Compatible Mics

AKG 414
AKG
414
EYEBALL
AKG C214
AKG
C214
EYEBALL
AKG C3000
AKG
C3000
EYEBALL
AKG C314
AKG
C314
EYEBALL
AKG C414 XLII
AKG
C414 XLII
EYEBALL
AKG C414 XLS
AKG
C414 XLS
EYEBALL
AKG P120
AKG
P120
EYEBALL
AKG P220
AKG
P220
EYEBALL
AKG P420
AKG
P420
EYEBALL
Aston Origin
Aston
Origin
EYEBALL
Aston Spirit
Aston
Spirit
EYEBALL
Audio-Technica AT2020
Audio-Technica
AT2020
EYEBALL
Audio-Technica AT2020USB+
Audio-Technica
AT2020USB+
EYEBALL
Audio-Technica AT2020USBi
Audio-Technica
AT2020USBi
EYEBALL
Audio-Technica AT2035
Audio-Technica
AT2035
EYEBALL
Audio-Technica AT2050 (Special Instructions Shock Mount)
Audio-Technica
AT2050 (Special Instructions Shock Mount)
EYEBALL
Audio-Technica AT3035
Audio-Technica
AT3035
EYEBALL
Audio-Technica AT4033a
Audio-Technica
AT4033a
EYEBALL
Audio-Technica AT4040
Audio-Technica
AT4040
EYEBALL
Audio-Technica AT4047
Audio-Technica
AT4047
EYEBALL
Audio-Technica AT4047/SV
Audio-Technica
AT4047/SV
EYEBALL
Audio-Technica AT4050
Audio-Technica
AT4050
EYEBALL
Audio-Technica AT4060a
Audio-Technica
AT4060a
EYEBALL
Audio-Technica AT5047
Audio-Technica
AT5047
EYEBALL
Audio-Technica ATR2500-USB
Audio-Technica
ATR2500-USB
EYEBALL
Avantone BV-1
Avantone
BV-1
FATBOY
Avantone CV-12
Avantone
CV-12
EYEBALL
Beyerdynamic FOX USB
Beyerdynamic
FOX USB
EYEBALL
Blue Bird
Blue
Bird
EYEBALL
Blue Raspberry
Blue
Raspberry
EYEBALL
Blue Spark
Blue
Spark
EYEBALL
Blue Yeti Mic Wired
Blue
Yeti Mic Wired
FATBOY
Blue Yeti Pro Studio
Blue
Yeti Pro Studio
FATBOY
Blue Yeti Pro USB
Blue
Yeti Pro USB
FATBOY
Focusrite Scarlett Studio CM25
Focusrite
Scarlett Studio CM25
EYEBALL
Gauge Precision Instruments ECM-87
Gauge Precision Instruments
ECM-87
EYEBALL
Genesis GenesisHE
Genesis
GenesisHE
EYEBALL
Lauten Audio Atlantis FC-387
Lauten Audio
Atlantis FC-387
FATBOY
Lauten Audio LA-120
Lauten Audio
LA-120
EYEBALL
Lauten Audio LA-220
Lauten Audio
LA-220
EYEBALL
Lauten Audio LA-320
Lauten Audio
LA-320
EYEBALL
Lauten Audio Lauten Audio Clarion FC-357
Lauten Audio
Lauten Audio Clarion FC-357
FATBOY
Lauten Audio LT-386
Lauten Audio
LT-386
FATBOY
Lewitt LCT 240 Pro
Lewitt
LCT 240 Pro
EYEBALL
Lewitt Lewitt LCT 550
Lewitt
Lewitt LCT 550
EYEBALL
Manley Reference Cardioid
Manley
Reference Cardioid
EYEBALL
Manley Reference Gold
Manley
Reference Gold
EYEBALL
Manley Reference Silver
Manley
Reference Silver
EYEBALL
MXL 2003A
MXL
2003A
EYEBALL
MXL 2006
MXL
2006
EYEBALL
MXL 3000
MXL
3000
EYEBALL
MXL 4000
MXL
4000
EYEBALL
MXL 550
MXL
550
EYEBALL
MXL 770
MXL
770
FATBOY
MXL 770X
MXL
770X
FATBOY
MXL 910
MXL
910
EYEBALL
MXL 990
MXL
990
EYEBALL
