Michael Perez-Cisneros on pushing the boundaries of recorded music

Michael Perez-Cisneros is one of New York’s most prominent and respected sound engineers. Now, as he also sets down roots in Nashville and continues to push creative and technical boundaries in recorded music, the GRAMMY award-winner sits down with Headliner to talk about his love of music, the creative process, how Merging’s Horus has shaped his workflow and how, after thirty years, he’s still honing his craft…

Born and raised in New York, with roots firmly in Brooklyn’s musical scene, Michael - or Mike, to his friends - has made his mark in a career that spans almost three decades and multiple genres, including jazz, classical, indie rock and beyond. Having worked with some of the city's most prominent musicians and recording at iconic venues like the famous jazz club, Village Vanguard, Mike is renowned for his instinctive ear for mixing, impeccable recording quality and an unwavering commitment to authenticity.

As a child, he found himself surrounded by music. His uncle was a session musician, which prompted an early fascination with the recording process. "I would always be hanging at my cousin's apartment in the Upper West Side, and my Uncle Max would come home and say wearily, 'Oh, another day recording.' I was curious about what that meant," Perez-Cisneros recalls. "He played on records for artists from Liza Minnelli to Lauryn Hill, and he was part of so many recordings in New York. So I was always interested in studio work."

As he got older, he wasn’t just listening to records, he was dissecting them, figuring out the mechanics behind the music.

"I would listen to bands like The Beatles, The Police and The Smiths. And it wasn’t just about the songs; it was about how the songs were made. The layers, the production. That's when I started thinking, I want to be the person who helps create these sounds."

Perez-Cisneros’ love for music quickly evolved into what he calls “an obsession” with sound. As a guitarist in indie rock bands, he began experimenting with recording. "I became the guy who always asked, 'How do we record this guitar? How do we make it sound like this record?' Back then, it was all trial and error," he laughs. "But I loved it. It felt like a puzzle I had to figure out."

After graduating from the University of Miami, Perez-Cisneros headed to Seattle and, while at Cornish College of the Arts, started to record and mix his band’s demos and any music recitals happening on campus. "I had a 16-channel mixer I used with a DAT machine, and I started recording these recitals," he reflects. "It got to the point where people started telling me, 'You know, that sounds better than my album.' That’s when I realised I could do this professionally."

After graduating, he moved back to New York, where he continued to develop his craft while working odd jobs. "I worked at 30th Street Guitars, a great guitar shop in New York. It was there that I met Kurt Rosenwinkel," he recounts. "Kurt was one of the most influential jazz guitarists of our time, and I got lucky enough to work on one of his albums, Heartcore."

This project was a big deal for Perez-Cisneros. "I literally built his studio," he recalls. "I wired it in his apartment, and we started recording the album right there. For some of the sessions, I’d be there in the room setting up the mics, and then for others, I’d just step away and let Kurt do his thing."

Heartcore became a cult classic in the jazz world. "The album really took off," Perez-Cisneros says, almost sounding surprised. "And it was produced by Q-Tip from A Tribe Called Quest, which made it even more surreal. It wasn’t recorded in big studios, but it ended up being something really special."

After the success of Heartcore, people started to take notice of Perez-Cisneros’ work. “Suddenly, they were like, 'Oh, you must know what you’re doing,'" he laughs. "That’s when things really took off for me. I started picking up more mixing projects, and not long after, I was able to transition into a proper studio in New York. I got a room in Brooklyn, and from there, I went on to work at Big Orange Sheep, an incredible studio in South Brooklyn with Chris Benham, the studio’s owner. He’s an amazing person," he continues.

Perez-Cisneros’ work in jazz is particularly noteworthy. He speaks passionately about how jazz pushes boundaries, challenging conventions and expectations. "Jazz, to me, is like punk music. It’s this genre that’s always existed on the outskirts of mainstream music," he explains. "It’s raw, it’s rebellious, and it’s all about breaking the rules - just like punk rock."

Perez-Cisneros expresses that both jazz and punk embody a spirit of authenticity. "In jazz, you have players like John Coltrane, who pushed the boundaries of what their instruments could do," he says. "And punk musicians, they were doing the same thing with their attitudes. Both genres are about rejecting conventions and creating something real, something that comes from within."

"When I’m in the studio, I try to bring that same rebellious energy. You can’t just set up the mics and expect magic to happen. You’ve got to listen, adjust, and bring out the soul of the music," he furthers.

