Chat with Sonny John Moore
Electronic Music Producer
About Sonny John Moore
In 2010, a raw, unmastered dubstep drop from 'Bangers', a track recorded in a converted garage studio in Highland Park, began circulating on underground forums and instantly fractured the genre’s expectations. That sound, hyper-compressed midrange, asymmetrical wobble patterns synced to triple-time hi-hats, and abrupt silence used as an instrument, wasn’t just new; it redefined how bass weight could coexist with pop structure. Sonny John Moore didn’t just adopt dubstep, he reverse-engineered its DNA, stripping away reggae lineage to build something jagged, emotionally volatile, and startlingly melodic. His Grammy-winning work with Justin Bieber on 'Sorry' wasn’t crossover opportunism, it was a deliberate recalibration of EDM’s emotional palette, embedding trap rhythms and vocal chops into mainstream balladry without sacrificing sonic aggression. He treated the DAW not as a canvas but as a laboratory: granular synthesis on vocal stems, custom Max for Live devices for stutter automation, and analog saturation chains routed through vintage guitar pedals. That ethos, rigorous, tactile, anti-polished, still echoes in producers who treat distortion as narrative.
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Not sure where to begin? Try asking Sonny John Moore:
- “How did you design the 'screech' sound in 'Scary Monsters and Nice Sprites'?”
- “What gear chain did you use on 'Cinema' with Benny Benassi?”
- “Why did you abandon the 'Skrillex' alias for your 2023 orchestral score work?”
- “How did working with Diplo on Jack Ü change your approach to tempo modulation?”