However, Clouser was always a lover of smaller, more nimble setups, and pushed towards an in-the-box solution. The whole process was labor-intensive, time-consuming, and fabulously expensive, but produced great results. We’d send each individual track to a separate hardware output, record everything to a pair of Studer analog 24-track tape machines, and mix the old-fashioned way-on a giant SSL 4K console with massive racks of outboard gear. So, while our DAW systems did have sophisticated editing and recording features, mixing “in-the-box” wasn’t really practical. However, this was still the era before plugins had really come on the scene.
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We did use a lot of early software for synthesis, processing, and general sound-programs like TurboSynth, HyperPrism, AudioMulch, and ReBirth.
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He used second-generation Pro Tools/24 hardware as a playback engine, with Apogee AD-8000 converters for a little better signal quality on the way in. However, the company was purchased, and the program discontinued, which forced the move to Logic for the making of the NIN album The Fragile. For you NIN melophiles, this software was used extensively on the album, The Downward Spiral.
– Charlie ClouserĬlouser would still be using Studio Vision, as he found the software one of the most innovative and intuitive DAWs ever and mourns its passing. I had many of the early (and sometimes not-so-great) computer-based digital recording setups, from the original Sound Tools systems (the predecessor to Pro Tools), through every revision of Pro Tools hardware, and the various alternative software front-ends for it, like Opcode’s Studio Vision and later Emagic’s Logic software, which is now an Apple product that I still use to this day. I was an early adopter of “in-the-box” setups, which are pretty universal these days. Although he’s made many records in all-analog studios, and still owns a decent collection of analog synths and outboard gear, it’s the level of precision and control that digital can provide that ignites his passion.
Image via Lionsgate.Ĭlouser has always liked working in the studio with digital technology, whether it’s digital recorders and mixers or synths and processors. Premium Beat got all the details on how Clouser generates his inventive scores featuring synth, instrument, effects, and processing plugins for the horror anthology. With the release of Spiral this month, his prodigious partnership with the Saw franchise is going on eighteen years and nine films. There he did synth and drum programming on albums with bands like Prong and White Zombie, eventually getting brought into the NIN world around 1992, and didn’t leave for almost a decade.Īfter a whirlwind of work, building a studio with NINs in New Orleans, touring, making albums, and doing dozens of remixes for artists ranging from Killing Joke to David Bowie to Rammstein to Jamiroquai, Clouser made his way back to L.A. He soon was recruited by a customer to do synth and drum programming on television scores, which brought him out to L.A. However, he was no stranger to computer-generated sound, having studied old-school electronic music in college and spent a couple of years as the “computer guru” at the iconic Sam Ash Music store on 48th street in Manhattan, right when music technology was exploding with the arrival of MIDI.
Plus, software synths and plugins (in general) were in their infancy. When Clouser ended his tenure with the band in the early 2000s, software like Apple’s MainStage hadn’t come onto the scene yet. PremiumBeat got all the gory details of how Clouser generates his inventive scores using synth, instruments, effects, and processing plugins.Ĭomposer Charlie Clouser has been rocking a form of logic studio software since his days touring with the dark, industrial alt band, Nine Inch Nails.
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