'6 Weeks' is broken up into two sections; both sections use the same set of samples, just in different ways.
What Skrillex does with Ableton it's like being a little god. It's not just pushing loops - that's easy - but to do the effects he's a genius.
When we was making a song called 'Bring Da Ruckus,' we took the snare, and we put it in an elevator shaft and recorded it.
I'm not a real producer, so if someone asks me to produce, it's only because they like my sound. I'm not a professional, all I have is my own way of doing things, my little tricks.
For Ryan's Daughter I used a total of eight harps, something that was, at least, weird.
Since I was a kid, I always wanted to figure out how to make a bass line that was a pendulum - like, gravity would control it, and then you could make it play different notes.
Sometimes you can just record anything and slow it down hugely and you'll find all these hidden notes and frequencies that match up really nicely.
We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.
I started using contact microphones that you can place on common, ordinary objects, like a rake. I put a microphone on it and it picked up the tines vibrating and turned it into a horrible din. What attracted me to it was the horrible din - that's what I really liked.
Music, from being an ordered succession of sounds, has become a matter of "sonorities", and anyone who can produce a brightly coloured brick of unusual shape is henceforth hailed as an architect.
