiable, but not a whole genre in itself. Therefore, sub-genre!

You have all been so patient, thank you very much!

Be expecting an entry soon on the subject of my trip to the NAMM show in Nashville, Tennessee!

Cole Millward

On the Topic of Bass Effects: Everything Else

Here commences the second post in a series of two about bass effects, a topic which all mothers of bass players must pretend to be interested in. 

In my previous entry, I talked about bass distortion and overdrive, an effect quintessential to my bass tone. I discussed its use, it's sonic components, and it's purpose, finishing the entry by sharing two of the signal chain configurations in which I use bass distortion. So, you know, you're welcome.

In this post, I will discuss the remaining types of bass effects that I actually care about. (DISCLAIMER: I do not classify compression nor equalizer as "effects." Thus, they will not be part of this discourse in audio philosophy.) These fall into three categories: modulation, time-based, and pitch-based.

Many, if not all modulation effects operate using the same principal. The signal is copied as it is produced, and the copy signal is put out of phase with the original. There is usually a "depth" control on such effects to dictate exactly how "out-of-phase" the two signals are, as well as a "rate" control to make the phasing effect move faster or slower. Modulation effects include (but are not limited to) choruses, phasers, and flangers. These can be used for a variety of purposes; choruses are absolutely divine at bringing out bass harmonics (as shown by the late great jazz bassist Jaco Pastorius), and both phasers and flangers sound good when laying down a solitary bass groove, just to add a little bit more spice to an otherwise uninteresting bassline.

Time-based bass effects like reverb and delay are less commonly used. Since bass is meant to provide uncompromising low end to a band's sound, reverb does not suit it well. Delay is a little more forgiving, but really only when the bassist is playing a solo or a series of harmonics. In layman's terms, high-end + delay = GOOD. Low-end + delay = BAD. Or at least in my opinion. There is always such a thing as preference.

The last of the bass effect types that I will talk about today are pitch-based. And there's really only one of this type worth mentioning: the mighty octaver. Put simply, it has the ability to make the bass sound even more meaty by producing notes an octave lower than those being played. While such an effect does not really work well with fast runs or chords, it works wonderfully for sludgy grooves. Also, pair with overdrive/distortion for especially nasty tones (see previous entry). 

To wrap all of this up, I will say that my own philosophy when using bass effects is to do so sparingly, only when the section calls for it. 

I mean, unless it's distortion. Use that stuff ALL the time!

Cole Millward

On the Topic of Bass Effects: Overdrive and Distortion

Finally, someone did Kryptonian fights RIGHT! Seriously... Man of Steel was fantastic. Anyway, prepare yourselves! I am about to spend the next two posts discussing the third biggest controversy among bass players (762nd among any other musicians): bass effects.

To define terms, bass effects are signal modifiers, usually provided by a stompbox pedal or a processor, used to alter the sound being created by a bass guitar. They range from subtle to obnoxious, and can do anything from phase shifting the signal to making it sound like a laser beam. But why, you may ask, do they generate controversy? Guitarists use effects more than a desperate pastor uses bad jokes in his sermons! Why not bassists? 

The answer to that, my mildly interested readers, is that they can sometimes interrupt the fundamental function of the bass guitar. (DISCLAIMER: For the purpose of this discussion, I will be referring primarily to use of the bass guitar in rock and metal. Shocker, I know.) The bass guitar's purpose in life is twofold: to maintain a tight rhythm with the kick drum (and sometimes the rhythm guitar) and to fill out the lower frequencies in the "spectrum" of a band's sound. Some effects can cause the low end of the signal to fluctuate or drop out altogether, interfering with the second law of bass. Thus, the controversy. 

Today, I shall share my philosophy on bass overdrive and distortion, their function, their sonic options, and their uses.

My earliest ventures into the world of bass OD/Dist. began after hearing the the fuzzy, nasty sound of the bass on Muse's "Hysteria" and the less ostentatiously overdriven sound of John Myung's bass on Dream Theater's Metropolis II: Scenes from a Memory album. I was enthralled with how the distortion effects made the bass more present and recognizable, and I set out to find my interpretation of the "perfect" distorted bass tone. 

After having gone through pedals and amplifiers of various shape, size, and color, I have come to a great satisfaction in my distorted tone. What's my secret? More than that, what's the secret of all the pros with great tone? Ready for it?! READY?!!

SPLIT SIGNAL CHAIN! AAAAAAAAAAAAGH!!!!

Sorry... Gotta calm down here...

A split signal chain basically means that you can run one signal distorted and another unaffected. This allows you to get a tasteful mixture of the two without compromising low end or the desired amount of gain. I personally like to crank the gain on the distortion and have a decent mix of both, maybe a little more of the clean signal.

Bass distortion, as I mentioned before, frequently comes in stomp-box pedals (processors often model pedals to achieve the desired sound). A good example of a great OD pedal is the one that I use, the Darkglass Microtubes B3K. It has control knobs that can be found on almost any pedal of its kind: an overall volume level knob, a gain/drive knob, and a blend knob (to determine the mix of clean and distorted signal, though I still use mine parallel with another clean signal). Some other pedals, like the Darkglass B7K (the big brother of mine) have equalizing knobs that allow you to change the tone of the bass signal as well as distort it.

Sometimes, bass amplifiers will come with a built in overdrive. Historically, I have been less satisfied with these, as they have no option to blend clean with overdriven and often sound like a fart. Yes, I said it.

