Profile: Miguel Migs

When it comes to soulful, funky house with that sultry ’70s R&B sound, Miguel Migs is one of the reigning dancefloor kings. In person, his laid-back California vibe is just as mellow as his jazzy Rhodes comps and smooth Moog bass lines. It’s only when he pauses to level his piercing green gaze at you that you realize he’s dead serious about his music. Miguel’s music may be happy, hopeful, and uplifting, but don’t take that to mean he’s a lightweight. He’s truly passionate about every aspect of his productions, and nowadays handles almost everything — including engineering, producing, and playing many of the instruments — on both his original tracks and remixes for artists ranging from Macy Gray to Britney Spears. This month, Miguel shares some of his insights and inspirations with us.

How did you get started as a musician/remixer/DJ?

I started out teaching myself how to play the guitar when I was around 12 or so. I played in bands when I was a teenager and that’s actually how I made a living for a while. I had a reggae band when I was 17. We played gigs all the time and had a pretty good following. Then I got really into electronic music in 1991 or so and bought a keyboard a couple years later when I moved up to San Francisco and starting writing and sequencing tracks. Plus, I was messing around on my friends’ decks at that time, DJing house, hip-hop, and dance hall around that same time. That’s basically how it came together for me.

What was your first big break as a remixer?

I think the first remix I did was of a song by Naked Music NYC (Jay Denes) called “If I Fall” on OM records back in ’97 or so.

You have a distinct remixing style, deep and smooth with tons of soul and funk. What’s your process for building a track?

I start without much pre-planning, really. I go in the studio and spontaneously start building beats. Then I play with chord progressions, sounds and melodies, and go from there. Sometimes the track will feel like it needs horns, guitars, live percussion, or whatever. So, depending on the flow, I’ll add that in and record what I’m feeling at the moment. That’s the fun part of it all, just going in there with an open mind and starting to create something. Most of the time I’m not sure how it will end up — or I might take it in a different direction that’s sparked by something like adding a new bass line or melody.

Your sound draws from a lot of different styles. Who are your top five artistic influences and why?

I draw a lot from rock, reggae, hip-hop, funk, and soul music all the time. Some of my favorites are Steely Dan, Prince, Steel Pulse, A Tribe Called Quest, Jill Scott, Sade, Gangstarr, the Rolling Stones, the Cars, and many, many more.

Having worked in the industry for a long time now and experienced the current paradigm shift in music distribution, what are your thoughts on the future of the remixing and dance music scene?

Well, everything is changing, but that’s just the way the world works. Digital downloading is obviously becoming the standard and there are always new genres of electronic music popping up through the years. It seems to me that people who like deep, funky, soulful house music tend to be into a wider variety of music and more open-minded than other fans, for the most part. Of course, people will always want to let loose and dance and — while it may not seem so in the U.S. right now — there is a huge support and desire for electronic music all over the rest of the world. I see it all the time when I’m touring Europe, Asia, Australia, or wherever. I’m always getting new requests to play in countries that are only just now getting into dance music. So while one place might slow down, another is kicking off. Granted, it’s spread out in small pockets globally, but I’ve never been busier in my career, so I don’t see it slowing down, only changing a bit.

What’s your computer platform and what software are you using, if any?

I use a Mac G4 still and I run Logic with Digidesign hardware. I recently bought a new dual-2.7GHz G5 though, and finally upgraded to Pro Tools HD. I feel like I’m one of the last, but I’m a firm believer in keeping it simple and working with what you have. I have friends that make incredible music on very old computers and minimal equipment. Fancy gear does not create quality music. People do!

What are your favorite hardware synths and/or effects and why?

I love the Studio Electronics SE-1 for thick bass sounds. I also use the Yamaha Motif, Korg Triton, Clavia Nord Lead 2, Access Virus, and Roland Fantom for certain sounds. As far as the effects I use, I love the Waves plug-ins, especially the Renaissance Collection. The Sony Oxford stuff is nice too.

Are you using these for your classic keyboard sounds like Rhodes and Hammond too?

Actually a lot of that is Logic’s EVP88 and EVB3, other times I’ll use the classic sounds in the Motif. Whenever I use a hardware unit I run it through my Millennia Media Origin STT-1 preamps. They can switch between solid state or tube. If anything, that’s my secret weapon for getting really warm sounds. I don’t use that much compression, but I generally add a touch of EQ on most tracks when needed.

Are there any other effects or synths that you find yourself relying on regularly?

I use the TDM Lexicon plug-in for reverb, the Waves Renaissance compressors and EQs, and I always mix through the Waves Ultramaximizer.

Speaking of mixes, yours are extremely smooth and tight. What’s your approach to building a mix?

I’m completely spontaneous, but I always start with the beats. I have a couple of banks of kicks that I know work on a dancefloor and start with a kick that I know works with the vibe of the song. I may change it later, but it’s crucial to get the programming going. After I have the beats together, it all depends. Sometimes I’ll start with guitar because that’s my background. Once I get a groove going the ideas just start flowing. With today’s technology, I mix as I compose in order to keep the vibe flowing. Running everything though the Ultramaximizer while you mix may be a bit unorthodox for traditional engineers, but it’s how I get my sound.

Do you have any suggestions for artists who are interested in getting noticed by your label?

For my label, Salted Music, I’m looking for funky, soulful, dance-based material that’s interesting and stands out. I’m looking for a well-rounded quality package with different mixes to choose from so there is something that will appeal to different DJs. If it’s a vocal, I want to hear a couple mixes and dubs — maybe a more soulful mix, as well as one that’s more upbeat and funky that’s more for the dancefloor. As long as its something that I would play out in a DJ set, I’ll most likely be into it for the label. [Laughs.]

Any final advice for dance artists and remixers just getting started?

Be true to what you believe in. It’s all about the passion of music here. If you do become successful, then great; but don’t go into it with the intention of making millions. Just have fun making your music and stay open-minded.