An old Roland Chorus Echo with a broken motor was another prime source of strange, wobbly tones. But it’s actually layered guitars processed through the Mutator. The one-note drone heard in the verses to “the Day the World Went Away” sounds like an analog synth with bad case of oscillator drift. For this Reznor often used devices like Virus, by Music Access Electronics,” and the Mutronics Mutator, both of which allow any audio signal to be passed through a bank of analog synth-style filters. Many guitar tracks went through another processing stage after being recorded and layered. That, for example, is how the distressed power chording on “The Day the World Went Away” was achieved. The multiple guitar takes were then layered up using Pro-Tools’ cut-and-paste facilities. He generally sat at the control room console playing guitar while Alan Moulder manipulated effects controls in real time and programmer Keith Hillibrandt wrote down the bar numbers where things started sounding cool.
#Tool reflection trent reznor pro#
Typically Reznor would record multiple takes of any given guitar track into Pro Tools, often working in loop recording mode. A DigiTech 2120 was also in favour for a while. On the direct front, Reznor generally used Amp Farm (an amp-modeling plug-in card for Pro Tools) or a Zoom speaker simulator. Whereas Reznor has almost always recorded guitars direct in the past, he did go for some miked cabinet sounds this time, at Moulder’s encouragement. “It’s the most brutal kind of eq, but with intense distortion,” Trent marvels. Just the words “tone control,” and knobs for lo, hi, mid and a sweepable resonance filter. There’s no brand name or model number on it. Favourites included a Swollen Pickle by Way Huge Electronics and, on the vintage front, a Univox Uni-Fuzz, Fender Blender, Foxx Tone Machine, an original DigiTech Whammy Pedal and a mysterious Trent bought for 20 dollars in an L.A. Either way, Reznor and co-producer Alan Moulder would generally start by plugging a guitar into a row of effects pedals gleaned from Reznor’s impressive collection. “The first question was always, ‘Do we want it to sound like a guitar or something else?'” he says. In recording The Fragile, he plugged his guitar into the vast technological resources of Nothing Studios and used the whole damn place as his stomp box. Whatever Reznor lacks in technical facility he more than makes up for in the way of sheer creativity. “On guitar, I don’t have that problem, ’cause I suck.” “The training I’ve had on piano sometimes gets in the way,” Trent Reznor muses. Plugging into Trent Reznor’s Digital WorldĮxtract taken from Guitar World, June 2000 You can still find a copy of the magazine on eBay at times (not sure about the 3d glasses though!). This section of the article discussed his approach to guitar on the album and gave some insights in to how he achieved the various tones. I transcribed the extract of the article and interview Trent Reznor did with Guitar World in June 2000. It definitely sparked something in me and sent me down a path toward making my own noise. When I first heard it I was in awe of how epic and creative it was. The Fragile by Nine Inch Nails is one of my favourite albums of all time.
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