"Jazz musicians have such unique sounds that they’ve spent years developing. It’s my job to make sure that sound is captured authentically," Perez-Cisneros continues. "If you’re recording a sax player, for example, you need to make sure that the mic is capturing their sound, not just amplifying it. That’s where the magic happens."

When it comes to recording techniques, he explains that his approach is rooted in a deep understanding of both the art and science behind capturing sound. He emphasises that, above all, listening is the key to his work. "When I’m in the studio, I’m constantly listening - not just to the music - but to how the musicians are interacting with the space, how the sound feels in the room. It’s all about capturing that moment as authentically as possible," he explains.

“Whether I'm recording an entire ensemble or just a single instrument, I take my time. I listen to how the musician’s sound evolves, and I adjust everything around that," he says. This precision extends beyond microphone placement. "A lot of engineers focus on technical aspects like EQ, but I always feel that the best sound starts before you even hit record. The room, the mic choice, the way the player moves - these things matter."

Of the many milestones in his storied career, Perez-Cisneros lights up when he talks to us about the project that cemented his reputation as a top-tier sound engineer. El Arte del Bolero Vol. 2 by Miguel Zenón and Luis Perdomo, won a 2024 GRAMMY Award for Best Latin Jazz Album and was a pivotal moment in his career.

"I remember setting up for that session, and it was one of those moments where everything just clicked," Perez-Cisneros reveals. "We had a beautiful piano in the studio, and it sounded incredible. That really helped create the atmosphere we wanted for the recording."

During the session, he worked closely with an intern-turned-assistant at Big Orange Sheep, Cat Evers, who was instrumental in capturing the sound and was key in the recording process.

"Cat was with me that day, and she was learning on the job," he shares. "She had just started as an intern, but I saw potential in her immediately. She was always asking the right questions, and when it came time to mic the piano, I asked her to do it herself. I had full trust in her, and she nailed it. I didn’t change a thing about her setup."

"To me, that was a special moment in her development," he adds. "She was so involved, and that’s what it’s all about - bringing people into the process, giving them the tools and confidence to contribute."

"When the album won the GRAMMY, it was one of those moments where it wasn’t just about me," he states. "It was about the team. Cat was a huge part of that, and I’m proud to see how far she’s come. That’s what mentorship is all about."

Passing on his knowledge to the next generation of sound engineers is something that Perez-Cisneros says he enjoys and an opportunity he wishes he’d have had during his early career. "I always tell my interns, the most important thing is to listen - to the music, to the artist, to the room. The gear doesn’t do the work; you do," he states.

This, in part, might explain why Perez-Cisneros’ recording setup is fairly minimal. He says his one indispensable piece of kit which he uses extensively for both in-studio and remote projects, is Merging Technologies’ Horus, which he credits with delivering ultimate reliability and precision to every session.

"Before, I’d have to lug around a bunch of other gear. Now, I can take Horus on the road with me. It’s as simple as plugging in a single cable. The setup is intuitive, and the sound quality is as good as it gets."

"I first came across the Horus because I was looking for something that would give me 24 inputs and outputs with top-notch preamps," Perez-Cisneros explains, "and when I tried it, it changed everything."

"It sounds natural. It doesn't colour the sound, but it captures everything you need with stunning clarity. I remember recording Seamus Blake, a great saxophonist, and it was the first time I felt like the saxophone sounded exactly like what I was hearing in the room."

Whether he’s recording a legendary jazz ensemble at the Village Vanguard or tackling remote sessions for up-and-coming artists, Perez-Cisneros’ career continues to be defined by a pursuit of excellence, an unwavering commitment to sound, and a love for technology that helps him achieve his vision.

Although he maintains a presence in New York, in recent months Perez-Cisneros relocated to Nashville. "I spent most of my adult life in New York, but as you know, New York doesn’t care," he laughs. "The rent was skyrocketing, and the studio I was part of sadly had to close. I had a choice to make, and Nashville just felt right and it offers a lot more room to breathe. I’ve always wanted to be somewhere that felt like a community, and East Nashville has that."

Despite his decades of experience, Perez-Cisneros’ approach to sound engineering is still one of exploration and continuous personal development. "I’m always trying to learn new things and push myself," he shares. "Technology and studio gear have evolved so much, and it’s crucial to stay on top of it.”

"I’ve been fortunate," he concludes. "But the work is never done. I’m always looking forward to what’s next."