How does skrillex talk

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You can find our latest compatibility status in our knowledge base area If you have any questions or feedback about this update, please use the thread - here. Messages: 2, I've posted this in the FM8 forum too, but I thought it was worth posting in here. In a recent interview with musicradar. Interestingly, he says his biggest basses come from FM8, I would have thought it'd be Massive - but in my defense I try not to listen to much of his music Anyway, I thought it might interest some of you What are your top soft synths?

My best monster bass sounds have come from FM8. People think they all come from Massive, but most of the ones that kids online are trying to recreate in Massive are actually from FM8. Link to interview on musicradar. Yeah, I guess so. And I never stuck to a certain formula, either. Especially when me and [Diplo] are together in a room, a new, sort of, switch tips on in our minds [where] we have this whole new platform to create whatever we want outside of Skrillex and Major Lazer or Diplo or whatever.

One of the things that struck me about seeing you play at Governors Ball last year was how the first half of your set was a very focused, real dubstep set that could have taken place in basement just as much as headlining a festival before getting into your original material. But do you still even consider yourself a dubstep artist? Do you not like that label? That was always something people kinda labeled me. No matter what genre it is, the definition of the word always will change. In the first year and a half, it sold a million records worldwide.

A non-commercial, non-Top 40 track, just organically [became a hit]. There was no way to classify that sound at that time. The only thing you could do was call it dubstep. But if you listen to my records as a full [package], they jump all over the place. This is kind of in the same vein, but I read recently that you wanted to sign PC Music—. Yeah, I wanted to sign them!

That music is so fun. You were on to PC Music before they got a lot of buzz, who are you checking for right now that we may not have heard of? What supports a movement is that there is actually a movement and more than one person doing it, like a little group of friends and young people. That was our little world.

You see it happening all the time now, from hip-hop to electronic music. And I mean that in an awesome way. And it keeps you on toes as a guy, you want to be presentable, you want to have your shit together so they feel protected.

Like naturally, you want to be a better person for them Just kind of like a family dynamic that this whole creative thing is. We've really been shifting towards that way. OWSLA is like not even a record label, we're a creative group, creative people.

And that's the whole thing -- we create stuff, like you give us a record, we'll create music videos, we'll create content, we'll create clothing, we'll create everything out of a song, you know. And show it to the world, create a world around it, that's what we do. What are some of the biggest misconceptions that exist around dance music? You know, I kind of like the misconceptions because it makes me feel younger when people still think that you press one button and a whole song happens or something like that.

You just like press a button and then anybody can start hitting buttons and then all of a sudden everything is there.

That's a huge misconception. Hey Bruno, what's the biggest misconception about dance music? That's right, you need that snare! I never want to make music that everyone understands, and my favorite music is stuff that took me a second to understand and then you really understand it later and it makes a lot more sense and influences you even more.

I guess that's not entirely true, 'cause I did records with Justin Bieber, but at the same time we're sitting in that studio and he hasn't put anything out that's cracked the top ten in years and who knows what would have happened. But at the same time, I felt like I was challenging myself with what pop music could sound like. Taking moombahton , that genre that I felt so inspired by when Dave Nada and Nadastrom and Munchi were making it, and like that reggaeton , and it's "How am I going to put this in a pop song?

I'm actually working with Bruno Mars right now. I'm not going to give specifics of what it sounds like, but what we're doing is so f--king different, awesome and next level and sounds like nothing else that's happened before.

Every time I get in the studio with somebody else and collaborate, that's when I always have revelations and learn about stuff. And I just love stepping outside of what I know and there's no other music position that can do that. Like as a singer, you're in a band. I think what we are musically in our head space, there's no other way. I can step outside my box anytime and that wasn't possible before. I guess that's aligned with the exponential growth in technology and knowledge, the fact that everything there is so accessible now, you can just f--king choose your own destiny.

Goosebumps that shit. Parodies a creepy voice Choose your own story. Hard to say, man. Getting a No. We sell records, but it's not on radio and to have a song that's like that on radio And where the label has grown, that's a big accomplishment. A bunch of shit, man, just being alive today. I've always tried to look at least five or six years ahead of me, and even though it's kind of like a sketch on a canvas, I kind of see the end point in 13 years or so.

And so that's cool, to be here right now and still see all this opportunity. Just more creativity. How do you go about choosing what software and plug-ins you use?

I knew Noisia were using NI's FM8 and as they're such brilliant producers, that made me want to try using it too. Word of mouth works because I'm always moving so fast that it's hard to sit down and completely learn something new. Native Instruments are pretty standard, and for good reason - Massive, Reaktor and FM8 are all amazing. Massive and wavetable synthesis is more plug-and-play FM synthesis though, especially from scratch, is so elemental and fun to build sounds with.

How do you bounce back from having your laptop and hard drives - with an entire unreleased album on them - stolen a year back? It wasn't just my album it was four years' worth of all my other work too. There's not a night that passes when that doesn't still sting.

You move forward and you make new records but I've honestly never been more devastated. How do you create those brilliantly mashed-up vocals that you use?

I record everything into the Saffire with an SM58 then scratch it with loads of plug-ins. I don't do much vocoding to be honest. All my vocals are usually done with Melodyne and a ton of other plug-ins to make it sound weird.

I've used vocoders with guitar notes and fucked up all the formants, which is pretty cool, but I don't tend to use them for vocals.