Miguel Migs Interview

Special Feature

Miguel Migs has carved out what he calls a “boutique career” as an electronic music artist since the mid 90’s after the Dub/Reggae band he was playing in, Zion Sounds, broke up and and he started producing soulful, house music with a handful of gear in his home studio. He was a huge part of the deep house volcano that erupted on the scene in the late 1990’s/ early 2000’s with a signature melting-pot sound that was big on groove, a softer sound and accessible to everyone. After the furor calmed down and labels like Naked Music and OM Recordings faded, Migs was able to forge ahead on his own terms as a remixer, producer, DJ and label owner, launching Salted Music in 2004.

Migs ability to sustain a career in music when many of his contemporaries had to leave the industry to make a living is a testament, not only to his songwriting and production chops, but also to his open heart and chill personality. Ever approachable, always humble and perpetually grateful to have a long-term career in business that is constantly changing, Miguel Migs is one of the good guys and it was our pleasure to put the Artist Spotlight on him for July.

Midnight Memories

Miguel Migs’ New Single on Soulfuric Recordings

“Midnight Memories”  is the first single off of Miguel Migs’ new album “Shaping Visions,” released on June 4, 2021. He also collaborated with his longtime muse, Lisa Shaw for “Running With You.”

 

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FutureMusic: Miguel, you’ve been making music for quite some time. Is there one piece of hardware and/or software that you’ve used constantly since you started?

Migs: I’m actually not a big tech type of person and my set up has always been somewhat basic overall. I’ve always used Logic, since the late 90’s, so that’s been the staple program for me to create with for a long time now. For recording vocals, my Soundelux ELUX 251 Mic has been with me for many years. I run that through one of my Millennia STT 1 Origin’s, which are very versatile units. I have always run all my outboard synths through them as well. I’ve had them for almost 20 years now, so overall my main set up has not changed very much through the years. (I started by messing around programming beats and creating songs on an Ensoniq MR61 synth that had a 16-track sequencer in the 90’s, and I still have that synth!)

FutureMusic: Speaking of chord progressions, do you have a favorite that just seems to work for your sound? And for aspiring Deep House producers, what sequences do you feel work best for soulful house?

Migs: I always gravitate towards warm moody chords, but its really all about exploring patches and sounds and spontaneously creating based on what your feeling with the freedom to get as complex as you choose. Sometimes a simple bass and chord progression is all you need, and tweaking the sounds to keep things interesting with all the customizing options and plug-ins available. Of course, there are no rules or limits to creativity, and sometimes the most effective songs have the most basic chords, but are still captivating.

FutureMusic: Percussion seems to work magically with your sound, but you seem to have moved away from it, is there a reason for this?

Migs: I love percussive elements, and that’s a great point – I really should explore them even more. I tend to try and strip things down a bit to leave plenty of space and room for all the subtle elements and textures that I like to explore, creating that dimension but with a subtle approach by adding and using percussion in a subtle way.

FutureMusic: Your bass lines are just amazing, they have a thickness, texture and roundness that seems to pull the best things together  from Soul and Reggae, how do you get that sound in your studio?

Migs: Thank you kindly… The bass line plays such an integral part, it sets the foundation and feel of the track for me, and I’m always trying to create bass sounds that cut through with enough punch, warmth and balance. Even if its very classic and basic, I still spend alot of time adjusting the sounds to try and achieve something unique. I use my SE1 very frequently, along with all my outboard synths and plug-ins that I have had through the years.

FutureMusic: The other element, which I feel really sets your bass lines apart, is their bounce. It just propels your tracks forward without being overwhelming, how do you achieve that cadence and rhythmic feel?

Migs: Honestly, I don’t think too much about it, instead I just go with the feel and flow of things when I’m in that creative mode — depending on how the drums are moving and what type of subtle swing is occurring, as well as how the chords sit and feel. But it usually ends up having some sort of bouncy feel to it naturally.

FutureMusic: You add a lot of “washes” as well as other Dub sound effects to every one of your tracks, what’s your approach and how do you decide: “You know what this track needs right now? A Migsy Bubbly Wash!”

Migs: Hahaha, well, I do love Dub music and have always resonated with the trippy effects delays/verbs, and the atmospheric dimension that those types of interesting sounds bring to the song. Taking something simple and layering it with interesting effects and textures makes it more interesting and captivating for me. I guess sometimes I just cant help myself!

FutureMusic: Based on your gear list, it appears your drums are samples and loops, how do you build up your rhythm section and create your fills?

