Today, creative application of distortion and saturation is all the rage in music production. Some may disagree, but I believe it was NIN that introduced deliberate, aesthetically purposeful sonic harshness to mainstream music. While satisfying your curiosity, you’ll gain an understanding of how Reznor’s artistic pursuits gave music technology a considerable push towards what it is today. But digging through the available information, sourced from a combination of old Keyboard Magazine, Guitar World, SoS specials and – presently – the enthusiastic insights of NIN alumni Charlie Clouser and Sean Beavan on Gearspace, is a worthwhile pastime. However, the rabbit hole goes incredibly deep – there’s material for a whole line of exhaustive articles to explore. In this article, I’ll go over some choice equipment and techniques that helped Trent Reznor and his compatriots make NIN guitars sound like NIN guitars in the old, darkly glorious days. This is how you stay on top when sound libraries are dime-a-dozen and any ol’ fool with a laptop can sound like Hans Zimmer. I’m saying this because the NIN shop of today is mostly home to boutique modular gear and obscure hand-built instruments to which only Big League film and sound design gurus are privileged to.
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