Changes

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 program. I had the same ten sounds I always thought were great in it. 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.</blockquote>

''For more information, see [[Pretty Hate Machine Tour]]''<br><br>

The album also gained popularity through word-of-mouth and developed an underground following. Reznor quickly hired a band for touring with Skinny Puppy, [[The Jesus and Mary Chain]] and [[Peter Murphy]], including guitarist and future Filter/Army of Anyone frontman [[Richard Patrick]]. The headlining [[Hate Tour|Hate]] and [[Sin Tour|Sin]] tours followed, as well as a slot on the first [[Lollapalooza Tour]]. Nine Inch Nails' live set was notorious for louder, more aggressive versions of the studio songs, and also for destroying their instruments at the end of sets. Reznor preferred using the heel of his boots to strip the keys from keyboards. This touring cycle was different from subsequent NIN tours, in that many [[Samples_In_NIN_Songs#Live_Samples|live-only samples]] were utilized. Taking inspiration from the photography of Jeffrey Silverthorne, who did NIN's early press shots, the band would douse themselves in cornstarch before taking the stage.[http://www.nin-pages.de/artwork_phm.htm] This practice would continue through the [[Fragility]] tour.