Image via Lionsgate.Ĭlouser has always liked working in the studio with digital technology, whether it’s digital recorders and mixers or synths and processors. Premium Beat got all the details on how Clouser generates his inventive scores featuring synth, instrument, effects, and processing plugins for the horror anthology. With the release of Spiral this month, his prodigious partnership with the Saw franchise is going on eighteen years and nine films. There he did synth and drum programming on albums with bands like Prong and White Zombie, eventually getting brought into the NIN world around 1992, and didn’t leave for almost a decade.Īfter a whirlwind of work, building a studio with NINs in New Orleans, touring, making albums, and doing dozens of remixes for artists ranging from Killing Joke to David Bowie to Rammstein to Jamiroquai, Clouser made his way back to L.A. He soon was recruited by a customer to do synth and drum programming on television scores, which brought him out to L.A. However, he was no stranger to computer-generated sound, having studied old-school electronic music in college and spent a couple of years as the “computer guru” at the iconic Sam Ash Music store on 48th street in Manhattan, right when music technology was exploding with the arrival of MIDI. Plus, software synths and plugins (in general) were in their infancy. When Clouser ended his tenure with the band in the early 2000s, software like Apple’s MainStage hadn’t come onto the scene yet. PremiumBeat got all the gory details of how Clouser generates his inventive scores using synth, instruments, effects, and processing plugins.Ĭomposer Charlie Clouser has been rocking a form of logic studio software since his days touring with the dark, industrial alt band, Nine Inch Nails.
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