Quotes from Skrillex

I prefer the gloominess to the sun. I don't know why.

The people who I grew up making music with, we've all grown up and become successful in different ways. My manager supported me since I was 16 and believed in me as a musician. He's been there since Day 1, and there's so much to be said about doing something with people that you love.

I never set out to be part of a genre, because I listen to all types of music.

There is a lot of music out there that you can play side by side and you can't hear the personality - that has a timeline on it, for sure.

I don't like being overexposed. I don't like being on covers. And I don't like people talking about me.

I do most of my vocals - aside from a couple of little one-shot vocal samples. 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 don't do much press. I don't like to talk about my music too much before I do it.

I book myself tight. If I have any time off, I get antsy.

The greatest gift of all time is that you can make creation infectious because people spend less time being negative... If you log all the time with negativity in the while world, I wonder how much better the world would be if people sat down and did something positive. It spirals.

Throughout my years in From First to Last, I was always dabbling and making electronic music on my own time. The first records I ever owned were crossover electronic rock, like Prodigy, Marilyn Manson and Nine Inch Nails.

I don't really think about recognition; I'm not really involved.

With 'Bangarang,' I didn't make any announcement, no campaign. I just put it on my Facebook and some other places. That's how I've done everything with my previous records. I've always kept it organic.

I don't care about having money. It's about being happy, man.

No one worries about genre when they're dancing. They're not asking themselves, 'Is this song a dubstep song?'

I was never really a DJ... I just kinda figured it all out at once as I started to tour. I was making music and producing and I just had to start to DJ as I got more into touring.

I'm always on tour, so I'm always trying new tracks out live before they're released. That's more necessity than anything, because I don't get a proper chance to sit in a studio and work on tracks like other producers do.

I seem to spend a minimum of eight hours a day in transit of some sort or another... that's eight hours of your life gone. People always ask if I suffer from jet lag, but it's kinda become really normal for me... Although the jet lag does become a factor and you're pretty much always tired.

I really like iZotope Trash, which is a great plug-in for distortion, as is Ohmicide, which I love. It's an absolutely crazy multiband distortion, compression, EQ and filter, which pretty much lets you do anything.

I don't think I'll be remembered in a big Michael Jackson, Led Zeppelin way. I think I'll be remembered in this way: by the people who were there, who can't capture or explain it. I'm not trying to brag or anything. It's not about me. It's about facilitating a good time for everyone.

If something gets too easy... I want to do something else. But every album is going to be me, no matter what.

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. I also really like Sylenth1, my Tone2 Gladiator and some other granular soft synths as well.

There's been not a dime spent on marketing for any record I've ever put out.

I want to continue to constantly put out great music, expand further and further with the live show and music that is attracting music fans from all over the place, not only for ravers or electronic heads.

I like doing things in a very minimal, unconventional way as a personal way of saying, 'Look, I made a career out of carefully and craftfully, though unconventionally, making records on laptops and blown speakers.'