How does skrillex make his music

Diplo uses Massive by Native Instruments to create many of his synth sounds. Diplo used Massive to create the repetitive synthesizer lead that plays after the first chorus. Tape Sim. Soundtrap by Spotify, is hands down the best online daw with built in autotune. Sign up for free, and make music faster. Soundtrap is available as a completely online DAW powerful enough to produce music at a professional level.

You can choose exactly what you map those functions to within Ableton on the laptop, making it super flexible. The apogee duet is a headphone amp, MIDI interface and audio interface.

Aside from anything else allows you to create and record professional-quality audio while on the road. Its small size makes it super portable. This helps create more of a live feel rather than just straightforward DJing. Pots and sliders are also included on the trigger finger and can be used to manipulate audio or FX.

This is a relatively simple bit of equipment that acts as a portable audio interface, allowing you to plug your laptop into larger sound systems. Although it can be used for performance they are slightly larger so they are mostly used as a studio tool. This is a professional, large studio mixer that allows him to channel and manipulate multiple tracks at the same time. This is an extremely high-quality audio converter that also provides an audio master clock that lets producers sync multiple bits of equipment to provide reliability when mastering recording.

For his permanent studio setup, Skrillex also uses Focusrite Clarett 2Pre. Which is an audio interface designed to provide low latency monitoring and recording for microphones. Another keyboard that Skrillex uses is the Alesis QX25 keyboard controller. It has 25 velocity-sensitive keys as well as simple pitch and modulation wheels. While being powered via the USB cable makes this a handy and durable keyboard for on the road producing.

Push to see price on Amazon Ozone is available in 2 levels: Standard and Advanced. There are plenty of photos of him wearing all versions of Beats by Dre headphones. It may well be that he just uses the best ones for the job he is doing at that time. Skrillex has had many types of monitors in his studio setup and of course, these will change over time. Skrillex also has some Barefoot MicroMain27 generation 2 monitor speakers in his studio.

Whether they are still set up and actively used is unknown. Yes, Skrillex plays guitar. When performing things like radio mixes he has been seen using Serato Scratch Live DJ software push to see price on Amazon. Skrillex uses an Apple MacBook Pro for his live shows which he runs Ableton, as well his various plugins. He has said in interviews that he is purely Apple, this suggests that his studio is run by Apple computers as well.

Push to see MacBook Pro price on Amazon. This means his production can take him in lots of different directions. Skrillex is known to take inspiration from all around him.

This helps him portray the feeling that he may have had at the time. Being such a good producer he also often just plays around with sounds and with music.

This helps him come up with his unique take on things and the Skrillex style that you are familiar with. I was just making music that sounded like—whatever. So for me, I don't like to think about any of that, except for making good music that I'm happy with. Ozone is just super-versatile. The Multiband Stereo Imaging is really nice, and you can bus a ton of things to it for different reasons. I'm actually next to [dubstep producer and DJ] Flux Pavilion right now, and he says it's fucking wicked for everything , really.

Everybody uses it. I use it as a multi-band compressor on individual channels—I'll bus out multiple channels if I just want some stereo imaging, and the EQ in there is very nice too. I really use it all. It's just cool to have so many choices in one. I think where it's really helped me is to create the illusion of a lot of stereo stuff going on, without getting the phase problems. You can use Ozone's stereo imaging and take frequencies above seven thousand [7 kHz], or even a little bit lower, and you can widen everything up there, so that the mix starts to sound a lot wider.

In an environment where you're performing live, where a lot of times you have distortion and different high frequencies bouncing around the room, you don't necessarily need those to be as present, but when the higher end stuff starts phasing, because you've widened everything, it almost tightens up your mix. For how bright and how chaotic my mixes are, I think they work really well in the club because I've widened the stereo image.

If you do that at a lower frequency band, you get phasing and lose the notation, or lose the actual definition of the synth line. But if you brighten things up at the very top of everything, it gives the illusion of a big wide mix. Well, I don't want to be mysterious about it or anything. Of course I'm not giving away anything either—part of the fun of being a producer is having your own sound. But for me, the drums are simple.

It's all about the three pieces that make a really nice drum sound. You need a nice transient in the beginning, and then the note around the hertz frequency that gives it that boof , and then a tail, which can be anything. I usually start with a and compress it to get the harmonics of that hertz note, and then take maybe one or two really good-sounding locked drum samples that don't conflict with any of the harmonics in the You want to tune it at about , and shelve off a lot of that stuff above , and then you have this live-sounding hybrid Then you take a clap or a china [sound] and shelve it off super high, and add some reverb to it and then print it as one.

Balance it while you print it, and then you re-compress it from there and you have a snare drum. There's one thing about audio too. I think the biggest piece of advice I can give anybody about audio is don't pretend to be a snob.

Know what you know, and be ready to admit that there are things you don't know. It's okay to know that something sounds good, but don't convince yourself that things are good when they're not. For me, it was the whole Monsters sound. I was just copying Noisia's sound at first, their synthesis. I would hear their sounds and go "fuck, how the fuck do they do that?

It turned into its own thing because I was trying to do something else, but that's all part of the fun, accidental, experimental thing with music, where you A-B something to death and suddenly it becomes your own thing. Oh man—in electronic music? Noisia are huge for me, but it's hard to say, because I get so much music, and I hear so much music, so it's all this big whirlwind. It could be a nightclub I go to on an off-day or something, and I get a vibe, and I hear a track, and I just get inspired.

Then I have this thing in my head, and I don't have to necessarily remember what the track is, but I just feel like making a song. But I think one of the greatest albums that came out recently was Nero's album Welcome Reality.

It's fuckin' awesome—really incredible production. Rabbit has some great drums too, speaking of drums. I think there are just as many issues when you take the song out of a studio environment that you're used to, you know? It's another set of issues, but it's all trial and error. It's like the [Yamaha] NS That's such an inaccurate sound. Not only is it more than flat, it's like a mid-rangey bump. Back when everybody was using those, you'd go into any studio and your mix would sound the same because everybody had them.

So it's all relative, and it's about what you like to work on. Obviously you get extremes. You wouldn't necessarily want to work with bad speakers, but I have mixed stuff on computer monitors in the past. All of My Name Is Skrillex is mixed on computer monitors coming out of a headphone jack [laughs] , and I got by.

So it's all about what you're comfortable with. It's all in the box, but these days I really like iZotope's Trash , actually.

It's pretty cool. I've been using it on random things. It's like, here's a sound and I don't really know what to do with it, and I throw it on and start fucking with it, and it becomes something else. It's one of those plug-ins that I'm not totally familiar with yet, but I like messing around with it because it can change an interesting sound into something more random. The most common plug-ins I'm always using are FM8 and Massive, I think, as far as where my sound design comes from, which is pretty standard I guess.

But Trash is something I'd like to explore some more. We've just finished the Europe leg of it, but the leg that we did in the US was for two months straight. We had the main show with a ton of artists on two buses, so we'd do the main show, which could be anything from three- to eight-thousand capacity rooms, and then we'd do an after-party, which could be anywhere from five to even fifteen-hundred cap rooms with a whole separate lineup.