Inside Nine Inch Nails: Stu Brooks on the Gig, the Gear, and the Grind

What would it be like to envision yourself in a dream gig, then get a call for it the next day? That’s exactly what happened to Stu Brooks, who joined Nine Inch Nails earlier this year for the second leg of their Peel It Back tour.

Brooks didn’t arrive by chance. He’s made his name in the music world through hard work. A longtime collaborator with artists from Danny Elfman to Mike Patton, he’s built a career at the intersection of bass, production, and sound design. His 2024 solo debut 40Hz crystallizes his sonic world-building, blending low-end sensibility with experimental textures.

We caught up with Brooks to dig into what it takes to join Nine Inch Nails, from mastering the catalog across multiple instruments to crafting a touring rig to cover it all. Brooks gave us a meticulous list of his gear, plus some insight as to what’s next for him.

How did the Nine Inch Nails gig come about?

Last fall, I got a text from Robin to see if I was available for a video call. Later on, he said that he had asked to FaceTime me that day because he wanted to see the look on my face. Actually, the call came out of nowhere, but the day before, I had printed out a setlist for a Peel It Back 2025 show in an effort to manifest. It felt like the universe split apart into a whole new simulation.

How did you prepare for working in the band?

I immediately started to learn the setlist on bass, guitar, piano, synths, and backing vocals. I was able to have a few weeks of prep before I went in one-on-one with Robin. Because of his deep knowledge of the material, we were able to get into the weeds and dial in the parts to microscopic detail.

I also had to build the rig and gather the equipment needed to be able to play multiple instruments and have a redundant rig for backup. A big part of the prep was time spent on tones.

What is Trent Reznor’s working style like?

He is a true leader. He sets a consistently high standard but is patient, willing to give attention to the smallest of details. He’s relentless with working on maintaining precision and consistency with the overall production, sound design, and emotional impact.

What gear are you using on the Peel It Back Tour?

• 2x Jad Freer Sisma Bass Amps
• 2x Neural DSP Quad Cortex
• 2x RME Fireface audio interfaces
• 2x Shure Axient wireless 2 channel wireless
• 2x Axient Wireless instrument Packs
• 2x Radial JX42 Signal Router
• 2x Furman Power rack
• 1x Furman UPS battery back up power rack
• 1x RSW Fretronics Rack
• 1x RJM Mastermind MIDI foot controller
• 2x Shure wireless Antennas
• 2x Shure BNC 25 foot cables
• 3x American Professional II Fender P Bass
• 2x Olinto P Bass
• 2x Yamaha BB734A Bass
• 1x 1978 Fender PJ Bass
• 2x Gibson Les Paul Custom EB Black Beauty
• 1x James Carbonetti Moonphase Guitar
• 1x KHDK 101 Stu Brooks Custom 101 Prototype Guitar
• 2x Gibson Les Paul Custom EB Black Beauty
• 2x Yamaha Revstars (RSS20)
• 1x Jackson Baritone (Roman Ibramkhalilov MDK HT6)
• 1x PRS Baritone (SE 277)
• 2x JMT Synths LD-2
• 2x Soma Laboratories Lyra-8
• 2x Novation Launch Control XL 3 MIDI Control Surface
• 2x Korg Keystage MIDI 2.0 Controller 61 keys
• 2x Akai MPC 1000
• 2x Apple MacBook Pro – MainStage
• 1x FIR Audio IEMs
• 1x JH Audio Roxanne IEMs

On tour, you are also playing keys. What gear are you using there?

Using MainStage as a way to map out the Korg Keystage into various samples, synths, and piano, either taken from the multitracks of all the albums or some sound design made to emulate the records. I sampled tape loops and control those with the Novation Launch Control faders. And the Lyra-8 and JMT Synth LD-2 are used for the drone and noise stuff.

How do you feel your bass playing influences your approach to playing keys?

I realize I’m always thinking from a bass player’s perspective, no matter what instrument I’m playing. I’d like to think I’m hyper-aware of the subtlety of feel, measuring time in nano-seconds as one does with bass.

What is the most fun song to play in the set?

It’s impossible to say! On guitar, maybe “Wish” or possibly “Gave Up”. “Wish” is the A Stage opener, and my heart is racing from a combination of adrenaline and the little jog from the B Stage just before. That song is wicked. “Gave Up” has an explosive guitar noise section and a keyboard solo moment that requires me to juggle things around. I love “Burn” as I jump from synth bass to live bass back and forth a couple of times. “Reptile” is challenging with a whole array of synth and samples throughout the song.

I’d go hang by Josh and Trent during the the outro of “I’m Afraid Of Americans” and enjoy the drum moment as well, allowing for a bit of subtle improvisation. I really enjoy the connection there.

How does playing with Josh Freese compare to other drummers?

Josh is a force. It’s amazing to witness time and time again that he delivers energy that makes you feel like you can levitate off the stage, and that he always has more energy and power on reserve. He never seems like he gets tired or struggles, no matter the volume and tempo. It’s been fun being able to count on his consistent fire that he brings every night.

What is your favorite piece of studio gear?

It’s a toss-up between a few things: the Swarmatron, which I find in use almost any time I’m working on something these days, the Lexicon Prime Time Digital Delay, or the Soma Laboratories Pulsar-23.

Reznor recently alluded to the possibility that NIN might not be touring much longer. Can you comment on that?

No. Haha

Your 2024 solo album, 40HZ, is incredible. Are you working on new material, and is it in the same style?

Hey thanks! I recently released a 7-song album in my name with collaborator N8NOFACE called Bad Man Back Again. My co-producer on the record is Dustin Mosley, who has been a part of the NIN studio crew since 2007.

I’m super excited about the Mark Guiliana record I produced, Questions Vol. 1, which came out last summer. It’s a record largely centered around a felt piano with marimba, vibraphone, pump organ, celeste, mellotron, and various synthesizers. Compositions by Mark inspired by Ryuichi Sakamoto, Aphex Twin, Nils Frahm, and Trent Reznor and Atticus Ross.

I’m consistently working on new stuff and stylistically all over the place. I went to Jamaica last year to work on some new music at Tuff Gong and Anchor Studios in Kingston. I have a collection of songs with Sly Dunbar, who recently passed away. I’m making some digital reggae inspired by the 80’s dancehall sound and early Black Uhuru.

What’s going on with Dub Trio?

Making plans to record in Jamaica as well. Dub Trio at Tuff Gong to make a dub record and make the B side of Industrial Dub. That’s the concept, anyway. We’ll see what happens!

What else is coming up for you in 2026?

I’ll be touring with Dominic Fike some more this year and Danny Elfman later in the year, though we play the Sick New World festival in late April. I’ve been working on a record with Danny for the past year or so, slated for a fall release with a small festival tour. I’m excited for the release of Mark Guiliana’s new Beat Music record called Beat Music 2.0 coming out in September. I only played bass on one track, but the record is phenomenal. This summer we will be diving deeper on a collaboration of more cinematic, minimal, and ambient collection of songs, a continuation of the Questions Vol. 1 album.

What advice would you give a young bassist interested in getting into producing?

I would for sure encourage an emphasis on sound design, learn your DAW, become a better engineer, explore as much hardware as you can and be disciplined with your work ethic.