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. Migs: Yes! I have banks of drum sounds, and folders of audio files from decades of sampling them – kicks, snares, hats and percussion elements. I guess sometimes I just cant help myself!įutureMusic: 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? Taking something simple and layering it with interesting effects and textures makes it more interesting and captivating for me. 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. But it usually ends up having some sort of bouncy feel to it naturally.įutureMusic: 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: 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. It just propels your tracks forward without being overwhelming, how do you achieve that cadence and rhythmic feel? I use my SE1 very frequently, along with all my outboard synths and plug-ins that I have had through the years.įutureMusic: The other element, which I feel really sets your bass lines apart, is their bounce. Even if its very classic and basic, I still spend alot of time adjusting the sounds to try and achieve something unique. 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.
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.įutureMusic: 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: I love percussive elements, and that’s a great point – I really should explore them even more. 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.įutureMusic: Percussion seems to work magically with your sound, but you seem to have moved away from it, is there a reason for this? 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. 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. 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.įutureMusic: 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 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. 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. 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. 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.