Changes

<p>"The last two tracks were leftovers from a 12" that should have been released when we did lollapalooza, but due to record labels.... ...so, i thought they were good enough to be released, but did not fit with 'broken', so, i wanted to give them away but keep them separate from the EP, so, i came up with the 3" CD idea, but, my record label informed me that it cost so much to manufacture that they could not break even EVER regardless of sales, so, i compromised and allowed the first 250,000 to have the 3" CD, and the rest to have them on tracks 98-99 (so nobody would be ripped off)."</p>

<p>"It was a way to distance them from the other music because it wasn't part of the same mind set. Unfortunately, the risk involved is, with radio being as conservative as it is, I knew they would jump on "Physical" or "Suck" because they're a bit more digestible than the other stuff, so I've tried to make them as obscure as possible."</p>

<blockquote>"Broken, for example, had a lot of that super-thick chunk sound. Almost every guitar sound on that record was me playing through an old Zoom pedal, direct, and then going into Turbosynth. Then I used a couple of key ingredients to make it sound unlike any real sound in the world, and layered about four of them together. By then, it wasn't a guitar anymore. It's an awesome sound."</blockquote>

<blockquote>"I tried doing an album that I actually just wrote on guitar rather than my tried-and-true method of a drum machine and keyboards. So with the exception of 'Happiness in Slavery' all songs were written on guitar. I was gonna make it totally stripped down to guitar, bass and drums but as I started it I realized I could easily fall into another trap. What might sound interesting to me - because I'm not used to it - may sound like a garage band to the world. So we just took the three instruments and sampled 'em, fucked with 'em, processed them. It's kind of overboard, we did go crazy. It's kind of dense, too dense. It's over analyzed - every song has 20 different melodies that you won't hear the first five or ten times you listen, or maybe never."</blockquote>

<blockquote>"Regarding the warning for 'mono' devices... Without getting too far in detail, a scientific property of sound is its 'phase'. When recording music in stereo, you're supposed to be aware of its phase. If not, certain parts of the sound will disappear when it's played in mono. So, we discovered that by messing around with the phase, we could make elements of the music stand out rather oddly. (remember Q-sound? -it's based on the same type of principle) So...certain songs on 'broken' we mixed out of phase (because we felt like it) BUT... The songs don't sound right on mono devices (like some radios or TVs). Has anyone heard 'happiness in slavery' on the radio? I heard it on KROQ in LA and the snare drum was gone through most of the song. (and yes, it kind of destroys the groove!) So, basically, that's what that means."[http://www.theninhotline.net/archives/articles/manager/display_article.php?id=327]</blockquote>

<blockquote>"Trent Reznor and NIN art director [[John Crawford]] set out to make the “definitive editions” of all the main NIN releases on vinyl. Reznor: 'We want to present the catalog as it was intended to be, with no compromises. That means a careful remastering of the audio from the original sources, a careful and painstaking recreation of the artwork, pristine materials, some surprises and an insane attention to detail that you probably won’t notice… but it matters to us. No extra bullshit and gimmicks – the “real” records in their truest form available at a reasonable price.'"</blockquote>