I fucking LOVE Prong - and Tommy Victor, Ted Parsons, and the late Paul Raven, which was the lineup at that time.
I first came into contact with Prong because my old college roommate, musical collaborator, and best bud from our college years from 1981-85, John Bechdel aka JB, was playing keyboards live with Prong for a minute I think. By that point I had already been in a signed band in NYC, made some records and remixes, done some tours, worked as a programmer for a tv composer, and finally bailed on NYC to move to LA. So I was already "up and running". Prong wanted some remixes for the "Cleansing" album, and I jumped on it and did remixes for "Whose Fist Is This Anyway" and "Broken Peace" (still love those remixes).
Then, when they were preparing for their next album, "Rude Awakening", Tommy enlisted me to do my thang on the whole album. This involved me taking the raw tracks they'd recorded, and adding programmed beats and synths underneath. So the songs were already written, arranged, and recorded - but not mixed. I would take each song as they'd finish basic tracking and precisely map out the beats, using just a MIDI sequencer on the Mac and samplers, and create MIDI tracks that exactly matched the live drums that Ted had recorded. This is long before we had any of the modern conveniences that everyone takes for granted, like Sound Replacer, Beat Detective, Drumagog, etc. It was fully-manual and strictly by ear - aka "the hard way".
Once I had these MIDI performances fully tweaked, I could use them to trigger my own samples, which were kicks, snares, and hi-hats snipped out of hip-hop loops, rare grooves, drum drops, etc. - but HEAVILY processed. Compressed until the waveforms were just square bricks and/or run through TurboSynth wave shapers, guitar pedals, my Korg and Arp hardware synths, etc. I'd tweak and twist those samples to create programmed drum tracks that had the sound of the snipped-up loops, but playing the exact same patterns as Ted's live drums.
It. Took. Forever.
Then I'd pass these files on to the amazing producer Terry Date, and he would get them onto the multitrack analog tapes to live next to Ted's drum tracks, and when mixing he could bring them up almost like they were an effect return channel - each fader would have a different turbo-blasting drum performance on it, and he could bring them in and out to build an arrangement and use them as an exotic and insane form of drum reinforcement. I'd do anywhere from four to eight of these per song, each one playing the whole song from beginning to end, and let Terry and the guys decide which ones to use in each section of the song. Sometimes I'd add synth parts here and there - it wasn't just drums - so the whole thing together didn't sound like a wall of synths behind Prong, it was more like a weird turbo-charged backdrop to the band. If you mute all the channels with my stuff on it you'd go, "Oh, right... that sounds like three guys banging it out" but with all my stuff in it becomes some weird, bigger-than-life hybrid but without a ton of added rhythms and new riffs. Some, but not too many. Like an extra kick drum hit here and there to give that feel of a single 808 kick in the middle of a live beat or whatever, but not too too too much.
So, when Terry Date was gearing up to produce White Zombie's "Astro Creep" album, and Rob clearly wanted to create some unholy cyber-metal organism, Terry called me up, I met Rob, Sean, J, and John Tempesta, and we were off to the races. My process on that album was very similar to what I'd done with Prong, but with way more synths, weird ambience effects, processing of the raw guitar tracks, and samples from old movies that Rob had found. So, similar, but just MORE.
I went on to do a bunch of remixes for Prong and an absolute shitload of remixes for White Zombie, most of which appeared on their "SuperSexy Swingin' Sounds" remix album. So much fun, and I still love listening to that stuff.
Tech notes for tech nerds: All of that stuff was done on a Macintosh II with the first ProTools "4x4" card and interface which gave me four (!!!) channels of hard-disc audio recording, Studio Vision audio+MIDI sequencing software (the very first "DAW"), and three Digidesign SampleCell v1 cards, which were like a simplified version of an Akai S-1000 sampler with only 8mb (!!!) of RAM per card and I think 8 voices each. At one point I upgraded to SampleCell II cards which had 32mb of RAM and 32 voices each, but I'm not exactly sure when that happened. This is all many years before the concept of "plugins" and "virtual instruments" would hit the streets. All of the remixes I did in that era were sequenced in StudioVision and played "live" on that four tracks of audio, the three SampleCell cards, and three or four analog hardware synths that I had at the time. The whole thing would run live through a Mackie 8-bus console, with no outboard compressors of any kind, with only an Ensoniq DP/4, an Alesis QuadraVerb+, a Korg SDD-1000 delay, and a pair of Boss RPS-10 pitch shifter/delay units. That's it. The track would play and I'd mix it live and print it to a DAT machine. Done.