If you really know the major scale(s), then it's much easier to know and understand the others because the major scale is the master template against which the others are measured.
For example: what's known as the Mixolydian mode is really just the major scale with one small adjustment -- the 7 is one semitone flat (b7); The Lydian mode is really just the major scale with a different small adjustment -- the 4 is one semitone sharp (#4). The three minor modes all have one thing in common -- the 3 is one semitone flat (b3) and they differ among themselves by other small adjustments that all refer back to the major scale. So if you really know the major scale, you can easily understand and figure out the others by knowing what adjustments to make to it.
There's another way of understanding it too: the major scale
is in fact all seven modes -- check out the thread here
Chord Structure and you'll see a post of mine showing the 'scale clock'.
But, you don't really need to know them all to make music. I always recommend that you concentrate on chords, not scales. I never consciously think about scales when playing, but I'm acutely aware of all the chords I'm using, which can be seen as crystallized scales..