Elliot Kim
Skrillex, the biggest and busiest dance producer on the planet, is known for his unique sound design. Skrillex lived with Noisia and learned from them. Their sound design process involves excessive iterations of filter automating, modulating, processing, rendering, and reprocessing, creating a more organic and complex texture and movement. Skrillex also swears by Ozone for tightening up [his] mix and loves using Trash to mess around with sounds. He also uses iZotope's Trash to change interesting sounds into something more random. Skrillex's journey to becoming a top producer took a few years, and he advises aspiring producers to focus on learning their DAW, music theory, and composition.
| Characteristics | Values |
|---|---|
| Time taken to learn sound design | 3-4 years on average |
| Sound design process | Resampling, filter automating/modulating, processing, rendering, and reprocessing |
| Tools used | Laptop, FM8, Massive, Ozone, Trash |
| Inspiration | Flux Pavilion, Doctor P, Noisia, and other artists from the UK and Europe |
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What You'll Learn
Learning from Noisia
Skrillex has cited Noisia as a major influence on his sound design process. In an interview, he said that Noisia taught him "almost everything he knows about sound design and production". He lived with Noisia and learned from them directly, describing their sound design process as involving "excessive iterations of filter automating/modulating, processing, rendering, and reprocessing", which creates a more organic and complex texture and movement.
Skrillex has also spoken about how he initially copied Noisia's sound and synthesis, trying to replicate their unique style, which eventually evolved into his own sound. He has praised Noisia for their technical prowess, their classically trained side, and their raw artistic execution, a combination he believes is rare.
Skrillex first made contact with Noisia by sending them an email with an attachment called "FM8 Test", as Nik from Noisia had been showing him the FM8 synthesizer at the time. This eventually became his track "Nice Sprites". Skrillex also worked with Noisia in their studio, where he was exposed to a range of crazy plug-ins that he had never seen before.
Skrillex has credited Noisia with making him feel like the stuff he was making wasn't just demo quality. He appreciated their encouragement and support, which gave him the confidence to continue developing his unique sound.
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Using FM8 and Massive
Skrillex has used a variety of software and hardware to create his unique sound. In terms of FM8 and Massive, he has stated that he uses both of these tools alongside many other plugins and soft synths. He has also said that he has not expanded far beyond FM8 and Massive because he knows them so well and can make almost any sound with them, especially with FM synthesis.
FM8 is a VST and the original title of Scary Monsters & Nice Sprites. The main growl bass in this track was made in FM8, and it is thought that the FM8 folder on his computer contained the settings for his famous growl basses. Skrillex has also used Massive, a soft synth, to create growls, leads, and chords. He has been seen using Massive in a Vine video clip, where he was "just makin/demoing some new fun soundz #ableton #massive".
Skrillex's growls are mostly made in FM8, and he has said that he still uses it to this day because there are things you can do with FM that you can't do with wavetable. He also does a lot of post-processing to his sounds and has created his own workflow. One source states that Massive is not very beginner-friendly, but it is versatile. Another source agrees that FM8 and Massive are amazing but not beginner-friendly, and that FM synthesis is hard to master.
Skrillex has also used other software and hardware such as Ableton Live, Melodyne, Ozone, Sylenth1, and Pro Tools. He has also used hardware such as KRK ROKIT 5 G3 studio monitors, an SM58 microphone, and a MacBook Pro.
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Mixing on computer monitors
Skrillex learned sound design by living with and learning from Noisia. Their sound design process involves excessive iterations of filter automating/modulating, processing, rendering, and re-processing, which creates a more organic and complex texture and movement. Skrillex also made use of FM8 and triangle waves to create his signature growls.
Now, onto mixing on computer monitors. It is common for mixing engineers to use dual computer monitor setups to improve their workflow and efficiency. One monitor can be dedicated to the mixer, while the other displays the tracks, scores, or plugins. This setup can speed up the mixing process, provide more screen space for multiple plugins, and allow for easier tweaking of small details.
Some people prefer using one large monitor instead of two smaller ones, as having more screen space can negatively impact the acoustics if the room is not treated. Additionally, a larger monitor can be beneficial when using a slow computer, as disconnecting a secondary monitor can improve performance.