MXL 990HE
MXL
990HE
EYEBALL
MXL 990USB
MXL
990USB
EYEBALL
MXL Blizzard 990
MXL
Blizzard 990
EYEBALL
MXL CR89
MXL
CR89
FATBOY
MXL Genesis
MXL
Genesis
EYEBALL
MXL R144
MXL
R144
EYEBALL
MXL R44 HE
MXL
R44 HE
EYEBALL
MXL Studio 24 USB
MXL
Studio 24 USB
EYEBALL
MXL Tempo
MXL
Tempo
EYEBALL
MXL USB006
MXL
USB006
EYEBALL
MXL V63M
MXL
V63M
EYEBALL
MXL V67
MXL
V67
EYEBALL
MXL V67G HE
MXL
V67G HE
EYEBALL
MXL V67i
MXL
V67i
EYEBALL
MXL V69 EDT
MXL
V69 EDT
EYEBALL
MXL V69 HE
MXL
V69 HE
EYEBALL
MXL V87
MXL
V87
EYEBALL
Neumann Neumann U89I
Neumann
Neumann U89I
EYEBALL
Neumann TLM 102
Neumann
TLM 102
EYEBALL
Neumann TLM 103
Neumann
TLM 103
EYEBALL
Neumann TLM 107
Neumann
TLM 107
FATBOY
Neumann TLM 193
Neumann
TLM 193
EYEBALL
Neumann TM49
Neumann
TM49
FATBOY
Neumann U87
Neumann
U87
EYEBALL
Oktava MK-105
Oktava
MK-105
EYEBALL
Oktava MK-220
Oktava
MK-220
EYEBALL
Oktava MK-319
Oktava
MK-319
EYEBALL
Pearlman TM1
Pearlman
TM1
RODE K2
RODE
K2
EYEBALL
RODE NT USB
RODE
NT USB
EYEBALL
RODE NT1
RODE
NT1
EYEBALL
RODE NT1-A
RODE
NT1-A
EYEBALL
RODE NT1000
RODE
NT1000
EYEBALL
RODE NT2-A
RODE
NT2-A
EYEBALL
RODE NT2000
RODE
NT2000
EYEBALL
RODE NTK
RODE
NTK
EYEBALL
Roswell COLARES
Roswell
COLARES
FATBOY
Roswell DELPHOS
Roswell
DELPHOS
FATBOY
Roswell MINI 47
Roswell
MINI 47
Roswell MINI 87
Roswell
MINI 87
Samson C01
Samson
C01
Samson CO1
Samson
CO1
Samson CO3 & COS3U
Samson
CO3 & COS3U
EYEBALL
Samson MTR-201 | 231
Samson
MTR-201 | 231
Samson MTR101
Samson
MTR101
Samson VR-88
Samson
VR-88
EYEBALL
sE Electronics RNT
sE Electronics
RNT
FATBOY
sE Electronics sE2200
sE Electronics
sE2200
EYEBALL
sE Electronics X1A Series
sE Electronics
X1A Series
EYEBALL
sE Electronics X1S Series
sE Electronics
X1S Series
EYEBALL
sE Electronics Z5600a II
sE Electronics
Z5600a II
EYEBALL
Sennheiser MK4
Sennheiser
MK4
EYEBALL
Sennheiser MK8
Sennheiser
MK8
EYEBALL
SHURE KSM 313
SHURE
KSM 313
EYEBALL
SHURE KSM 42
SHURE
KSM 42
EYEBALL
Slate Digital Slate ML1
Slate Digital
Slate ML1
EYEBALL
Slate Digital Slate ML1 Vintage
Slate Digital
Slate ML1 Vintage
EYEBALL
Slate Digital Slate Virtual Microphone System
Slate Digital
Slate Virtual Microphone System
EYEBALL
Sony C-100
Sony
C-100
EYEBALL
Sony C-800
Sony
C-800
EYEBALL
Townsend Labs Sphere L22
Townsend Labs
Sphere L22
FATBOY
Warm Audio 251
Warm Audio
251
Warm Audio FC-357
Warm Audio
FC-357
FATBOY
Warm Audio WA-47
Warm Audio
WA-47
FATBOY
Warm Audio WA-87
Warm Audio
WA-87
Wunder CM49
Wunder
CM49
FATBOY
Wunder CM50
Wunder
CM50
FATBOY
Wunder CM67
Wunder
CM67
FATBOY
Wunder CM7
Wunder
CM7
FATBOY
No Compatible Microphones Found

