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JamesHanvey wrote:Skrillex definatley used FM8, I remember reading about him in an interview explaining how "All these kids are trying to recreate my sounds in Massive, when I did it in FM8".
Or something like that

You can probably reproduce a lot of FM sounds in Massive, it just won't come as easy. I've never used FM8 but I'm sure logic comes with an in-built one, obviously won't be the same but might be worth messing around with if you have it.

You can get hold of a tonne of free patches online for massive though, just search "skrillex free patch" in youtube or something.

This is a good video for reproducing the kind of leads they all seem to sample from eachother:

http://youtu.be/s49zOLJNVk0

I just spent 5 minutes playing around with the EFM1 synth in logic and made a pretty damn nice skrillex growl (for what EFM1 is). I used the thick bass preset and played with a bunch of the knobs and automated the modulator wave knob. Then I ran it through ohmicide to give it a more well-rounded sound. If you don't have FM8, this is the best you can do.

Ema_geodiV wrote:Anybody out there who's fluent in fm8? that vst is very complicated >.< I can only create bright leads and synths using fm8 but not monster growls like skrillex does o.O

Yeah I think FM8 is only complicated in that you are effectively working backwards (in reality, you are working forwards in FM8 and are working backwards in Massive )

Additive synthesis like FM8 is effectively you designing your own waveform, so start with a sine wave... add another wave feeding into it, modulate to taste, then maybe add another, modulate to taste, so on and so forth. FM8 is a tinkerer's dream, you really just need to understand how to work the plugin and then it becomes a weapon for clearer sounding basslines that are nearly impossible to recreate (just way too many ways you can adjust your sound). Massive effectively takes pre-designed waveforms (which would be the output of fm8) and works backwards to filter them down into something cool sounding.

I ended up taking a weekend class at a place called Dubspot in NYC just to improve a bit, def worth doing some research / tutorials / more formal training from someone who knows what they are doing to get a handle on it

Well probably this not a problem of the growl itself.
Your sounds have to be homogeneous with the whole project I've listen a lot of track that actually aren't so rich of crazy sounds but they still sounded cool. Keep going and find your own style and homogeneity XD