Migs: Yes! I have banks of drum sounds, and folders of audio files from decades of sampling them – kicks, snares, hats and percussion elements. Through the decades if I hear a snare from an old 70’s song or a drum roll on a jazz record, or a clap from an old disco record, etc… I sample it, cut it up , treat it accordingly and add it into my folders. And there are so many great quality sample sounds available. Part of the fun has always been taking those sounds chopping them up and then piecing them together in layers, like a creative sound puzzle based on what parts complement each other, and that’s always been such a fun inspiring part of experimenting with drum sounds. Of course, I have also played and recorded live djembes, congas, drums, etc…

FutureMusic: On your latest album, and many before, you work with several different vocalists, how does that process work? How do you select which vocalists you’d like to work with?

Migs: I love the whole process of working with different vocalists and experimenting with writing songs. Usually I start by creating a rough demo track version to write to (as discussed previously). Sometimes, I write the song with the vocalist/artist by sending melody and lyric ideas back-and-forth to begin. And sometimes I will write the song myself completely, exploring ideas until something connects and then build the song and story from there. I usually try and envision the vocal tone and delivery style, and imagine who would be best suited to perform and sing the particular song. And then reach out to a vocalist/artist to see if they are feeling the direction.

And when recording in the studio we always end up trying things out on the fly and changing things spontaneously based on how they feel while recording. I’m not a singer, but I love writing songs and working with different diverse vocalists, always trying to capture something captivating in a subtle way with the vocal performances. And I’ve always been drawn to a more subtle soulful style vocal/singing approach.

Miguel Migs Studio Gear List

» Apple Logic Pro
» Dave Smith Instruments Prophet Rev 2
» Studio Electronics SE1
» Access Virus TI
» Clavia Nord Rack 2x
» Emu Proteus 2500
» Korg Microkorg XL
» Novation MiniNova
» Yamaha Motif Rack
» Roland Fantom XR Rack
» Korg Triton Rack
» Ensoniq MR61
» Millennia STT-1 Origin (2)
» Soundelux ELUX 251 Microphone
» Focal Twin6 Monitors
» Mackie HR824 Monitors
» Sennheiser HD 600 headphones
» Axiom Pro 61 controller
» Apogee Duet 2
» Mac Pro tower
» Dell Ultra HD 4K 27″ monitor

FutureMusic: Do you work with the vocalists remotely or in your studio?

Migs: I usually work with them in my studio, recording the vocals together. Sometimes we will write remotely if the vocalist lives far away, but when it comes time to record the song it’s usually at my studio. Of course, I have done some remote sessions and that is a useful alternative when necessary, but I always prefer being together when recording – being able to try new things spontaneously based on the feeling while recording is very important.

FutureMusic: If you bring a vocalist into your studio, what gear are you using in your chain after your beloved Soundelux ELUX 251?

Migs: I run the Soundelux Elux 251 through my Millennia STT-1 Origin. And after recording, of course, there’s a lot of time and work spent editing, going through takes and smoothing out the audio recordings – and I usually craft my vocal chain as I’m working and editing, feeling it out as I go… I use a lot of plug-ins, from Waves, Soundtoys, Fabfilter, McDSP, etc… There’s so many great quality vintage style compression  and EQ options, as well as limitless effects.

FutureMusic: You’re employing dual monitors in your studio, what specifically do the Mackie’s and the Focal’s provide while composing and mixing?

Migs: I’ve had those Mackie’s since the late 90’s, so I sort of understand some of the compensations that are needed based on how certain frequencies are sitting, so using them as reference is useful to me. The Focals are definitely a luxury overall and I’ve been very happy with them, but it’s nice to have both to A/B while working… I have been working with headphones alot over the past few years and that has been interesting to get used to, definitely changing some of the dynamic choices I make while creating (due to neighbors and sound restriction issues at my current location).

FutureMusic: The only outboard processing you mentioned are dual Millennia SST-1 Origin’s…

Migs: These units are great and so versatile because you can move between tube and solid-state options with the push of a button. I use the compression minimally and the awesome EQ’s as needed. But they work nicely overall, especially running a bass or guitar through them, and as I told you earlier, I run all my synths through them too. And with so many plug-in options available, I’m able to explore “in the box” after recording.

FutureMusic: So are all your reverbs, delays, etc. coming from plug-ins? And if so, which ones do you use?

Migs: My little studio set up is pretty small, but I have definitely explored playing with outboard effects at other studios, and I have tons of old guitar pedals. But on this album project, I mostly created it in headphones during the pandemic and using plug-ins. The sky is the limit with the creative side of things and since there’s so much to explore, it can be overwhelming sometimes… As for reverbs and delays specifically – I have always used alot of Waves plug-ins and the H-delay is solid, I love Soundtoys and use them often, especially EchoBoy… Line 6 Echo Farm, Eventide H3000 Band Delays. Acon Digital, Lexicon, and Sonnox Oxford reverbs are all solid. And the Logic plug-ins are a great tool, as well as Space Designer. Its all how you use them really.

FutureMusic: The one thing that really defines your releases is this soft, buttery sound…putting on your producer hat, how are you  achieving that?

