Changes

<blockquote><p>On February 21, 1995, Stephanie Nahas posted to alt.music.nin about meeting up with Danny Lohner, who mentioned at the time that Coil had remixed Eraser for an upcoming remix album. Sometime in the next few months, someone with reliable contacts with the Coil and NIN camps let on that several remixes were completed by Coil, but not all of them made the remix album. The Nine Inch Nails discography was updated to add the following tracks to “NIN PHANTOM SONGS”<br>

<br><br>Special thanks to Wizfan for getting the ball rolling, to David D. Yuhnke for chasing down all the other phantom NIN tracks, Marius Andrei Dima for coming up with photography in very short order, and Danny Hyde for making this possible.</p></blockquote>

<blockquote><p>'''These remixes are known as the "pre-big studio-mixdown" mixes, could you elaborate on what that means and how these differ to the final issued recordings? '''</p>  <brp>They were known as the pre-big studio mixes because as I said before I've got a huge, huge book which I used to type out. Before computers and printers I used to do it on the word processor from my notepads of the sessions where I scribbled everything down. I would type these up and store them and when the Nine Inch Nails forum boys said they'd heard about these outtakes and things I went back to the DATs from those days and found the rough cuts I did at my house before the big expensive one thousand pounds a day studio. What we'd do is copy the multitracks to DAT so we could take the sounds home. At my home I had a DAT machine digitally linked up to the sequencer, so I could digitally transfer the samples or the SMPTE could control the sequencer that could fire samples all through the mixing desk. I'd do a rough outline of what was happening that day. Pete would come over and we'd discuss bits and bobs and he'd join and we'd do stuff. With 'Closer' we actually worked in synch, as Pete did the same at his house and did a load of sessions. This was before Skype so we'd phone each other up and play down the phone where we were at and we knew we were in the same tempo and we knew we were in the same key as we were working to the same samples. So we knew that when we synched them ours would run and we could whittle down what we didn't need and we could synch it to the multitrack and take from that what we needed. So the pre big mix studio sessions were effectively all the pre big studio runs of what we were doing at home in the little studio. You'd do a little mixdown to DAT for your records so when you got to the big studio you could play it, if someone said "what are you thinking?" But before you set up all the machines and fired it at them you could play them that if they wandered in. And those DATs and subsequent notes those DAT created I reran a load of the sections that we had created, and I reran them exactly as we had done them. And I record all the notes, the effects, the levels and everything. If I didn't have a certain section as the DAT had corrupted or whatever I reran them again and cut and pasted between the various versions. The pre-big studio versions is exactly what it says; it's the versions that were done at home before the multi thousand pound machines were allowed to do the final mix. The final mix being all of these samples and the multitrack running through a big SSL mixing desk mixed down again to half-inch tape and the half-inch tape is sent to the pressing plant and they cut the vinyl.</p></blockquote>