Millz

Interview

One of ATL’s brightest new stars by way of Queens, NY is a budding young engineer/producer who simply goes by Millz. Only 24 years old, Millz has already engineered Young Dro’s High Times album which charted on Billboard along with projects for Young Dro, Rich Homie Quan, Ti and Kevin Gates. He received RIAA platinum certification for engineering, mixing and producing on Gates’ Islah album and another platinum award for his work with The Suicide Squad.

We caught up with Millz in the studio and he was kind enough to share his thoughts on life, music the secret to making a life in music.

 

So how did you get started in the business?

I remember when I was in like kindergarten. I was in New York. I'm from Queens but I was living in Brooklyn and I was going to this school. And like when you get to school in the morning you could either go to breakfast or you can go to the piano classes. And I would go to the piano classes.

"And I remember Christmas, I begged my mom for a piano and she got me a piano." 

Later on in high school I saw the movie Drumline and I got infatuated with drums. So I got put in a band class and started playing drums and there was a kid in my band class who made beats. At the time I had heard of Fruity Loops. I started to make beats so every day I'd go home make a beat. Then we’d come to battle each other and just play like who be better. At the time he was way better than me. I was just starting out so like it just gave me the hunger like every day keep making stuff, keep making stuff. So that’s how I got really into production.

"I knew I loved the music but I was trying to figure out an interesting way to get into the business as a producer. I learned real fast that just emailing beats to people didn't work."

I found out most people go get internships. I was introduced to a guy named Big Zar. At first it was like he wasn't really too welcoming. I think he wanted to see how bad I wanted this. I would send him beats every three, four days. They sucked but he was just like ‘keep sending stuff ,keep sending stuff.’ So one day he invited me to a studio. It was FKI studio so I got to meet them.

"This was my first time in a real studio. And I'm seeing people making a real record and I'm like ‘This is a hit record. I want to do this.’ I came for like a week every day." 

After that I started sleeping in the vocal booth. So I am here recording 17 hours a day. I’d go off and then go to sleep, wake up and get right back to work every day. It's just crazy because at first I didn't even want to be an engineer. I didn't even know what it was or anything about studio equipment. Then I found out the studio needed a website so I made them a website. I was just trying to find a way to make people want to use me and keep around. Like nobody wants to be just an intern.

"I tried not to say too much but if someone asked a question and I knew the answer I would say it."

So once that happened they kind of like kid, this is Fred Marshall from FKI. He could see I was paying attention to stuff so he sat me down and gave me like the whole scene and I guess I absorbed everything in one sitting.

And from then on it was like I was working and getting everything done and it was like I thought everybody worked the same way. But after that I realized all the work with me and my Young Dro was like the first guy and I'm like he probably worked with all these big name people and he wanted me to record his music. So at that point I knew I had I could hang with the big dogs I guess. And then from there, me and Rich we mixed Dro’s whole album and like within a year with me as an engineer I had my first album credits. So that was pretty much the whole start for sure.

 

So how do you use the studio as your musical instrument?

It’s like different for me because I engineer and produce. Right now I'm probably more Engineer heavy. So I come in one day with an engineer hat on. Well I'm just trying to hear the sonic aspect. I hear the songs and make everything mesh and glue and be as cold as possible. I just try to take sounds and manipulate them to where people like it. I don't know the theory and all that. I just know that when you put the right sounds together you make people happy. It's like everything in the studio, not just the instruments, the walls everything is like the instrument. It's like a paintbrush, it's like your whole canvas. It’s like whatever you can find in the house.

 

How has the Eyeball changed your workflow?

"The Eyeball is something I've wanted my whole life that I didn't even know I wanted until it showed up. It felt like it was made for me, like the music gods definitely answered my prayers."

I was on a road with Kevin gates. I was his engineer and we used to record a lot in hotel rooms, the Green room, pretty much wherever that bus stopped. We always had to bring all the studio stuff with us. We put together a portable recording studio. I had eight bags of stuff. So then when I finally seen this thing come out and I was like I could throw that in my book bag. It's my mobile vocal booth. It's just like perfect for what's going on nowadays where you know everybody's not in the main studio. You don't need a main studio anymore you know. This Kaotica Eyeball right here makes my job easier because it's like hard to try to fix things later that were badly recorded. Like having a virtual vocal booth. The Eyeball keeps everything under control even in environments where it's not meant for recording. I was like, a game changer, like a Swiss army knife you've got to have.

 

What advice would you give to young people out there trying to get their producer game on?

As far as advice I can give to younger people it sounds cliché but you can achieve everything you want but first you got to believe in yourself. That's number one. You've got to put a plan together if you want to be a producer. And learn.

"I figured out that engineers press play in a room and they controlled everything so I became an engineer to play my own beats. That's exactly what I did and it probably happened exactly the way I wanted."

But all my placements came from me engineering and playing a beat when it's the right time and I end up getting a platinum record using that same method. You've got to find your plan and execute. I'm saying don't stop. If you take the right steps you can't lose.

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