And now for another rhetorical question for the readers who have either been interested or bored enough to read this far. What is the purpose of bass OD/Dist.? Don't guitarists handle the distorted part of the band's sound? (Sorry, that was two rhetorical questions.) There is some sonic space between a clean bass and distorted guitar. Distorted bass serves to fill in that space, and back up the wall of gain provided by the guitars. 

Not to mention, it just sounds awesome! (No attempt to stay objective here!)

I think that just about wraps up my discussion on bass distortion. I shall finish by describing two of my distorted bass patches.

My recording patch makes use of a split signal chain configuration using my Darkglass B3K on one side and a clean amp model from my boss GT-100. There are pre-split and post-rejoin EQs just to accentuate certain frequencies (since I'm using a bass through a guitar amp modeller). For the purpose of being able to mix the distorted and clean signals separately, I run them in stereo to my interface. However, between the output of the distorted signal and it's input on the interface, I have an MXR bass d.i.+ preamp with the "color" switch engaged to provide a special EQ shape filter.

My live patch also makes use of the split signal. Rather than use a clean and a distorted side though, it uses the B3K on one side and a Mesa/Boogie Dual Rectifier model on the other. This creates a thicker distortion, but low end is retained through use of the B3K's blend knob. The patch also joins the two signals before hitting the MXR bass d.i.+, so the EQ shape filter is applied to all parts of the signal. 

Complicated? Maybe, but it sounds frakin' GOOD!!!

To be continued...

Cole Millward

My Recording Process

What a boring title for a post... "My Recording Process"... I really should be able to think of something more interesting than that...

Oh well, it's descriptive enough of what I intend to discuss. My original idea for this post was to discuss my philosophy on bass overdrive/distortion, but I decided that in order for you to understand such philosophy, I need to put it in context. I will cover bass OD in another entry.

My recording method, though not exactly of industry-standard quality and though not without some sacrifices, is actually quite effective, and very efficient. It allows me to record quickly whenever I write music, and have a listenable product within a short period of beginning it. I shall start by explaining drums.

One thing that allows me to produce music so quickly is that I do not record drums. The primary reason for this being that I do not have the equipment, time, and patience required to do so. Therefore, I use Toontrack's Superior Drummer  2.0 drum programming software. The drum samples are very realistic, and getting a good sub-mix of the kit itself is rather easy. Writing the drum parts themselves are as easy as MIDI-programming (because that's exactly what it is). Doing this is usually one of the first steps I take in recording. I do this in producing both Hairy Parrot and S.I.Q. (In the latter of which I work closely with our drummer, Paul Wood, to ensure accuracy). In general, my philosophy when programming drums is to put a kick drum hit wherever the bass guitar is playing a note.

When recording bass, my own instrument, I record the signal direct (without amps or cabs) using a line configuration called a split-signal chain. Using the split-signal chain, I record one bass track clean, and another distorted (which I will go into more detail about when I speak of bass distortion) all at the same time. Later, in editing, I then make the clean signal carry most of the low frequencies, and have the distorted signal handle most of the high frequencies. This allows me to have distorted bass that looses no low end. Also, when I record, I consider no playing technique to be off limits, though I generally prefer fingerstyle when playing live. This means that I will use whatever technique a section warrants; if a section is really tight rhythmically, I will use a pick, if a section uses a lot of octaves, I will slap, etc. 

Recording guitars is fun, generally speaking. There is a rising trend among up-and-coming metal bands that involves recording guitars direct (once again, without amps or cabs) with the use of an amp and cab modeler. This means that the guitar signal is traveling completely electronically, with no microphones involved, with the modeling unit providing any and all amp sounds. Modelers are very versatile, because they allow the user to achieve multiple different amp sounds all with one unit, rather than having to own multiple (often expensive) amplifiers. I, as well as the rest of my band, use such units (currently the Boss GT-100) to record guitar. To create the proverbial "Phil Specter Wall of Sound," we have programmed various sets of four different amp tones each. This is where the process of S.I.Q. And Hairy Parrot differ. In S.I.Q., I have my two guitarists track all their rhythms four times each, using a slightly lower gain set of what we call our "Go Meat" metal amp patches. Using this method of stacking, we end up with 8 tracks of rhythms, each panned a certain way, to give that great big stereo wall of sound feel. In Hairy Parrot, I only do 4 tracks of rhythms, though with slightly higher gain versions of the "Go Meat" patches (which I have affectionately dubbed Hairy Rhythm 1-4). Later, lead sounds and clean sounds are recorded either as a mono or stereo track, depending on what the sonic needs of each are.

Recording vocals is probably the simplest part of the process. I have a microphone, and our singer (or a Hairy Parrot guest singer) sings into it. 

Lastly, I am a firm believer in producing a great studio product, and that nothing that can contribute should be held back. After drums, bass, and guitars are all finished, I use the synthesizer engines built into Protools to construct and program background sounds, like an orchestra, choir, organ, synth lead, or even just ambient sounds. For example, I happen to be a fan of pairing a clean guitar track with the sound of a music box, xylophone, or vibratone. In Hairy Parrot especially, these extra sounds are vital.

I think that is a pretty good summation of my process of recording. As I said, it's not exactly standard, but it allows me to be quick about producing music for both Hairy Parrot and S.I.Q.

On that note, just to let you know, I intend to release Hairy Parrot's next song early next week. Be on the lookout for that, because it's a goodie!

Cole Millward