Migs: I think part of it is a sonic consistency aspect, and the choices I make as far as how I put sounds together and what I gravitate towards. I’m not sure exactly though, to be honest it just sort of comes out that way. Even if I try to do something different and a little more aggressive or whatever my intention is, it ends up turning into something that has that warmer vibe and feel to it.

FutureMusic: How/Who does your mastering? What directions do you provide?

Migs: I’m definitely no engineer wizard, I’ve always done everything based on ear mostly, and that’s how I choose my sounds and mix and piece them all together. Doing the best I can with my limited engineering skills! With mastering this album I used my old friend Tony Espinoza who has mastered my past few albums as well, including Outside The Skyline and Dim Division. We try to not push things too hard, overall I’m always trying to achieve a nice balance of depth, width, frequency separation and dimension. He uses a complex chain of vintage outboard analog gear, so it’s an interesting experience working with him.

As for some of my singles and tracks that are more aimed towards the dance floor and DJ sets, I have worked with a handful of mastering engineers through the years such as Wired mastering in the UK – they always do quality work. And my good old buddy Jay-J does nice quality mastering work as well, he is located down in Los Angles now. Of course, I always send my tracks to the mastering places sounding as close to the way I want them to as possible. The final mastering has always been important in order to bring out that extra dimension and frequency separation.

FutureMusic: You’re one of the only electronic musicians who consistently puts out entire albums as opposed to just singles or EP’s. Most artists use the album to pursue a certain musical direction or theme, did you have one for “Shaping Visions?“

Migs: Creating an album is interesting because you are able to really express yourself through a cohesive body of work that captures where you’re at artistically during a certain time frame. And I always enjoy that diverse aspect of creating. Rather than it just being one song as a single or worrying about something needing to chart, the album is more of an expressive listening experience and meant to connect with the listener on a more personal level. Similar to how an artist displays a body of work in a gallery and you can enjoy all of the different pieces displayed with a unique connection. With an album you’re able to showcase some of that diversity in an intimate way.

FutureMusic: Music technology has really changed over the years, what has made the biggest impact on your writing and producing process?

Migs: Absolutely, it used to be a lot more limiting with the computer speeds and programs and the plug-in options available, but on one hand having less is more because you end up using what you do have in the best way that you can. Rather than having soooooo many options…it can become very overwhelming actually. That’s why I usually prefer to only have a few pieces of gear that I focus on and challenge myself to create sounds out of what I have. It’s almost better for me to just have a couple pieces of gear to work with and focus on, rather than getting lost in the technical side of things and having too much to choose from can become a distraction taking away from the creative flow.

FutureMusic: For most people, the pandemic forced people to slow down, take a breath, reconnect with family and loved one and get  outside. What was it like for you after years of being on the road, churning out new music / remixes and just grinding in general, to just chill?

Migs: It was extremely challenging on many levels, emotionally, mentally, of course financially as an artist. I mostly went deep into my bubble and created this album in headphones, I needed a focus and a creative artistic outlet to try and stay as sane as possible during such an insane time. Slowing way down definitely is a reflection of the album as well, the songs are very moody, laid back, textural and subtle. I slowed down on the touring many years ago due to herniated disc issues in my lower back and a blown out knee issue. But this was slowing down on a whole other level artistically. I was out in nature also as much as possible, at the beach or the park, on hikes and bike rides, that really helped me find some peace and balance between working on music.

FutureMusic: How have you been able to maintain being true to yourself with continued success, increased pressure and general music industry weirdness?

Migs: Weird is good, but I stay away from the negative weirdness… I’m just a little boutique artist that has always just done my own thing and taken my own road without a big plan or management or much hype factor. And that’s why I rarely ever go on social media. And no judgement, but I’ve never really looked at Twitter. And I like Instagram only because of the simplicity, although I rarely go on there either. And I rarely ever go on Facebook.

For me it’s never been about trying to be a big successful artist. Of course, there is sacrifice involved in sticking to what you feel, but it also allows me to do what I want in life more, such as hang out at the beach and the park and ride my bike and hang out with friends more, basically all the simple things that everybody likes to do but if you become overly busy and “successful” you can lose that freedom of time… I don’t see why anyone should change based on whatever your achievements are. I’m definitely no superstar, but I’m grateful that I’m able to do what I love and continue exploring that in my own way. Very grateful that people connect and resonate with some of the music that I create, which is a blessing that I am very thankful for.

FutureMusic: What’s your advice to up-and-coming deep house producers?

Migs: Do your own thing and stay true to what you feel, that’s extremely important in carving out your own boutique base. I think it’s important to continue creating based on what you feel as an artist. That’s just my personal thoughts and approach. It’s not easy being a self employed artist and doing your own thing, but there has to be dedication, passion and patience, and it’s important to explore and stay inspired creatively.

Miguel Migs’ new album, “Shaping Visions,”  is out now.