It is recommended to use both headphones and studio monitors when mixing to produce audio that translates well across different listening environments. Headphones and monitors offer different frequency responses that can "color" the audio and affect how we perceive our tracks. For example, panning, depth, and reverb effects may sound more prominent on headphones, and the stereo image may be perceived as wider than it actually is.
To ensure excellent translation across different listening devices, mixing engineers should audition their mixes on various systems, from high-quality studio headphones to low-grade earbuds. This practice helps identify any issues with the mix, such as vocals that become less clear or bass frequencies that are overrepresented.
In summary, while dual computer monitor setups can enhance workflow and efficiency, it is essential to be aware of the acoustic implications and to utilize both headphones and studio monitors to ensure consistent audio quality across different listening environments.
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Resampling
Skrillex's sound design process involved learning and iterating on the fundamentals of sound design. One of the key techniques he employed was resampling. Resampling is different from sampling; it involves making a sound, processing it, rendering it to audio, and then processing it differently in a loop, creating dramatically altered sounds. This process can be extremely destructive to the original sound, and it is challenging to maintain clarity after multiple iterations of rinses and EQ adjustments. However, it can lead to the creation of completely new sounds.
Skrillex, in his pursuit of unique sounds, would play around with synths, recording his experiments onto an audio track. He would then slice the audio track into musically useful bits and compose the music from those sounds. This process of resampling synths and relying on effects is something he has emphasised in interviews.
Skrillex's mentor, Noisia, also played a significant role in his understanding of resampling. Noisia, masters of sound design, likely influenced Skrillex's approach to the technique. While Noisia may not have produced his debut album, their mentorship and influence on his sound design process are evident.
Additionally, Skrillex's use of FM8, a unique synth at the time, contributed to his distinctive sound. By combining FM8 with resampling techniques, he was able to create sounds that were unlike anything else in the dubstep genre. This experimentation with synths and resampling allowed him to develop a complex and organic texture in his music.
In conclusion, Skrillex's sound design process, including his use of resampling, involved a combination of mentorship, experimentation, and a deep understanding of synths and effects. By iterating on his sounds and processing them in unique ways, he was able to create a signature style that influenced the world of dubstep and electronic music.
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Using Ozone to tighten up mixes
Skrillex learned sound design by living with and learning from Noisia. Their sound design process involves excessive iterations of filter automating/modulating, processing, rendering, and reprocessing, which create a more organic and complex texture and movement. Skrillex also made use of FM8 and triangle waves to create his signature growls.
Now, here are some tips for using Ozone to tighten up mixes:
Ozone is iZotope's flagship mastering software, offering a range of tools and modules to enhance your mixes. Here are some ways to use Ozone to tighten up your mixes:
- Utilize the Vintage Compressor: The Vintage Compressor is a versatile tool that can provide "gluey" compression to your mix. It offers multiple modes to enhance the body or transients of a signal or balance between the two. Try using "sharp" mode on a drum bus for extra punch and "smooth" mode on a vocal bus for a thick and upfront sound.
- Try the Vintage Limiter: The Vintage Limiter is another useful tool for adding analog-style warmth to your sub-mixes while also providing peak level control.
- Explore the Ozone Imager: The Ozone Imager is great for stereoizing mono sources. Mode II, velvet-noise decorrelation, provides a particularly natural-sounding widening effect. Play around with the amount and time settings to hear how it changes the focus of the sound.
- Match Vocals and Synths: Ozone allows you to match synths to vocals and vice versa for interesting blending effects. This can add unique character to your mixes.
- Use the Reference Panel: Ozone's Reference Panel lets you load up to 10 tracks to compare with your mix. It automatically scans the tracks and sets up locators for easy navigation. This is a great way to ensure your mix sits well alongside other professionally mastered songs.
- View Frequency Balance: With Ozone, you can view the frequency balance of your track and compare it to genre targets or your custom curve. This helps ensure your mix translates well and fits the expectations of your chosen genre.
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Frequently asked questions
Skrillex learned sound design by living with and learning from Noisia. He also learned by analysing pro songs and finding out how they were made.
Skrillex uses iZotope's Trash, FM8, and Massive. He also uses Ozone to "tighten up his mix".
Skrillex's sound design process involves excessive iterations of filter automating/modulating, processing, rendering, and reprocessing, which create a more organic and complex texture and movement.
