I still kind of miss those two modules out of TurboSynth and I haven't found anything that really sounds as harsh. That TurboSynth oscillator really was great. Of course each waveform in the timeline could be double-clicked and edited with the pencil as well. Another cool feature that the TurboSynth oscillators had was a button that would randomize the order of the single-cycle waves in the timeline (and you could drag them around as well), which would create a garbled mess out of a formerly semi-legible scanning-wavetable "sample playback" oscillator. Wave shapers were an early favorite for that characteristic NIN guitar sound, and possibly the old favorite TurboSynth "convert sample to oscillator" function, which would take single-cycle slices out of a sample every X milliseconds and spread them into a timeline that would crossfade between the waveforms over time. AudioMulch was probably in the house (this was an early favorite in the NIN camp), and I think the first versions of Reaktor were around by then maybe?Īnything that had a wave shaper was fair game - so DUY Shape (if it was around at that time) and TurboSynth (if it was still alive) would be good guesses. Still Akai S-1000 samplers, or perhaps we'd moved on to E-4 units by then.
Of course, many pedals… especially octave-fuzz type units like the Fender Blender, Experience Pedal, and so forth. Also a lot of Parker guitars with piezo pickups for that stressed-out tone.
In that era there was a lot of Zoom 9030 / 9050 and ugly 2-rack-space Digitech guitar processors being used, often in amp-sim but no cab-sim modes, which gave a brighter and more in-your-face sound. Man, I barely remember that one! I was upstairs in my lab doing remixes and trying to write tracks with Danny Lohner for the ill-fated TapeWorm (NIN side project that never really got off the ground), so I wasn't too involved in the Quake thing.
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