TeenGearLust.......everytime u say 'SEEYAA' at the end of your posts I get this image of some maniac blowing me away....

Tell me your not a maniac :lol:

DS

No just a synth lover........even thou I am a huge fan of Clint Eastwood(he,he,he)..........BTW I am a huge 80's music fan also........you ever get into 'I never promised you a rose garden' by Kon Kan........even thou I've heard it was all done with a sampler........or 'Men without hat's'????? Also since I know you are a huge 80's synth fan : do you think a Virus can make that NIN synth sound??????

...that sound
 

I remember reading a Keyboard magazine article from WAY back that said that was his favorite sound on the record.

he used an emax 2 on that record (as you can hear from the last song).
the sound in question is a woodblock sample, reversed, and run through a distortion pedal, likely a Zoom pedal, since thats what he used at the time. he also turbosynthed it as well, so there may be some FM in there for some sidebands.

you can come close with a virus, lots of distortion and detuning and FM'ing, but since theres no woodblock sample in there....

Interesting....I'll have to run thru my samples, look for a woodblock , distort it and get back to you......thanks man......Matt

I have made this exact patch on the Virus KC! Is there some place on this website where I can load it up? You'll shit your pants when you hear it. I spent weeks on it.

I don't know.....but you can e-mail it to me.....I am very interested in hearing your result with the KC......please attach and e-mail me at : meettheslackers@verizon.net thanks ,Matt

That sound sounds like it would benefit from the FM distortion side of the Virus.

The MC505 can do some pretty good, if slightly different lo-fi industrial distortion stuff. http://www.gobo.dsl.pipex.com/audio/505distortion.mp3 (ripped from an onboard factory demo).

Hi Jason. Yep, go to the Downloads section of the site (accessed via the top menu), then after selecting an appropriate category an "Upload" button should appear on the top of the page for you to upload a file to that category.

Interview about PHM with info on sound design.
 

I found some more info on what he used for the Terrible Lie sound.

The link to the interview is here http://www.nin-pages.de/1990_Keyboard_April_english.htm.

Here are the parts reating to the song.

There doesn‘t seem to be a lot of synth on the album.
Actually, there was. I used a Prophet-VS, an Oberheim Xpander, and a little bit of Minimoog, which was down more than up in the studio. I‘ve had the Xpander since it came out. I‘ve always considered it a great analog machine. It‘s the only thing I‘ve ever owned that‘s never let me down. But I‘d gotten to the point where it was cumbersome to pro gram. I had the same ten sounds I always thought were great in lt. Then, when I worked with Flood, he breathed new life into it for me. He‘s absolutely a master of programming the Xpander. We really got into the FM section, doing some weird modulation things I‘d never attempted and coming up with very strange, non-analog sounds. That ended up being a big part of what we did for a lot of weird modulating sounds. “Terrible Lie“ was all Oberheim.

“Terrible Lie“ also features a very provocative dissonant theme right after the false ending.
That sound has quite an interesting history. It started out as a woodblock. I ran it through a distortion pedal, sampled it, then did my Emax trick by dropping it down a couple of octaves. Then I chopped off the beginning of it. I might also have put an envelope on it with Turbosynth. That‘s probably my favorite sound on the record.

Here is the info on the emax trick he mentions.

What about the keyboard parts?
I‘ve always had E-mu products. I had an Emulator II for a while, but I got rid oft right before I did the album. Almost every sound is an Emax. I like it because it has a slightly brighter sound than the Emulator. And I really love its crummy clock noise when you trans pose down. That‘s the secret to a lot of the sounds on Pretty Hate Machine: Get a cool sound, then transpose it down three octaves to get that great grainy high-end buzz. In the studio, we have an Akai S950, which probably sounds better, but it gets duller as you transpose down. I use Turbosynth a lot, in a kind of half knowing what everything does and half I‘m-not-sure-what-this-does, I‘m just-gonna-mess-around-with-it-for-an-hour until-something-cool-comes-out way.

Sorry I can't give any help as to creating it on a Virus but, I don't have one and my programming and sound design skills leave much to be desired.

It's an odd sound indeed. It has warm, bassy components to it, but it doesn't really sound all that bassy overall. It has a certain bell-like quality and seems to shift over itself like its been detuned. It may even be a couple of pads layered one on top of the other.
I'm afraid I'm not familiar enough with my Virus TI yet to speculate on how such a sound might be achieved.. :/ eh, I'm useless :p


-Annikk